手机

1969年 严守一十三岁严守一是《有一说一》电台节目主持人 和费墨（策划）是好朋友 妻子于文娟 严守一出轨武月 妻子于文娟得知和其离婚 严守一娶了第二任老婆 沈雪 台词老师 和第一任妻子一样 顾家类型 （男人总希望娶一个 外面玩一个）但仍然和武月藕断丝连 保持不清不楚的关系 武月手机录音 成了严守一的把柄 要挟严守一 让位给自己 并说前期的工作是自己献身领导换来的最后因为严守一手机总关机 错过了奶奶最后一面 严守一烧了手机 再也不用了 沈雪分手 费墨出国教中文去了 不知道注意是啥 批判的是男人出轨 还是手机揭露真相（虽然说的是手机的出现使得 距离近了 心远了 但是这不是为出轨掩盖的真相吗 出轨本来就是错的啊 这是在吐槽手机使得女性变聪明了 变方便查岗了？

毫无隐私） 亲戚小女孩要送手机给严守一 有卫星定位功能 还能拍照 怕了我喜欢沈雪在蜡烛前 烧洋火玩儿 那滴泪 中国美学 像霸王别姬 程蝶衣那颗泪 绝望

是手机，也是手雷。

里面装的不只有电路板，还有火药。

拔掉电池想隔绝与外界的联系，关掉手机欲疏解与家庭的亲密。

殊不知情欲如同空气无孔不入，怀疑好似衣物紧贴皮肤。

炸弹定下时辰，到点无情爆裂。

严守一的前妻于文娟断得干脆，一触破鞋果断离婚，在低声抽泣里捡起了自尊；新女友沈雪难舍难分，总持怀疑却不愿接受现实，在辗转反侧中留下了情分；而贯穿全程的情人武月才是最后的赢家，也许她曾想博得严守一的爱，但辣只能作调料不能当主食，于是她便将辣撒入严之嗓，踏着他的喉咙上位。

与严守一互照镜子的还有同事费墨，说话通透行为糊涂，归根到底都是花心错，希图封建制的父权，却已迈入社会主义社会。

严守一啥都想要，结果啥都没有，在爱情前输得体无完肤。

他本就是站在悬崖边的人，可他兜里还揣着手机，手机一炸，他也便坠崖了。

手机 (2003)7.42003 / 中国大陆 / 剧情 喜剧 家庭 / 冯小刚 / 张国立 葛优

费墨的谎言拆穿了，费墨的老婆歇斯底里地哭叫，扔东西，夺门而去。

费墨呆呆地坐着，这是个误会，他说。

开了房，思想斗争了老半天，最终还是没上去。

起了贼心，没贼胆儿。

还偏就让老婆拆穿了，冤，羊肉没吃惹了一身骚，跳进黄河都洗不清，估计这会儿肠子都悔青了在那里。

我在屏幕下替他配画外音：真真是白担了虚名。

《手机》里严守一是惯犯，费墨是未遂犯。

惯犯判的刑是离婚，未遂判的是发配边疆。

真可怜。

照说未遂判的刑该轻些才是，毕竟没造成什么实际后果。

不过从另一个角度来说，既然跨出了这道坎儿，成事实跟不成事实就没什么大区别了。

从费墨老婆的角度来理解，费墨到底进没进这房，一是解释不清没有令人信服的证据，二是费墨心理上出了墙，罪名就已成立。

《手机》里的经典台词，除了葛优语重心长的做人要厚道；我印象最深的就是费墨的审美疲劳。

“那么多年的夫妻，患难与共的，我不是。。。。。。

”费墨顿一顿，“我就是，有点审美疲劳。

” 堪比当年《一声叹息》的那句：我摸着你的手，就好像摸着自己的手一样没感觉，可是砍了你的手，我会痛。

更简练更一语中的。

不是不爱你。

只是审美疲劳。

太长久了，久的看见你好像看见我自己，每分每寸都熟悉的不能再熟悉，接吻好像刷牙，做爱好像吃饭，十年如一日的例行公事。

如何面对，激情退去后的那一点点倦。

愿意和你一起慢慢变老，满头白发的时候一同携手看夕阳无限好，可是怎么办呢，现在他的心还挣扎着不肯老。

他不想离开你。

你是他的原配，一把锁最初的那把钥匙，合的丝丝入扣的。

可是他想偶尔出去走走。

世上大抵是没有这样的好事的。

鬼马狂想曲的三个愿望许到最后，魔法师说财富要拿健康去换。

要一样就得付出另一样，一点商量余地都没有。

一个人的自由和寂寞。

两个人的安稳和责任。

森林中你只能选择一棵树，然后刻上你的名字，硬要剜去的时候，树会痛，你的名字会流泪，痕迹永生不灭。

可是怎么办呢，贪是人的本性。

要现世安稳岁月静好，也要新鲜热辣欢期暗忆。

是谁的贪是谁的怨，谁是谁的错生缘。

费墨老婆是聪明的，知道虚虚实实地套严守一的话揪出真相。

不过，若是没有那一问一答，费墨和她还是恩爱夫妻吧？

费墨与她，应该还是相爱的吧，那么多年的感情。

有点可惜。

有的时候，肯说谎，就还是看重这份感情。

到真的绝情，是不屑，也不耐烦说谎的。

宁为玉碎不为瓦全是刚烈，然世上哪有完美，都不过是碎片拼缀的完整幻象。

叶倾城的《原配》，问九信和叶青自少年起就开始的爱情，挡的过所有的艰辛挡不过婚姻的疲倦。

问九信的声音低沉恍惚：十七年的感情，可是我渐渐懒得回家，想起天长地久的那几样菜式，都觉得烦腻。。。。。。

爱仿佛永远是支离破碎千疮百孔。

到底是该相濡以沫，还是相忘于江湖？

《古惑仔》里小结巴死了，有人说真可惜。

也许死了也好。

死了就是永远了，爱在那一刻停格，陈浩南可以想念她一生一世，在爱还来不及疲倦的时候。

人们总是这样，仿佛能够永远的，只有怀念。

童话故事总是说到王子和公主的盛大婚礼为止，喜气洋洋的，有情人终成眷属，故事圆满了。

这一场盛宴，到底是序曲还是完结篇？

圣诞夜，我看了电影《手机》。

这是2003年度最佳惊竦片，看完以后教人混身冰凉。

以前小刚拍的东西，目的在于娱民。

娱民这东西就不能太往深里走，即使不得不太深，也得表现出荒谬和黑色来。

小刚潜水一年，最新奉献出来的东西不深不浅，基本上是写实主义，让人看了毛骨悚然。

《手机》这个片子，从头到尾都给人一种相当疲惫的感觉。

我唯一能看出来的故事大纲就是一个中年男人怎么样让生活给活活逼崩溃了，这比恐怖片还恐怖，比记录片还真实。

在真实生活中，过着和严守一一样生活的人不是太少，而是太多了。

这就造成本片不再是搞笑，而是批判现实主义。

批判现实主义具体什么意思我不清楚，今天也是第一次用。

在我理解里，那就是讲述一个大家日常生活里都能见到的故事，然后用极其悲惨的命运惩罚主人公，以达到教育人民的目的，类似地狱写真。

我不当人民好多年，也不喜欢被教育。

我曾经类似道德偏执狂一般挑剔周围的世界，但是现在我充分理解人性的种种。

人类的精神力量在大多数时候都屈从于肉体的需要，并且因此而造成精神上的痛苦。

我曾经以为那是个例，现在我才知道这是通解。

如果世间真的存在所谓忠贞不渝，那么最合适执行的对象是和尚，而众所周知和尚是不结婚的。

即使肉体能保证绝对的循规蹈矩，但是在精神的辅道上永远都塞满了车。

一个所谓幸福的婚姻，我想更多的是习惯。

因为这么过和每天系脸刷牙是一样的，也就如此过下去了。

另外我推测另外一个很重要的因素是专注之力。

把注意力集中在一点上，其余的欲望才会纷纷坠落，而不是纷纷扬起。

这又说回去了，最幸福的婚姻需要和尚来完成。

我是被这片子吓到了，不是因为结果，而是因为作用选择都处于两难境地，且无法改变。

这片子让人感觉到，生活没有最糟，只有更糟。

看完以后，它能使郁闷者更加郁闷，绝望者更加绝望。

这片子一点都不好笑。

午饭的时候刷了冯小刚的电影《手机》，说起来还是范冰冰的影坛成名作，可惜冰冰现在已经凉凉了。

第一次看这片子是在家里电视CCTV-6里，我还是个小学生，对婚姻、感情完全没概念，对手机也不了解，当时只觉很迷惑，大城市的男人是不是都这么爱搞外遇。

十几年后二刷，才明白电影中的很多现实映射，真是细思极恐。

虽然现在看来，电影立意无非就是手机给现代人的生活带来了便利，同时也增添不必要的麻烦，给人际关系造成隔阂，引发误会，甚至会酿成家庭或感情的悲剧。

但是在2000年出头，手机刚普及不久，能提出这个主题，至少说明电影对社会现实有一定洞察，而且能看出当时人们对于这个新事物的态度是谨慎和怀疑。

事到今天，同样的话题依然时常被人们所谈论。

以手机为首的各款智能电子产品，随着科技的发展，不断在扩宽所承载功能的极限，尽管一再被诟病，但不能否认，它们的存在对于这个时代是利大于弊。

电影中葛优演的主人公严守一，在快结尾的时候说了一句话，我认为很有道理：生活很简单，是人把它搞复杂了。

严守一经历了两段感情的失败，最后悲痛丧母，他平静而绝望地把手机扔进燃烧的火坑，从此再也不用手机。

这个情节让我很有感触，也很费解，导演为什么这样拍，编剧为什么这样写，难道这一切都是手机的错吗？

手机作为我们生活的智能助手，本身只是简简单单的机器，而它越来越丰富强大的功能，一方面证明技术不断革新，一方面也说明人类的欲望不断蔓延。

其实机器也好，环境、科技也好，本身是不会存在任何问题，只是当里面的人不安分时，才会暴露出各种丑陋的现象。

人类，永远是所有灾难的始作俑者，而欲望恰恰就是人类最大的软肋。

所以这一切当然不会是手机的错，是人把它搞复杂了，情欲、金钱、名利，花花世界到处诱人。

严守一对两前任撒了无数个谎，隐瞒出轨的事实，他也清楚自己跟武月之间没有未来，可就是不愿意割舍这女人赤裸裸的欲望。

最后，严守一像是报应般地被玩弄了，武月用他出轨的证据威胁，成功坐上知名主持人的位置，而他则失去了一切。

男男女女都有自己的私欲，可惜生活喜欢兜圈子，不到最后一刻，绝对不让你知道自己是玩弄别人还是被人玩弄。

手机是个好东西，别把它妖魔化了。

影片里严守一认为武月跟他之间的所有纠缠，都是为了实现“上位”这个终极目的，我感觉是有点不太合理。

如花似玉又有才能的武月，明明可以光明正大地争取自己的前途，何必这么处心积虑地祸害另一个人，不光浪费三年青春，甚至还为了给严守一前妻找工作牺牲自己。

或许她对严守一是有感情的，因为要面子吧，所以撒了个谎。

电影可能有更深刻的含义，只不过我的理解是如此╮(╯▽╰)╭有时候把以前没看懂的电影电视剧翻出来再看一遍，也挺好玩，会得到一种原来如此的畅快感受。

小时候那种稀疏的三观根本不懂得分析任何内涵，不管看书还是看电视都太囫囵吞枣，只当是过个眼瘾。

多年后的现在，电视上已经没什么能看了，这不就是给我们机会弥补那些年错过的经典。

这个世界上有多少个严守一？

为了结婚要找一个合适结婚的对象，为此刺激要找一个满足一时欲望的对象，他可以同时爱几个人。

有时候你明明觉得他真的很爱自己，但是当你问出那个傻傻的问题，“你还爱她吗？

”，他不回答，这时候他倒又不想违背内心了。

这片子起名为手机，但是通过这几个感情故事来告诉我们：手机不好，手机害人。

可事实上跟手机有什么关系呢？

手机害的，不是有所隐瞒、内心有鬼的人么？

我们大多只看到了表面的那层意义，那层最浅显的意思，放在现在也是适用的，“别总玩手机”。

那么深一层的意思呢？

其实与手机无关，跟娱乐、女人之类的都无关，是你自己的人格品质问题，没毅力是自己的问题，不爱了要先离婚再找下一个，都是你自己的问题，关手机什么事儿？

看电影，我总喜欢一次性看完，而《手机》不是，太累了！

手机从来都没有错，犯错的是人。

影片开头的歌曲貌似没有关联，看到最后方才明白，“你还回来吗？

”是什么意思，它是一种等待，她们等待着丈夫的归来，而这之中有一些人，总是用各种各样的理由来搪塞，让人空等一场。

为什么呢？

“愿得一人心，白首不相离”的美好，为什么要去破坏呢？

人是复杂的，我想或许长大后，才能明白吧！

爱一个人为什么还会和别人在一起呢？

那个年代的爱情观，我不懂，现在一些人的世界我也不懂。

我只知道，如果我可以和那位高高瘦瘦的，长得很帅的学长谈恋爱，一定是一件幸运的事情，爱情本是美好的，是人让它变味了。

真正爱一个人，是舍不得让他受伤的。

生死契阔，与子成说。

执子之手，与子偕老。

这是我这十几年里看过的最累的一部电影，没有之一，我想我宁愿去看那些骗取我眼泪的所谓风花雪月家国情仇无能为力，也不想看这部虽未让我哭，却心烦意乱、胸口发闷的电影。

Cell Phone (2003) marks the culmination of the popular cultural preoccupation with infidelity. A famous TV talk show host Yan Shouyi, tries without success to maintain the delicate network of lies and concealments that allow him to have two different mistresses in addition to his estranged wife. The story starts in a small town where the town’s first telephone, which signifies the modernization in China, has just been installed. In a small village nearby, a young man Yan Shouyi takes a peasant woman to the town to make a phone call to her husband. About twenty years later, the middle-aged Yan Shouyi has already become a popular TV talk show host in a big city, owning a wife, a nice job, a BMW, and a mistress. His life and work would not have taken this path if he had not been equipped with a cell phone, the latest wireless communication technology. But the Cell Phone also causes the end of his marriage: his wife accidentally answers a phone call from his mistress complaining about his absence from a date. After getting a divorce, Yan starts a new relationship with a college teacher, Shen Xue, while still occasionally dating his old mistress, Wu Yue. On the several occasions when his double life is about to be discovered by Shen, Yan deftly covers the truth with lies. His close friend Fei Muo, a university professor and producer for his television show, is also involved in a similar love affair with a graduate student, which is soon discovered by his wife. Eventually, Yan’s infidelity is discovered by Shen who sees a digital picture of Yan and Wu making love, a picture taken by the digital camera built into Wu’s new cell phone. Not only is Yan’s relationship destroyed, his career also ends as Wu threatens to expose their relationship and takes over his position as the talk show host. At the end of the film, throwing his cell phone into fire, Yan swears that he will never again own one. Then after a dip-to-black, the film welcomes a second ending, Yan’s niece, who is also from the same village, becomes a cell phone saleswoman and comes to demonstrate the latest product to his uncle Yan. (Zhang, 135)Given the obvious Marxist bent of Cell Phone’s rhetoric and its fable-like narrative of the dangers of commodity fetishism, one might easily conclude the film as criticism of the effects of rapid economic transformation in urban China, and denial of male dominance. However, underneath this reading which is merely based on the resolution provided by the film, we can find both the cultural underpinning and ideological impacts of the film, whether they are conscious directorial decisions or not, are the other way around. The film is based on patriarchal and post-socialist assumptions in the first place. The leading character, wealthy, successful TV host Yan Shouyi, is representing the controlling patriarchal order and the ruling class. The young and charming mistress Wu Yue, on the other hand, is a sexual object and an oppressed worker reinforcing and perpetuating an exploitative capitalistic scheme. Yu Wenjuan, the pregnant wife and later the mother of Yan’s only child, is a cheap labor whose family value in undertaking housework and fostering children is totally underestimated and neglected by both the character Yan and the filmmaker Feng. Shen Xue, the successor of Yu and Wu, is a wonderful replacement of the two women, since she functions as both mistress and wife and has the highest total value. Therefore, marriage and divorce follow the rules of product exchange. The values of women as sexual commodities are estimated by their male owner, based on evaluation and grading of their sexual attractiveness and productivity among others.In the second place, the narration neglects and degrades women’s family values.While there are scenes of Yan Shouyi working at the TV station and attending meeting with his colleagues, which confirms his value in production, there is hardly any scene of the women working. In addition, among the values of women, the four structures proposed by Mitchell, sexuality is emphasized against reproduction, and socialization. While there are a lot of scenes of Yan Shouyi flirting and having fun with her young and passionate mistress Wu Yue, there is hardly any scene of him and the older and less attractive wife spending time together. The cinematic representation of the reproduction process of Yan’s first wife is almost absent in the film. Having been pregnant for months, Yu Wenjuan did not inform her husband at all, and Yan is only informed several months after divorce by his ex-brother-in-law that his first wife had already given birth to their baby and needs money from him. Hiding behind socialization of children and the new motherhood are deeper oppressions of women. Spending a lot of time and energy nurturing the kid, the woman Yu did not get the compensation in improving her own social status; instead she lost her job in the big city after she went back to her hometown. As the value of socialization of children is often neglected by the society, this part of the plot is also omitted in the film, and is only told through Yan’s narration, serving as an obstacle that hinders and adds drama to Yan’s women pursuing career. As her value looks invisible, Yan replaces his first wife not with his mistress whose value only lies in sexuality, but with a beautiful college professor Shen Xue who seems to be a more serious and proper wife candidate, but also has the sexual disposition of a mistress.From Yan’s perspective, all the three women can be valued on a materialistic basis. Women become commodities, and their sexual attractiveness, job, education status are all counted in their exchange value while man is the buyer who has the right of choice because of his economic power and dominance in a patriarchal society. Extramarital relationship is a fatal violation of Chinese social norms and a tradition that often punishes the woman for such “immoral transgression” (Cui 181). In Cell Phone, the mistress Wu Yue, became the conflict's cause and the incarnation of immorality instead of the Male character Yan Shouyi. As an advanced prostitute, she would love to sell her body in exchange for money and power. And, ultimately, she threatens to replace Yan Shouyi as a television talk show host by using the photo she took in her cell phone. Thus, Yan Shouyi becomes the victimized character pitied by the audiences instead of the evil woman. The resolution of the film, Yan Shouyi’s abandoning of the cell phone, which may seem like a self-criticism, is actually a displacement and denial of the guilt and regret by reprimanding the modern technology and communication device. Cell phone becomes the scapegoat for Yan Shouyi, the hypocritical and immoral character, and therefore the patriarchal and capitalist order behind the story, which was supposedly to be criticized, is actually being extended sympathy. Depicted as the direct cause of all the conflicts between the protagonist and the three female characters, cell phone, the symbol of post-socialist modernity seems to be criticized. Rui concludes that Cell Phone addresses the subject through the director’s satirical take on consumerism and his exposure of the moral crises and ethical issues brought by expansion of high technology into our everyday lives (Zhang, 136). However, in the first 90 minutes of the film, a fantasy of the patriarchal and post-socialist (capitalist) utopia was already created for the male audiences: mistress as a symbol and accessory of urban success. Female audiences were also given a utilitarian fantasy integrated with the narcissistic and masochistic visual pleasure: being someone’s mistress is the shortcut to wealth and success. Thus, the film belittles the value of women, and denies women's independent existential meaning. In addition to the narrative constructed to propagate the attractive image of the “successful personage” that has represented the “new ideology” of contemporary China, an image that endorses a reality of growing class differences and income disparities, Feng Xiaogang adopts a lot of meta-cinematic elements in Cell Phone to offset the seriousness of his own criticism, a technique abundantly used in his early films. There are ample shots within the TV station, such as the staff operating camera, and outtakes of the TV host Yan who says his lines wrong, that remind the audiences to question the authenticity of their own movie watching experience. There is also a lot of inserting advertisements for cell phones that deconstructs the movie’s final critical stance towards post-socialist modernity. As the audiences identify and follow the male protagonist throughout the film, they highly enjoy and celebrate his material wealth and “romantic affairs” brought about by his professional success in the patriarchal and post-socialist order. In the meantime, they also accept a message that all women, whether they are educated or not, college professor or press editor, wife or mistress, are all annexed to the life of men. As McGrath noticed, the basic narrative structure of Cell Phone already had become so common by the end of the 1990s as to constitute a cinematic genre in itself, a genre that offers fable-like narratives of the moral dilemmas confronted by protagonists facing dramatic changes in personal economics as well as libidinal possibilities in the reform era. In such films, a man takes on one or more extramarital lovers after achieving some sort of economic success and social elevation (McGrath, 98). In many cases, a man’s ability to defy his wife is supported by both his male role and some sort of economic success. Even though these films reveal the social issues of the oppression of women, they neither provide a solution nor hold a feministic point of view that attempt to liberate women. Instead, they stand in line with the successful male protagonists, and celebrate the current patriarchal and post-socialist status quo. In a word, these films are women-concerned, but not at all feminist films. Supposedly a subgenre of family melodrama that aims to criticize the social immorality and educate the audiences, the actual impact of the “cinema of infidelity” is rather doubtful. An example is the sex diary scandal of Han Feng, the former senior tobacco official, which culminates the “mistress fashion” in 2010. Even more dramatic than Feng’s films, the purported diary, written in graphic detail, includes boasts that Han was enjoying sex romps with many different women while taking bribes and attending banquets. Populated by Internet users, Han’s case is just one in a million of the government officials and the privileged stratum in Mainland China.

男主身边三个女人－前妻、情人、女友。

男主犯贱了，出轨，然后跟怀孕老婆离婚了。

要有天道轮回，这男主就该走下坡路才对。

现实却是离婚后跟情人风花雪月，没过多久，又遇到了更好的现女友。

现女友明知这个男人刚离婚，还有刚出生的小孩，也知道外面有情人，居然还抓的更紧了。

三个女人，要我理解，就她最犯贱！

以后得出个法律规定什么的，二婚男人只能找二婚女生。

不能扰乱社会俗秩。

因为最近小崔的抨击，才好奇来看这个片子。

本来觉得小崔大惊小怪了，文艺创作本来就取材于生活，塑造的角色道德上有瑕疵，也不等于被借鉴经历者为人也是如此，退一步说即使是有意恶意影射，只要你没做过，让它影射去，观众又不傻。

看完了才发现，这片子的确恶心，也可以看出编剧和导演的确恶俗，恶俗也就罢了，还装出了一副批判现实主义的嘴脸。

客观呈现社会现实不等于没有态度中年男人偷情，任何人都已经见怪不怪，特别是一些有点成就的中年男人，不偷情似乎都不符合自己的身份，民间的主流价值观就是如此，特别是人到中年，一身的疲惫，偷情这种只是私德上败坏的事，不值得大惊小怪，谁还没个人性上的弱点？

你看严守一，偷情是偷情，对前妻和孩子还是很负责任，满嘴跑火车，但是对奶奶也是真的有孝心，很现实的人设了。

然后呢？

冯小刚想反映什么呢？

中年成功男人迷失了自己？

科技的发展离间了人与人之间真诚的情感？

看起来好像是，但其实并没有。

冯小刚立场非常模糊（就像他后来拍《芳华》一样），他对偷情的主角非常同情，对费墨偷情也很同情，你看，古往今来都是如此，大家彼此心照不宣，现在只是因为科技发达了才容易暴露，这是在说妈的都是手机的错，如果不是手机，老婆也不会离开我，孩子我也有了。

但是这种价值观怎么能大声说出来呢！

当然不行。

所以，片子最后，冯小刚让严守一没赶上见奶奶的最后一面，还在奶奶的葬礼上把手机烧了，看起来是在悔过自己忘了初心。

最后，侄女拿来的新款手机拍到严守一惊恐的表情，非常像是批判科技（手机）对人的异化。

但是这么解读，逻辑上是不通的。

拿武月上位来举例子，武月是因为录到严守一与自己偷情的音频而上位的，严守一被迫辞职，手机在这里扮演了一个要挟的工具，这哪里是手机对人的异化？

手机明明成了纠偏的工具。

手机轻易地让一些人龌龊的念头大白天下，增加了这些人违背社会公序良俗的成本，有助于人自省自律，是人类的好朋友才对。

冯导的态度并非立意批判而在于媚俗冯小刚态度暧昧其实很好理解。

他骨子里就是个拍娱乐片赚钱的导演，他的眼界他的思想他的才华他的趣味，都在说明这一点，他的电影总是在追求社会热点，总是在讨好市场讨好观众，按说拍人民群众喜闻乐见的电影也没什么，但他又想表达对社会对历史的看法，这种表达由于他思想的浅薄、才华的限制以及害怕市场的不接受，而显得隔靴搔痒。

他电影里的长得像批判的东西，都是扭曲真实自我表达、媚俗的结果。

所以冯小刚的很多电影显得很矛盾。

比如这部《手机》，看起来像是批判人被手机控制了，实际上是在为偷情的人开脱，如果你真是从人性弱点和社会环境出发，要客观展示偷情者偷情的原因，要客观展示人为什么随时撒谎的原因，那就彻底一点、坦荡一点，把这些人的纠结拍出来，即使三观不正，会冒犯观众，那也算是坚持自我。

话说回来，一个导演选择什么题材，很大程度上已经反映了该导演的趣味，骨子里是流氓，再怎么伪装也还是有流氓气息。