详情介绍
影片讲述了一对深陷酗酒问题的夫妻，他们挣扎着尝试各种方法，渴望回归正常生活。丈夫乔·克莱与妻子柯丝蒂在醉酒的泥潭中相互依赖又彼此伤害，尽管他们努力寻求改变，甚至短暂地体验到清醒时的温情与希望，但最终仍无法摆脱酒精的掌控。他们的努力以失败告终，关系破裂且前景黯淡，结局令人心碎。
上映信息： 相见时难别亦难于1962年12月26日在美国正式上映，1963年12月12日在中国香港上映。
拍摄制作： 相见时难别亦难影片由布莱克·爱德华兹执导，改编自JP·米勒的原创电视剧本，讲述了一个极具现实冲击力的酒精成瘾故事，由杰克·莱蒙、丽·莱米克主演。
获奖记录： 获奖 奥斯卡金像奖 - 最佳原创歌曲 提名 奥斯卡金像奖 - 最佳男主角 提名 奥斯卡金像奖 - 最佳女主角 提名 奥斯卡金像奖 - 最佳艺术指导（黑白） 提名 奥斯卡金像奖 - 最佳服装设计（黑白） 获奖 圣塞巴斯蒂安电影节 - 最佳男演员 获奖 圣塞巴斯蒂安电影节 - 最佳女演员 提名 金球奖 - 电影类 最佳剧情片
幕后花絮：影片原名《Days of Wine and Roses》出自1896年诗人欧内斯特·道生的诗作《Cynara》，诗句内容与影片沉溺的主题形成呼应。；这不是这个故事第一次被影视化，此前JP·米勒的原创剧本已经被制作成电视播放剧，本次是改编为长片电影。；杰克·莱蒙本人后来也经历过戒酒，这次对酗酒者的演绎被认为融入了他自己的真实体验。；影片的原创主题曲《Days of Wine and Roses》后来成为爵士标准曲，被无数音乐人翻唱流传。
角色： 帕特·奥马利饰Tenant/
tag： 第35届奥斯卡金像奖获奖名单/
主演明星
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演员,制片人,配音,导演
杰克·莱蒙
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演员
丽·莱米克
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演员
查尔斯·比克福德
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演员,导演,编剧
杰克·克卢格曼
Tackling alcoholism head on, DAYS OF WINE AND ROSES is an adaptation of J.P. Miller’s 1958 teleplay, and director Blake Edwards’ capacity of handling a simmering drama is put to test, and the result is quite propitious, unlike Billy Wilder’s excellent solitary toper misery in THE LOST WEEKEND (1945), here the situation is a classic case of folie à deux.
San Francisco PR agent Joe Clay (Lemmon) is a man of principles, yet he is often saddled with the seamy job of recruiting female companions for his company’s affluent clients. Under that premise, he first meets Kirsten Arnesen (Remick) and unceremoniously assumes that she belongs to the escort bracket, and only later to his discomfiture, realizes that she is a secretary, nonetheless doted by her affluent boss because of her prettiness.
Not so much a meet-cute as a romance precipitated by misapprehension, Edwards nimbly crafts an “elevator pitch” to sell a righteous Joe to a miffed Kirsten, who initially brushes aside his gesture of peace-making. To Joe’s obfuscated delight, after he lashes out on her for being too uppity to please and “secretary” is just a glorified designation for some gal with a pretty face , Kirsten takes an about-face and reconsiders the option of a date with him (talking about a girl’s illogical mutability), Joe’s “principles” finally convince Kirsten that he is the marry kind, they wed soon after and have a daughter, yet during their very first date, Joe has unwittingly sowed the seed of alcoholism to a hitherto teetotal Kirsten, which in time, will tear their family apart.
Every time before a snifter of hard liqueur goes down the hatch, Joe utters “magic time”, as if it is a mojo to invoke the liquor’s magical power to make him feel good, but that magical potion has severe sequelae, it destroys his career, put on a strain in his marriage and worst of all, indirectly pushes Kirsten down the same vicious circle of an inveterate heavy drinker, and she becomes an even worse case.
While the story tactfully soft-petals Joe’s incontrovertible responsibility as partially the scourge of Kirsten’s piteous self-abandonment (as Kirsten’s dour-looking father, Charles Bickford finally nerves himself up and gives Joe some piece of his own mind near the end, but that comes a shade too late), the script unavoidably smacks of sexism by granting Joe an ideal role model of an AA participant who finally gets the better of his jones, at the same time nudging Kirsten to the abyss of self-denial and diminishing willpower. This is the only gripe one can lay claim to the otherwise fairly outstanding script, probing strenuously and effectively to the nexus of the ubiquitous issue of alcohol dependency.
Beyond the shadow of a doubt, DoWaR boasts one of Lemmon’s most phenomenal performances, Lemmon wades through Joe’s journey with substantive lived-in commitment, running the gamut from gentlemanlike courtship, fanatical desperation to pathos-driven plead, not to mention the utterly visceral impersonation of delirium tremens when confined in a straitjacket, which can knock this reviewer dead stone cold. Remick, on the other hand, heftily retains her side of extraordinariness to limn Kirsten’s slippery slope with stern disillusion and inveterate helplessness, even though she is lumped with the short end of the stick in the dichotomous gender design. A cogent cautionary tale powered by two copacetic performers, and a slap on the Edwards’ back to his aptitude in orchestrating it in its finest order, not least for that bodacious final shot, a man and his anathema are superimposed in the same frame when a woman’s hope fizzles out despondently.
referential entries: Billy Wilder’s THE LOST WEEKEND (1945, 7.9/10)
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