《色戒》观后感
I had never seen Lust, Caution. On the rare occasions I stumbled upon discussions online, they mostly revolved around one question: who had the uncut version? But online chatter, no matter how loud, has never shaped how I perceive a film—partly because opinions are inherently personal, and partly because I’ve never had much interest in films outside the sci-fi genre.
By chance, I came across a video essay that analyzed the psychological shifts of the protagonist, Wong Chia Chi. I was struck by how precise some of the commentary was. If Mr. Yee’s animalistic domination of Wong Chia Chi in the villa aroused my curiosity about the narrative, then her whispered “Go, quickly” at the end solidified my resolve to finally watch the film.
Without attempting a full synopsis or historical contextualization, I want to talk about the parts that left the deepest impression on me. The three sex scenes—so often reduced to jokes or memes by internet users—were, in my view, essential to understanding the evolution of the two characters’ emotional entanglement. Omit even one, and the emotional arc feels incomplete.
The first scene is nothing short of rape. There is no tenderness, no trace of love—just a man venting desire through force, taking a woman he’s barely met from behind. Wong Chia Chi is in pain. But gradually, under Mr. Yee’s overbearing yet oddly gentle presence, something shifts. He begins to fill the void left by every failed intimacy she’s known. She becomes painfully self-aware of her own descent—aware, yet unable to resist.
This inner transformation is clearly reflected in the second scene. Their physical positions and the camera language change. No longer is she just being entered; their bodies now move in unison. The camera pulls back into a wide shot. Their side-lying position, with her legs cradled in his arms, evokes a yin-yang harmony—two wingless moths entangled in a moment of passion. The tension between a girl and a middle-aged man, initially forbidden, grows bolder and more intense. From doggy style, to side embrace, to the third scene where she takes the lead, we witness a shift: Mr. Yee slowly relinquishes control. He is no longer just the dominant; he is being affected, even influenced, by her.
Pleasure only exists in the moment of its becoming. Even in her descent, she is not blind. But it is the name card—innocently given, seemingly trivial—that becomes the final weight that crushes her. What is terrifying isn’t the plan, but the realization that this "plan" may actually be love.
In the upstairs room of the jewelry shop, the six-carat pink diamond is slipped onto Wong Chia Chi’s finger. She looks at Mr. Yee. Her lips move. Her eyes are sincere. But in the end, the only words she can utter are: “Go. Quickly.” It was at that moment that I understood: her love for him had come to outweigh the cause she was supposed to die for. She knew she would be condemned, mocked, despised—but in that instant, it didn’t matter. She believed he loved her. And she, too, loved him.
从没看过《色戒》，偶尔互联网刷到相关的帖子也只见网友们在互相讨论谁有未删减版的资源。但发生于网络的任何评价并不能使我对事物产生叠加看法，一方面因为评价是自我的，更私人的另一方面则是我总对除科幻以外的片子兴致乏乏。
机缘巧合刷到了《色戒》的解说，不得不说一些对女主王佳芝心理变化过程的分析触动到了我。如果说易默成在别墅里犹如野兽般富有侵略性地占有王佳芝使我对剧情充满好奇，那结尾那句“快走”则让我坚定了立刻去看这部影片的心。
不交代全片也不结合背景，单谈印象深刻的片段。三场被大部分人当作作笑话调侃的床戏，在我看来反而是锦上添花般交代了男女主情感关系变化的不可或缺环节。少一环都突兀。
首先是强暴般占有，没有半分怜惜也看不出爱，只有一个急于发泄欲望的男性用着后入式的体位强占着他仅见过几面的漂亮女人。王佳芝是痛苦的，但这种感觉逐渐在易默成霸道却温柔的关怀下变了质，这个男人填补了她在过去所有亲密关系中缺失的有关爱的空白，她有且仅能清醒地看着自己在这痛苦中沉沦。
这种心理状态在第二场床戏中很好的表现出来，体位和镜头语言发生了变化。从开始的被插入到两人身体紧紧交合，镜头也从交媾的近景切成了全景，侧卧抱腿式的体位让两人呈现出犹如阴阳般和谐的画面，两只缺了翅膀的飞蛾就这样在情欲的交织下合二为一。隐藏在心底的暗潮涌动推动着少女熟男的禁忌之爱，他们愈发享受也愈发大胆。从后入、侧卧到第三场的女上位，也侧面体现了易默成渐渐让渡给了王佳芝能影响到自己的权利，从支配到被支配。
快感只存在于进行时那刻，虽然沉沦，却不至于盲目。但那张被请求送往某店的名片成为了压死王佳芝心理的最后一根稻草。因为可怕的不是计谋，而是发现这以为的计谋下实际是一个男人的爱。
在珠宝店的二楼，那颗六克拉的粉色钻戒套在王佳芝的手上。望向易默成，她嘴唇翕动，眼神真切，但直到最后有且仅能说出口的只有那句“快走”。直到这时我才发现，我对你的爱要大于那些我身上的责任，我知道我会被辱骂被嘲讽，但我觉得你是爱我的，而我也爱着你。