艾伦对决法罗

#艾伦对决法罗# #Allen v. Farrow#分成四部分的HBO 纪录片目前播出了第一集。前半部分真的好像一部浪漫爱情喜剧，讲述了#Woody Allen#和#Mia Farrow#如何相识、相爱，组建了一个看似美好的大家庭，甚至配乐都是伍迪艾伦电影中的爵士乐曲风。35分钟之后，童话破碎，种种不堪入耳的细节浮出水面。好莱坞式家庭最终被丑闻粉碎，至今让这个家里的很多人活在阴影之下。

这场长达数十年的性 骚 扰案到现在也没有定论，只有她说，他说，不断纠缠。除了法庭、媒体对决外，双方也一直在拉扯，伍迪艾伦去年也出了一本自传《Apropos of Nothing》从他的角度讲述被 性 骚 扰丑闻缠身数十年的想法；而目前这部HBO的纪录片则主要是从原告Dylan Farrow和她的母亲Mia Farrow及她们亲属朋友角度去阐述目睹和经历的一切。双方依然互不让步，下一步呢？伍迪艾伦会自己拍个电影反驳吗？

这场家庭性 侵 纠纷真的闹得沸沸扬扬，人尽皆知，但本纪录片依然呈现了很多你可能不知道的细节，特别是大量的家庭照片和录影内容。震撼我的几个内容是：

1）伍迪艾伦确实对金发女人情有独钟。他第一次见到金发的Mia Farrow就一见钟情，之后又要求Mia Farrow去领养金发的女孩子，Mia才领养了金发的Dylan Farrow，而之前她领养的都是海外不同肤色的人，很多是亚裔。再之后Mia Farrow说她怀孕，伍迪艾伦很希望是个女孩，但最后得知是男孩（就是一直很高调控诉伍迪艾伦的媒体人Ronan Farrow）表示明显的失望。

2）虽然Ronan Farrow才是伍迪艾伦和Mia Farrow的孩子（当然也有报道说其实Ronan不是伍迪的亲生儿子），但伍迪却一直不太在乎Ronan，而是只对金发的Dylan Farrow很亲密，每次来看孩子就只跟Dylan Farrow粘在一起，不太理其他孩子。各种搂抱和亲昵动作，还被看到与Dylan Farrow只穿内裤睡同一张床，及把头埋在Dylan Farrow的大腿之间。而那时Dylan Farrow才5岁。而也是那时开始，Dylan从一个开朗的孩子变得沉默寡言，并开始躲避伍迪艾伦。

3）Mia Farrow其实个性软弱，因为她崇拜和爱慕伍迪艾伦，一直都很纵容他的行径。比如伍迪艾伦并不想与她结婚，甚至说如果有孩子或领养孩子，他也不负责，都是Mia一个人的责任。而Mia居然多年来都一直同意，委曲求全，一再忍让。伍迪其实除了偶尔来看孩子外，并没有真正有孩子们有财政上的负担。后来即使发现了伍迪对Dylan的不当行径，她也没有及时阻止，依然相信伍迪肯定是好人，甚至还同意了伍迪领养Dylan。

4）当Mia发现伍迪艾伦给宋宜拍的大尺度 果照后，伍迪艾伦前来解释，先是说爱上宋宜，要娶她，之后又改口说这样说只是觉得比较恰当，但其实依然爱Mia，向她求情。而Mia选择完全相信宋宜是无辜的。但宋宜当时其实已经19岁了，是一个成人，完全知道自己在做什么，并不是被逼着拍下那些照片的。

这个案子之所以拖了这么久，而最近几年才又不断被提及，主要是因为米兔运动的鼓舞，人们终于敢站出来发声，敢于控告那些曾经有过性侵行为的有权势掠夺者。同时，Ronan Farrow作为家中最敢说话，最敢于发声的媒体人在这件事上起到了很大作用。他显然不像他的母亲那般软弱，也是在他的鼓励下，Dylan Farrow才在多年后敢于站出来讲述这一切。

看这纪录片还有一个感受就是，家里孩子多，双方家长又没有结婚，确实很麻烦。不少具有圣母心的女性因为喜欢孩子就一直生或领养，但如果男方并没有与她站在同一个出发点，很可能对这个家庭造成各种问题。这部纪录片显然让人感觉伍迪艾伦并不想结婚或生子，更不想为一个家庭承担责任，他很享受自由自在的生活。但与此同时是，Mia让他一下免费且不需承担责任地拥有了很多个“亲人”，特别是家里的女孩子又这么多，他都可以随便亲近，仿佛是买一送三的deal，随便占便宜。他是Mia的男友，同时也利用这个机会占有她的两个女儿。

也许这不是他的初心，也许只是一时的错误，也许。。。伍迪艾伦以娶了宋宜来试图“弥补”其中一个错误，但Dylan Farrow的事，至今依然牢牢缠住他，让他的事业最终走向了终结。

我并不觉得伍迪艾伦是无辜的，就算无法证明他 性 侵，从伦理上，他确实因为没能很好地自律，给自己的一生背上了阴影。

比较讽刺的是，如果你看过他的大部分影片，他很喜欢塑造那种头脑很傻、常常被男人利用的女性，而且这类角色大部分也是金发。

期待另一个好莱坞式闹剧德普离婚案也能尽快被搬上银幕，最好是纪录片。

I grew up in a similar situation as Dylan. My mom most likely has borderline personality disorder, and I was sexually abused by my dad at the same age of seven. She had sole custody, but I saw him on the weekends. It was a similar scenario.This is what I can offer to help understand the situation:

1)Memories of sexual abuse are tricky, especially at seven or below. They are fuzzier than older children due to the nature of the trauma. Research shows at around seven kids can recall them better; it explains why they are so upsetting but maybe a bit disconjointed for dylan

2) You can have a mom with bpd and a father who sexually abused you

3) Just because courts or the investigators didn’t convict him doesn’t mean he is innocent. In all of my family’s domestic and court issues my mom always looked like the crazy one, when my dad always seemed calm and together. In fact although my mom was more like Mia and a bit untethered at times she truly tried to protect me, when my dad in fact was the truth sociopath. Make a woman helpless to help her children and you will see what you get.

4) As a teacher, it’s really gross to see woody being defended for marrying his stepdaughter. First of all, she could be a wonderful woman, but what many might not know here is that is a very common reaction to trauma- fight flight flee or fawn. If she had trouble with Mia at all it makes total sense she would fawn the man grooming her at that age. There really is no defense. It’s gross even if it cannot be considered true sexual abuse, it shows a certain pattern（不管怎么样这一点真的也是take advantage的感觉太强烈了，不犯法是一回事，这个pattern在他电影里，油嘴滑舌劝那些年轻女孩经历老男人再找年轻的把责任都往年轻女孩身上扔调调真的不是太ok，让人想到马男bojack和那个小鹿，还有教师情事里年轻人当时都觉得是自己想要的情愿的，但是等回过头都......）

5) Lastly, has no one learned from Nassar? Woody shares many of the same traits. The fact he wanted nothing to do with Mia’s children but MARRIES one shows a disconcerting attempt to throw her off her guard.

6) I have experienced emotional, physical, and sexual abuse. They are all bad but nothing compares to the sexual abuse of a child. It’s kind of gross comparing Mia’s alleged bpd with possible sexual abuse of a minor.

7) Btw, it’s really hard to come forward with this kind of abuse as an adult...I have’t. I don’t think with all the coaching in the world that Dylan would come forward if she wasn’t 100% sure... would you want to be known for being sexually abused as a child? I sure dont

这其实是一部名不副实的纪录片，艾伦对决法罗，但是内容全是法罗一边倒的意见。没有采访到Woody。查新闻说这部纪录片联系到Woody夫妇了，但是只给了距上线两个星期的时间让他们回应。所以他们没有回应。

即使是只采访了Farrow一方，Farrow的展示也远远谈不上全面。Farrow收养了14个孩子，其中三个已经过世。一个养女有偷窃成瘾的病，后来因为服毒过量自杀，一个养子自杀，另一个养女长期抑郁症因为心脏病去世，也有调查认为是自杀。Farrow的弟弟在她家附近自杀，哥哥因为猥亵儿童入狱，父亲曾经猥亵她的三个兄弟。这些全都有记录在案，这部纪录片全都有意的忽略了。另外，2018年#Metoo运动在美国起来以前，Farrow一直在为波兰斯基猥亵13岁少女辩护，直到2018年突然改了风向去跟这位曾经的少女道歉。这个细节纪录片也是没提的。

我理解为什么Natalie Portman坚定地说她相信Dylan，大概多数的女人看到影片中的Dylan都会选择相信她。童年时候的伤痛，时至今日谈起来还双唇颤抖。身为女性大多数人都可以感同身受吧。谁能说这辈子都没有过咸湿手的经历？那种恶心和痛苦女人都懂。但是人的记忆往往是不可靠的，尤其是童年时的记忆。拿我自己来说，我最清楚的童年记忆之一是我小时候去北京的医院看病重住院的姥姥。但是后来我妈说那是不可能的，因为姥姥病重的时候他们根本就没有带我去北京，我之前去过北京，但是那时候姥姥并没有住院。我一点不怀疑Dylan认为她说的是真话，也觉得Dylan长大的过程一定很艰难。但是事实究竟是怎样的呢？

想知道故事的另外一边，于是我去读了Woody Allen的自传Apropos of Nothing （其实是一部很平实很Woody风格的书，但是因为美国的出版商要“政治正确”，要“同性侵受害者”站在一起，所以这本书很长时间都没能在美国出版），Woody在这本书里详细写了1992年夏天这件事发生的前因后果和当天的情形。我后来又去了Woody养子Moses的博客看。Moses现在是一名执证的家庭心理咨询师。Moses这段话可以注意一下。

To those who have become convinced of my father’s guilt, I ask you to consider this: In this time of #MeToo, when so many movie heavyweights have faced dozens of accusations, my father has been accused of wrongdoing only once, by an enraged ex-partner during contentious custody negotiations. During almost 60 years in the public eye, not one other person has come forward to accuse him of even behaving badly on a date, or acting inappropriately in any professional situation, let alone molesting a child. As a trained professional, I know that child molestation is a compulsive sickness and deviation that demands repetition. Dylan was alone with Woody in his apartment countless times over the years without a hint of impropriety, yet some would have you believe that at the age of 56, he suddenly decided to become a child molester in a house full of hostile people ordered to watch him like a hawk.

http://mosesfarrow.blogspot.com/2018/05/a-son-speaks-out-by-moses-farrow.html

事发当天Frog Hollow（Farrow的康州别墅）有三个成年人，一屋子孩子，所有人都被交代说要把Woody看紧了，然而如果Woody还是决定在众目睽睽之下去猥亵Dylan，从心理学的角度来看那他肯定得是有性瘾，或是强迫症，这样的行为必然是重复性的。但是Woody在公众视野下生活了60年，在Metoo如此严格的背景, 这么多人悍跳的社会背景下，除了Dylan一例，从来没有收到任何的投诉。这件事的不合逻辑就在这里了。

最后提一下，Farrow因为替波兰斯基辩护而去道歉的当年13岁少女Samantha Geimer，回复Farrow的道歉推特的时候是这么说的，

You need not be sorry. People support their friends. I understood that at 14 and took no offense to the many letters. I never needed the belief of strangers to validate my truth. Roman and my family reconciled long ago, I wish he and his family nothing but happiness.”

//www.theatlantic.com/ideas/archive/2020/06/i-read-woody-allen-memoir/612736/

Dylan, hope one day you could unchain yourself from the monster (be it Woody or the memory of Woody), and wish him nothing but happiness, too.

当我们生活的年代可以通过“你说，他/她说，我说”，来给一个人下有罪判决书，当我们生活的年代可以否决那些背叛普世价值观的人应有的权利时，当我们在舆论大浪里随波逐流，兴奋地口沫横飞声讨所有“不道德”时，请记住，你手里这把锋利的尖刀，在今天是你杀死他人的工具，也可以在明天也可以成为他人毁灭你的武器。

Woody Allen和Mia Farrow就未成年子女的抚养权争夺而引发的一系列丑闻，早在九十年代就是各家媒体争相报道挖搅过的新闻。这么多报道看下来，会让人发现事件里有太多的复杂面，而各家媒体的报道往往是偏袒男方或者女方角度而出发的。终于，我等到了HBO关于此事件的纪录片。因为HBO过去纪录片剧集的一贯高水准，我抱着能够看到对于整个事件没有偏袒，冷静深刻剖析的期待开始追剧。

然而，很快我意识到整个剧情是由既定Woody Allen猥亵养女成立，从事件主角之一的Mia Farrow的视角展开。因为早前看多过很多被Mia Farrow领养的孩子讲述和她生活的经历，我很难带入到Mia Farrow母爱无私的视角里。

Mia Farrow是14个孩子的母亲，这其中4个是自己生的，10个是领养的。以下是几位被Mia领养仍在世的孩子对他们的童年的回忆。

Soon Yi，Woody Allen的现任妻子，这样回忆她的童年：

"When Soon-Yi was a girl, she says, Farrow asked her to make a tape about her origins, detailing how she’d been the daughter of a prostitute who beat her. The request puzzled her, Soon-Yi says, since she had no memory of anything like that, so she refused.

From then on, things got worse, in Soon-Yi’s telling, though a family spokesperson refuted all her memories of physical abuse, neglect, or showing favoritism to one child over another.

Soon-Yi remembers, for instance, the first bath that Farrow gave her, in a Korean hotel room, as traumatic. “I’d never taken a bath by myself, because in the orphanage it was a big tub and we all got in it. Here, it was for a single person, and I was scared to get in the water by myself. So instead of doing what you would do with an infant — you know, maybe get into the water, put some toys in, put your arm in to show that you’re fine, it’s not dangerous — she just kind of threw me in.

Despite the pastoral tranquillity, Soon-Yi says, she felt achingly unhappy, a state of affairs that was not helped by Mia’s and André’s “bone-chilling tempers” or by Mia’s playing favorites. “There was a hierarchy — she didn’t try to hide it, and Fletcher was the star, the golden child,” she says. “Mia always valued intelligence and also looks, blond hair and blue eyes.” Soon-Yi had arrived without knowing a word of English, and Mia was impatient with her new daughter’s learning curve. “She tried to teach me the alphabet with those wooden blocks. If I didn’t get them right, sometimes she’d throw them at me or down on the floor. Who can learn under that pressure?

The family first lived on Martha’s Vineyard, where Soon-Yi remembers an incident in which she was excluded from playing in a paddling pool with the younger children. She “maneuvered” her way in, Soon-Yi says, and when Lark got hurt, “maybe slipped or something,” Farrow rounded on her, yelling, “Look what you’ve done! You never listen! I should send you to an insane asylum!” As Soon-Yi puts it, “I was shaking. I was so scared I thought she was actually going to put me in an insane asylum — and I understood what it meant.

“Mia used to write words on my arm, which was humiliating, so I’d always wear long-sleeved shirts. She would also tip me upside down, holding me by my feet, to get the blood to drain to my head. Because she thought — or she read it, God knows where she came up with the notion — that blood going to my head would make me smarter or something.” Farrow also resorted, as Soon-Yi describes it, to “arbitrarily showing her power”: slapping Soon-Yi across the face and spanking her with a hairbrush or calling her “stupid” and “moronic.” Sometimes, according to Soon-Yi, Farrow lost it completely, as when she threw a porcelain rabbit that her mother had given her at Soon-Yi (“She never really liked it,” Soon-Yi wryly observes. “That’s probably why she threw it at me”), smashing it to pieces and startling both of them. “I could see from the expression on her face that she felt she had gone too far. Because it could have really hurt me.” - (//www.vulture.com/2018/09/soon-yi-previn-speaks.html)

Moses Farrow, 上图戴眼镜的男孩

Mia另一位收养儿子Moses Farrow回忆：

“It was important to my mother to project to the world a picture of a happy blended household of both biological and adopted children, but this was far from the truth. I’m sure my mother had good intentions in adopting children with disabilities from the direst of circumstances, but the reality inside our walls was very different. It pains me to recall instances in which I witnessed siblings, some blind or physically disabled, dragged down a flight of stairs to be thrown into a bedroom or a closet, then having the door locked from the outside. She even shut my brother Thaddeus, paraplegic from polio, in an outdoor shed overnight as punishment for a minor transgression.

Soon-Yi was her most frequent scapegoat. My sister had an independent streak and, of all of us, was the least intimidated by Mia. When pushed, she would call our mother out on her behavior and ugly arguments would ensue. When Soon-Yi was young, Mia once threw a large porcelain centerpiece at her head. Luckily it missed, but the shattered pieces hit her legs. Years later, Mia beat her with a telephone receiver. Soon-Yi’s made it clear that her desire was simply to be left alone, which increasingly became the case. Even if her relationship with Woody was unconventional, it allowed her to escape. Others weren’t so lucky.

Most media sources claim my sister Tam died of “heart failure” at the age of 21. In fact, Tam struggled with depression for much of her life, a situation exacerbated by my mother refusing to get her help, insisting that Tam was just “moody.” One afternoon in 2000, after one final fight with Mia, which ended with my mother leaving the house, Tam committed suicide by overdosing on pills. My mother would tell others that the drug overdose was accidental, saying that Tam, who was blind, didn’t know which pills she was taking. But Tam had both an ironclad memory and sense of spatial recognition. And, of course, blindness didn’t impair her ability to count.

The details of Tam’s overdose and the fight with Mia that precipitated it were relayed directly to me by my brother Thaddeus, a first-hand witness. Tragically, he is no longer able to confirm this account. Just two years ago, Thaddeus also committed suicide by shooting himself in his car, less than 10 minutes from my mother’s house.

My sister Lark was another fatality. She wound up on a path of self-destruction, struggled with addiction, and eventually died in poverty from AIDS-related causes in 2008 at age 35.

For all of us, life under my mother’s roof was impossible if you didn’t do exactly what you were told, no matter how questionable the demand.” - （http://mosesfarrow.blogspot.com/2018/05/a-son-speaks-out-by-moses-farrow.html）

如果舆论告诉我们Woody Allen是可怕的恋童癖，强奸犯，我们要抵制所有他的电影，要声讨所有仍然愿意跟他合作的演员，更要用这种大潮淹没所有仍然为Woody Allen出来辩护的人。那么这是仿佛可以代替法院的作用来给人判罪的力量。是否有污点的人，不配拥有做人的基本权利，有污点的艺术家，更不配再有创作的自由。我想想那句老生常谈的“ Separating art from artist" ，诚然“艺术”不应该是保护犯罪行为的托词，同时“艺术家”的身份也不该是代表高尚道德的楷模。

作为女性，我为自己生活的时代感到幸运。因为这个时代给了女性群体更多的空间和权利，因此我有了相比上几代女性更多的生活选择。然而当看到某种政治正确大潮正在席卷而来要消灭所有不同的声音时，我不禁觉得背脊发凉，这又会不会是一个时代悲歌的前奏？

Woody Allen有罪与否，我在看了很多从双方角度的资料后仍然没法给自己一个定论。我只知道，从小到大在我心里那些搂着跟自己子女年龄相仿小女友的中老年男人，难免都散发着油腻和恶臭。但他的私生活并不会让我觉得《蓝色茉莉》或者《午夜巴塞罗那》这些电影变成了劣质的作品。Woody Allen是我从少年时代一直喜欢的导演，如果未来他仍然有机会拍电影，我想我还是会去看。倘若有天有从Woody Allen没有犯罪角度制作的记录片/宣传片，我也会抱着尽量客观的心态来看。

而那些因为种种原因被原生家庭抛弃又再被Mia Farrow领养的亚裔孩子们，就像小猫小狗一样被领养，被嫌弃，然后再在媒体上被渲染成那些白人养父母的善心产物。有多少主流媒体，有多少人在意过他们的声音，他们的呼救呢？看着电影里把Mia像天使老母亲一样描绘，我不由地感觉不适。如果说记录电影带着某种社会责任，我想那应该是作品核心努力把持的一杆秤。很遗憾，看完这部由HBO精致制作的“纪录片”，我恍然大悟自己其实看的是宣传片。2009年，Mia的亲弟弟饮弹自尽。2013年，Mia的哥哥因为性侵两名男童入狱十年 （//www.nbcwashington.com/news/local/mia-farrows-brother-to-be-sentenced-for-sex-abuse/1957532/）。我想，不幸的童年就像是一种瘟疫在一个家族里生根蔓延，而那些被领养的孩子存在在这个家庭的最底层生命像野草一样消亡，无人问津。看罢，我唯一的结论是，儿童领养，特别是发达国家对非发达国家儿童的领养，应该有非常严格的审核方式，毕竟不是所有人都有资质为人父母。

说到HBO的记录剧集，我最后不得不推荐《纽约灾星》（//movie.douban.com/subject/26292143/）

这个年代长大的、喜欢电影的人，很难对Woody Allen不产生一些情节，好在看过他的《Annie Hall》和《Midnight in Paris》之后我并没有被他俘虏。承认他的才气，认可他的风格，但并不是我的菜。我对他作品的最大诟病在于他的电影确实像流水线生产，类似的元素排列组合。这部纪录片也给了更多人不喜欢他电影的理由：他作为男友、父亲、公众人物、影人的失格。

说回纪录片聚焦的他性侵女儿的事情，这个十多年来闹得沸沸扬扬的案子，成了把影人和影迷分为两派的决定性事件，也是我们这个时代“艺术和人格要不要分开”这个议题的最经典例子。四集的纪录片介绍了Allen和Farrow的历史，案件细节，和多年之后的余波，片子努力摆脱那种“he said she said”的drama，支持Dylan这方的真相。不过最后一集中Dylan和律师的对话，Dylan和Mia的对话有点staged的感觉，其实可以去掉，虽然加上也传达了很多必须传达的message。

看完后最同情也最敬佩Mia Farrow，真的是吸引了好多渣男，交往12年的男朋友拐走了自己的养女并性侵另一个7岁的养女，之后电话录音他们谈话内容，完全在法庭上不顾前情。经历了这些之后她还能这么勇敢的抚养孩子，拍电影，做慈善，真是需要很强大的内心了。

从几处clip可以看出Woody Allen有紧张时就会下意识的咳嗽和不跟对方眼神接触的习惯，很难相信他在讲真话，不过好似他确实比起Harvey Weinstein他在努力节制自己欲望。但对这类事件来讲，受害者数量不是关键，因为哪怕仅有一个受害者，她的生命已是无法可想的。

这个周末终于把HBO的纪录片Allen vs farrow看完了，感慨良多。

从小都是伍迪艾伦粉丝，那些青春岁月曾花好长的时间集中看他的片子，安妮霍尔，曼哈顿，呆头鹅，开罗紫玫瑰，午夜巴黎。他的电影有知识分子神经质的话痨，有最天马行空的想象，有对人类情绪最犀利敏锐的洞察与描述，有纽约城市的喧嚣骚动，还有那份伍迪艾伦式的幽默。在那个只爱看欧洲文艺片的年代，伍迪艾伦就是美国有深度有思考还有趣电影的唯一代表，所以当metoo中打倒伍迪的口号弥漫全网时，内心是惋惜与愤慨，毕竟阻止人类的天才拍电影是最残酷的事，也是属于他粉丝的遗憾。

而这部深度调查的纪录片，让我从头至尾地回顾了事件经过。这个事件的复杂与多层次多面向是我之前没意识到的。

当事人无论是dylan还是mia Farrow都在强调他们自己都不愿意相信这是真的。Mia Farrow说大众当然不会相信伍迪艾伦会做这样的事，因为她自己也不愿意相信，这是一个她深爱的男人。每一个孩子都回忆到伍迪艾伦是个多么慈爱有趣的父亲。Dylan自己说：你怎么能相信这个性侵犯你的人，是那个会牵着你的手散步的人，是总会把你高高抱起的人，是会给你讲睡前故事的人。以至于家庭分崩离析后，总后悔自己是不是不该告发伍迪艾伦，这样才能保全一个完整的家庭。而Mia Farrow也同样不断给伍迪艾伦的行为找借口使其合理化，这都是多么常见的受害者心理。

Ellen 和 mia farrow之间不仅是家庭纠纷，更是在工作场所的abuse. 因为他们长期的金钱利益工作绑定， 伍迪艾伦利用职场关系孤立Mia Farrow, 打压她的自信，告诉她，你不会再在美国接到任何电影角色。

而对公众而言，相信一个因夫妻关系不合而情绪失控编造教唆女儿起诉父亲比相信父亲是性骚犯实在是容易太多。更重要的是，公众总倾向于相信有权有势胜利者的一方。

Mia Farrow结尾说”I am still scared of him. He is a person who has no allegiance to truth; a person will do anything is somebody to be scared of"

伍迪艾伦太明白what matters is not what happened, but what people believed.

纪录片里，印象最深刻的是，他冷酷无情的说，“ I will just let them carry on, I will not let a bad call sacrific my precious work time ” 艺术家果真都是极端自私的== 而一个integrity, kindness, good human-being 这些moral values在这个年代有时比才华横溢甚至更吸引人。

男艺术家需要女性扮演三种不同的角色：贤惠的妻子、风骚的情人和灵感缪斯，分别承担维系稳定的家庭、满足肉体的欲望和提供创作灵感的作用。这在费里尼带有自传性质的电影（比如《八部半》）里有清晰的表现。如果幸运，这三重角色将降临在同一位女性身上，如果不是，男艺术家就会出轨，不断寻找情人和缪斯。

归根结底，男艺术家都是自私的人，他唯一信奉的是艺术，其他所有一切都可以为艺术而牺牲，自然包括女人。从常理上看，道德伦常只会阻碍他的艺术创作。于是，他需要越过道德规范，从而将一切越矩的经验转化为创作的素材，最终进入作品之中。我们不清楚男人是不是都是坏东西，但我们很清楚男艺术家里没有好东西。

只有少数天才能够被允许逾越道德，因为天才的责任在于提供观察世界的崭新方式，这将受益于全人类。天才的才能是属于全体人类的宝藏，而非他私有。因此，人品和作品应该分开看待。强奸犯波兰斯基和恋童癖伍迪艾伦，是坐实的事实；我们在人品上可以鄙夷他们；但对于作品，我们需要一视同仁。因为，艺术是无辜的。

关于《Allen v. Farrow》（艾伦对决法罗），我看到collider.com的文章给出的标题是“A One-Sided Story, but a Pretty Damn Convincing One”（“一个片面的故事，但相当有说服力”），但可能在我的观点里，这个标题需要倒过来：A Pretty Damn Convincing One，but a One-Sided Story.

尽管片中提出了两个非常值得探讨的问题，一是关于好莱坞权势人物利用强大的公关资源掌握话语权来掩盖自己的不恰当行为，二是当女性受害者试图反抗控诉时遭遇的不公平待遇。（另外片中关于大众对艺术家的无意识的保护心理也值得思考）但本片中的有些明示或暗示，真的让人觉得非常刻意且主观。如果说把伍迪艾伦和宋宜之间的病态关系（一个老男人和自己多年女友的十几岁养女发生关系，还不够病态吗？）和多年来伍迪艾伦电影中反复出现的少女迷恋老男人剧情（《曼哈顿》在第二集占据很大篇幅，42岁男人和17岁少女）作为他在男女关系上本身就没有底线、存在很大问题的佐证还可以算作合理的话，那当叙述米亚法罗和伍迪艾伦讨论再收养一个孩子（也就是Dylan）时，伍迪艾伦明确提出要一个金发孩子、伍迪艾伦从小对Dylan的强烈偏爱（片中用他对Ronan Farrow出生时是儿子而不是女儿的失望来作对比），这种手法就稍显拙劣。纵使伍迪艾伦是一个恋童癖禽兽，但用这样铺垫来暗示他从一出生就对孩子有不纯目的，确实是太过主观臆测了。又或者是Ronan Farrow指出伍迪艾伦曾经试图用物质上的诱惑来让他公开反对自己的母亲，来暗示Moses Farrow甚至宋宜也是因为这样才选择站在伍迪艾伦的一边，这样的指控就跟Moses Farrow和宋宜说米亚法罗对他们有虐待行为一样，都是一面之词。而这样刻意主观的表达在本片中实在是不少。好比片中表达出伍迪艾伦承认和宋宜的关系是用来掩盖伍迪艾伦恋童指控的工具，的确，它听上去非常合理，我也觉得很有道理，但这也只是臆测。

我当然会相信Dylan Farrow。伍迪艾伦在好莱坞的强大权势让他的单方面观点更容易被人听到，也让法罗一家的声音多年来很难被充分听见，这些年好莱坞风向的改变，#MeToo的兴起，让她有越来越多为自己发声的机会。她的自述，本片呈现的那些家庭录像、电话录音、庭审和证词记录、调查报告、检察官最终选择不起诉伍迪艾伦的原因，以及伍迪艾伦辩护者视为强证的耶鲁纽黑文医院报告的不合理性等等等等，Dylan Farrow所提供的一切，当你看到后，很难不为她感到心痛。但这部作品最让人遗憾的就是，这本该是Dylan充分叙述自己遭遇的完美契机，却被这部纪录片的创作者的创作选择蒙上了一层阴影。