怪不得各大視頻臺(tái)找不到這部《舞女大盜》，因?yàn)槁饵c(diǎn)鏡頭有點(diǎn)多啊～

以為是斗智斗勇犯罪劇，原來(lái)只是講女人友情的的溫情劇。

擯棄了男人，女人們之間的友情就更深，不分彼此。畢竟，錢(qián)比男人靠得住。但正如劇中所說(shuō)：低級(jí)華爾街人，有良心，沒(méi)大錢(qián)；中級(jí)華爾街人，良心還沒(méi)有泯滅，賺外快但不多；真正有錢(qián)的，是那群六親不認(rèn)的華爾街狼。而女主，正因?yàn)檫€有良心，才結(jié)束了她們錯(cuò)誤的征程。

女主很有個(gè)人特色，笑起來(lái)很好看，喜歡她演的《初來(lái)乍到》

看完《Hustler》只想Jennifer Lopez（Ramona）和Canstance Wu（Destiny）結(jié)婚。

Destiny對(duì)Ramona那種仰慕、依賴(lài)、想逃離又總被吸引，下決心不聯(lián)系，一聽(tīng)到她消息又忍不住打聽(tīng)，一邊跟她劃開(kāi)界限，一邊又特別想知道她怎么評(píng)價(jià)自己的，最脆弱最柔軟的地方永遠(yuǎn)有她……這cp太好磕了！

電影刻畫(huà)了一個(gè)群體的sisterhood。女人吶，就是一種脆弱又堅(jiān)韌的生物。她們會(huì)抱頭痛哭，可以為了女兒鋌而走險(xiǎn)，她們一起走過(guò)美國(guó)社會(huì)和自身生活的ups and downs。

Jlo剛出場(chǎng)那段舞，我就問(wèn)問(wèn)，誰(shuí)能抗拒？誰(shuí)不會(huì)愛(ài)上她??！我看完都想撒錢(qián)…

Cardi B蠻出彩啊，雖然就小客串了一下，但真是很搶眼。

Canstance Wu也好會(huì)演，人物幾個(gè)階段的變化，和外強(qiáng)中干怕出問(wèn)題的本質(zhì)性格，演得很到位。從crazy rich asian到這部，應(yīng)該算火了吧。亞裔演員的驕傲～

Jlo最后一句臺(tái)詞又小小加深了一下深度：This whole country is a strip club. You got people tossing money and people doing the dance.

Constance 面臨的問(wèn)題是：友誼更重要還是親情更重要。她選擇了親情，提倡母親對(duì)兒女的愛(ài)勝過(guò)于私人友誼。

由于她是該電影的主要人物，這也是一個(gè)價(jià)值觀導(dǎo)向，她的選擇被安插在最后，也是高潮，表現(xiàn)本片對(duì)于脫衣舞女郎對(duì)人下藥的懲罰。

可是脫衣舞這個(gè)職業(yè)的存在是有道德?tīng)?zhēng)議的，用馬克思的術(shù)語(yǔ)來(lái)說(shuō)就是被異化的職業(yè)。在這里我可能以己度人了，我很介意肢體上與人接觸，尤其是陌生人。脫衣舞女郎做的是用身體勾起客人的欲望，并和客人接觸。放棄自己的空間為工資取悅別人太悲哀了。這使我認(rèn)為：客人必定不是清流，他們?cè)诜趴v自己。

所以從這點(diǎn)來(lái)說(shuō)，我覺(jué)得被藥的男人沒(méi)有立場(chǎng)以道德立場(chǎng)責(zé)怪脫衣舞女郎。他們應(yīng)該為自己沒(méi)有操守負(fù)責(zé)，即使被騙?？鬃佑芯湓捊袆e人騙你去陷阱是別人的錯(cuò)，但是你自己跳下去就是你的錯(cuò)了。這群被藥被盜刷卡的男人就是例子。

看完前半段很happy，總體來(lái)說(shuō)比較平淡，沒(méi)有什么大的懸念和結(jié)局，開(kāi)場(chǎng)紙醉金迷的華爾街金融街的繁華，到2008年經(jīng)濟(jì)危機(jī)大家的失業(yè)，再到舞女們打擦邊球賺錢(qián)，到最后姐妹情深，總體故事情節(jié)比較流暢，反應(yīng)了經(jīng)濟(jì)危機(jī)前后 華爾街金融市場(chǎng)的起伏，上時(shí)代周刊也應(yīng)該是有點(diǎn)意思，姐妹情深又導(dǎo)致最后分離，也許人生就是這樣，不間斷的遇見(jiàn)，不斷的分離。人生如戲。

在這個(gè)場(chǎng)景中，通過(guò)電影攝影來(lái)構(gòu)建情緒是最大的特點(diǎn)，有助于描繪兩個(gè)主角在情感上結(jié)合的高光時(shí)刻。這一刻的關(guān)鍵潛臺(tái)詞是展示命運(yùn)之神在他們的第一次互動(dòng)中是如何被雷蒙娜所陶醉的。

主導(dǎo)色彩是輕微的紫粉色和暖黃色/橙色。根據(jù)色彩心理學(xué)，"粉色 "暗示著浪漫和女性化，這給畫(huà)面增加了一絲幻想，并將這兩個(gè)女人描繪成近乎超現(xiàn)實(shí)的超級(jí)英雄；同時(shí)，黃色和橙色包裹著她們，特別是在Ramona身上，這將她轉(zhuǎn)變成一個(gè)理想化的精力充沛又溫暖的人，被Destiny所崇拜。

就色調(diào)而言，這一幕的飽和度很高，給人以感性和光芒。在這一幕中，Destiny剛剛在樓下看到了Ramona，這是她的第一次表演。在這一幕中，當(dāng)Destiny要求開(kāi)燈時(shí)，Ramona用她巨大的海岸將Destiny包裹起來(lái)。命運(yùn)號(hào)愛(ài)上了雷蒙娜的光環(huán)，基本上被她迷醉了。憑借其飽和的色調(diào)，色彩選擇很好地發(fā)揮了它們的作用，并幫助被攝者從屏幕上迸發(fā)出來(lái)，攜帶了大量的活力、能量和溫暖，這些都在他們之間產(chǎn)生。

燈光幫助攝影師Todd Banhazl創(chuàng)造了這個(gè)超靜態(tài)的場(chǎng)景。主燈是一個(gè)巨大的背光--一個(gè)帶有橙色凝膠的24K鎢絲燈，放置在三個(gè)街區(qū)外的一個(gè)帶有大型建筑起重機(jī)的兀鷹上。由于Destiny被Ramona迷得神魂顛倒，鎢絲燈給Ramona帶來(lái)了巨大的華麗的溫暖光環(huán)。補(bǔ)光燈放在相機(jī)的右側(cè)，一個(gè)彈跳器正對(duì)著他們的臉，把他們皮膚上看到的金色背光反彈回來(lái)。在相機(jī)的左側(cè)是一個(gè)粉紅色的LED燈（一個(gè)數(shù)字Sputnik），它在他們的皮膚、高光和珠寶中描繪出粉紅色；它也突出了背景中的空調(diào)機(jī)。由于更大的光源會(huì)產(chǎn)生更多的反射，它幫助場(chǎng)景變得不那么干凈，而且接地氣，與電影般的銳利形成對(duì)比。

立體感的深度也能得到燈光的幫助。在空調(diào)機(jī)后面的左側(cè)隱藏著一個(gè)霧化器，它推送的霧氣捕捉到了溫暖的背光，給背景帶來(lái)了重量級(jí)的蒸汽和霧氣，實(shí)現(xiàn)了千里眼和大氣層透視的組合效果。此外，一個(gè)叫做Solaframe的移動(dòng)燈被用來(lái)描繪背景。這種戲劇性的燈光幫助那些變得過(guò)于沉悶和平淡的背景建筑獲得了色彩對(duì)比的藍(lán)色，從而使溫暖的粉橙色人物脫穎而出；它模仿月光，打在女人身上，提供進(jìn)一步的浪漫。

對(duì)比和平衡得以實(shí)現(xiàn)，元素和主題的視覺(jué)權(quán)重通過(guò)一個(gè)人造屋頂窗臺(tái)得到調(diào)整。最初，演員們沒(méi)有什么可坐的，所以一個(gè)建有LED燈的窗臺(tái)進(jìn)入場(chǎng)景，模仿來(lái)自建筑內(nèi)部的光源。這個(gè)場(chǎng)景需要一個(gè)白點(diǎn)，讓觀眾的眼睛可以停留在上面，作為一個(gè)基點(diǎn)，因?yàn)閳?chǎng)景的其他部分需要顯得超級(jí)有色彩和黑暗。這是一種讓它變得黑暗而不感到陰暗的方法。此外，托德-班哈茲爾用潘那維申DLX 2拍攝了這個(gè)場(chǎng)景；通過(guò)使用解調(diào)潘那速度鏡頭，他可以打開(kāi)鏡頭，改變一些特性，讓捕捉到的圖像和鏡頭更容易閃光，軟化黑色和高光的光芒。

就我個(gè)人而言，我從Banhazl的電影技術(shù)中學(xué)到了如何使用各種光源和反彈器，可以幫助我創(chuàng)造一個(gè)超靜態(tài)的場(chǎng)景，也可以創(chuàng)造一個(gè)具有所需維度重量的平衡場(chǎng)景。小的和大的光源來(lái)提供場(chǎng)景所需的色調(diào)，并利用色彩對(duì)比來(lái)平衡視覺(jué)元素，甚至創(chuàng)造主導(dǎo)地位。

通過(guò)www.DeepL.com/Translator（免費(fèi)版）翻譯

In this scene, the construction of mood through cinematography is the greatest attribute that aided in depicting the highlight moment where the two main protagonists are emotionally bonding. The key subtext of this moment is to show how Destiny is becoming intoxicated by Ramona during their first interaction.

The dominant colours are slight purplish-pink and warm yellow/orange. According to the colour psychology, 'pink' suggests romantic and feminine, which adds an ounce of fantasy to the screen, and portrays the two women as nearly hyper-realistic superheroines; Meanwhile, yellow and orange colours wraps around them, especially on Ramona, which transfers her into an idealized energetic yet warm person, being adored by Destiny.

In terms of tonality, this scene is well saturated, which lends a sense of sentimentality, and radiance. In the scene, Destiny has just seen Ramona for the first time after downstairs giving her killer performance. In this scene, Ramona wrapped Destiny up with her giant coast when Destiny asked for a light. Destiny falls in love with Ramona’s halo, basically intoxicated by her. With its saturated tonality, colour choices played their roles well and helped the subjects to burst off the screen, carrying an amount of vibrancy, energy, and warmth which are generating between them.

Lightings helped cinematographer Todd Banhazl to create this hyper-stylized scene. The main light is a giant backlight - a 24K tungsten light with an orange gel, placed three blocks away on a condor with a large construction crane. Since Destiny is so intoxicated by Ramona, the tungsten light gives a big gorgeous warm halo on Ramona. Fill light is placed on the right side of the camera, and a bouncer facing their face, to bounce back the gold backlight that’s seen in their skin. On the left side of the camera is a pink LED light (a digital Sputnik ) which paints the pink in their skin, in the highlights, and in their jewelry; it also highlighted the AC unit in the background. Since bigger light sources can create more reflections, it helped the scene to get a little less clean, and grounded, to contrast with its cinematic sharpness.

Dimensionality depth is well aided by lighting as well. Off to the left behind the air conditioning unit hid a fogger back, it pushes fog which catches the warm backlight, giving the background weighted steam and haze to achieve a Chiaroscuro and Atmospheric perspective combined effect. Moreover, one mover light called a Solaframe is used to paint the background. This theatrical light helped the background buildings that were getting too dull and flat to gain a colour contrasted blue so that the warmer pink-orange characters stand out; it mimics moonlight, hitting on the women, to provide further romance.

Contrast and balance are achieved, the visual weights of elements and subjects are adjusted with an artificial rooftop ledge. Initially, the actors had nothing to sit on, so a built ledge with an LED light that imitates light source coming from inside the building comes into the scene. The scene needs a white point that audience can rest their eyes in and hold on to, as a base, because the rest of the scene needs to appear super colourful and dark. It’s a way to make it dark without it feeling murky. Additionally, Todd Banhazl shot the scene with Panavision DLX 2; by using detune Panna speed lenses he could open up the lenses and change some of the characteristics, allowing captured images and lenses to flare easier, softens the blacks and highlights glow.

Personally, I learned from Banhazl’s cinematography techniques that how to use various light sources and bouncers could help me to create a hyper-stylized scene, and also a balanced scene with needed dimensional weights. I will definitely practices utilizing small and big light sources to deliver the tonality a scene needed and use colour contrast to balance the visual elements or even create dominance.

Ramona決定下藥時(shí)候慷慨陳詞，控訴華爾街的這幫混蛋都是騙子，他們也是把老實(shí)人的錢(qián)騙到自己手里的，所以咱們這么做也沒(méi)什么不對(duì)。Destiny決定做免罪認(rèn)證，哭訴是因?yàn)榕屡畠簺](méi)人照顧，自己不能坐牢。包括金融危機(jī)后，兩人都試過(guò)轉(zhuǎn)型，但均告失敗后，無(wú)奈回歸老本行。似乎一切都是被逼的，無(wú)奈的，是天絕了后路，我們才如此這般。

但生意做大后，他們下藥的是否還都是金融騙子？Destiny有女兒要照顧，Ramona難道沒(méi)有？而從頭開(kāi)始當(dāng)然不可能一蹴而就，如以前一樣賺錢(qián)。其實(shí)一切都是借口。而且不是說(shuō)給人聽(tīng)的，而是說(shuō)給自己聽(tīng)的。

Destiny裸男送醫(yī)事件，Ramona全程聯(lián)系不上似乎是兩人關(guān)系的轉(zhuǎn)折點(diǎn)，包括Dawn的加入。但在入獄之前，兩人實(shí)際并無(wú)太多的嫌隙。分道揚(yáng)鑣應(yīng)該就是Destiny的認(rèn)罪，所以應(yīng)該是她虧欠更多。但在采訪中顯然Destiny的怨恨更多一些。這或許就是人們常說(shuō)的，人往往最恨的是你虧欠最多的人。

First thing first, garnering hefty Oscar buzz aiming for BEST ACTRESS IN A SUPPORTING ROLE trophy, Jennifer Lopez cunningly capitalizes on the Academy’s time-tested proclivity of category fraud, as it is in evidence, her Ramona Vega, a veteran stripper-turned-felony is the co-lead in the third feature film of woman writer/director Lorene Scafaria.

Hot on the heels of Hollywood major studios’ corrective measures in the wake of the ongoing MeToo Movement, which foregrounds the box office appeal of sororal solidarity (OCEAN’S EIGHT, WIDOWS, etc.), HUSTLERS blatantly flaunts its male-gaze factor by telling the story of a posse of female strippers and kick-starts its narrative with the erotic pageantry of their strutting and sashaying voluptuousness and money-procuring flirtation. Edging towards the age of 50, Lopez is the veritable stunner in her pole-dancing entry bravado, but that’s almost all she wrote relative to the toxic male gaze.

Engineering as an interview of former stripper Destiny (Wu) by journalist Elizabeth (Stiles, ever so stuffy), HUSTLERS chronically examines Destiny’s complicated relationship with her mentor Ramona initiated in 2007 when they both work in the NYC stripper club Moves, but less is transparent why Ramona takes Destiny under her wings in the first place, any sapphic transgression is meticulously erased from both parties, they are at best partners-in-crime, “doesn’t money make you horny?” is the only sexy talk we can get.

After the subsequent financial crisis thinning out the clientele, Destiny tentatively drops her line of business and starts a family, when that turns out to be a disaster, she reunites with Ramona and her other two protégés, Mercedes (Palmer, crackling with alacrity) and a barfing-prone Annabelle (Reinhart), together the quartet concocts a scheme to max out the credit card of their Wall Street clients by drugging them insensate, so that, they can hardly recollect what happens the night before and dare not go to the police to admit their sordid goings-on.

Sooner or later, their lucrative business runs out of gas due to unreliable new addition, mounting internecine strife and Ramona’s ill-advised decision to hive off their deal from the stripper club, consequences finally catch up with them, and Destiny, ignobly turns out to be a fair-weather friend (yes, blame it on the kid, motherhood is a mental illness), which compounds our ambivalence of our protagonist and tips the scale towards Ramona’s motherly affection that rounds out this sober but workmanlike dissertation of capitalism’s underbelly.

Cramming zeitgeist ear-worms into its chronically arranged plot development (Usher has a cameo to re-enact the glory in his heyday), HUSTLERS triumphantly milks audience’s nostalgia to great extent, and proffers another leading role for Asian-American rising star Constance Wu, who ripens into a more world-savvy role that attests her chops (her seething angst of juggling both motherhood and career hustler after frantically fielding an unexpected accident is the highlight), but one can easily see why Lopez, embodying both preternaturally age-defying lissomness and emotional candidness, is raved for her career-best outing, finally, not just a famous-for-being-famous celebrity in the Oscar ceremony, she can actually vie for the highest reword as an actress, that is the life-affirming story the Academy members find pretty hard to resist.

referential entries: Gary Ross’ OCEAN’S EIGHT (2018, 6.1/10); Steve McQueen’s WIDOWS (2018, 7.6/10); Steven Soderbergh’s MAGIC MIKE (2012, 7.2/10).

一個(gè)人看了這部電影，偷偷看著美女們跳跳鋼管舞，很是養(yǎng)眼，感覺(jué)一天的疲勞頓時(shí)煙消云散。可是，看到他們專(zhuān)坑硅谷大佬們，心里突然不是滋味。

為什么呢，雖然咱不是大佬，但咱也是個(gè)程序員，感同身受吧，好為程序員們抱屈。

程序員們?nèi)菀酌?，一天到晚的忙的像個(gè)狗，碰見(jiàn)經(jīng)濟(jì)危機(jī)照樣下崗沒(méi)飯吃。

貌似雖然掙了不少錢(qián)，但是基本沒(méi)有娛樂(lè)生活，生活單調(diào)苦逼的很。

所以，免不了要偷偷的去趟夜總會(huì)消遣一下，結(jié)果還被玩了仙人跳。

結(jié)果只能自認(rèn)倒霉。

為什么舞女專(zhuān)挑程序員？

因?yàn)槌绦騿T有錢(qián)又木訥，受了騙只會(huì)偷偷承受，他們不像小混混受了蒙蔽拍案而起，不像商界精英身邊不乏美女如云，他們既想尋求點(diǎn)刺激，但還有點(diǎn)知識(shí)分子的羞恥心，出了問(wèn)題不敢聲張。

哎，苦逼的程序員。