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The question of whether or not the film or its characters are actually good Marxists is not only not interesting, but also misguided, since we’re bound to get nowhere with such relationships of subordination: it is the coordination that we must look at instead. Godard doesn’t film “Marxists” or things whose meaning would be Marxism. He makes cinema with Marxism [...] The strength of the film is that it brings together cinema and Marxism by treating those two formulas as two different conceptions of art in general, and hence also of Marxist cinema. -- Jacques Rancière

我不管！这个系列我就是要给满分！退一万步讲，有张国荣和许冠杰，还要求什么？！

全片只有一个高潮，但足矣！平缓的叙事笔调，纯朴的人物刻画，生活的种种，自然而然地引人入胜，感动不已。《幸福的黄手绢》《兆治酒馆》《温柔的怜悯》都是这类佳作。

难以想象徐老怪在拍完新浪潮三部曲后居然能融入新艺城，他的《女皇密令》与曾志伟导的前两部毫无违和感。反观林岭东，刘家良的两部，个人风格太明显，倒也不是说不好，只是有点怪

出色的結尾提升了一個檔次，日本至今再無高倉健這樣渾然天成男性魅力的男星了，2016.04.06