一段似曾相识的故事,一个好莱坞的固定模式,从这个意义上讲《廊桥遗梦》并没有内容及形式的创新,而且作为“遗梦”的浪漫色彩构筑显然有辞不达意之嫌。但这丝毫没能影响观众意识形态上的情感共鸣,这不能不说是一种成功。那么,这种联接观念的基本手段便是影片视点的细节选择,表现的基本方式便是自然。整部影片的场景铺排都是在生活化的理性状态中进行着,其中包括人物的生活圈层以及人文心理,无时不影射出区别于田园牧歌式的质朴和宁静。影片并没有从多角度多层面去体现桥的美丽,廊桥只是地域位置上的审美。这对于弗朗西斯卡及村民来说,已经演绎成生活的自然了,而且在去廊桥的途中 In this sense, there is no content and form of innovation in this familiar demeanor of a story, a Hollywood fixed pattern, and it is clear that there is no such thing as a romance of the “dream of the past.” However, this did not affect the audience’s ideological resonance at all, which can not be said to be a success. Well, the basic means of this concept of connection is the film’s perspective of the details of choice, the basic performance of the way it is natural. Scene layout of the whole movie is carried out in the rational state of life, including the life circle of characters and humanistic psychology, all the time reflecting the pastoral idyllic simplicity and tranquility. The film does not reflect the beauty of the bridge from a multi-angle and multi-level. The bridge is only the aesthetic of the geographical location. For Francesca and the villagers, this has already been interpreted as the nature of life, and on the way to the corridor