比利懷德用喜劇的外衣削弱了性別議題的敏感性,卻沒有掩蓋其重要性。男性與女性文化的對比雜糅在劇情發(fā)展的每一個細(xì)節(jié)中。托尼柯蒂斯取下金發(fā)、抹去口紅、脫下裙子和耳環(huán)、戴上眼鏡和軍帽、換上西裝的瞬間,如同變戲法般在觀眾的眼皮底下實現(xiàn)了性別流動,性別的社會構(gòu)建屬性呼之欲出。當(dāng)男性換上女性的打扮和妝容,立刻就遭受來自自身性別文化的男性凝視,穿上高跟鞋馬上就體會到性別文化對個體的壓迫,所謂實實在在的put yourself in others' shoes。 后半段更進(jìn)一步觸及到取向的流動。不過全片依然通過男性視角打開,柯蒂斯的男性造型呼應(yīng)了在《安全至下》中倚靠謊言和騙局操縱伴侶的勞埃德,夢露自始至終保持其被凝視的客體狀態(tài)。這可能也是傳統(tǒng)喜劇在探討社會議題的局限性。
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我生于七月四日。 “ I wanted a mission.” “ Charlie don't surf.” “ Never get out of the boat. Absolutely goddam right…” “ He had only two ways home. Death or Victory.” “ The man is clear in his mind, but his soul is mad.” “ This is the way the fucking world ends. Not with a bang, a whimper”