撒切尔夫人，一位杰出的女人，从小小的杂货店家庭的女儿，到考上牛津大学，从保守党的以为教育委员到领袖，从保守党领袖，到英国第一位女首相，任期长达11年。放眼当今世界，至今没有女人可以超越她。
不要谈过去，就算是现在，一个女人不仅要在男人的世界里生存，而且要得到他们的信服和恭敬，谈何容易。但是有这么一个女人，却做到了，所以，撒切尔之所以被称之为铁娘子，是因为她的理性、执着、政治信仰如铁一般，不管她死后褒贬如何洪水滔天，她只想做她认为对的事，那就是：工作，在危机时刻，所有人的人必须节省开支，回到工作岗位。自给自足的英国，只能靠所有人的双手拯救，这是他父亲给予她的信念。
约束工会、剥夺高福利机制，绝不向反对者妥协。面对游行、罢工、爆炸，不为所动。在她唐宁街的办公室里，日复一日的勤勉工作。 危机的时代，只有铁腕的领导人才能带一个国家度过。因为大众只会想到自己眼前的利益，看到今天希腊等国一次次的大罢工，我们就能理解做为女人的撒切尔做的已经不仅仅是出色而已。这样的人，才有资格被称为政治家，而非动动嘴皮子高喊民主自由的政客。而撒切尔夫人作为这样一个女人，站在了国家民族之颠，用强硬而方式征服了这片土地。
但随着电影的视角不停转换，从过去到现在，截取了她人生中的许多重要时刻的剪影，不管她曾经担任了什么，做过什么，现在的她只是一个并不富裕的独身孀妇，被铺天盖地的寂寞击倒，无法回复神采。
患老年痴呆症的她，常常忘记先生已经离世。她不肯让他离开，即便只是她幻想的一个影子。他依然那样机智幽默，学卓别林逗她笑，陪她上床安寝，等着她挑选外套给他。这真的是世界上最温情却最残忍的画面。她热爱的一切都离她远去，政治、权力、爱人、自信、智慧、果敢、朋友，只剩下她自己活着。这代价或许高昂，但我想，她并不后悔。
撒切尔夫人逝世后，各种阶层的人们对她的评价褒贬不一，但毋庸置疑的是，因为她的存在，改变了英国的窘况，改变了世界的方方面面，她是一名强者。看到电影结局时，我为她晚年的生活感叹，或许她的晚年并不是那么美好，充实着心酸，寂寞，但她这传奇的、令很多男人女人望而兴叹的一生，也确乎是那么的令人赞叹与崇拜。
影片《铁娘子（The Iron Lady）》以暮年撒切尔夫人佝偻着身子的背影，踯躅地走过厨房门，来到楼梯口，又缓缓右转，蹒跚地消失在观众视线中，作为全片的落幕，接着那个楼梯口的光渐渐黯淡以至于全部消失，仿佛想藉此来表达一种悲戚：即便玛格丽特•希尔达•撒切尔曾经叱咤风云，但如今的她只是一个老人，一个羸弱而孤独的老人。
许 是影片导演和编剧均为女性的缘故，该片风格趋于温婉哀伤。导演菲利达•劳埃德还长期从事戏剧行当，这是她的第二次触电执导筒，许是表现手法和拍片经验的问 题，影片的呈现总给人一种比较重主观“feel”的感觉，而片中晚年的撒切尔曾说过：“知道这个时代的最大问题吗？我们被这样的人领导着，他们注重感觉多 于思考和想法。”似乎该片的问题也在于此。
客观地说，影片既没有好到令人叫绝，也没差到看不下去。如果将这部饱受争议的影片作为一部传记片 来看，它显然拍得有点“写意”了，它虚拟了撒切尔夫人晚年的心境，试图以回忆的方式串联起撒切尔11年从政生涯的片段和家庭生活的点滴，拟刻画出出身平凡 却努力不懈攀上时代权利顶峰的女性形象，同时再现出在男性权利角逐圈奋斗的女性的辛酸和不易。只是该片的节奏略显凌乱，
过多的缺乏连贯性的闪回妨碍了叙事的流畅性，细节部分又有堆砌琐碎之嫌，往往给人细腻有余，底气不足的感觉。而作为一部讲述特殊政治人物的电影，它显得缺乏说服力，缺乏一种叫做力量的东西。另外，影片剧情分布失衡，晚年境况表述得过于充实，而首相生涯的片段又趋于简洁。
不 可否认，该片的立意本是可期许的，即试图从人性化的角度来再现“铁腕”夫人人生的几个时段，如今最终的成色还不算差，毕竟想在有限的片长内梳理一个重要政 治人物的人生，提纲挈领地抛出可圈点之处，还想将人物再现得丰满立体且充满深意，这是很多传记片导演的“野心”，但这是件不太容易做到的事。 当 然，该片也有突出的强项，如画面呈现得颇具美感，很多场景对色彩的运用也充满了意味，如撒切尔一身鲜亮的蓝色衣裙坐在一群情绪激昂的着深色西装的男士中 间，这凸显了这位政治女性的孤独和特殊。而影片最大的强项和看点都来自梅丽尔•斯尔丽普，《每日电讯报》甚至如此盛赞；“虽然英国有那么多出色的女演员， 但是很难找出一个能扮演好撒切尔夫人的。与此同时，我们也很难想象有谁能比斯特里普做得更好。”无疑，梅姑又奉献了一次精彩的表演，虽然部分戏略显用劲稍 大，但瑕不掩瑜，她依旧很有说服力地塑造出了一位经历和内心同样繁复的女性形象，不论晚年时那个蹒跚佝偻神情恍惚的老妇，还是从政时刚毅果敢硬朗犀利的铁娘子，梅姑都拿捏得当，诠释自如。
在表现不同时段撒切尔的形象时，除却化妆师的 协助，梅姑的眼神很具表现力，女首相的目光是坚定而自信地，即便在遭遇非议遇到坎儿时，对比孀居的痴呆老妇，那眼神是游离的犹豫的，还透着股子不确定与隐 隐的恐惧，辅以发僵的腿脚、扶着门框的手臂、语无伦次的自语，梅姑已将昔日首相如今的耄耋残年、沉疴心头塑造得形神兼备。对比，曾经在议会发言的意气风 发，在唐宁街办公的一锤定音，反衬出了一种深沉的无奈和沧桑。其中，关于撒切尔为了参选改变说话语气而做的发声训练中，梅姑所发出的声音令人一下子想起了她主演过的那部充满了奇怪口音的《朱莉和茱莉亚》。
“注意你所想的，因为它们会变成嘴里的话，注意你所说的，因为它们会变成实际行动，注意你的行为，因为它们会形成习惯，注意你的习惯，因为它们会形成你的人格，注意你的人格，因为它们会影响你的命运。我们想的是什么，就会成为什么样的人。”这是片中撒切尔的话，观众花时间看完全片，也的确看到了很多，言语、行动、习惯、人格、命运一应俱全，这是梅姑完成的部分，而归根究底，撒切尔究竟是怎样的人，这个命题就显得飘渺了，不得不说，这是编导的缺失。于是，三个女人着力打造的撒切尔，只有梅姑拿到了A。
1918年，英国国会通过“全民代表法案”，使30岁以上的妇女拥有投票权，但是直到1928年才达成妇女普选。时过约莫50载，1979年英国出现首位，也是迄今为止唯一一位的女首相，她就是玛格丽特‧撒切尔（MargaretThatcher，1925-）。撒切尔夫人出任首相，看似成功打破性别的限制，在男性至上的社会──特别是男性政治传统──中获得一席之地，但事实上真的如此吗？英国导演
菲丽达‧罗伊（PhyllidaLloyd）执导的第二部剧情长片《铁娘子：坚固柔情》，表面上是以撒切尔夫人的事迹为题材的人物传记电影，实则隐藏着令人玩味的“性别”（Gender）论述。
铁娘子：撒切尔夫人的两面性
“铁娘子”（IronLady）源自于前苏联媒体对撒切尔夫人的戏称，却也如实反映出她的两面性：铁，其性质刚硬、冰冷，可视作“男性”的表征；想当然，娘子则强调“女性”（这里“男性”与“女性”指的是后天形成的“社会性别”）的部分。一如台湾片商所下的副标题，铁的坚固与娘子的柔情，两种截然不同的个性同时显现于片中的撒切尔夫人（MerylStreep饰）身上。
电影是以现在与过去不断交错而进行。现在指的是早已退出政坛，记忆力衰退，身形痀偻的撒切尔夫人所处的时空；过去的时空则是包括年轻时的玛格丽特（AlexandraRoach饰），以及担任首相时的撒切尔夫人。透过过去的片断，我们便可看到尚未涉入政治的玛格丽特与当时一般女性的不同之处，例如：站在一群男性中间，聆听社会公共议题相关的演说；在晚宴桌上高谈阔论，发表“我们应自立自强”等的言论。在传统观念中，“女性”应拥有紧闭的嘴巴，也就是无声的角色，显然，这时的玛格丽特已流露出性格中偏属“男性”的部分。
然而，当玛格丽特正式走入政治，甚至是成为撒切尔夫人时，“男性”却从她的性格变质为一层不得不佩戴的面具、伪装。片中，撒切尔夫人的幕僚向她说：“没有人想被女人说教、威吓。”尤其是在涉及经济、军事、国防、外交等方面的男性化的政治领域中更是如此，这表示撒切尔夫人必须以“男性”的身分站上政坛。因此，我们看到撒切尔夫人改变发型，使自己看起来更有气势；练习发声，让自己的声音更有力，提升说话时的威严。气势、有力与威严，这些形容词往往套用于“男性”身上，撒切尔夫人将之加诸于己，说穿了只是为了能够跻身由男性所掌控的政治世界。
相较于处理政治时的“男性”身分，撒切尔夫人在面对丈夫丹尼斯
（JimBroadbent饰）时则不时显露出柔情的“女性”面相。这部分可藉由以下几场戏看出：即使丹尼斯早已过世多年，撒切尔夫人仍不愿收拾、整理他的遗物；当幕僚希望撒切尔夫人拿掉长久佩戴的珍珠项鍊时，她不愿配合，只因那是丹尼斯在双胞胎子女出生后送她的礼物；在旅馆爆炸后，看到丹尼斯平安无事，撒切尔夫人害怕地说：“我以为我失去你了。”相信观众从这些片断不难感受到撒切尔夫人对丹尼斯的深情与依赖。此外，撒切尔夫人的情感不仅用于丹尼斯身上，也用在人民身上，特别是她亲自提笔写信慰问战争受害者家属的一幕最令我印象深刻。
撒切尔夫人以其“铁娘子”形象闯荡政坛，即使招致正反两面的评价，亦无损于她在英国历史上的位置。不过，如同张小虹在《后现代／女人：权力、欲望与性别表演》中所提：“但当我们说『女性同男性一样杰出』的同时，也许只是『女性依循男性的方式在男性的社会中，获取男性的认可与赞许』。”撒切尔夫人之所以能有现在的地位，很难说不是藉着披上“男性”外衣而成功，但是，这
也是无可奈何之事。“我这一辈子每天都在打仗，也被男人低估。”撒切尔夫人如是说。女性想要在男性主导、充满性别歧视的政治丛林中生存，甚至是占有一席之地，将自己包装在“男性”之下或许是一条无从选择的路径，只是，这也使得年老的撒切尔夫人看到电视新闻中过往的自己时，不由得感叹道：“我不认得我自己。”
回归身为女人的自己
西蒙‧波娃（SimonedeBeauvoir，1908-1986）曾说：“今日男人代表『肯定的』与『中性的』──也就是说，『男性』与『人』──而女人则只是『否定的』、『女性的』。”由此可见，当我们提及“人”时，泛指的其实是男人（这点从英文更能看出）。那么，女人呢？又，以“男性”身分包装的女人呢？
撒切尔夫人不愿受限于传统的“女性”框架里，在丹尼斯求婚时，她说：“我绝对不会当小女人。”强烈要求丹尼斯理解她不想一辈子窝在厨房，困在“家庭主妇”的角色中；接着，她还说：“人一定要活得有意义。”显见撒切尔夫人意图打破“人=男人”的传统，也不想委身于“女性的”之中，企盼单纯以“人”的身分使自己完满。然而，如同前述，在踏入政坛后，撒切尔夫人被迫伪装成“男性”，汲汲营营于政治事业中，致使她失去了某些珍贵的东西：亲子之情与自己。
片中一幕：年迈的撒切尔夫人翻找出过去拍摄的家庭影像光盘，看到当中年幼的一双子女在海边玩耍，不禁兴起万般感概；此时，丹尼斯的身影说：“你可以倒带，却不能重来。”下个镜头，撒切尔夫人赶着开车到议会，抛下追着车，想跟她分享照片的子女。时间拉到现在，子女早已长大成人，儿子不在身边，丈夫又过世，撒切尔夫人唯一能抓住的只有幻影与过去的记忆，因此导演选择破坏时间顺序，不断交错现在与过去，让观众更能体会记忆的片断性；同时，藉由过往的意气风发与现在的柔弱身躯的鲜明对比，衬托出隐藏在撒切尔夫人这位不凡女性之下，其实只是一个平凡的人、一位平凡的母亲，以及平凡的玛格丽特‧撒切尔。
In 1918, the congress on behalf of "civil law", with more than 30 women have the right to vote, but it was not until 1928 that women's suffrage. In about 50 years, first appeared in Britain in 1979, so far the only female prime minister, she was Margaret thatcher (MargaretThatcher, 1925 -). Margaret thatcher became prime minister, seemingly successful break gender restrictions, in a sexist society ─ ─ especially male political tradition ─ ─ for a place, but the fact is really the case? British director Mr, lida Roy (PhyllidaLloyd), directed by the second plot long piece "the iron lady: strong tender feelings", on the surface is Mrs Thatcher's biography movie depicting the story, but in fact it was entertaining to get hidden in the "Gender" (Gender) in this paper.
The iron lady, Margaret thatcher's always two sides to everything
"Iron lady" (IronLady) derived from the former Soviet union, the media of Mrs Thatcher's calls, but also truthfully reflect her two sides: iron, its hardened, cold nature, can be characterized as "male"; Take it for granted that lady emphasizes "female" (" male "and" female "here refers to the formation of" social gender "the day after tomorrow). As Taiwan's producers under the subtitle, iron fortified with lady tender feelings, expressed by two distinct personality and at the same time slice of Margaret thatcher (MerylStreep).
Movie is now continuously interlaced with the past. Now is already quit politics, memory loss, rolls for grain shape 痀 of Margaret thatcher's time and space; The space and time are used to include Margaret
(AlexandraRoach act the role ofing), as a young and when he became prime minister Margaret thatcher. Through the fragments of the past, we can see Margaret has not been involved in politics and the common women's
difference, for example: standing among a group of men, listen to public topics related to speech; Talk about at the dinner table, the speech we should free-standing self-improvement, etc. In traditional ideas, the "female" should have closed mouth, also is the role of the silent, clearly, at this moment Margaret has showed partial is a "male" part of the character.
However, when Margaret formally into the political, and even become a Margaret thatcher, "male" from her to a layer of the character of the metamorphic had to wear the masks, camouflage. Production, Margaret thatcher's chief of staff, said to her: "no one wants to be a woman's sermon or intimidation." Especially in involving economic, military, national defense, diplomacy, etc, the masculine especially in the political field, which means that Mrs Thatcher must with the identity of "male" on politics. So we see Margaret thatcher change hair style, make yourself look more momentum; Vocal, let his voice is more powerful, spoke the majesty of the ascension. Momentum, powerful and majestic, these adjectives are often set for "male", Margaret thatcher will add to the already, after all is in order to be one of the political world dominated by men.
Compared with the "male" identity when dealing with political, Margaret thatcher in the face of her husband Dennis (JimBroadbent) from time to time when they are show tender feelings of "female" faces. This part can see by the following scene: even if Dennis had already passed away for many years, Margaret thatcher are reluctant to pick up, sort out his belongings; When staff wish Margaret thatcher removed when wearing a pearl necklace for a long time, she don't want to cooperate with, because it was Dennis in children after the birth of twins to send her gift; After
"Iron lady" (IronLady) derived from the former Soviet union, the media of Mrs Thatcher's calls, but also truthfully reflect her two sides: iron, its hardened, cold nature, can be characterized as "male"; Take it for granted that lady emphasizes "female" (" male "and" female "here refers to the formation of" social gender "the day after tomorrow). As Taiwan's producers under the subtitle, iron fortified with lady tender feelings, expressed by two distinct personality and at the same time slice of Margaret thatcher (MerylStreep).
Movie is now continuously interlaced with the past. Now is already quit politics, memory loss, rolls for grain shape 痀 of Margaret thatcher's time and space; The space and time are used to include Margaret
(AlexandraRoach act the role ofing), as a young and when he became prime minister Margaret thatcher. Through the fragments of the past, we can see Margaret has not been involved in politics and the common women's
difference, for example: standing among a group of men, listen to public topics related to speech; Talk about at the dinner table, the speech we should free-standing self-improvement, etc. In traditional ideas, the "female" should have closed mouth, also is the role of the silent, clearly, at this moment Margaret has showed partial is a "male" part of the character.
However, when Margaret formally into the political, and even become a Margaret thatcher, "male" from her to a layer of the character of the metamorphic had to wear the masks, camouflage. Production, Margaret thatcher's chief of staff, said to her: "no one wants to be a woman's sermon or intimidation." Especially in involving economic, military, national defense, diplomacy, etc, the masculine especially in the political field, which means that Mrs Thatcher must with the identity of "male" on politics. So we see Margaret thatcher change hair style, make yourself look more momentum; Vocal, let his voice is more powerful, spoke the majesty of the ascension. Momentum, powerful and majestic, these adjectives are often set for "male", Margaret thatcher will add to the already, after all is in order to be one of the political world dominated by men.
Compared with the "male" identity when dealing with political, Margaret thatcher in the face of her husband Dennis (JimBroadbent) from time to time when they are show tender feelings of "female" faces. This part can see by the following scene: even if Dennis had already passed away for many years, Margaret thatcher are reluctant to pick up, sort out his belongings; When staff wish Margaret thatcher removed when wearing a pearl necklace for a long time, she don't want to cooperate with, because it was Dennis in children after the birth of twins to send her gift; After
the explosion in the hotel, see Dennis safe, Margaret thatcher afraid, and said, "I thought I lost you." Believe the audience from the fragments are not difficult to feel Margaret thatcher affectionate to Dennis and rely on. Moreover, Mrs Thatcher's emotion is not only used for Dennis, also used in people's body, especially her pen to write personally condolences to relatives of victims of war scene impresses me the most.
Margaret thatcher, with its "iron lady" image to make politics, even cause both sides of evaluation, also hurt her position in the history of Britain. But as hsiao-hung chang in the postmodern/woman: power, desire and gender performance of the proposed: "but when we say" women, like men outstanding "at the same time, maybe it's just the way women follow men in male society, get recognition and praise of a man"." Margaret thatcher can have status, it is hard to say not through a "male" cloak and success, however, this also is helpless. "I this lifetime fighting every day, also was
underestimated by the man." Margaret thatcher said. Women want in a male dominated political survival in the jungle, full of gender discrimination, and even a place of their packaging under the "male" may be a no alternative path, just, it also makes the old lady thatcher saw television news in the past, I sighed: "I do not know myself."
Return to yourself as a woman
Simon, boa (SimonedeBeauvoir, 1908-1986) once said: "men today on behalf of the" yes "and" neutral "─ ─ that is to say," male "and" people "─ ─ and women are only" negative ", "female"." Thus, when we refer to "people", referring to the actually is a man can see more from English (this). So, a woman? Again, as "male" packing of woman?
Margaret thatcher won't limited by the traditional "female" in the framework, in Dennis to marry him, she said: "I will never be young woman." Strongly asked Dennis to understand she didn't want to a lifetime nest in the kitchen, trapped in the role of "housewife"; Then she said: "people must live meaningful." Obvious Mrs Thatcher's intent to break the
traditional "= the man", also don't want to be committed in the "female", looking only to the identity of "person" to complete. However, as mentioned, after entering politics, Margaret thatcher was forced to pretend to be "male", homelands in political career, that she had lost some precious things: parents of love with her.
Movie scene: elderly lady thatcher rummage shooting family video discs in the past, see among young pair of children playing in the sea, can not help but rise so kindness; Figure at this time, Dennis said: "you can rewind, but not again." The next scene, Margaret thatcher was driving the
drive to the parliament, left chasing the car, want to share photos with her children. Time to now, their children have grown up, and don't have my son, her husband died, Mrs Thatcher only to capture only the phantom and the memory of the past, so the director choose destruction of time sequence, continuously interlaced with the past now, and let the audience can understand more memory PianDuanXing; At the same time, by passing the high-spirited and frail body now stands in stark contrast, foil a hidden under Mrs Thatcher the uncommon women, is really just an ordinary man, an ordinary mother, as well as ordinary
撒切尔夫人，一位杰出的女人，从小小的杂货店家庭的女儿，到考上牛津大学，从保守党的以为教育委员到领袖，从保守党领袖，到英国第一位女首相，任期长达11年。放眼当今世界，至今没有女人可以超越她。
不要谈过去，就算是现在，一个女人不仅要在男人的世界里生存，而且要得到他们的信服和恭敬，谈何容易。但是有这么一个女人，却做到了，所以，撒切尔之所以被称之为铁娘子，是因为她的理性、执着、政治信仰如铁一般，不管她死后褒贬如何洪水滔天，她只想做她认为对的事，那就是：工作，在危机时刻，所有人的人必须节省开支，回到工作岗位。自给自足的英国，只能靠所有人的双手拯救，这是他父亲给予她的信念。
约束工会、剥夺高福利机制，绝不向反对者妥协。面对游行、罢工、爆炸，不为所动。在她唐宁街的办公室里，日复一日的勤勉工作。 危机的时代，只有铁腕的领导人才能带一个国家度过。因为大众只会想到自己眼前的利益，看到今天希腊等国一次次的大罢工，我们就能理解做为女人的撒切尔做的已经不仅仅是出色而已。这样的人，才有资格被称为政治家，而非动动嘴皮子高喊民主自由的政客。而撒切尔夫人作为这样一个女人，站在了国家民族之颠，用强硬而方式征服了这片土地。
但随着电影的视角不停转换，从过去到现在，截取了她人生中的许多重要时刻的剪影，不管她曾经担任了什么，做过什么，现在的她只是一个并不富裕的独身孀妇，被铺天盖地的寂寞击倒，无法回复神采。
患老年痴呆症的她，常常忘记先生已经离世。她不肯让他离开，即便只是她幻想的一个影子。他依然那样机智幽默，学卓别林逗她笑，陪她上床安寝，等着她挑选外套给他。这真的是世界上最温情却最残忍的画面。她热爱的一切都离她远去，政治、权力、爱人、自信、智慧、果敢、朋友，只剩下她自己活着。这代价或许高昂，但我想，她并不后悔。
撒切尔夫人逝世后，各种阶层的人们对她的评价褒贬不一，但毋庸置疑的是，因为她的存在，改变了英国的窘况，改变了世界的方方面面，她是一名强者。看到电影结局时，我为她晚年的生活感叹，或许她的晚年并不是那么美好，充实着心酸，寂寞，但她这传奇的、令很多男人女人望而兴叹的一生，也确乎是那么的令人赞叹与崇拜。
影片《铁娘子（The Iron Lady）》以暮年撒切尔夫人佝偻着身子的背影，踯躅地走过厨房门，来到楼梯口，又缓缓右转，蹒跚地消失在观众视线中，作为全片的落幕，接着那个楼梯口的光渐渐黯淡以至于全部消失，仿佛想藉此来表达一种悲戚：即便玛格丽特•希尔达•撒切尔曾经叱咤风云，但如今的她只是一个老人，一个羸弱而孤独的老人。
许 是影片导演和编剧均为女性的缘故，该片风格趋于温婉哀伤。导演菲利达•劳埃德还长期从事戏剧行当，这是她的第二次触电执导筒，许是表现手法和拍片经验的问 题，影片的呈现总给人一种比较重主观“feel”的感觉，而片中晚年的撒切尔曾说过：“知道这个时代的最大问题吗？我们被这样的人领导着，他们注重感觉多 于思考和想法。”似乎该片的问题也在于此。
客观地说，影片既没有好到令人叫绝，也没差到看不下去。如果将这部饱受争议的影片作为一部传记片 来看，它显然拍得有点“写意”了，它虚拟了撒切尔夫人晚年的心境，试图以回忆的方式串联起撒切尔11年从政生涯的片段和家庭生活的点滴，拟刻画出出身平凡 却努力不懈攀上时代权利顶峰的女性形象，同时再现出在男性权利角逐圈奋斗的女性的辛酸和不易。只是该片的节奏略显凌乱，
过多的缺乏连贯性的闪回妨碍了叙事的流畅性，细节部分又有堆砌琐碎之嫌，往往给人细腻有余，底气不足的感觉。而作为一部讲述特殊政治人物的电影，它显得缺乏说服力，缺乏一种叫做力量的东西。另外，影片剧情分布失衡，晚年境况表述得过于充实，而首相生涯的片段又趋于简洁。
不 可否认，该片的立意本是可期许的，即试图从人性化的角度来再现“铁腕”夫人人生的几个时段，如今最终的成色还不算差，毕竟想在有限的片长内梳理一个重要政 治人物的人生，提纲挈领地抛出可圈点之处，还想将人物再现得丰满立体且充满深意，这是很多传记片导演的“野心”，但这是件不太容易做到的事。 当 然，该片也有突出的强项，如画面呈现得颇具美感，很多场景对色彩的运用也充满了意味，如撒切尔一身鲜亮的蓝色衣裙坐在一群情绪激昂的着深色西装的男士中 间，这凸显了这位政治女性的孤独和特殊。而影片最大的强项和看点都来自梅丽尔•斯尔丽普，《每日电讯报》甚至如此盛赞；“虽然英国有那么多出色的女演员， 但是很难找出一个能扮演好撒切尔夫人的。与此同时，我们也很难想象有谁能比斯特里普做得更好。”无疑，梅姑又奉献了一次精彩的表演，虽然部分戏略显用劲稍 大，但瑕不掩瑜，她依旧很有说服力地塑造出了一位经历和内心同样繁复的女性形象，不论晚年时那个蹒跚佝偻神情恍惚的老妇，还是从政时刚毅果敢硬朗犀利的铁娘子，梅姑都拿捏得当，诠释自如。
在表现不同时段撒切尔的形象时，除却化妆师的 协助，梅姑的眼神很具表现力，女首相的目光是坚定而自信地，即便在遭遇非议遇到坎儿时，对比孀居的痴呆老妇，那眼神是游离的犹豫的，还透着股子不确定与隐 隐的恐惧，辅以发僵的腿脚、扶着门框的手臂、语无伦次的自语，梅姑已将昔日首相如今的耄耋残年、沉疴心头塑造得形神兼备。对比，曾经在议会发言的意气风 发，在唐宁街办公的一锤定音，反衬出了一种深沉的无奈和沧桑。其中，关于撒切尔为了参选改变说话语气而做的发声训练中，梅姑所发出的声音令人一下子想起了她主演过的那部充满了奇怪口音的《朱莉和茱莉亚》。
“注意你所想的，因为它们会变成嘴里的话，注意你所说的，因为它们会变成实际行动，注意你的行为，因为它们会形成习惯，注意你的习惯，因为它们会形成你的人格，注意你的人格，因为它们会影响你的命运。我们想的是什么，就会成为什么样的人。”这是片中撒切尔的话，观众花时间看完全片，也的确看到了很多，言语、行动、习惯、人格、命运一应俱全，这是梅姑完成的部分，而归根究底，撒切尔究竟是怎样的人，这个命题就显得飘渺了，不得不说，这是编导的缺失。于是，三个女人着力打造的撒切尔，只有梅姑拿到了A。
1918年，英国国会通过“全民代表法案”，使30岁以上的妇女拥有投票权，但是直到1928年才达成妇女普选。时过约莫50载，1979年英国出现首位，也是迄今为止唯一一位的女首相，她就是玛格丽特‧撒切尔（MargaretThatcher，1925-）。撒切尔夫人出任首相，看似成功打破性别的限制，在男性至上的社会──特别是男性政治传统──中获得一席之地，但事实上真的如此吗？英国导演
菲丽达‧罗伊（PhyllidaLloyd）执导的第二部剧情长片《铁娘子：坚固柔情》，表面上是以撒切尔夫人的事迹为题材的人物传记电影，实则隐藏着令人玩味的“性别”（Gender）论述。
铁娘子：撒切尔夫人的两面性
“铁娘子”（IronLady）源自于前苏联媒体对撒切尔夫人的戏称，却也如实反映出她的两面性：铁，其性质刚硬、冰冷，可视作“男性”的表征；想当然，娘子则强调“女性”（这里“男性”与“女性”指的是后天形成的“社会性别”）的部分。一如台湾片商所下的副标题，铁的坚固与娘子的柔情，两种截然不同的个性同时显现于片中的撒切尔夫人（MerylStreep饰）身上。
电影是以现在与过去不断交错而进行。现在指的是早已退出政坛，记忆力衰退，身形痀偻的撒切尔夫人所处的时空；过去的时空则是包括年轻时的玛格丽特（AlexandraRoach饰），以及担任首相时的撒切尔夫人。透过过去的片断，我们便可看到尚未涉入政治的玛格丽特与当时一般女性的不同之处，例如：站在一群男性中间，聆听社会公共议题相关的演说；在晚宴桌上高谈阔论，发表“我们应自立自强”等的言论。在传统观念中，“女性”应拥有紧闭的嘴巴，也就是无声的角色，显然，这时的玛格丽特已流露出性格中偏属“男性”的部分。
然而，当玛格丽特正式走入政治，甚至是成为撒切尔夫人时，“男性”却从她的性格变质为一层不得不佩戴的面具、伪装。片中，撒切尔夫人的幕僚向她说：“没有人想被女人说教、威吓。”尤其是在涉及经济、军事、国防、外交等方面的男性化的政治领域中更是如此，这表示撒切尔夫人必须以“男性”的身分站上政坛。因此，我们看到撒切尔夫人改变发型，使自己看起来更有气势；练习发声，让自己的声音更有力，提升说话时的威严。气势、有力与威严，这些形容词往往套用于“男性”身上，撒切尔夫人将之加诸于己，说穿了只是为了能够跻身由男性所掌控的政治世界。
相较于处理政治时的“男性”身分，撒切尔夫人在面对丈夫丹尼斯
（JimBroadbent饰）时则不时显露出柔情的“女性”面相。这部分可藉由以下几场戏看出：即使丹尼斯早已过世多年，撒切尔夫人仍不愿收拾、整理他的遗物；当幕僚希望撒切尔夫人拿掉长久佩戴的珍珠项鍊时，她不愿配合，只因那是丹尼斯在双胞胎子女出生后送她的礼物；在旅馆爆炸后，看到丹尼斯平安无事，撒切尔夫人害怕地说：“我以为我失去你了。”相信观众从这些片断不难感受到撒切尔夫人对丹尼斯的深情与依赖。此外，撒切尔夫人的情感不仅用于丹尼斯身上，也用在人民身上，特别是她亲自提笔写信慰问战争受害者家属的一幕最令我印象深刻。
撒切尔夫人以其“铁娘子”形象闯荡政坛，即使招致正反两面的评价，亦无损于她在英国历史上的位置。不过，如同张小虹在《后现代／女人：权力、欲望与性别表演》中所提：“但当我们说『女性同男性一样杰出』的同时，也许只是『女性依循男性的方式在男性的社会中，获取男性的认可与赞许』。”撒切尔夫人之所以能有现在的地位，很难说不是藉着披上“男性”外衣而成功，但是，这
也是无可奈何之事。“我这一辈子每天都在打仗，也被男人低估。”撒切尔夫人如是说。女性想要在男性主导、充满性别歧视的政治丛林中生存，甚至是占有一席之地，将自己包装在“男性”之下或许是一条无从选择的路径，只是，这也使得年老的撒切尔夫人看到电视新闻中过往的自己时，不由得感叹道：“我不认得我自己。”
回归身为女人的自己
西蒙‧波娃（SimonedeBeauvoir，1908-1986）曾说：“今日男人代表『肯定的』与『中性的』──也就是说，『男性』与『人』──而女人则只是『否定的』、『女性的』。”由此可见，当我们提及“人”时，泛指的其实是男人（这点从英文更能看出）。那么，女人呢？又，以“男性”身分包装的女人呢？
撒切尔夫人不愿受限于传统的“女性”框架里，在丹尼斯求婚时，她说：“我绝对不会当小女人。”强烈要求丹尼斯理解她不想一辈子窝在厨房，困在“家庭主妇”的角色中；接着，她还说：“人一定要活得有意义。”显见撒切尔夫人意图打破“人=男人”的传统，也不想委身于“女性的”之中，企盼单纯以“人”的身分使自己完满。然而，如同前述，在踏入政坛后，撒切尔夫人被迫伪装成“男性”，汲汲营营于政治事业中，致使她失去了某些珍贵的东西：亲子之情与自己。
片中一幕：年迈的撒切尔夫人翻找出过去拍摄的家庭影像光盘，看到当中年幼的一双子女在海边玩耍，不禁兴起万般感概；此时，丹尼斯的身影说：“你可以倒带，却不能重来。”下个镜头，撒切尔夫人赶着开车到议会，抛下追着车，想跟她分享照片的子女。时间拉到现在，子女早已长大成人，儿子不在身边，丈夫又过世，撒切尔夫人唯一能抓住的只有幻影与过去的记忆，因此导演选择破坏时间顺序，不断交错现在与过去，让观众更能体会记忆的片断性；同时，藉由过往的意气风发与现在的柔弱身躯的鲜明对比，衬托出隐藏在撒切尔夫人这位不凡女性之下，其实只是一个平凡的人、一位平凡的母亲，以及平凡的玛格丽特‧撒切尔。
In 1918, the congress on behalf of "civil law", with more than 30 women have the right to vote, but it was not until 1928 that women's suffrage. In about 50 years, first appeared in Britain in 1979, so far the only female prime minister, she was Margaret thatcher (MargaretThatcher, 1925 -). Margaret thatcher became prime minister, seemingly successful break gender restrictions, in a sexist society ─ ─ especially male political tradition ─ ─ for a place, but the fact is really the case? British director Mr, lida Roy (PhyllidaLloyd), directed by the second plot long piece "the iron lady: strong tender feelings", on the surface is Mrs Thatcher's biography movie depicting the story, but in fact it was entertaining to get hidden in the "Gender" (Gender) in this paper.
The iron lady, Margaret thatcher's always two sides to everything
"Iron lady" (IronLady) derived from the former Soviet union, the media of Mrs Thatcher's calls, but also truthfully reflect her two sides: iron, its hardened, cold nature, can be characterized as "male"; Take it for granted that lady emphasizes "female" (" male "and" female "here refers to the formation of" social gender "the day after tomorrow). As Taiwan's producers under the subtitle, iron fortified with lady tender feelings, expressed by two distinct personality and at the same time slice of Margaret thatcher (MerylStreep).
Movie is now continuously interlaced with the past. Now is already quit politics, memory loss, rolls for grain shape 痀 of Margaret thatcher's time and space; The space and time are used to include Margaret
(AlexandraRoach act the role ofing), as a young and when he became prime minister Margaret thatcher. Through the fragments of the past, we can see Margaret has not been involved in politics and the common women's
difference, for example: standing among a group of men, listen to public topics related to speech; Talk about at the dinner table, the speech we should free-standing self-improvement, etc. In traditional ideas, the "female" should have closed mouth, also is the role of the silent, clearly, at this moment Margaret has showed partial is a "male" part of the character.
However, when Margaret formally into the political, and even become a Margaret thatcher, "male" from her to a layer of the character of the metamorphic had to wear the masks, camouflage. Production, Margaret thatcher's chief of staff, said to her: "no one wants to be a woman's sermon or intimidation." Especially in involving economic, military, national defense, diplomacy, etc, the masculine especially in the political field, which means that Mrs Thatcher must with the identity of "male" on politics. So we see Margaret thatcher change hair style, make yourself look more momentum; Vocal, let his voice is more powerful, spoke the majesty of the ascension. Momentum, powerful and majestic, these adjectives are often set for "male", Margaret thatcher will add to the already, after all is in order to be one of the political world dominated by men.
Compared with the "male" identity when dealing with political, Margaret thatcher in the face of her husband Dennis (JimBroadbent) from time to time when they are show tender feelings of "female" faces. This part can see by the following scene: even if Dennis had already passed away for many years, Margaret thatcher are reluctant to pick up, sort out his belongings; When staff wish Margaret thatcher removed when wearing a pearl necklace for a long time, she don't want to cooperate with, because it was Dennis in children after the birth of twins to send her gift; After
"Iron lady" (IronLady) derived from the former Soviet union, the media of Mrs Thatcher's calls, but also truthfully reflect her two sides: iron, its hardened, cold nature, can be characterized as "male"; Take it for granted that lady emphasizes "female" (" male "and" female "here refers to the formation of" social gender "the day after tomorrow). As Taiwan's producers under the subtitle, iron fortified with lady tender feelings, expressed by two distinct personality and at the same time slice of Margaret thatcher (MerylStreep).
Movie is now continuously interlaced with the past. Now is already quit politics, memory loss, rolls for grain shape 痀 of Margaret thatcher's time and space; The space and time are used to include Margaret
(AlexandraRoach act the role ofing), as a young and when he became prime minister Margaret thatcher. Through the fragments of the past, we can see Margaret has not been involved in politics and the common women's
difference, for example: standing among a group of men, listen to public topics related to speech; Talk about at the dinner table, the speech we should free-standing self-improvement, etc. In traditional ideas, the "female" should have closed mouth, also is the role of the silent, clearly, at this moment Margaret has showed partial is a "male" part of the character.
However, when Margaret formally into the political, and even become a Margaret thatcher, "male" from her to a layer of the character of the metamorphic had to wear the masks, camouflage. Production, Margaret thatcher's chief of staff, said to her: "no one wants to be a woman's sermon or intimidation." Especially in involving economic, military, national defense, diplomacy, etc, the masculine especially in the political field, which means that Mrs Thatcher must with the identity of "male" on politics. So we see Margaret thatcher change hair style, make yourself look more momentum; Vocal, let his voice is more powerful, spoke the majesty of the ascension. Momentum, powerful and majestic, these adjectives are often set for "male", Margaret thatcher will add to the already, after all is in order to be one of the political world dominated by men.
Compared with the "male" identity when dealing with political, Margaret thatcher in the face of her husband Dennis (JimBroadbent) from time to time when they are show tender feelings of "female" faces. This part can see by the following scene: even if Dennis had already passed away for many years, Margaret thatcher are reluctant to pick up, sort out his belongings; When staff wish Margaret thatcher removed when wearing a pearl necklace for a long time, she don't want to cooperate with, because it was Dennis in children after the birth of twins to send her gift; After
the explosion in the hotel, see Dennis safe, Margaret thatcher afraid, and said, "I thought I lost you." Believe the audience from the fragments are not difficult to feel Margaret thatcher affectionate to Dennis and rely on. Moreover, Mrs Thatcher's emotion is not only used for Dennis, also used in people's body, especially her pen to write personally condolences to relatives of victims of war scene impresses me the most.
Margaret thatcher, with its "iron lady" image to make politics, even cause both sides of evaluation, also hurt her position in the history of Britain. But as hsiao-hung chang in the postmodern/woman: power, desire and gender performance of the proposed: "but when we say" women, like men outstanding "at the same time, maybe it's just the way women follow men in male society, get recognition and praise of a man"." Margaret thatcher can have status, it is hard to say not through a "male" cloak and success, however, this also is helpless. "I this lifetime fighting every day, also was
underestimated by the man." Margaret thatcher said. Women want in a male dominated political survival in the jungle, full of gender discrimination, and even a place of their packaging under the "male" may be a no alternative path, just, it also makes the old lady thatcher saw television news in the past, I sighed: "I do not know myself."
Return to yourself as a woman
Simon, boa (SimonedeBeauvoir, 1908-1986) once said: "men today on behalf of the" yes "and" neutral "─ ─ that is to say," male "and" people "─ ─ and women are only" negative ", "female"." Thus, when we refer to "people", referring to the actually is a man can see more from English (this). So, a woman? Again, as "male" packing of woman?
Margaret thatcher won't limited by the traditional "female" in the framework, in Dennis to marry him, she said: "I will never be young woman." Strongly asked Dennis to understand she didn't want to a lifetime nest in the kitchen, trapped in the role of "housewife"; Then she said: "people must live meaningful." Obvious Mrs Thatcher's intent to break the
traditional "= the man", also don't want to be committed in the "female", looking only to the identity of "person" to complete. However, as mentioned, after entering politics, Margaret thatcher was forced to pretend to be "male", homelands in political career, that she had lost some precious things: parents of love with her.
Movie scene: elderly lady thatcher rummage shooting family video discs in the past, see among young pair of children playing in the sea, can not help but rise so kindness; Figure at this time, Dennis said: "you can rewind, but not again." The next scene, Margaret thatcher was driving the
drive to the parliament, left chasing the car, want to share photos with her children. Time to now, their children have grown up, and don't have my son, her husband died, Mrs Thatcher only to capture only the phantom and the memory of the past, so the director choose destruction of time sequence, continuously interlaced with the past now, and let the audience can understand more memory PianDuanXing; At the same time, by passing the high-spirited and frail body now stands in stark contrast, foil a hidden under Mrs Thatcher the uncommon women, is really just an ordinary man, an ordinary mother, as well as ordinary