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故事从慈祥的爷爷给生病的孙子讲故事说起，爷爷带来一本厚厚的童话故事书《公主新娘》。这个世代相传的童话故事讲述了一段爱与冒险的真爱故事。善良美丽的少女布卡特（罗宾·怀特 Robin Wright 饰）住在宁静的小村庄弗洛林，她与少年维斯特雷（加利·艾尔维斯 Cary Elwes 饰）青梅竹马两小无猜，两人很快陷入热恋。然而贫穷的维斯特雷希望给布卡特更好的生活，于是扬帆远航离开了村庄。但是维斯特雷的船并没有到达目的地，传言说他死在了海盗的手里。五年后，伤心欲绝的布卡特成为了王子胡姆普丁克（克里斯·萨兰登 Chris Sarandon饰）的未婚妻，可她并不爱他，她的心里仍苦苦思念着真爱维斯特雷。一次意外让布卡特再次遇见了维斯特雷，然而邪恶的王子却绑架了布卡特，并逼迫她嫁给自己。此时的维斯特雷已是一位勇敢强壮的海盗，为救真爱，他与武艺超群的剑客埃尼戈·蒙托亚（曼迪·帕廷金 Mandy Patinkin饰）、力大无比的巨人菲兹克（安德烈·捷安特 André the Giant饰）一起踏上了拯救公主之路。 本部童话式爱情冒险电影《公主新娘》，荣获1988年第60届奥斯卡金像奖最佳原创歌曲提名，1987年第12届多伦多国际电影节人民选择奖-最佳故事片奖以及1988年第15届美国电影电视土星奖最佳奇幻电影。呼啸山庄需要浪漫2012一路向北哈尔滨一家老小向前冲（安徽话）斗破苍穹三年之约太阳深处女士们烈火男儿之超级英雄我讨厌苏西 第二季老爷大过天粤语神经刀与飞天猫迷失内华达男子汉之心有妈的孩子是块宝最漫长的第三次约会第一季圣堂教父夏日里的春天安稳觉原来我是仙界至尊动态漫画 第一季妄想少女MOMO泳队的事 奇门飞甲校园风云罗德岛战记她的错位人生大篷车1971决案来活了兄弟美好的时光原始森林倾心相印 特别篇疗养院致敬大师：单口喜剧传奇刀剑若梦你我所见木偶奇遇记永生齐天鹿王幸福已逝绣村刀之厨神
故事从慈祥的爷爷给生病的孙子讲故事说起，爷爷带来一本厚厚的童话故事书《公主新娘》。这个世代相传的童话故事讲述了一段爱与冒险的真爱故事。善良美丽的少女布卡特（罗宾·怀特 Robin Wright 饰）住在宁静的小村庄弗洛林，她与少年维斯特雷（加利·艾尔维斯 Cary Elwes 饰）青梅竹马两小无猜，两人很快陷入热恋。然而贫穷的维斯特雷希望给布卡特更好的生活，于是扬帆远航离开了村庄。但是维斯特雷的船并没有到达目的地，传言说他死在了海盗的手里。五年后，伤心欲绝的布卡特成为了王子胡姆普丁克（克里斯·萨兰登 Chris Sarandon饰）的未婚妻，可她并不爱他，她的心里仍苦苦思念着真爱维斯特雷。一次意外让布卡特再次遇见了维斯特雷，然而邪恶的王子却绑架了布卡特，并逼迫她嫁给自己。此时的维斯特雷已是一位勇敢强壮的海盗，为救真爱，他与武艺超群的剑客埃尼戈·蒙托亚（曼迪·帕廷金 Mandy Patinkin饰）、力大无比的巨人菲兹克（安德烈·捷安特 André the Giant饰）一起踏上了拯救公主之路。 本部童话式爱情冒险电影《公主新娘》，荣获1988年第60届奥斯卡金像奖最佳原创歌曲提名，1987年第12届多伦多国际电影节人民选择奖-最佳故事片奖以及1988年第15届美国电影电视土星奖最佳奇幻电影。呼啸山庄需要浪漫2012一路向北哈尔滨一家老小向前冲（安徽话）斗破苍穹三年之约太阳深处女士们烈火男儿之超级英雄我讨厌苏西 第二季老爷大过天粤语神经刀与飞天猫迷失内华达男子汉之心有妈的孩子是块宝最漫长的第三次约会第一季圣堂教父夏日里的春天安稳觉原来我是仙界至尊动态漫画 第一季妄想少女MOMO泳队的事 奇门飞甲校园风云罗德岛战记她的错位人生大篷车1971决案来活了兄弟美好的时光原始森林倾心相印 特别篇疗养院致敬大师：单口喜剧传奇刀剑若梦你我所见木偶奇遇记永生齐天鹿王幸福已逝绣村刀之厨神
长篇影评
1 ) 挺有趣的~~
这是一挺逗的片，本来是挺幼稚的童话，但是因为有些幼稚而变得很冷笑话的色彩，随处可见的嘲讽与可爱叫人忍俊不禁
首先是爱情故事，男主人公因为ture love.打动了冷酷的海盗和巫师，男女巫师的扮相真是可爱
劫持公主的小个子，和他雇佣的巨人和剑手都很有喜感，让人忍不住喜欢他们，我尤其喜欢那个巨人，他又有力气又善良，好玩
老国王呆呆的，小国王傻傻的，大臣奸诈的小聪明，还有剑手杀敌之前固执的说无数遍的台词。
大臣制造的折磨人的机器，以及看守的样子，都叫人忍不住笑。
以及吃人的老鼠和笨笨的火球。
这是一个有童趣的导演导的片子。
里面的音乐尤其值得一提，非常有意思，给电影增色不少，你听音乐，就知道形势和紧迫，主人公很急躁等等等等
我喜欢这样的电影
首先是爱情故事，男主人公因为ture love.打动了冷酷的海盗和巫师，男女巫师的扮相真是可爱
劫持公主的小个子，和他雇佣的巨人和剑手都很有喜感，让人忍不住喜欢他们，我尤其喜欢那个巨人，他又有力气又善良，好玩
老国王呆呆的，小国王傻傻的，大臣奸诈的小聪明，还有剑手杀敌之前固执的说无数遍的台词。
大臣制造的折磨人的机器，以及看守的样子，都叫人忍不住笑。
以及吃人的老鼠和笨笨的火球。
这是一个有童趣的导演导的片子。
里面的音乐尤其值得一提，非常有意思，给电影增色不少，你听音乐，就知道形势和紧迫，主人公很急躁等等等等
我喜欢这样的电影
2 ) Again,thank you
"That Vizzini,he can..fuss
Fuss,fuss..I think he like to scream..at us.
Probably he means no..harm
He's really very short on...charm.
You have a great gift of rhyme.
Yes,yes,some of the time.
哈哈！有趣.
那么紧凑，所以我再看一遍..那么多细节与humor.I love it.
Fuss,fuss..I think he like to scream..at us.
Probably he means no..harm
He's really very short on...charm.
You have a great gift of rhyme.
Yes,yes,some of the time.
哈哈！有趣.
那么紧凑，所以我再看一遍..那么多细节与humor.I love it.
3 ) 《公主新娘（The Princess Bride）》：真爱的故事（IMDB250 TOP 191）
版权声明：转载时请以超链接形式标明文章原始出处和作者信息及本声明
http://qfmeng.blogbus.com/logs/156240178.html
The Princess Bride (1987)
在IMDB250系列里，终于又碰到了一部离现在年代比较近的电影了。总看上个世纪五六十年代的电影，我也会受不了的。看到电影开头的几个画面后，才发现这部电影以前看过。不过，这部电影还是非常好看的。本想看个开头回忆一下情节就不看了，没想到却一口气把它看完了。好电影就是有这么一个优势：无论你看过多少遍，再看的时候总是能吸引你。
电影的主要情节是一位爷爷给生病的孩子讲述的故事。一个孩子生病了，为了哄他开心，爷爷讲起了他家代代相传的故事。在很久很久以前，有一个公主和一个青年恋爱了。青年出海游历，却命丧海盗手中，公主从此不再相信真爱。五年之后，公主要嫁给一位王子，虽然公主不爱他，可是她并不介意。在一次骑马的时候，公主被王子雇佣的三个人劫走了，目的是挑起一场战争。三个人中有两个好人，一位是剑客，一位是巨人。有一个男人在后面追赶这三个人，随后一一打败了他们三个，救走了公主。男人杀死了头目，但是没有杀那两个好人。公主发现，搭救她的男人就是以前的真爱——那位青年，原来他并没有死。王子找到了他们，领回了公主，青年却被抓了起来。公主不想嫁给他，王子很生气，于是将青年折磨的快要死了。这时，劫走公主的两个好人又相遇了，剑客从巨人口中得知杀父仇人的讯息，原来自己的杀父仇人就是王子的帮手。剑客决定去复仇，为了寻求帮助，他们救活了青年。于是，三个人攻入王子的城堡，救回了公主，剑客也报了杀父之仇。故事在公主与青年的热吻中结束。
这是一部有着商业片素质的童话故事。故事里面包含了商业片的各种元素，就像爷爷说的那样：剑术、搏击、拷问、报仇、巨人、怪物、追捕、逃跑、真爱、奇迹等等，一应俱全。堪称好莱坞卖座大片商业元素的集大成者。而且，这些元素还包含在王子、公主这样的故事架构下，宛如儿时看到、听到的童话一般，这样好看的故事，能不吸引人吗？
很多好莱坞电影都有着这些元素，但是并没有成为一部优秀的电影，为什么？因为他们大多流于俗套，按照惯常的套路来叙述剧情，怎么能不平庸？本片确有不同，虽然同样运用这些元素，同样有着俗套的坏人、好人、王子、公主之类的设定，但是它有着新颖的看点。比如电影的对白，有着恶搞的风格，各种古装片里不常见的用词在本片列频频出现；再比如，两位剑客之间的比武，没有凶狠的恶斗，没有激烈的厮杀，只是以礼相待、点到为止；还比如，神秘的巫师也不是那么的神秘，反倒是一对疯疯癫癫的老夫妻，等等。其实，也可以说这部电影是一部恶搞片，只不过没有Monty Python的恶搞电影那么极端而已。总的来说，本片即使俗也俗得有特点，俗得新鲜。
虽然本片有些恶搞，但是人物设定以及基本故事线还是延续了欧美人的传统童话模式。主要人物都是典型性的童话人物：善良、美丽的公主，英俊潇洒的年轻人，邪恶的王子和他的帮手，善良的朋友，怪异的巫师，以及王子手下一堆堆笨笨的手下。剧情也是英雄救美人、美人为爱牺牲、男人之间的友情、为家人复仇、奇迹拯救生命等等这类欧美经典的故事模式。看着电影，我就不禁想到小时候看过的那些欧美童话，勾起了我的回忆。本片的故事即是对那些童话的致敬，也是对它们的延续，是现代人对它们的一种回忆。
既然是对以前的童话致敬、怀旧，那它的主题也如同以前的童话一样，宣扬着适合孩子们的价值观：坚强、勇敢、邪不胜正、好人有好报等等，以及本片重点强调的——真爱。我们就像电影中的孩子一样，最开始会注意紧张的剧情、曲折的情节。在故事的进行中，我们渐渐被男女主角之间坚贞不渝的爱情而感动，即使接吻也不在乎了。本片的故事，就是真爱的故事。
电影拍摄于上个世纪八十年代，从那个年代来说，场景、规模、特效来说已经不错了。不过现在来看，显得有些简陋。尤其是那段与怪兽搏斗的场景，很明显那个怪兽是人装扮的，看起来太假了。我在怪兽的身上都看出了人的脚，真映衬了那句成语“露出马脚”。影片的服装、布景、道具跟现在的电影比较起来，也逊色很多，甚至都不如今年很火的美剧《权力的游戏》豪华。不过，电影的看点也不在这里，只要情节好看，能给观众带来触动就够了。
本片的演员里，现在只有女主角Robin Wright比较知名，其他演员都已经平庸。Robin Wright在本片里就是公主的化身，年轻、漂亮，而且还是金发，符合欧美人心中的完美公主形象。只可惜她的戏份太少，在本片里她就是一个大花瓶。本片真正的戏份在男主角Cary Elwes身上，不过我感觉在本片里他并不帅。大概这就是亚洲人与欧美人的审美差异吧。
总的来说，编导通过这部影片用现代的手法讲述了一个古老的故事。好看、风趣，又蕴含感情，是一部佳片。不过在豆瓣上对本片的评价并不高，我可以理解。不喜欢本片的人，大概都是失去童心的人。他们心态太浮躁，难以理解纯真的感情，适合看《变形金刚》之类的视觉大片。
Robin Wright
Robin Wright
序列：0502
[公主新娘].The.Princess.Bride.1987.Blu-Ray.x264.720P.DTS-CHD
2011-08-15
http://qfmeng.blogbus.com/logs/156240178.html
The Princess Bride (1987)
在IMDB250系列里，终于又碰到了一部离现在年代比较近的电影了。总看上个世纪五六十年代的电影，我也会受不了的。看到电影开头的几个画面后，才发现这部电影以前看过。不过，这部电影还是非常好看的。本想看个开头回忆一下情节就不看了，没想到却一口气把它看完了。好电影就是有这么一个优势：无论你看过多少遍，再看的时候总是能吸引你。
电影的主要情节是一位爷爷给生病的孩子讲述的故事。一个孩子生病了，为了哄他开心，爷爷讲起了他家代代相传的故事。在很久很久以前，有一个公主和一个青年恋爱了。青年出海游历，却命丧海盗手中，公主从此不再相信真爱。五年之后，公主要嫁给一位王子，虽然公主不爱他，可是她并不介意。在一次骑马的时候，公主被王子雇佣的三个人劫走了，目的是挑起一场战争。三个人中有两个好人，一位是剑客，一位是巨人。有一个男人在后面追赶这三个人，随后一一打败了他们三个，救走了公主。男人杀死了头目，但是没有杀那两个好人。公主发现，搭救她的男人就是以前的真爱——那位青年，原来他并没有死。王子找到了他们，领回了公主，青年却被抓了起来。公主不想嫁给他，王子很生气，于是将青年折磨的快要死了。这时，劫走公主的两个好人又相遇了，剑客从巨人口中得知杀父仇人的讯息，原来自己的杀父仇人就是王子的帮手。剑客决定去复仇，为了寻求帮助，他们救活了青年。于是，三个人攻入王子的城堡，救回了公主，剑客也报了杀父之仇。故事在公主与青年的热吻中结束。
这是一部有着商业片素质的童话故事。故事里面包含了商业片的各种元素，就像爷爷说的那样：剑术、搏击、拷问、报仇、巨人、怪物、追捕、逃跑、真爱、奇迹等等，一应俱全。堪称好莱坞卖座大片商业元素的集大成者。而且，这些元素还包含在王子、公主这样的故事架构下，宛如儿时看到、听到的童话一般，这样好看的故事，能不吸引人吗？
很多好莱坞电影都有着这些元素，但是并没有成为一部优秀的电影，为什么？因为他们大多流于俗套，按照惯常的套路来叙述剧情，怎么能不平庸？本片确有不同，虽然同样运用这些元素，同样有着俗套的坏人、好人、王子、公主之类的设定，但是它有着新颖的看点。比如电影的对白，有着恶搞的风格，各种古装片里不常见的用词在本片列频频出现；再比如，两位剑客之间的比武，没有凶狠的恶斗，没有激烈的厮杀，只是以礼相待、点到为止；还比如，神秘的巫师也不是那么的神秘，反倒是一对疯疯癫癫的老夫妻，等等。其实，也可以说这部电影是一部恶搞片，只不过没有Monty Python的恶搞电影那么极端而已。总的来说，本片即使俗也俗得有特点，俗得新鲜。
虽然本片有些恶搞，但是人物设定以及基本故事线还是延续了欧美人的传统童话模式。主要人物都是典型性的童话人物：善良、美丽的公主，英俊潇洒的年轻人，邪恶的王子和他的帮手，善良的朋友，怪异的巫师，以及王子手下一堆堆笨笨的手下。剧情也是英雄救美人、美人为爱牺牲、男人之间的友情、为家人复仇、奇迹拯救生命等等这类欧美经典的故事模式。看着电影，我就不禁想到小时候看过的那些欧美童话，勾起了我的回忆。本片的故事即是对那些童话的致敬，也是对它们的延续，是现代人对它们的一种回忆。
既然是对以前的童话致敬、怀旧，那它的主题也如同以前的童话一样，宣扬着适合孩子们的价值观：坚强、勇敢、邪不胜正、好人有好报等等，以及本片重点强调的——真爱。我们就像电影中的孩子一样，最开始会注意紧张的剧情、曲折的情节。在故事的进行中，我们渐渐被男女主角之间坚贞不渝的爱情而感动，即使接吻也不在乎了。本片的故事，就是真爱的故事。
电影拍摄于上个世纪八十年代，从那个年代来说，场景、规模、特效来说已经不错了。不过现在来看，显得有些简陋。尤其是那段与怪兽搏斗的场景，很明显那个怪兽是人装扮的，看起来太假了。我在怪兽的身上都看出了人的脚，真映衬了那句成语“露出马脚”。影片的服装、布景、道具跟现在的电影比较起来，也逊色很多，甚至都不如今年很火的美剧《权力的游戏》豪华。不过，电影的看点也不在这里，只要情节好看，能给观众带来触动就够了。
本片的演员里，现在只有女主角Robin Wright比较知名，其他演员都已经平庸。Robin Wright在本片里就是公主的化身，年轻、漂亮，而且还是金发，符合欧美人心中的完美公主形象。只可惜她的戏份太少，在本片里她就是一个大花瓶。本片真正的戏份在男主角Cary Elwes身上，不过我感觉在本片里他并不帅。大概这就是亚洲人与欧美人的审美差异吧。
总的来说，编导通过这部影片用现代的手法讲述了一个古老的故事。好看、风趣，又蕴含感情，是一部佳片。不过在豆瓣上对本片的评价并不高，我可以理解。不喜欢本片的人，大概都是失去童心的人。他们心态太浮躁，难以理解纯真的感情，适合看《变形金刚》之类的视觉大片。
Robin Wright
Robin Wright
序列：0502
[公主新娘].The.Princess.Bride.1987.Blu-Ray.x264.720P.DTS-CHD
2011-08-15
4 ) 半身不遂与缺心眼的爱情故事
昨晚有个雄性生物跟我说看了一本书叫《公主新娘》，我还以为是公主小妹之类的少女言情，差点一口石榴子喷出来，查了一下才知道是儿童文学性质的奇幻小说，完全是我的菜。可惜国内好像不太流行，网上都没找到翻译，只好开着灵格斯看原版（盗版）。哼哧哼哧看了老久，一个石榴都吃完了，一看才到十二页，感觉整个人都不好了。
今天晚上想摸摸鱼，于是把电影找出来看，以为会是星尘那样的感觉，结果居然有点巨蟒与圣杯的感觉。很多地方都很搞笑，比如王子居然能闻出无色无味的毒药，比如两个人从山坡上毫无形象地滚下去一边哎哟哎哟叫，还有男主后面一直半身不遂被人各种拖着背着。配角都可圈可点，比如大块头和剑士的喜欢玩押韵（喜欢押韵的人都不会是坏人，相信我），巫师是个妻管严，神父慢条斯理的说话腔调，可爱的老国王……矮油，这些细节说出来就不好笑了。
然后故事幸福快乐地结束了，看到豆瓣上不太高的评分和二十年后再聚首的图片，感觉十分微妙。真爱无敌、正义终将战胜邪恶，这些道理小孩子都懂，可惜我们现在再也不会相信了。童话镇试图用一种成人的方式来阐述同样的道理，可惜说教意味浓厚，结果十分失败。任何类似的尝试都会失败，因为只有最单纯的故事才能唤醒单纯的信仰。
另外，我很喜欢结尾的话：自从发明了接吻这个东西以后，一共出现了五个最纯洁美好的吻，而这个吻把它们都比下去了。
今天晚上想摸摸鱼，于是把电影找出来看，以为会是星尘那样的感觉，结果居然有点巨蟒与圣杯的感觉。很多地方都很搞笑，比如王子居然能闻出无色无味的毒药，比如两个人从山坡上毫无形象地滚下去一边哎哟哎哟叫，还有男主后面一直半身不遂被人各种拖着背着。配角都可圈可点，比如大块头和剑士的喜欢玩押韵（喜欢押韵的人都不会是坏人，相信我），巫师是个妻管严，神父慢条斯理的说话腔调，可爱的老国王……矮油，这些细节说出来就不好笑了。
然后故事幸福快乐地结束了，看到豆瓣上不太高的评分和二十年后再聚首的图片，感觉十分微妙。真爱无敌、正义终将战胜邪恶，这些道理小孩子都懂，可惜我们现在再也不会相信了。童话镇试图用一种成人的方式来阐述同样的道理，可惜说教意味浓厚，结果十分失败。任何类似的尝试都会失败，因为只有最单纯的故事才能唤醒单纯的信仰。
另外，我很喜欢结尾的话：自从发明了接吻这个东西以后，一共出现了五个最纯洁美好的吻，而这个吻把它们都比下去了。
5 ) 公主新娘
悬念从一开头的船跟踪他们开始就没了，谁都容易猜到穷小子没死，尤其爬悬崖那里更明显了。爬悬崖和比剑那一节很好玩。毒酒那里我猜到了他二杯都放了，但我以为他有解药呢（解药是中国江湖式打法）。整体还不错，大框架虽然没什么新意，但好些桥段和对白都极幽默，比如巨人打破门、公主对王子懦弱的讽刺等等。中间几段爷爷给孙子讲故事的插入，画蛇添足，纯属多余，都被我快进了，就好比《史瑞克1》里，时不时地冒出一个老头儿，讲给孙子听，你烦不？我打8分
6 ) 公主新娘里的谈判
这学期上了一门谈判课，要写一篇期末论文。想不出什么好题目，就看了看给了六星的那些电影，觉得公主新娘里的谈判很有意思。
I. Introduction
Negotiations are everywhere, whether at work, in life, or in fairy tales. In this paper, I analyze the movie Princess Bride from the perspective of negotiations and draw some lessons that negotiators can learn from its characters and the movie as a whole.
The paper will be organized as followings. In Part II, a brief summary of the plot will be offered so that the reader does not have to re-watch the movie (though I cannot conceive any reason why anyone would forgo any excuse to re-watch Princess Bride). In Part III, I analyze the negotiations between Westley and the three kidnappers. Part IV will focus on a brief episode of the movie where Miracle Max decides to resurrect Westley. Finally, the paper concludes with some general lessons from Princess Bride in Part V.
II. Plot Summary
The movie begins with the frame story, where a small boy is sick and his grandfather comes to visit him. The grandfather affectionately pinches the small boy’s cheek (which the small boy hates) and begins to read a storybook (to which the small boy reluctantly acquiesces and graciously promises to try to stay awake).
The main story is the story the grandfather reads from the book. A young woman named Buttercup lives on a farm. Whenever she gives orders to the farm boy Westley, the farm boy always replies “as you wish” and happily does what she instructs him to do. Eventually, Buttercup realizes “as you wish” means “I love you” and they fall in love. In order to get married, Westley goes away to seek his fortunate. However, news comes to Buttercup that Westley died from a pirate attack.
Five years later, Buttercup decides to marry Prince Humperdinck. Before the wedding, Buttercup is kidnapped by a group of three kidnappers: the boss Vizzini, the giant Fezzik, and the fencer Inigo Montoya (who seeks to take a revenge on a six-fingered man who killed his father). It is later revealed that the kidnappers are hired by Prince Humperdinck to kill Buttercup and frame the prince’s enemy country to serve as a pretext to start a war. The kidnappers are chased by Westley (who, as it turns out, did not die) wearing a black mask and by Prince Humperdinck leading a small army. Miraculously, Westley beats the three kidnappers in three separate encounters: he first wins a fencing combat with Inigo Montoya, then prevails over the giant in a hand-to-hand fight, and finally outsmarts Vizzini in a battle of the wits.
Shortly after Westley reunites with Buttercup, the prince’s army catches up with them, “rescues” Buttercup and captures Westley. The prince tortures Westley to death, but Westley is resurrected by Miracle Max. Inigo Montoya, the giant, and Westley invades the prince’s palace and rescues Buttercup.
At the end of the story, the small boy invites the grandfather to come back again, to which the grandfather replies, “as you wish.”
III. Negotiating with Kidnappers
One brilliant aspect of Princess Bride is its surprising and comic element. The title and general plot suggest a typical fairy tale with a hero undertaking a grueling adventure, beating all his enemies, rescuing his princess and living happily ever after with her. Although this is exactly what happens in Princess Bride, the process by which the happy ending is accomplished is very different from a typical Disney movie.
In particular, the protagonist Westley is not like typical Disney heroes that are strong, brave, and invincible. It seems that each of his victories is attributable more to his good fortune than to his bravery and strength.
Re-watching the movie after taking the Negotiation Workshop, however, I realize what I used to characterize as “good fortunate” are actually negotiating skills.
A first example is Westley’s negotiation with Inigo Montoya at the Cliffs of Insanity. After the three kidnappers and Buttercup climb up the cliffs with a rope, Westley is following them with the same rope. The kidnappers cut the rope after they reach the top, but Westley hangs on to the rocks of the cliffs. Vizzini leaves Inigo Montoya to wait at the cliffs to either see Westley fall or kill him. The following conversation occurs between Westley hanging onto the cliffs and trying to climb up and Inigo Montoya waiting at the top.
Inigo Montoya: Hello there! Slow going?
Westley: Look, I don’t mean to be rude, but this is not as easy as it looks. So I’d appreciate it if you wouldn’t distract me.
Inigo Montoya: Sorry.
Westley: Thank you!
Inigo Montoya (after practicing fencing for a few strokes): I don’t suppose you could speed things up?
Westley: If you are in such a hurry, you could lower a rope or a tree branch or find something useful to do.
Inigo Montoya: I could do that. I got some rope up here, but I do not think you would accept my help since I am only waiting around to kill you.
Westley: That does put a damper on our relationship.
Inigo Montoya: But I promise I won’t kill you until you reach the top.
Westley: That’s very comforting, but I’m afraid you’ll just have to wait.
Inigo Montoya: I hate waiting … I swear on the soul of my father, Domingo Montoya, you will reach the top alive.
Westley: Throw me the rope.
The parties begin this negotiation without setting up a process, which is understandable since Inigo Montoya is in a hurry to kill Westley and Westley is busy staying alive by grasping onto the cliffs. Inigo Montoya shares his interest to have Westley climb up faster. Westley responds by proposing options, such as lowering a rope or some tree branches (or a ladder). Luckily enough, Inigo Montoya does have a rope.
Even though the substantive component of the negotiation is going well, the parties reach a deadlock because of a relationship issue: Inigo Montoya destroys the trust between the parties by reminding Westley that he is only waiting here to kill Westley. In the end, Inigo Montoya has to invoke a criterion, a swear on the soul of his father, in order to rebuild the trust.
The first interesting point about this negotiation is that the setup is similar to (but not the same as) the prisoner’s dilemma. Each party has a cooperative option and a defaulting option: Inigo Montoya can cooperate by throwing down the rope and can default by killing Westley while the latter is about to climb to the top; Westley can cooperate by accepting Inigo Montoya’s help and can default by keeping him wait.
This leads to a second interesting point: a shift in bargaining power. The initial setup leaves Westley with very little bargaining power: his defaulting option does not hurt Inigo Montoya and is very risky for himself since he will likely become exhausted and fall down the abyss; on the other hand, Inigo Montoya’s defaulting option will take Westley’s life. Nevertheless, Inigo Montoya’s impatience shifts the bargaining power balance to Westley’s favor since the possibility of waiting for a long time is very unacceptable to him. As a result, he has to swear on his father’s soul to make Westley trust him.
Third, the parties create value by resolving their differences in forecasts with a contingent contract. As demonstrated by his earlier comment to the giant, Inigo Montoya is positive that he will win a fencing battle with Westley since he even plans to use his left hand although he is right-handed. Similarly, Westley is also confident that he will win because he also begins the battle with his left hand when he too is right-handed.
With their different forecasts, their negotiation could reach an impasse with Inigo Montoya saying “since I will kill you anyway, why don’t you save us some time by jumping down the cliff yourself” and Westley saying “since I am a much better fencer than you, please just find a rock and knock yourself out. Wait, throw me the rope before you do that!”
Instead, the parties resolve their differences by agreeing to a contingent contract: a duel. Since either side thinks he is better than the other side, a duel is acceptable to them both. In the end, Westley knocks out Inigo Montoya and continues his chase.
Realizing that Westley is still chasing after them, Vizzini orders the giant to kill Westley. When they meet each other, the giant could easily have killed Westley by throwing a stone. Instead, he proposes that they drop their weapons and fight with hands only. Unfortunately, instead of doing what a principled negotiator would do (i.e. convincing Westley with reason and criteria that a hand-to-hand fight is more sportsmanlike and civilized), the giant resorts to threat by telling Westley that if Westley does not agree to a hand-to-hand fight he will kill him with a stone now.
Similar to the encounter between Westley and Inigo Montoya, the giant’s take-it-or-take-the-stone proposal is also a contingent contract: since the giant is certain that his physical strength will outperform that of Westley, he does not mind settling it with a hand-to-hand fight.
In yet another effort to make Princess Bride a full-length movie, Westley miraculously chokes the giant and goes on to chase Vizzini and Buttercup.
When Westley finally meets Vizzini, the latter is holding a knife against Buttercup’s neck. The following conversation occurs.
Vizzini (while Westley is walking closer): If you wish her dead, by all means, keep moving forward.
Westley: Let me explain.
Vizzini: There is nothing to explain. You’re trying to kidnap what I’ve rightfully stolen.
Westley: Perhaps … an arrangement could be made.
Vizzini: There will be no arrangement … I can’t compete with you physically, and you are no match for my brains.
Westley: You’re that smart?
Vizzini: Let me put it this way: have you ever heard of Plato, Aristotle, Socrates?
Westley: Yes?
Vizzini: Morons!
Westley: Really? In that case, I challenge you in a battle of wits.
Vizzini: I accept.
Right from the start, Vizzini is employing two difficult tactics: using threat and refusing to negotiate. On the other hand, Vizzini should be commended for establishing the legitimacy of his position (by accusing Westley of trying to kidnap what he has rightfully stolen) and invoking objective criteria to show how smart he is.
As a skillful and by then experienced negotiator, Westley successfully reaches a deal with Vizzini by proposing the same kind of arrangement with Inigo Montoya and the giant: a contingent contract. Since Vizzini is confident that he is so much smarter than Westley, he should be willing to accept a contingent arrangement in which the wittier side will triumph.
Coming up with this proposal demonstrates that Westley is not only good at getting to yes but also fluent in active listening skills and knowledgeable about difficult conversations. Firstly, he listens carefully and catches a key piece of information, namely that Vizzini thinks Westley is no match for his brains. Secondly, he succinctly paraphrases “no match for my brains” with “smart” and inquires further about Vizzini’s smartness. Finally, Westley proposes a battle of the wits knowing that Vizzini cannot refuse it, because of the identity conversation: if Vizzini refuses Westley’s proposal after asserting his intelligence, his identity will be threatened because others may think Vizzini is not that smart and is a liar.
As expected, Westley prevails again in the battle with Vizzini and reunites with Buttercup.
In all three encounters, Westley has very little bargaining power to begin with: he is holding onto the cliffs while Inigo Montoya is waiting at the top, the giant could easily shatter him into pieces with a stone, and he has to do whatever Vizzini asks him to do as Buttercup’s life is at stake. However, in each encounter, through skillful negotiations, Westley is able to reverse the unfavorable position and get the other party to agree to a process that Westley has a reasonable chance of success. One lesson for negotiators is that: do not give up easily, for you never know when the other side’s impatience, arrogance, and vanity will work wonders.
IV. Resurrection Negotiation
After Westley is tortured to death, Inigo Montoya and the giant find his body and try to bring him back to life by seeking help from Miracle Max.
Inigo Montoya knocks at Miracle Max’s door and asks whether he is the Miracle Max who worked for the king. Miracle Max replies, “the king’s stinking son (Prince Humperdinck) fired me and thank you so much for bring such a painful subject.” After hearing this, Inigo Montoya simply says that he needs a miracle and it is very important. What he can do differently next time is to apologize and acknowledge Miracle Max’s feelings.
Luckily, Miracle Max agrees to take a look and the following conversation happens between him and Inigo Montoya.
Miracle Max: You got money?
Inigo Montoya: 65 dollars.
Miracle Max: I never worked for so little … except once, and that was a very noble cause.
Inigo Montoya: This is noble, sir. His wife is crippled. His children are on the brink of starvation.
Miracle Max: Are you a rotten liar?
Inigo Montoya: I need him to help revenge for my father, murdered 20 years ago.
Miracle Max: Your first story was better.
Inigo Montoya: This is Buttercup’s true love. If you heal him, he will stop Humperdinck’s wedding.
Miracle Max: I make him better, Humperdinck suffers? That’s a noble cause. Give me 65, I’m on the job.
This episode demonstrates the importance of exploring interests and emotions. In a negotiation, it is advisable for parties to share interests so that they can find value-creating opportunities. In this particular negotiation, Miracle Max does a great job sharing his interests and feelings: he only works for much more than 65 dollars but he is willing to make exceptions for noble causes, and he still bears grudges against Prince Humperdinck for firing him. In contrast, probably because of his impatience, Inigo Montoya does not adequately share information with Miracle Max and does not pay enough attention to the interests and feelings expressed by Miracle Max. Fortunately, in the end, the parties realize that resurrecting Westley will meet the interests of both: helping Inigo Montoya revenge for his father and enabling Miracle Max to get back at Prince Humperdinck.
Another lesson from this episode is the danger of lying. Upon hearing that Miracle Max is willing to work for less if there is a noble cause, Inigo Montoya fabricates a crippled wife and starving children. Miracle Max skillfully names Inigo Montoya’s game by calling him a rotten liar. Furthermore, Inigo Montoya’s lie destroys Miracle Max’s trust so that the latter no longer believes him even when he is telling the truth about revenging for his father.
V. When Not to Negotiate
One great thing about the Negotiation Workshop is making us realize how useful and ubiquitous negotiations are in real life. Naturally, we are excited to engage in more negotiations and further develop negotiating skills after the course.
Meanwhile, it is also important to be aware of the limits of negotiation and know when not to negotiate. In that regard, Princess Bride offers some suggestions.
I discussed how Westley overcomes his adverse positions through negotiations. The flip side of that is, the kidnappers lose their battles precisely because they decide to negotiate. Negotiation is not the only legitimate way to resolve issues. If you are in a favorable position or have a lot of bargaining power, so long as such position and power are not obtained through illicit or unethical means, it is okay to take advantage of them. For instance, in Vizzini’s case, when someone in a black mask is trying to kidnap the person he has rightfully stolen, he should not feel obligated to negotiate.
The grandfather probably knows very well that the grandson does not like him to visit and does not like it when he pinches his cheek. However, instead of trying to negotiate with and persuade his grandson, he just visits and pinches his cheek, perhaps knowing that one day the grandson will miss the cheek-pinching grandfather all too dearly.
Other times, it is best just to agree to whatever the other side wants. Compared to “I am not a pushover; you are giving too many unreasonable orders, and in disrespectful ways” and “I have a lot of things to do tomorrow, and I already visited you today, so I’m afraid I won’t be able to come back tomorrow to read you more stories,” a simpler and better alternative would be “as you wish.”
I. Introduction
Negotiations are everywhere, whether at work, in life, or in fairy tales. In this paper, I analyze the movie Princess Bride from the perspective of negotiations and draw some lessons that negotiators can learn from its characters and the movie as a whole.
The paper will be organized as followings. In Part II, a brief summary of the plot will be offered so that the reader does not have to re-watch the movie (though I cannot conceive any reason why anyone would forgo any excuse to re-watch Princess Bride). In Part III, I analyze the negotiations between Westley and the three kidnappers. Part IV will focus on a brief episode of the movie where Miracle Max decides to resurrect Westley. Finally, the paper concludes with some general lessons from Princess Bride in Part V.
II. Plot Summary
The movie begins with the frame story, where a small boy is sick and his grandfather comes to visit him. The grandfather affectionately pinches the small boy’s cheek (which the small boy hates) and begins to read a storybook (to which the small boy reluctantly acquiesces and graciously promises to try to stay awake).
The main story is the story the grandfather reads from the book. A young woman named Buttercup lives on a farm. Whenever she gives orders to the farm boy Westley, the farm boy always replies “as you wish” and happily does what she instructs him to do. Eventually, Buttercup realizes “as you wish” means “I love you” and they fall in love. In order to get married, Westley goes away to seek his fortunate. However, news comes to Buttercup that Westley died from a pirate attack.
Five years later, Buttercup decides to marry Prince Humperdinck. Before the wedding, Buttercup is kidnapped by a group of three kidnappers: the boss Vizzini, the giant Fezzik, and the fencer Inigo Montoya (who seeks to take a revenge on a six-fingered man who killed his father). It is later revealed that the kidnappers are hired by Prince Humperdinck to kill Buttercup and frame the prince’s enemy country to serve as a pretext to start a war. The kidnappers are chased by Westley (who, as it turns out, did not die) wearing a black mask and by Prince Humperdinck leading a small army. Miraculously, Westley beats the three kidnappers in three separate encounters: he first wins a fencing combat with Inigo Montoya, then prevails over the giant in a hand-to-hand fight, and finally outsmarts Vizzini in a battle of the wits.
Shortly after Westley reunites with Buttercup, the prince’s army catches up with them, “rescues” Buttercup and captures Westley. The prince tortures Westley to death, but Westley is resurrected by Miracle Max. Inigo Montoya, the giant, and Westley invades the prince’s palace and rescues Buttercup.
At the end of the story, the small boy invites the grandfather to come back again, to which the grandfather replies, “as you wish.”
III. Negotiating with Kidnappers
One brilliant aspect of Princess Bride is its surprising and comic element. The title and general plot suggest a typical fairy tale with a hero undertaking a grueling adventure, beating all his enemies, rescuing his princess and living happily ever after with her. Although this is exactly what happens in Princess Bride, the process by which the happy ending is accomplished is very different from a typical Disney movie.
In particular, the protagonist Westley is not like typical Disney heroes that are strong, brave, and invincible. It seems that each of his victories is attributable more to his good fortune than to his bravery and strength.
Re-watching the movie after taking the Negotiation Workshop, however, I realize what I used to characterize as “good fortunate” are actually negotiating skills.
A first example is Westley’s negotiation with Inigo Montoya at the Cliffs of Insanity. After the three kidnappers and Buttercup climb up the cliffs with a rope, Westley is following them with the same rope. The kidnappers cut the rope after they reach the top, but Westley hangs on to the rocks of the cliffs. Vizzini leaves Inigo Montoya to wait at the cliffs to either see Westley fall or kill him. The following conversation occurs between Westley hanging onto the cliffs and trying to climb up and Inigo Montoya waiting at the top.
Inigo Montoya: Hello there! Slow going?
Westley: Look, I don’t mean to be rude, but this is not as easy as it looks. So I’d appreciate it if you wouldn’t distract me.
Inigo Montoya: Sorry.
Westley: Thank you!
Inigo Montoya (after practicing fencing for a few strokes): I don’t suppose you could speed things up?
Westley: If you are in such a hurry, you could lower a rope or a tree branch or find something useful to do.
Inigo Montoya: I could do that. I got some rope up here, but I do not think you would accept my help since I am only waiting around to kill you.
Westley: That does put a damper on our relationship.
Inigo Montoya: But I promise I won’t kill you until you reach the top.
Westley: That’s very comforting, but I’m afraid you’ll just have to wait.
Inigo Montoya: I hate waiting … I swear on the soul of my father, Domingo Montoya, you will reach the top alive.
Westley: Throw me the rope.
The parties begin this negotiation without setting up a process, which is understandable since Inigo Montoya is in a hurry to kill Westley and Westley is busy staying alive by grasping onto the cliffs. Inigo Montoya shares his interest to have Westley climb up faster. Westley responds by proposing options, such as lowering a rope or some tree branches (or a ladder). Luckily enough, Inigo Montoya does have a rope.
Even though the substantive component of the negotiation is going well, the parties reach a deadlock because of a relationship issue: Inigo Montoya destroys the trust between the parties by reminding Westley that he is only waiting here to kill Westley. In the end, Inigo Montoya has to invoke a criterion, a swear on the soul of his father, in order to rebuild the trust.
The first interesting point about this negotiation is that the setup is similar to (but not the same as) the prisoner’s dilemma. Each party has a cooperative option and a defaulting option: Inigo Montoya can cooperate by throwing down the rope and can default by killing Westley while the latter is about to climb to the top; Westley can cooperate by accepting Inigo Montoya’s help and can default by keeping him wait.
This leads to a second interesting point: a shift in bargaining power. The initial setup leaves Westley with very little bargaining power: his defaulting option does not hurt Inigo Montoya and is very risky for himself since he will likely become exhausted and fall down the abyss; on the other hand, Inigo Montoya’s defaulting option will take Westley’s life. Nevertheless, Inigo Montoya’s impatience shifts the bargaining power balance to Westley’s favor since the possibility of waiting for a long time is very unacceptable to him. As a result, he has to swear on his father’s soul to make Westley trust him.
Third, the parties create value by resolving their differences in forecasts with a contingent contract. As demonstrated by his earlier comment to the giant, Inigo Montoya is positive that he will win a fencing battle with Westley since he even plans to use his left hand although he is right-handed. Similarly, Westley is also confident that he will win because he also begins the battle with his left hand when he too is right-handed.
With their different forecasts, their negotiation could reach an impasse with Inigo Montoya saying “since I will kill you anyway, why don’t you save us some time by jumping down the cliff yourself” and Westley saying “since I am a much better fencer than you, please just find a rock and knock yourself out. Wait, throw me the rope before you do that!”
Instead, the parties resolve their differences by agreeing to a contingent contract: a duel. Since either side thinks he is better than the other side, a duel is acceptable to them both. In the end, Westley knocks out Inigo Montoya and continues his chase.
Realizing that Westley is still chasing after them, Vizzini orders the giant to kill Westley. When they meet each other, the giant could easily have killed Westley by throwing a stone. Instead, he proposes that they drop their weapons and fight with hands only. Unfortunately, instead of doing what a principled negotiator would do (i.e. convincing Westley with reason and criteria that a hand-to-hand fight is more sportsmanlike and civilized), the giant resorts to threat by telling Westley that if Westley does not agree to a hand-to-hand fight he will kill him with a stone now.
Similar to the encounter between Westley and Inigo Montoya, the giant’s take-it-or-take-the-stone proposal is also a contingent contract: since the giant is certain that his physical strength will outperform that of Westley, he does not mind settling it with a hand-to-hand fight.
In yet another effort to make Princess Bride a full-length movie, Westley miraculously chokes the giant and goes on to chase Vizzini and Buttercup.
When Westley finally meets Vizzini, the latter is holding a knife against Buttercup’s neck. The following conversation occurs.
Vizzini (while Westley is walking closer): If you wish her dead, by all means, keep moving forward.
Westley: Let me explain.
Vizzini: There is nothing to explain. You’re trying to kidnap what I’ve rightfully stolen.
Westley: Perhaps … an arrangement could be made.
Vizzini: There will be no arrangement … I can’t compete with you physically, and you are no match for my brains.
Westley: You’re that smart?
Vizzini: Let me put it this way: have you ever heard of Plato, Aristotle, Socrates?
Westley: Yes?
Vizzini: Morons!
Westley: Really? In that case, I challenge you in a battle of wits.
Vizzini: I accept.
Right from the start, Vizzini is employing two difficult tactics: using threat and refusing to negotiate. On the other hand, Vizzini should be commended for establishing the legitimacy of his position (by accusing Westley of trying to kidnap what he has rightfully stolen) and invoking objective criteria to show how smart he is.
As a skillful and by then experienced negotiator, Westley successfully reaches a deal with Vizzini by proposing the same kind of arrangement with Inigo Montoya and the giant: a contingent contract. Since Vizzini is confident that he is so much smarter than Westley, he should be willing to accept a contingent arrangement in which the wittier side will triumph.
Coming up with this proposal demonstrates that Westley is not only good at getting to yes but also fluent in active listening skills and knowledgeable about difficult conversations. Firstly, he listens carefully and catches a key piece of information, namely that Vizzini thinks Westley is no match for his brains. Secondly, he succinctly paraphrases “no match for my brains” with “smart” and inquires further about Vizzini’s smartness. Finally, Westley proposes a battle of the wits knowing that Vizzini cannot refuse it, because of the identity conversation: if Vizzini refuses Westley’s proposal after asserting his intelligence, his identity will be threatened because others may think Vizzini is not that smart and is a liar.
As expected, Westley prevails again in the battle with Vizzini and reunites with Buttercup.
In all three encounters, Westley has very little bargaining power to begin with: he is holding onto the cliffs while Inigo Montoya is waiting at the top, the giant could easily shatter him into pieces with a stone, and he has to do whatever Vizzini asks him to do as Buttercup’s life is at stake. However, in each encounter, through skillful negotiations, Westley is able to reverse the unfavorable position and get the other party to agree to a process that Westley has a reasonable chance of success. One lesson for negotiators is that: do not give up easily, for you never know when the other side’s impatience, arrogance, and vanity will work wonders.
IV. Resurrection Negotiation
After Westley is tortured to death, Inigo Montoya and the giant find his body and try to bring him back to life by seeking help from Miracle Max.
Inigo Montoya knocks at Miracle Max’s door and asks whether he is the Miracle Max who worked for the king. Miracle Max replies, “the king’s stinking son (Prince Humperdinck) fired me and thank you so much for bring such a painful subject.” After hearing this, Inigo Montoya simply says that he needs a miracle and it is very important. What he can do differently next time is to apologize and acknowledge Miracle Max’s feelings.
Luckily, Miracle Max agrees to take a look and the following conversation happens between him and Inigo Montoya.
Miracle Max: You got money?
Inigo Montoya: 65 dollars.
Miracle Max: I never worked for so little … except once, and that was a very noble cause.
Inigo Montoya: This is noble, sir. His wife is crippled. His children are on the brink of starvation.
Miracle Max: Are you a rotten liar?
Inigo Montoya: I need him to help revenge for my father, murdered 20 years ago.
Miracle Max: Your first story was better.
Inigo Montoya: This is Buttercup’s true love. If you heal him, he will stop Humperdinck’s wedding.
Miracle Max: I make him better, Humperdinck suffers? That’s a noble cause. Give me 65, I’m on the job.
This episode demonstrates the importance of exploring interests and emotions. In a negotiation, it is advisable for parties to share interests so that they can find value-creating opportunities. In this particular negotiation, Miracle Max does a great job sharing his interests and feelings: he only works for much more than 65 dollars but he is willing to make exceptions for noble causes, and he still bears grudges against Prince Humperdinck for firing him. In contrast, probably because of his impatience, Inigo Montoya does not adequately share information with Miracle Max and does not pay enough attention to the interests and feelings expressed by Miracle Max. Fortunately, in the end, the parties realize that resurrecting Westley will meet the interests of both: helping Inigo Montoya revenge for his father and enabling Miracle Max to get back at Prince Humperdinck.
Another lesson from this episode is the danger of lying. Upon hearing that Miracle Max is willing to work for less if there is a noble cause, Inigo Montoya fabricates a crippled wife and starving children. Miracle Max skillfully names Inigo Montoya’s game by calling him a rotten liar. Furthermore, Inigo Montoya’s lie destroys Miracle Max’s trust so that the latter no longer believes him even when he is telling the truth about revenging for his father.
V. When Not to Negotiate
One great thing about the Negotiation Workshop is making us realize how useful and ubiquitous negotiations are in real life. Naturally, we are excited to engage in more negotiations and further develop negotiating skills after the course.
Meanwhile, it is also important to be aware of the limits of negotiation and know when not to negotiate. In that regard, Princess Bride offers some suggestions.
I discussed how Westley overcomes his adverse positions through negotiations. The flip side of that is, the kidnappers lose their battles precisely because they decide to negotiate. Negotiation is not the only legitimate way to resolve issues. If you are in a favorable position or have a lot of bargaining power, so long as such position and power are not obtained through illicit or unethical means, it is okay to take advantage of them. For instance, in Vizzini’s case, when someone in a black mask is trying to kidnap the person he has rightfully stolen, he should not feel obligated to negotiate.
The grandfather probably knows very well that the grandson does not like him to visit and does not like it when he pinches his cheek. However, instead of trying to negotiate with and persuade his grandson, he just visits and pinches his cheek, perhaps knowing that one day the grandson will miss the cheek-pinching grandfather all too dearly.
Other times, it is best just to agree to whatever the other side wants. Compared to “I am not a pushover; you are giving too many unreasonable orders, and in disrespectful ways” and “I have a lot of things to do tomorrow, and I already visited you today, so I’m afraid I won’t be able to come back tomorrow to read you more stories,” a simpler and better alternative would be “as you wish.”
8.8；crippling humor, dizzying intellect, inconceivable!
6。有点搞笑，不过既然角色要傻逼，就要像《巨蟒和圣杯》里那样。然而这是童话式，后者是恶搞，还是有区别的。
之前看《生活大爆炸》的时候，就被拉杰什洗脑，他最爱念叨的一部电影，还有一集击剑也跟这部电影有一个情节有关。一开始以为会是《大鱼》，结果偏喜剧，甚至是有些恶搞，很一般的情节，可能过了会喜欢这部电影的年纪了吧。
我不知道这个片子为什么评分这么低，但是我认为倘若我有一天回国去教书，这部片子是用来介绍美国90年代青少年文化以及幽默的重要材料···
封面居然转180°后还是PRINCESS BRIDE http://jandan.net/2009/01/20/jan-en-princess-bride.htmlas you wish生活不都是公平的
电影是基于William Goldman的小说改编的，一个充满幽默、动作和浪漫的童话故事。一部很好的家庭影片。
ok 像是舞台剧一样的电影 简单的人物简单的场景简单的故事 女主形象不爱人物不爱 完全花瓶 在一起历经生死的时候她呆愣在旁能气死我 不过后半部分 三人行有些看头 很搞笑 最后 男主挺帅
7.0/10 分。初看，CC重制版蓝光。比较幼稚美好的童话，比迪士尼还迪士尼。。。没有认出年轻时的罗宾·怀特来，只是感觉她有点脸熟。。。好多美剧里熟悉的角色，《国土安全》曼迪·帕廷金，《傲骨贤妻》华莱士·肖恩，等等。。。按照1987年来说，真的可以打个8分，可惜这样美好的爱情童话故事实在是太老套了。。。放今天，女权斗士就会问，为啥公主就不能直接把男主和王子全要了。。反正十万年前的女人是可以找一堆男人当老公的。。。哈哈。。。CC版蓝光修复得不错，甚至比一些厂家修复版还要稍微好点。。。
1988年奥斯卡最佳音乐奖、1987年多伦多国际电影节民选奖、IMDB: 8.2/10 (92,530 votes) Top 250: #155、2010英国卫报25部经典科幻/奇幻片之一……如此之高的口碑实在郁闷，真不明白老外为何好这口？
不错的改编，但总没原著好。“Words followed her. Whispered from far, weak and warm and familiar. “As . . . you . . . wish . . .”
因为题材一直提不起兴趣看，没想到是无厘头搞笑纯爱童话哈哈哈，一边讲一边进行自我吐槽真是😂...
有是一位梦中情人式的男主角……
原来是九日皇后中的他。“as you wish”
外教选的片子实在恶搞 意外发现这部恶搞童话IMDB前200 估计古早以前的童话就是这么可爱吧
俗套文本搭载书中书式嵌套结构，指向的其实是“浪漫”的被创造，在戏剧逻辑纬度，反现实逻辑的“奇迹”便是浪漫的变体
公主新娘属于那种在美国享有盛誉一度荣居IMDB#250而在中国始终保持低调不过造成这一落差的根本原因与咱家审美没有太多干系所获盛名总体是由广大本土影迷的成长经历童年记忆主导使然类的电影……https://www.douban.com/people/hitchitsch/status/2338271121/
看似复古的童话故事却有许多颠覆幽默之处。"Hello.My name is Inigo Montoya.You killed my father.Prepare to die." 这段很有力度。
音乐、歌曲太好听了，浪漫、动人的 I Will Never Love Again & Storybook Love！还有那句经典的"As You Wish"~
我真的不知道为什么在ibdm上为什么有那么高的评分，在我看来这部电影真的是一无是处，里面的人物是我所看过的电影里面的最做作的一群人，根本谈不上演技么，全都是提线木偶，台词好像都没背熟吧，对话都是硬生生的，看的我频频快进，真觉得是在浪费时间……亏我还存了那么久看……就开头还有点小清新…
Rajesh最喜欢的电影，美国影视剧中常提到的pop culture reference，名台词有"As you wish", "Hello. My name is Inigo Montoya. You killed my father. Prepare to die."