《泰坦尼克号》的成功,除了编导们对故事理念上的理直气壮及其必然导致的宏伟审美取向,还需要有浑不吝的厚脸皮,两者缺一不可。西方文艺作品引入中国,近十年来没怎么有过像样的轰动。十几年前比现在出息,先是一本不大有厚度的小说《廊桥遗梦》中译本热销,惹得将谙未谙风情的少男少女和对现实风情尚未餍足的中年妇女一把鼻涕一把泪;接着是一部超长的大片《泰坦尼克号》,几乎在所有进入影院的男男女女的泪囊上揍了一拳,听 “Titanic” success, in addition to director of the story of the concept of righteousness and the inevitable result of its grand aesthetic orientation, but also need to have a sense of muddiness, both indispensable. The introduction of Western literary and art works into China has not seen any decent sensation in the last decade. More than a decade ago than the present interest rates, first of all, there is not a great thickness of the novel “Covered Bridge Madison County,” the Chinese version of selling, prompting will be familiar with unmarried boys and girls and unrealistic style of middle-aged women, one A tear in the nose; followed by a long, large “Titanic” that punched almost all the dural sacs of men and women entering the theater, listening