For anyone acquainted with the work of Stanley Cavell, Revolutionary Road (Sam Mendes, 2008) provides much food for thought. Adapted from Richard Yates’ now celebrated 1961 novel of the same name, its story of the unhappy marriage of Frank (Leonardo DiCaprio) and April Wheeler (Kate Winslet) in suburban Connecticut in the mid-1950s, is at once suggestive not only of Cavell’s interest in the blessings and (more particularly) the costs of marriage, but also of his concern with the threat to individual and social life posed by conformity, and his commitment to the idea and promise of America. However, it is perhaps Cavell’s understanding of the expression of these themes in certain 1930s and ‘40s Hollywood films that is most pertinent here. For in his influential work on the related cinematic genres which he calls the “comedy of remarriage” and the “melodrama of the unknown woman” (found primarily, in Pursuits of Happiness [1981] and Contesting Tears [1996], respectively), the central issue faced by their female protagonists is whether marriage as such can be accepted as an arena in which they might overcome conformity’s repressive demands or should instead be rejected as a further occasion of that repression – a choice that Cavell sees as the films’ embodiment of a register of the moral life that he relates to perfectionism, and which he developed in his work in reclaiming Emerson and Thoreau as the founders of a distinctively American tradition of thinking.

中文翻译：

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“我看到了不一样的生活。我不能停止看到它”：革命道路上的完美主义愿景

对于任何熟悉斯坦利卡维尔作品的人，革命之路(Sam Mendes, 2008) 提供了很多思考的食物。改编自理查德·耶茨 (Richard Yates) 于 1961 年出版的同名小说，讲述了 1950 年代中期弗兰克 (莱昂纳多·迪卡普里奥饰) 和艾普瑞尔·惠勒 (凯特·温斯莱特饰) 在康涅狄格州郊区不幸婚姻的故事，不仅暗示了卡维尔的他对婚姻的祝福和（尤其是）成本感兴趣，但也关注他对从众对个人和社会生活构成的威胁的关注，以及他对美国理念和承诺的承诺。然而，也许是卡维尔对 1930 年代和 40 年代某些好莱坞电影中这些主题表达的理解在这里最为贴切。因为在他关于相关电影类型的有影响力的作品中，他称之为“再婚喜剧”和“陌生女人的情节剧”（主要发现于追求幸福[1981] 和争吵[1996]），她们的女主人公面临的核心问题是这样的婚姻是否可以被接受为一个舞台，她们可以在其中克服从众的压抑要求，或者应该被拒绝为这种压抑的进一步场合——卡维尔认为这种选择是他与完美主义相关的道德生活记录的体现，并且他在重新确立爱默生和梭罗作为美国独特传统的创始人的工作中发展了这一选择。思维。