Shortly before he is to wed, millionaire John Willis is visited by Dr. Harry S. Blair, a psychiatrist who informs him that years before he was married to Nancy, John's wife-to-be, and warns him that she is mentally unbalanced.
Blair then relates the following story: After a whirlwind romance in Florida, Blair marries Nancy and starts a psychiatric practice in New York. One day, artist Norman Clyde comes to his office and tells him that an innocent man is about to be executed in Sing Sing Prison and that Nancy is the cause of his unjust incarceration. A distraught Clyde then explains himself to a curious Blair:
Three years before, Clyde meets Nancy, whose maiden name was Monks, when she enrolls in his art class. The moody Clyde soon falls in love with Nancy's honest charm and beauty. Nancy, a secretary, introduces Clyde to her boss, millionaire Andrew Bonner, and persuades Bonner to showcase Clyde's paintings at one of his private showings. To Nancy's delight, Clyde's painting, a depiction of the tragic figure Cassandra for which she modeled, wins first prize at the showing. The evening is perfect until an expensive bracelet is stolen from a guest, and Clyde later finds it in Nancy's purse. After Clyde confronts a confused Nancy about the theft, she relates the following story to explain her behavior:
As a young girl, Nancy lives with her housekeeper mother in the lavish Willis home and plays with Karen, the Willises' little daughter. Although Karen wants to invite Nancy to her upcoming birthday party, Mrs. Willis refuses to allow the lower-class Nancy to attend. A true friend, Karen promises to give Nancy one of the pins her guests are receiving. When Karen realizes there are no extra pins, however, she offers Nancy the beautiful locket she has just received from her mother. Nancy's subsequent joy is soon crushed when Mrs. Willis demands that she return the locket. Later, the locket is discovered missing, and Nancy is accused of theft. Although Nancy's mother soon finds the locket in Karen's dress, Mrs. Willis refuses to believe Nancy and forces her to "confess."
The adult Nancy then admits to Clyde that this childhood humiliation caused her unconscious desire to steal the bracelet at the party. After a forgiving Clyde returns the bracelet anonymously, he and Nancy continue their romance until the next party at the Bonners'. Suspecting that the absent Nancy is spending the evening in Bonner's arms, Clyde leaves the party to look for her and sees her exiting Mrs. Bonner's bedroom just after two gunshots are fired. Bonner is found murdered, and Mrs. Bonner's diamond necklace, stolen. Although Nancy and Clyde are questioned, valet Myron Dexter is eventually found guilty and is sentenced to die. Clyde, however, strongly suspects Nancy, but she angrily maintains her innocence and leaves for Florida.
Back in his office, Blair defends Nancy to Clyde but invites him to his house that evening. When confronted, Nancy denies everything and tells Blair that Clyde is merely jealous. The next day, Dexter is executed, and a guilt-ridden Clyde jumps from Blair's office window to his death.
To avoid scandal, Blair and Nancy move to England, and after World War II breaks out, Blair volunteers his medical services, while Nancy becomes an ambulance driver. Expressing concern over Blair's health, Nancy insists that they take a vacation at Lord and Lady Wyndham's manor house. Just as they are leaving, Blair learns that one of Lady Wyndham's valuable jewels has been stolen. Blair suspects Nancy but is unable to prove anything until a bomb destroys their flat and reveals her cache of stolen jewels.
Although confronted directly, Nancy continues to deny any guilt and divorces Blair after he suffers a nervous breakdown. Back in John's study, Blair, like Clyde before him, tries to convince John to abandon Nancy, who now uses the name Patton. John, however, believes Nancy when she tells him that Blair is still suffering from his breakdown.
Moments before the wedding is to start, Nancy's future mother-in-law, the unsuspecting Mrs. Willis, gives her the same locket that she once took away, and tells her that it is a precious family heirloom. The locket causes Nancy to be overcome with guilt, and she collapses at the altar in hysterics. As Nancy is later taken away to an institution, John sadly realizes the truth of Blair's story, but determines to see Nancy through her crisis.
一宗产业的倒闭好像树倒猢狲散，“萧条时代”三连击的第三击，但是看的过程中感受并不深刻，惟觉个中似有一种亚裔人最擅长的巧妙的不得罪人。是想要触及保障不健全的痛点吗？No，有些人只是不适合屋檐下终老，有些人不喜欢被领带拴住的生活，还有些人希望路上能够重逢逝去的亲人。世代流传的母题仿佛轻松找到了解答，或诗意或温情，但直觉告诉我这并不是真相。最好拍成纪录片，否则就会像这样，编导的才华驾驭不了素材，给出的解答煽情但缺乏根基，某些滥俗的升华，干脆成了鉴别村花的那粒豌豆。
就是用散文诗的方式反应现代游牧民族的生活状态。科恩嫂的演技一如既往的牛叉，配乐非常棒。但是看不到太多赵婷的过人之处，距离李安还是有不少差距！
对西部风景的浪漫化与对拮据生活残酷化都过于刻意，对人物的情感几乎没有进行挖掘，政治立场分裂，对工人社会团体极度怀疑却在生存问题上仰仗人的联结，如果说《骑士》提出了问题但没有给出解答，《无依之地》甚至没有提出问题
写到这里，我蓦地想到《兰亭集序》中一段话，虽意不相通，然情可共，附于此：“向之所欣，俯仰之间，已为陈迹，犹不能不以之兴怀，况修短随化，终期于尽！”
人生最终是一场孤独的旅行，每个人只能伴一程。看了这片子，结合我自己最近发生的一些事，更能理解Home和Family的意义。珍惜身边人，珍惜结伴的每一程。
“美国的底层生活”，是这么宣传的吧，其实只是个壳而已，是个非常私人的故事，讲孤独讲选择讲逃离，讲每个人都有一个不得不在路上的理由，这里大概包含了太多导演自己的经历。不知道为啥我会想起布鲁克林，这不能算是个异乡人的故事，或者说对有的人来说，这个世界处处是异乡吧，对于18岁就离家的我来说，寻求我心安处永远都会是生命的主题，但回头想想其实我站立的地方即是我家，女主说得对呀，“I'm not homeless, I'm just houseless”，我走去电影院的路上经过市中心抬头发现天气很好，我远远没想到即将去看的电影会那么符合我当时的心情，南十字星下的温暖阳光和北美苍凉的黄石沙漠就这么在我心里重合了，我们左手都是同一个宇宙里的星辰，我们终会再次相见，See you down the road.
游牧心灵对家是如何认识的，它仅仅需要占据心灵的空间吗？穿梭，零工，告别。几段配乐非常精致，好听，感动，但也消解了一些纪录片式的力量。剧情片中的纪录片语言，也是一定程度的突破。
对她来说，漂泊即是安宁。把石头扔进篝火，死去的亡灵化作满天星，每一块石头都证明，在路上。
见过草原的辽阔，见过海浪的澎湃，见过冰雪的纷飞，见过峡谷的苍凉，比起这与天地融为一体的灵与肉，人和人的羁绊又算得了什么呢？就算是不得不上路的，就算是背负着痛与悲的，也自有属于当代吉普赛人的孤傲与浪漫。赵婷作为“外来者”，切入视角与视听语言都是超越了族群的，她更像是一个同行者，用镜头代替眼睛，观察这群边缘人的世界。打动你的不是因为这是美国故事，而是如芬恩这样真实、孤独又凌冽的人。
一个女人能放下家族，追求者，安定，去选择或者说被迫选择自己要的生活，无疑是了不起的。
看过关于年轻人背包旅行的，中年人寻找自我的，如今第一次看到老年人在经历破碎人生后上路游荡的…觉得没有什么做作，非常的悲伤和真实。当你穷了一生努力过得体面，到最后发现维持体面反而才是最不重要的，还有什么值得的呢？于是，游荡吧。
片尾字卡一出我就泪崩了 “献给所有不得不离开的人 我们路上见”
勇敢和真实的人总是上路。美国公路精神，在今天还如何可能？
“See you down the road.”
很喜欢赵婷的镜头语言：把小小的人就直直地放在画面中央，人那么小，背景的大自然那么大。夜深人静的时候看会簌簌流泪，但白天看又会觉得人生本来就是一个人来一个人走啊，孤独是不可避免的；有些人，就像结尾写的，就是“不得不出发”，孤独的同时也获得了自洽的天人合一的自由。片中还提到了美国的社会问题和家庭关系，寥寥几笔却让人思考，整部电影真的是一部很有哲意的电影散文诗，气质绝了。
金球奖落下帷幕，无依之地成为最大赢家，除了斩获最佳剧情电影，赵婷也获得了最佳导演……在我看，这部电影足以和Charles Chaplin的《Modern Times》比肩，都是在讲经济大萧条之下的人性光辉大爱无言。弗朗西斯-麦克多蒙德和“漂泊者”之间的互助就像Chaplin和孤女，彼此帮扶亲密无间，并且全部都坚信希望之光就在眼前。奥斯卡影后沧桑的面容很富有年代感，她追逐着季节更换工作频繁，与《Modern Times》的Chaplin异曲同工即便相隔近百年！
3.5，面前旷荡广袤的，不是无依之地，而就是人生啊。核心提取出来也蛮鸡汤的，刚开始还以为是比较严肃的社会议题，后半段一路滑到了“和爱的人总会遇见”这个调性，重回工厂也变成了抒情段落，就还挺奇怪的。可能会朝迈克·李的方向发展？
有过背包客的经历，在旅行途中会碰到形形色色的人，交织成了一段段故事。片子最打动的我的就是女主被迫踏上旅途面对新事物的那份心境，随性、淡然。Happy new year，献给不得不上路的人。
向往自然主义生活方式的游牧者和大萧条下“无家可归”者的身份重叠道出了美国梦破碎后被抛弃群体的生存困境，赵婷用一种简单又重复的镜头记录下了他们始终游移在路上的复杂心境。这是一种受到主流偏见对待的文化，也是一份属于勇敢者的生活方式。有人认为他们在逃避，有人认为他们无路可逃，也有人认为他们信仰某种自然主义的生存模式。我喜欢赵婷所呈现的东西，尽管有时候镜头总是想摆向弗恩作为依靠。不过配乐一出来着实削减了影片的质感，有几处恍惚间像在观看美国国家公园的宣传片段。
“自己带来的自己要带走。”
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