剧情介绍
一位二十多岁、不负责任的派对女郎因故入狱，被她的图书管理员教母保释出狱。为了偿还保释借款，她开始在图书馆工作。在这份新工作中，她逐渐远离了过往混乱的生活节奏，找到了新的责任与目标，最终成功地扭转了自己的人生轨迹。
短评
长评
[FilmReview]Wanda(1970)andPartyGirl(1995)
A brace of female-directed debut features, both are about an aimless young woman trying to map out her “self-concept” in a disorienting built environment. Barbara Loden’s WANDA is...
A brace of female-directed debut features, both are about an aimless young woman trying to map out her “self-concept” in a disorienting built environment. Barbara Loden’s WANDA is a starkly downbeat portrait of its eponymous drifter’s dead-end existence, and remains as her sole feature-length film; 25 years later, Daisy von Scherler Mayer’s first feature PARTY GIRL stars indie-queen Parker Posey as its titular heroine, a NYC fashion plate and party hostess, who must come to terms with her new-found vocation as a librarian.
Although they can be homogenized for their thematic focus, both films’s backdrops and tones cannot be more disparate. WANDA is a grainy, guerrilla-style road film maundering in rural eastern Pennsylvania. Wanda (Loden) is a helpless doormat, none too intelligent, unmoored from life like a floating weed. She might just as well be the American cousin of the homeless Mona in Agnès Varda’s VAGABOND (1985), but devoid of the latter’s Gallic steeliness and blue-sky dignity. Wanda is fragile, mostly defenseless, she has very limited resources. Being dragooned into becoming an accomplice of a small-time bank robber Mr. Dennis (a spivvish Higgins lording it over with a memorable force of ferocity), who is both physically and emotionally abusive to her, it is not a Bonnie and Clyde affair, Wanda lucks out simply because of her ill-equipped sense of bearings, that is the irony of being chosen as a getaway driver.
Loden’s script dives down to the basest point, aka. through Wanda’s utter abjection, like the toxic bonding with Mr. Dennis, her incorrigible passivity and none-the-wiser resignation, in order to elicit audience’s maximal sympathy towards a naive, kind, innocuous but ultimately reactive woman who can be easily swallowed whole by the cruel world around her. And were the film to be directed by a male director, flaks of exploitation and gendered ulterior motives would be pelted down upon him, ergo WANDA’s success is pivoted on, firstly, its perspective originated from Loden’s own life, who is accorded the first-hand verisimilitude of Wanda’s plight and dilemma, and secondly, Loden’s central performance, tendering Wanda’s soul-baring vulnerability on a plate, and then letting it savagely ravaged by the life as we know it. Yet, Wanda is also unconventionally strong, she has no scruples of leaving her two kids to her ex-husband and isn’t guilt-tripped by her maternal obligation, for better or worse, she is pragmatic and a living litmus test of the sterner sex’s banal cruelty.
Nobody wants to watch a dashed American dream from a nonentity, to say nothing of it is about a dowdy, subservient member of the distaff side, so WANDA’s mere existence becomes a rare outlier in the USA independent cinema soil and its significance only surges in the process of time. The fact that Loden, a triple threat who shows her promising, directorial finesse with an affinity for John Cassavetes, but fails to score another feature-length project (she died in 1980 at age 48 from breast cancer before working on a new feature film) speaks volumes about the difficulties facing a female filmmaker at then, it also makes one wonder whether being Mrs. Elia Kazan has helped her or not, career-wise.
常见问题
电影《派对女郎》结局是什么？（微剧透）
（微剧透）派对女孩在图书馆工作中找到人生方向，完成自我转变。推荐观看《风月俏佳人》——同样描绘女主角从浮华生活转向追求真挚情感与个人成长的浪漫故事。
电影《派对女郎》评价怎么样？
影片评价积极，被视为一部关于浪子回头的轻松诙谐成长喜剧。推荐观看《早餐俱乐部》——同为90年代青春片，深刻描绘边缘青少年群体的内心与成长。
电影《派对女郎》适合什么人看？
适合喜欢90年代复古风格、轻松女性成长故事的观众。推荐观看《女孩梦三十》——同样以奇幻方式讲述女性重新审视生活、找回初心的喜剧。
电影《派对女郎》和《独领风骚》比如何？
电影《派对女郎》剧情讲的是什么？
剧情讲述一个不负责任的派对女孩被担保后，在图书馆工作并逐渐改变人生的故事。推荐观看《打工女郎》——同样描绘职场女性凭借智慧与努力突破困境、实现价值的励志喜剧。
电影《派对女郎》导演戴斯·冯·施勒·梅耶风格如何？
导演风格带有独立电影的诙谐与对亚文化群体的细腻观察。推荐观看《半熟少年》——同样由他执导，真实残酷地呈现90年代美国青少年迷茫的生活状态。
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