Katharine Clifton: My darling. Im waiting for you. How long is the
day in the dark? Or a week? The fire is gone, and Im horribly
cold. I really should drag myself outside but then thered be the
sun. Im afraid I waste the light on the paintings, not writing
these words. We die. We die rich with lovers and tribes, tastes we
have swallowed, bodies weve entered and swum up like rivers. Fears
weve hidden in - like this wretched cave. I want all this marked
on my body. Where the real countries are. Not boundaries drawn on
mapswith the names of powerful men. I know youll come carry me out
to the Palace of Winds. Thats what Ive wanted: to walk in such a
place with you. With friends, on an earth without maps. The lamp
has gone out and Im writing in the darkness.
有时候，用谁的古典音乐以及用什么样的古典音乐，可能是关系到如何更深体会电影里人物情感细腻变化，甚至故事脉络微妙走向的重要条件。《英国病人》里的比诺什扮演的护士安娜在废墟中发现一架斜躺的钢琴，比诺什忍不住将手指按在了琴键上，弹的是“哥德堡变奏曲”。印度籍扫雷兵告诉她，钢琴是德国人最喜欢放地雷的地方，比诺什却笑着告诉他，如果弹的是巴赫，就算有炸药也不会爆炸，因为巴赫是德国人……为什么弹巴赫？废墟里的斜钢琴让人想到它已经于任何人的不专属、于任何乐章的不拘束、于任何时光的不归附。梅纽因曾这样谈到巴赫的音乐：我演奏了一辈子约翰.塞巴斯蒂安.巴赫的音乐，其音乐之纯洁表达了我们最高境界的伦理道德，我们最高尚的品行，我们最圣洁的情感。
《英国病人》纳威恩·安德利维斯主演，爱是占有？爱是怀疑？
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