四星半.
宛若一本小津回忆录，结尾二哥躲避“相亲”与小津本人终身未娶形成对照. 小女儿的多次拭泪对应着父亲遗像的多次特写，如果说片中子女对母亲的态度是现实中绝大多数大家庭真实写照的话，那么结尾次子对于兄姐的责骂则是对这一写照的最理想化处理，但，现实与戏剧往往只有一线之隔却又千差万别. The voyeuristic gaze before the kidnap underscores her significance as a specimen to the collector. The intermingling of suspense and light-heartedness in the musical score and the constant shift of tone substantially diminishes the graveness of the crime and intentionally obscures the boundary between morality and immorality. The delicate depiction of the collector's obsessive psychology and almost admirable self-restraint, make it hard for the audience NOT to feel empathetic. This is an accomplished piece of adaptation, successfully captured the moral issues, class struggles, and artistic discussions that John Fowle表示又爱又恨的意思. 小说戏曲中多用作对情人或儿女的亲热称呼. 元·乔吉《小令·赠朱翠英》：“五百年欢喜冤家，正好星前月下. ”元 乔吉 《两世姻缘》第三折：“不由我心儿里相牵挂，莫不是五百年欢喜冤家. ”元·马钰《满庭芳·自咏》词：欢喜冤家，惹得一向愚痴，恰如飞蛾投火，身焦烂，犹自迷迷. 元·童童学士《新水令·念远》：“生也因他，死也因他，恩爱人儿，冤家. ”作主语、宾语；用作对情人或儿女的亲热称呼.
