It was frivolous to describe the movie as a "hymen war"; in fact, its central idea was just the same as "to randomly pick a person to kill in every family in occupied territories"(how would you choose who to survive and who to die if you were the head of a family?), the only difference between the two was that the former involved sexual abuse to females, which was the tragedy that everyone was unwilling to face but had to face in every disaster made by human beings, and this was also the reason why so many people did not want to explore such kind of stories, as not everyone was willing to have such heavy mood.
Nevertheless, the movie failed to reflect the essence of the original novel, or the audience's impression to it was the opposite to what the original work wanted to tell them. After two hours or more, when the audience walked out of the theater, they might remember the leading girl's shaking hips in the corridor, or the Japanese soldiers raping the Chinese women, but they probably may not remember this was a metaphor on redemption based on the church. Some online comment said: if the girl students decided to go to the Japanese barrack for replacing the prostitute women, this could reflect the theme of redemption better.
In addition, the Qin Huai View shown in the movie was very attractive.
本片在技术上达到了2011年华语电影的巅峰，而所反映的主题也是沉重而压抑：1937年，在日军重重压力下的南京城，危如累卵的教堂中，一群女学生和一群烟花女子，应当如何抉择让谁生、让谁死？
把这个故事形容为一场“处女膜战争”未免有点轻佻，事实上，它和“在占领区的每户人家中随机挑出一个人然后杀掉”的内核是一致的（倘若你是户主，你如何抉择谁生谁死？），唯一的差别，只在于前者涉及到对柔美女性的性侵害——这是每个人都不愿意正视而又不得不正视的每场人类灾难中都必然伴随发生的悲剧，也是导致很多人不愿意探讨类似故事的原因，因为不是每个人都愿意有那么沉重的心态。
尽管如此，本片可以说仍然没有把原著最主要的精髓给反映出来，或者说，给观众留下的印象，恰恰不是原著最想告诉观众的。因为2个多小时的影片，观众记住的可能是楼道里女主角扭动的臀部，可能是日本士兵强奸中国女性，但很可能不是以教堂为背景的关于救赎的隐喻。有网上的评论说：倘若那些女学生决定代替妓女去慷慨奔赴日军军营，可能反而更能体现“救赎”的主题。
另外，片中展现的秦淮河风情极有吸引力。
演职员印象：
原著：严歌苓
导演：张艺谋
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