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羞羞影院

空幻之屋[电影解说]
英国2004
约翰·克里斯托是一位受人尊敬的大夫,与他安安静静甚至有些傻傻的太太格尔达以及两个可爱的孩子过着表面上平静的生活。实际上呢?又是怎样?  亨利埃塔,约翰真正的红颜知己,一位出色的雕塑家。在她的生活中除了雕塑还有什么?毫无疑问是约翰,除此之外……也许没再有什么了。格尔达一直以为约翰是个十全十美的人,没有坏毛病,没有不良嗜好,她也许永远也不会发现他与亨利埃塔之间的微妙情绪,是的,在她自愿自欺的脑子里,约翰是个神,她怎么会知道他的秘密,她又怎么会知道约翰当年娶她部分原因是要逃避一个他爱着的噩梦——维罗尼卡。  维罗尼卡,强制的维罗尼卡,约翰曾是那么爱她。十几年后她又回来了,来到了空幻庄园,这个让约翰爱、格尔达怕的地方。  庄园的主人是安格卡特尔夫妇,是他们邀请了包括约翰、格尔达、亨利埃塔、爱德华、米奇等等来这里度周末。对了,还有……波洛。  说到爱德华和米奇,这是一对让人可叹的年轻人,爱德华爱着亨利埃塔,可是雕塑家对于自己的爱情确是如此有主见,约翰……爱德华的痛……米奇,不再是爱德华眼中的小姑娘,她是爱德华的仰慕者,爱恋者,这些,爱德华有知道多少?  平静?这也算平静?无数纠缠不清的三角关系在露西·安格卡特尔冷酷的眼睛下上演。再加上维罗尼卡,你能想象吗?也许是畸形……  约翰死了,是的,就像舞台上的拙劣表演。他躺在游泳池的边上,格尔达在一旁举着枪,茫然,茫然……一群人更加茫然的注视着这个情景。这是真实的吗?波洛想。  这是真实的,真实的即将变成尸体的约翰缓缓地说:“亨利埃塔……”指控?不知道,不知道,不知道。格尔达就这么举着枪,所有的人在想:真的吗?

羞羞影院

魔鬼的陷阱
其它其它1962
In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.  The Devil's Trap is a film directed by František Vláil, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vláil made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).  Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.  As expected from Vláil, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.  Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.  The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.  Acting is great all around. Particularly the villains Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.  The film also features the evocative music of Zdenk Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vláil, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.  The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vláil's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.

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