黑色圣诞节

先说一个简短的结论，本片属于是不能get到的会觉得很无聊爆点怪，能get到的就会非常爱的类型。我恰好属于能get到的那波，反而看好莱坞的杀戮片会觉得它们更像武打片。不过有一点是公认的，本片是杀人狂电影的老祖，日后所有的青春逃杀片都遵循了这个基调，比如恐怖片里“Final girl”（最后只剩下一个女性角色）、精神病人杀人狂角色和开放式结局，《月光光心慌慌》和《黑色星期五》也是受到了本片的启发。电影于上映次年获得土星奖和恐怖电影学院奖最佳恐怖片提名，并获得加拿大电影奖最佳故事片奖。 剧情梗概：本片受到都市传说“阁楼上的杀手和保姆”以及蒙特利尔北部连环凶杀案的启发，讲述四个女生住在一栋姐妹会的房子里，接到了一个不知名骚扰电话，当晚有人潜入屋内，年纪最小的学妹在房间被杀害。第二天剩下的三个女孩和女舍监一起去报警寻找失踪的学妹，警察并无作为。尔后女舍监在阁楼内发现了失踪的学妹的尸体，但立刻被凶手灭口。此时女神赫西扮演的女主发现怀孕，想要堕胎，男友跟她大吵了一架。女主回到宿舍又接到骚扰电话，来电者居然说出了她和男友吵架的内容，这让女主怀疑来电者是不是就是男友。接连两人失踪，警察总算是重视起来，上门安装了监听设备。转天就是圣诞夜，女主开门听小朋友唱圣诞歌的时候，女三在自己房间被杀害，女四在锁门关窗时发现了尸体，也被凶手杀害，此时就剩下女主一人。骚扰者再次来电，这次警察立刻打了电话警告女主，原来他们监听到了给她打电话的人就在屋子内。女主放下电话，凶手冲了出来，女主逃到了地下室，此时男友从地下室的门进来了。等到警察破门而入，发现惊恐地女主已经为了防身刺杀了男友。于是他们宣布凶手已经找到，带着女主上楼注射了镇定剂，退出了房子守在外面。而此时阁楼的门又悄悄打开，电话铃声再次响起。。。。 正如我前面提到的，本片的恐怖氛围渲染是正中我下怀的类型，属于是娓娓道来，润物细无声的那种铺开的手法，如果你习惯了jump scare，回头杀贴脸杀的套路，你是完全猜不到影片的爆点会在哪一刻来临。就比如学妹失踪后她父亲找来，无功而返后无奈上出租车回家，此时镜头拉远，原来女儿张大嘴巴的尸体就在他十几米远的阁楼上，没有配乐，镜头也很冷静，就好像这是一个诡异但又冷冰冰的事实。再比如凶手在当时具有突破性的第一视角潜入房间，是导演把摄像机放在工作人员头上拍摄的。还有在凶手追逐女主的紧张时刻，男友带着诡异的表情进来了，但是导演并没有展示女主刺杀男友的镜头，而是在警察破门而入之后让观众目瞪口呆的展示了二人都死一般的倒在地上；还有那个著名的结尾，电话铃声鬼魅一般伴随着演员表响起等等。本片的演员的表演也都是我最喜欢的那种冷静，丝滑的风格。总之这是属于你一旦代入了，聚精会神的看就会有种从骨头里慢慢渗出来的害怕。 本片由加拿大团队（导演虽是美国人但加拿大心）制作在加拿大拍摄，本加拿大留子看到这种最喜欢类型的恐怖片，还看到了熟悉的多大Soldiers' Tower，还不用看到嬉皮士发型、金发大胸、无脑Quarterback是多么的双厨狂喜。加拿大的电影有一种偏向欧洲的优雅风格，在70,80年代产出了不少优秀的恐怖电影，尤其是《我的血腥情人节》《血色婚礼》等。导演Bob Clark认为，美国电影对大学生和高中生的刻画“没有任何现实感”，他想捕捉年轻人的“精明”：“大学生——即使在 1974 年——也是精明的人。他们不是傻瓜。他们不都是‘比基尼、沙滩毯和BIngo’。只能说导演本人正是我的嘴替，如果这部电影是美式风格，女主也不会是女神Hussey了，应该是个金发大波妹，开场先来一段船戏，然后金发一定第一个被杀，Quarterback男朋友第二个，nerd第三个。美国人也确实吃不了细糠，不太欣赏原片的结尾，电影在美国上映时华纳兄弟果然不做人的要求把结局改成另一个男角色冲进来杀杀杀，幸好导演坚持没有向恶势力低头。本片的开放式结尾以及凶手从头到尾未见其人的设定虽然现在看来是没什么，但对于一个1974年的恐怖电影来说算是很超前的设计，我个人认为也是对这种恐怖风格最好的收尾方式。 电影中还有一个在当时非常先锋的设定，就是堕胎议题，就在电影上映的前一年1973年，美国联邦最高法院推翻罗诉韦德法案，裁定孕妇选择堕胎的自由受到宪法隐私权的保护，导演特地让女主选择堕胎，面对男友的反对她直接说：“你没有权利要求我做什么”，以此来抗议美国的禁止堕胎法律。除了没有用虐待各种性感肉体的女性角色来吸引观众以外，这一点也是独具一格的女性主义的表现。 看这部影片的时间正是女神Olivia Hussey传来死讯的当天，一直把她当成我最喜欢小说人物的脸替，还是写一点关于女神拍摄本片的可爱事迹来当做祭奠，维基百科里写的女三号演员Kidder对拍摄这个电影的回忆：“我和Andrea Martin在多伦多和安大略拍摄时关系更亲密，因为奥莉维亚·赫西有点奇怪。她一心想通过通灵术爱上保罗·麦卡特尼。我们对她这样的事情没给好脸子”

R.I.P Olivia Hussey (1951-2024), a British actress whose ethereal beauty would eternally indwell the mind of a spectator who has watched either of these two indubitably most well-known films in her filmography. Zeffirelli’s ROMEO &JULIET, an orthodox adaptation shot in Italy, is what introduced Hussey to the world and instantly made her a star. Her Juliet and Leonard Whiting’s Romeo are age-appropriate (she was 16 and he was 18) for Bard’s star-crossed lovers. Their youthful, beauteous visages, transfused with collagen, symbolize love in its purest form, which audiences can sense right from their coup de foudre. Romeo is simply transfixed by Juliet and conversely her heartstrings are tickled by his incandescent gaze under a mask. It turns out to be a blissful sigh of relief when she finally sees his handsome face and immediately reciprocates her feelings. The proverbial balcony sequences are composed of the lovers’ impassioned pledges and moony sweet nothings. They are elongated to effect a swooning delirium as the love spell casts its most intoxicating potion on them and vicariously on us as well. It is no small feat that Hussey and Whiting efficaciously and engagingly actualize the burning passion between them and never for one second let its temperature drop. Each emanates an innate innocence that makes the far-fetched story credible and the lovey-dovey sentiment affecting, pushing any encroachment of rationality out of the perimeters. So when the grand tragedy inexorably occurs, its impact does strike home. Death is such a woeful bane, two young lives perish in vain, only to chastise the adults to mend their fences of petty grudges. Concurrent with Nino Rota’s splendidly mellifluous score, the Bard’s hallowed phraseology is reeled off like cataracts from a dependable dramatis personae: a beetle-browed Michael York is an impetuous and belligerent Tybalt; Pat Heywood’s blowsy, rowdy nurse is Juliet’s faithfull ally and a jolly comic relief; Milo O’Shea injects an impish glint as Friar Laurence, whose do-goodism backfires in the most fantastical fashion and he does indeed leave Juliet alone in the crypt just to save his own skin. Even the two rookie leads comport themselves relatively eloquently thanks to the three-billed screenwriters' collective sensibility of trimming and fine-tuning of its famous urtext. However, what mars Zeffirelli's otherwise successful adaptation are its embellishments. The ructions between two feuding clans are characterized in a pesky frivolity that takes any gravitas out of the picture. It is not helped by McEnery's bedraggled Mercutio, who seems perpetually a shade off-color and ill-humored and whose bully braggadocio is fairly off-putting that no one should credit he and Romeo are best friends, let alone feel sorry for his demise.