漩涡之外 Out of the Past-HD

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• 来自网友【晒】的评论The visual quality of this film is indeed darker than other films that we have watched in the class. Unlike most of the classical hollywood films which tend to use high-key lighting that creates an evenly and softly lit environment, Out of the Past uses a lot of low-key lighting like the German Expressionism films in the 10s and 20s. This lighting creates streak contrast of white and black, without much transitional greys in between. It is visually dramatic. A lot of times, the black areas in the film almost become graphic blocks that diminish information of the environment or the characters and also reduce a clear feeling of how deep is the space. That lack of information, sometimes including the facial expressions of characters, and of spacial orientation put the audience in an unsettling state and elicit heightened emotions. Though it is a black and white film that could not show the exact colors of costumes, there are still deliberate decisions made about what the characters wear. Jeff, Joe, and the male characters usually wear dark colors that absorb light. This choice not only corresponds to their identity but also helps to create the graphic quality of large blocks of black. More interesting decisions are made regarding Kathie’s costumes. She starts from wearing white, which forms a distinct light block in the film, to wear very dark dresses in the end. This goes along with the narrative of the story. The first time that Jeff met Kathie, he talked in the voiceover that he saw her walked in under the “sun light.” In the next encounter, Kathie walked in “moon light.” In the night that Fisher was killed, Kathie was lit by the head light. In the end, when she was dead, the polices came near and lit her face with a flash light. Yet, her body, with the dark outfit, completely merges with the darkness. The play of light and darkness reinforces the gradual reveal of Kathie’s cruel character.
• 来自网友【1nL】的评论7.5诺兰，就是你们崇拜的那位，宇宙第一大导演，克里斯托弗·诺兰，真的是一位学习很好的同学。《尾随》那部影片，六千刀，学到了本片的精髓处，沉默寡言，复杂空间中的穿梭，轻信与操纵，另外，我认为杰里米·西奥伯德神似罗伯特·米彻姆，他不安的表情是同样属于我们的。毕加索说的是真的，“好的艺术家抄袭，伟大的艺术家剽窃”，是不是这么说的？外文里本片有一个非常了不起的译名，“高高地绞死我，然后离开”，杰夫·贝利或马尔科姆为这个陈述给予了否定的答复。电影就应该从故事的正中央开始，有魅力的是有过去的人，黑色电影有魅力的地方在于我们会在尚未认同角色的时候就开始跟随他们，第一个谜是乔伊，第二个谜是杰夫，第三个谜是凯茜，但最神秘的仍是那个聋哑人，动机莫测的角色有许多，但丝毫不影响我们观赏他们的动作，对于电影行业来说，烟真不愧是比马提尼更好的发明。黑色电影都是俄狄浦斯故事，逃离命运就完全等于遭遇命运。你不可能在与过去完全和解的情况下全身而退，要么永远留在过去里，要么接受那些噩梦的袭扰，“或许是世界太小了”，“或许是牌子太大了”。杰夫因为有了墨西哥的田园诗，所以便有了旧金山的毁灭倾向，前半段靠空气里的激素维持我的兴趣，后半段靠空气里的血味儿。上半场发生的一切都是为了下半场做准备，迎接一场角速度巨大的正弦波。前半段的结束是枪声，那么后半段的结w束也将是枪声，丝丝入扣。从影片中段他回到漩涡之间开始，熵增得格外剧烈，被陷害，发现自己被陷害，通知他逃跑，他不逃跑，被杀，藏尸并诱导出真相，找到文件，发出文件，重新被抓，暗杀，被鱼钩挂线摔死，拆穿真相，作交易，交易者被杀，逃离此地，备枪，报警，被警察包围，在我们放心杰夫总算没有被凯茜诱骗时，他却直接在车上被那把枪打死，一切只在数秒之间，任何人可以操纵任何人，任何人可以没死，任何人也可以死了。本来无论安娜或保罗都未建立起什么丰富的形象，好在聋哑人那个答案意料之外又在情理之内，多亏它延缓了这个短平快故事结束的速度，多亏它制造了余韵。凯茜大概是那个年代大银幕上与这段时间观影以来我最喜欢的女主角……再差也是之一，她的存在就是电影本身，短促而虚幻，野蛮而优雅，因其外在的漂亮而更加危险——这样讲的我有在进行男性凝视吗？当你进入电影院时，你就自认如甲鱼落入瓮中，最好的艺术家让人晓得这个圈套的存在，但你依然身陷囹圄，出于某种很原始的欲望。优秀的倒叙，希区柯克那句话，“一部好的电影是同一个主题下好几部电影的拼合”。第一个故事是杰夫的回忆，通知观众这位姑娘就一大骗子，第二个故事则企图再把你放进同一个圈套里骗一遍，创作者对于危险进行了一次预先张扬，而你甘之如饴，生存还是毁灭里面，你主动选了后者，只是因为需要确认一遍前半部分感受到的那种浪漫是不是真的，必然是。我对于这部电影后半段对她的处理其实稍有不满，希望她保守的秘密能再多些。我们当然可以识破，但我们当然享受一切被识破之前。那个对白台词非常有趣，也准确地揭示了杰夫的命运，我忘记是凯茜对谁讲的了——“他早就该死”，“给他点时间吧”。