《丑惡》印度犯罪懸疑劇情片，靈感來自真實(shí)事件，圍繞失蹤的小女孩展開了一個(gè)關(guān)系復(fù)雜，撲朔迷離的綁架案件，而所有形形色色的角色也在這個(gè)綁架案的調(diào)查過程中露出了他們丑陋的嘴臉和罪惡的人心，這種對(duì)人性丑惡的揭示比綁架案本身更讓人震驚。
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       影片開篇就是對(duì)生活感到絕望，近乎崩潰的妻子（夏莉妮）意欲吞槍自殺，而被回家的女兒打斷，鏡頭交代了其現(xiàn)任丈夫是一位警察（特偵組組長(zhǎng)伯斯），而和前夫的女兒期待著自己的親生爸爸（拉胡爾）打電話給自己，因?yàn)榻裉焓侵芰鶊F(tuán)聚的日子，短短幾個(gè)鏡頭就把最重要的4個(gè)人物都交代了一遍為本片奠定了基調(diào)。隨后鏡頭一轉(zhuǎn)，出現(xiàn)了被警察公然索賄的攝制組，伯斯的小舅子（希達(dá)特，也就是妻子的弟弟）想找伯斯走后門走私手機(jī)等一系列違法活動(dòng)，拉胡爾開車從前妻那接上女兒去找自己的朋友（柴坦尼亞）看劇本，就讓女兒在車?yán)锏人Y(jié)果女兒失蹤了，兩人到處尋找，有一個(gè)可疑的家伙逃跑了，兩人在后面追，結(jié)果那個(gè)可疑的人慌不擇路被汽車撞死了。
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       之后鏡頭來到了警察局，兩人把前因后果都交代了一遍，警察態(tài)度散漫戲謔，不去關(guān)注女兒的失蹤這個(gè)事實(shí)，卻揪著兩人敘事的細(xì)節(jié)和一些無關(guān)緊要的瑣事嚴(yán)加盤查，其玩忽職守，可惡可憎的嘴臉令人印象深刻，后來警察發(fā)現(xiàn)女兒的后爸是特偵組組長(zhǎng)，才認(rèn)真起來，派人去調(diào)查。伯斯在得知女兒在妻子前夫手里失蹤后，根據(jù)其竊聽妻子電話的錄音，以及大學(xué)時(shí)對(duì)拉胡爾的憎恨，指控是拉胡爾綁架了自己的女兒，在毫無確切證據(jù)的情況下對(duì)其施暴，以權(quán)謀私，痛痛快快的發(fā)泄的一通并關(guān)了起來。柴坦尼亞為了救拉胡爾出來，冒充是綁匪給拉胡爾打電話，伯斯信以為真，以為綁匪另有其人，就放棄了被汽車撞死的可疑的人這個(gè)線索，之后查到電話是柴坦尼亞打來的，就把他抓了起來，同時(shí)拉胡爾在醫(yī)生給他看傷時(shí)趁機(jī)逃了出來，他給柴坦尼亞打電話，說想要到媒體去曝光這件事，伯斯不想讓媒體知道這件事，也從拉胡爾的電話中判斷出他倆并不是綁匪，就把他們倆都放了并承諾會(huì)找到女兒。之后警方展開了一些列的調(diào)查行動(dòng)，卻依然沒能找到女兒。
       柴坦尼亞因?yàn)閭_(tái)高筑就假扮綁匪，打電話給拉胡爾勒索錢財(cái)，拉胡爾嚇壞了，就打電話給柴坦尼亞尋求幫助，柴坦你也建議把事情告訴伯斯，讓他幫忙籌錢，拉胡爾拒絕了，而這個(gè)通話已經(jīng)被伯斯監(jiān)聽了。拉胡爾的女朋友拉姬把綁匪索要贖金的事情告訴了女兒的母親夏莉妮，拉胡爾不想去求伯斯，就想到去搶劫珠寶店來籌錢，在買槍的時(shí)候被警察發(fā)現(xiàn)了，柴坦尼亞被抓，拉胡爾則趁亂跑掉了，警方通過調(diào)查發(fā)現(xiàn)勒索電話可能是柴坦尼亞打的，就讓拉胡爾去當(dāng)間諜套話，正巧期間又接到了一個(gè)勒索電話，警察由此排除拉胡爾和柴坦尼亞的嫌疑，去追逐新的線索，而這個(gè)電話實(shí)際上是拉胡爾的女友拉姬打的。
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       在綁架案登上報(bào)紙后，伯斯的小舅子希達(dá)特看到了，為了錢就打勒索電話給自己的姐姐索要贖金500萬，夏莉妮去找自己的爸爸幫忙籌錢時(shí)要了650萬，多出的150萬是她趁機(jī)為自己要的，這一幕真的讓我心寒，母親竟然為了錢在自己的女兒的贖金上做文章，實(shí)在是不可思議，隨后弟弟取走了姐姐給的500萬贖金，姐姐把多要的150萬放在了拉姬那，至于女兒的下落，當(dāng)然是毫無頭緒了！找不回女兒的妻子傷心之余，想到現(xiàn)在的丈夫伯斯僅僅是為了報(bào)復(fù)拉胡爾過去的欺侮而娶了自己，整天囚禁起來，就拿起那把準(zhǔn)備自殺用的槍射向了伯斯，警察查到妻子接到的勒索電話來自于小舅子希達(dá)特，趕過去把正在狂歡的他抓了起來，而拿到150萬的拉姬則和柴坦尼亞一起準(zhǔn)備跑路，他們繼續(xù)勒索拉胡爾，讓他按照自己的指示把錢送過來，拉胡爾按照指示，最終見到是好友柴坦尼亞，以為自己的女兒真的是被他綁架的，然后現(xiàn)在已經(jīng)被放了，誰知在后來和警察的通話中才知道原來女兒并沒有找到，憤怒絕望的拉胡爾痛扁柴坦尼亞，柴坦尼亞一心只想著贖金，根本就沒有關(guān)心過拉胡爾女兒的死活，而拉胡爾跟著柴坦尼亞一起準(zhǔn)備跑路，說明他也已經(jīng)放棄了對(duì)女兒的撫養(yǎng)，誰知到頭來一切的行動(dòng)根本與解救自己的女兒無關(guān)。
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       最終，警方回到最初被汽車撞死的可疑的人那條線索，經(jīng)過很簡(jiǎn)單的調(diào)查就找到了女兒真正的所在，不過可憐的女兒已經(jīng)被活活餓死了！伯斯看著女兒死去的慘狀，淚水溢滿眼眶，歌曲響起：您活著的這個(gè)世界還有光明嗎，爸爸？我將墜落，如同黑暗夜空里的一顆流星。。。
       片子悲劇收?qǐng)?，所有人都在這場(chǎng)類似鬧劇的營(yíng)救過程中機(jī)關(guān)算盡，用心良苦，花樣百出，然而最后付出的代價(jià)是小女孩無辜的死亡和對(duì)這個(gè)世界絕望的凝視。大人們能看到仇恨，金錢，利益，報(bào)復(fù)，情欲，貪念，卻看不到無辜的小女孩正在等著人來救她，似乎在人性的丑惡面前，所有的善念和理智都已退避三舍，令人不寒而栗?？赐赀@部片子心里哇涼哇涼的，對(duì)人性丑惡的一面揭示的如此徹底，讓人近乎崩潰，IMDB萬人8.2高分神片，小舞舞4星顫抖推薦！

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一樁簡(jiǎn)單的綁架案，在丑惡人性的圍堵下，變得荒誕不經(jīng)、曲折離奇，通向光明的出口近在咫尺，卻又遠(yuǎn)在天邊，人們走失在人性堆砌的迷宮里而不自知，最終在一個(gè)漆黑的夜里，吞下一顆丑惡人性灌溉的苦果。

丑惡的人性幾乎從一開始就介入了案件的調(diào)查。癡迷官僚主義的警司，不著急詢問案情，而一味的擺架子，刁難報(bào)案人，在影片中，這段劇情被演繹成了難熬的8分鐘，8分鐘在警司無意義的纏問、打斷、阻撓中，漫長(zhǎng)如一個(gè)世紀(jì)！而當(dāng)你感到萬分憤怒時(shí)，卻發(fā)現(xiàn)這僅僅是開始，當(dāng)你想指責(zé)官員的玩忽職守時(shí)，卻發(fā)現(xiàn)這并不是故事中最惡劣的部分，畢竟他們和小女孩非親非故！隨后，女孩的繼父、舅舅、媽媽、父親以及父親的女友、朋友，紛紛在案件的引導(dǎo)下，暴露出隱藏內(nèi)心許久的丑陋脾性，他們中沒有一個(gè)將女孩的安危置于首要，而是紛紛撥弄起自己的小算盤，有人要報(bào)大學(xué)時(shí)期的仇來泄憤，有人想乘機(jī)訛上一筆巨款來償債......這些可都是和小女孩沾親帶故的人啊！有的甚至是至親！時(shí)間在滴答滴答中流失，丑陋的人性在不斷發(fā)酵，女孩的生命也在慢慢逝去，影片“好心”的適時(shí)播報(bào)日期，但所有人都無動(dòng)于衷，觀眾則因漸漸在荒誕的故事里品嘗到一絲惡趣也變得樂觀起來：也許小女孩根本沒有被綁架，一切只是個(gè)鬧劇。





結(jié)局實(shí)現(xiàn)大反轉(zhuǎn)的影片并不少見，但本片仍然成功的制造了巨大的震撼效應(yīng)。常見的反轉(zhuǎn)模式，都旨在炫耀智商而給出一個(gè)精妙絕倫的答案，而本片卻逆向而行，它給了觀眾一個(gè)無比簡(jiǎn)單卻又萬分殘酷的答案，這與之前看似復(fù)雜又令人發(fā)笑的案情，形成強(qiáng)烈的反差，甩了丑惡人性一個(gè)狠狠的耳光——案情本就如此簡(jiǎn)單，是人性的丑惡迷惑了雙眼，錯(cuò)失了營(yíng)救小女孩的時(shí)機(jī)——小女孩被活活餓死，開始腐爛的尸體，象征著人性的墮落，而她手里揣著的那張笑臉面具，看來極其詭異，一如惡魔得逞后得意洋洋的模樣。



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當(dāng)看到結(jié)局時(shí)，我們不由得要為影片中所有的丑陋角色感到不恥，甚至要為自己感到不恥，畢竟我們?cè)谟^看整個(gè)營(yíng)救過程中，也沒有展現(xiàn)半分的焦慮，而是心安理得的看著這些丑陋角色的荒誕演出，并自感優(yōu)越的進(jìn)行一些劍走偏鋒的猜測(cè)，這正是影片最出彩之處，它刻意用荒誕的基調(diào)來刻畫角色的丑陋內(nèi)心，誘導(dǎo)觀眾產(chǎn)生惡趣，失去本應(yīng)有的理智與道德感，簡(jiǎn)單殘酷的答案某種程度上，也是一種變相的智商碾壓，它用逆向思維調(diào)戲了所有人，包括觀眾。這種調(diào)戲在女孩舅舅訛詐得巨款后，變得尤為突出，這個(gè)肥胖的男人，將鈔票綁在肥膩的腰間，在夸張聒噪的音樂里，死命的扭動(dòng)身體來歡慶，畫面以橙、藍(lán)互補(bǔ)色，凸顯出鮮明的色彩對(duì)比，像是在配合展現(xiàn)這個(gè)男人爆富之后的瘋狂，當(dāng)時(shí)我只感到一種莫名的喜感，而結(jié)局過后，回想這一切，我仿佛看到了小女孩因饑餓而垂死掙扎的畫面在色彩的涌動(dòng)中、音律的跳動(dòng)中，發(fā)出凄厲的哀鳴，我頓感喉嚨一陣發(fā)澀。




不由想起去年的國(guó)產(chǎn)片《心迷宮》，同樣也是一樁簡(jiǎn)單的案件，在各個(gè)角色暗懷鬼胎的引導(dǎo)下，變得荒誕、離奇，不過它對(duì)人性丑陋的揭露遠(yuǎn)不及這部印度片，故事被設(shè)定為誤殺案本身就性質(zhì)偏中，而受害人也非善男信女，且身患重疾，看起來該死也本就會(huì)死，惡性程度被進(jìn)一步弱化，隨后的陰差陽錯(cuò)，與本片一樣，顯得惡趣連連，但最終收尾在一個(gè)平淡的結(jié)局中，誰也沒有因?yàn)樽约旱男∷惚P而變得罪孽深重，而本片則要?dú)埧岬亩?，基本上所有的人都難逃罪責(zé)，人性迷宮的每一步都沾滿血腥味兒，因此《心迷宮》還能以一個(gè)相對(duì)中性的片名來定義，本片直接被冠以《丑惡》，觀眾也許能怡然自得的觀看前者，卻絕對(duì)無法在觀看過后者還能保持心安理得。

印度影片常見的歌舞串場(chǎng)在本片中被抹去，顯然是為了保持一種嚴(yán)肅的態(tài)度。誰說印度影片只會(huì)唱歌跳舞，在真相面前，他們一向犀利而不是手軟，此片就是例證！說到這里，不由又想起影片開始時(shí)的字幕：本片靈感來源于真實(shí)事件。瞬間感覺人整個(gè)都不好了。

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想看更多有關(guān)印度電影的評(píng)論，歡迎訂閱公眾平臺(tái)“Indianmovie”。

There are many events throughout the whole movie which included search and suspicion of characters around story but they are not narrated here

Kali is a 10 year old daughter out of the divorced couple Shalini Bose (Tejswini Kolhapure) and Rahul Kapoor (Rahul Bhat). Rahul pickup Kali on Saturday - the only day on which he is allowed to take out his daughter. Between their way towards a cartoon movie they stop for awhile to meet Chaitnya Mishra (Vineeth Kumar), Rahul's best friend for a quick audition of struggling actor Rahul. Kali rejects to come with him and she sits in the car on a crowded Mumbai street and ask Rahul to come back soon. Rahul waits for his friend Chaitnya at his home leaving car parked with Kali in the street.



While waiting Kali sees a mask-vendor who is trying to sell animal masks and Kali is attracted (but does not get out of car,presumably) Chaitnya comes after few minutes to meet Rahul and says Kali is not in the car and the door was open. Rahul runs to find and Chaitnya follows him. They ask everyone on street if they saw any little girl but nobody answer. Chaitnya spots the mask vendor Shrilal (Murari Kumar) and ask him but Srilal do not answer and stare instead. Chaitnya sees that Shrilal is having iPhone of Kali and ask him how did he had that phone. Shrilal runs and both Rahul and chaitnya follows. In a long chase, Shrilal gets hit by a car/truck and dies instantly.



Rahul and Chaitnya goes to police station to meet Inspector Rane (Sandesh Jadhav) to file missing report of Kali and death of Shrilal. While the continues unwanted, not-so-funny questions by Rane and his team to Rahul, Rane ask Rahul's home number to call. Rane realise after dialing that the number belongs to his Head and Senior Inspector Shoumik Bose [nm0747172] who is a very rough, rude but yet respected and honest police officer. Thus concluding that Shoumik is step-father of Kali. Rane calls Shoumik and he arrives instantly at police station. Police goes to Shrilal's house to see if he has kept Kali there but there is only Shrilal's aged aunt who denies having kidnapped any kid. Police search arounds but do not found Kali. Shoumik hits Rahul and Chaitnya very much and we see in flashback that all Shoumik, Rahul and Shalini were in same college where Shoumik and Rahul both wanted Shalini but Shalini was attracted to much handsome Rahul and Shoumik was teased a lot. In today, Shoumik blams Rahul for the kidnapping of Kali because he can't meet her daily and Shalini keeps her away from him because of his drinking habit. But later it is revealed that Kali is not kidnapped by Rahul.



Chaitnya, who is having lots of pending dues to pay make a fake call to the Rahul asking for a ransom amount of Rs. 10 Lacs but before Rahul can arrange money Chaintnya's call is traced and Rane catches and again hits Chaitnya very much to find out if he has Kali. Shoumik ask Rahul to talk with Chaitnya to find out where is Kali but it is revealed again after few scenes that Chaitnya is also not behind the kidnapping. Between we again see a flashback that after marrying Rahul, Shalini was not happy since Rahul didn't had any job as actor and they lived in a very small room without money for very long. Kali was born and aged 5 years around. Chaitnya visits Shalini and Shalini who is angry and bored from money-less dull life and fighting life mixes a very little amount of sleeping powder in Kali's milk for her own greed of satisfaction and spends night with Chaitnya. Shoumik married Shalini when once Shalini was beaten cruelly by Rahul but Shoumik never loved Shalini the way a husband do.



We are introduced by Rakhi Malhotra who is best friend of Shalini but is having affair with Shalini's first husband Rahul leaving her own husband aside. Rakhi is a struggling actor like Rahul and is out of money. She also takes advantage of Kali's kidnapping by calling for ransom and asking sum of Rupees 20 Lacs. To arrange this money Rahul goes to loot a jewelry store but is failed. Other than this, Shalini's brother Siddhant (Siddharth Kapoor) who is a local smuggler and is out of money also tries to dig gold by calling Shalini for ransom and asks 50 lacs. Shalini, again, greedy for money and bored from husband adds her own amount and ask from her father total of 65 lacs for ransom and says that kidnapper has strictly said not to tell Shoumik about this. Her Father arranges money and Shalini after deducting her own amount and gives rest to Siddhant not knowing that it is him who is asking and not any kidnapper. Shoumik comes to know this and goes to Shalini shouting that she cheated her father - and ask where is remaining amount and Kali is not coming home this way. We see in flashback that Shalini has asked Rakhi to keep 15 lacs secure. but Rakhi runs away with money including team of Chaitnya and Rahul. Shoumik tells this to Shalini and an outraged Shalini shoots Shoumik with gun and Shoumik is injured on shoulder. Siddhanth is caught red-handded with money.



Later, Shalini runs away from home without saying any thing. Shoumik, after not finding his daughter seating alone attends a call from Rahul where Rahul tease Shoumik but he is not affected by any of it and says whether or not Rahul is having Kali with him; just answer yes or no. Rahul puts the phone down and hits Chaitnya shouting that Chaitnya ensured Rahul that Shoumik is behind Kali's kidnapping but he does not have her and Chaitnya did all of these for money and Rahul (assumably) kills Chaitnya in that fight. While this, Rakhi runs away with all money alone.



Next day we see that police department gets a call complaining about Shrilal's old-aged aunt from Lucknow, Uttar Pradesh police station for child-kidnapping. A police detective meets the aunt and tells her if she knows anything about Kali then speak. She does not say anything but later she approaches the same deserted market area from where Kali was missing very early morning and police detective follows her. Later, police detective call Shoumik to come with team at same place as Kali is found. In the last scene of movie, Shoumik and his team comes to that discarded area of market, where Kali was kept bounded from hand and mouth and she is dead. Her whole body is fungus-ed. due to being dead from last so many days. police detective tells Shoumik that she was here the whole time and we could have saved her. She was drugged and kidnapped by Shrilal.

The story tells us a reality of the cruel world by depicting money-greed friend, outraged first husband, senseless brother, money derived and betraying friend and wife and rude police officer. All of them wanted more than what they already had and while all of this - they all lost a little innocent girl. It is seen that even though none of them can be blamed - all of them were murderer.

托馬斯·阿奎那論證上帝的存在時(shí)曾援用過亞里士多德的理論：萬物都是運(yùn)動(dòng)的，每一物體的運(yùn)動(dòng)必然要有一個(gè)推動(dòng)者，由此類推，最終定然有一個(gè)靜止的第一推動(dòng)者，這是世間一切運(yùn)動(dòng)的起源和動(dòng)機(jī)，也就是“神”。這個(gè)論證可以類比到幾乎所有偵探或者犯罪小說中，故事中的罪犯角色就是萬事之源，是“第一推動(dòng)者”，而偵探或者警察絞盡腦汁，從最明顯的因果關(guān)系開始一步步往回推，直到找到第一推動(dòng)者，讓故事完整。

而《丑惡》似乎是個(gè)反例：所謂第一推動(dòng)者推了一下之后，還未曾現(xiàn)形就消失了，其他人物卻一個(gè)接一個(gè)地充當(dāng)推動(dòng)者的角色，一件件舊事儼然都成了事件表面而下的洶涌暗濤，最初的推動(dòng)者卻越發(fā)不可見。讓一宗原本簡(jiǎn)單的綁架案變成牽涉到種種舊仇新罪的復(fù)雜事件，讓每個(gè)牽涉其中的人物都顯露出丑惡的一面，觀眾更是幾乎忘了原來的案件是什么。

原先的案情一句話就可以概況：演員Rahul Varshney （又名Kapoor）與前妻Shalini的女兒Kali被人販子綁架，雖然人販子很快就露出了馬腳，但是在綁匪身份曝光之前就意外身亡。真兇已死，理論上不會(huì)再出現(xiàn)推動(dòng)案情繼續(xù)發(fā)展的事件，此時(shí)卻出現(xiàn)了主動(dòng)取代推動(dòng)者角色的人物：Rahul的朋友Chaitanya，這是第一個(gè)代替消失的綁匪勒索的角色。隨后其他人物紛紛插手添亂：Rahul和Shalini當(dāng)警長(zhǎng)的新丈夫?yàn)榱水?dāng)年的種種私怨糾纏不清，Rahul家暴妻子的舊事更是被當(dāng)做這位落魄演員離婚、失去監(jiān)護(hù)權(quán)和綁架自己女兒的最初動(dòng)機(jī)，兩人間的相互懷疑原是由于情敵之爭(zhēng)；Shalini的弟弟也假借綁匪給姐姐打電話索要贖金；Shalini本人則在500萬贖金的基礎(chǔ)上向富豪父親多要了150萬以飽私囊，她的朋友Rakhee趁機(jī)貪掉了這150萬；就連電影開頭義正詞嚴(yán)地拒絕與走私販同流合污的警長(zhǎng)Shoumik Bose（也就是Shalini的新丈夫，Rahul大學(xué)時(shí)代的情敵）也露出了心如鐵石的一面：他娶Shalini到底是為了愛，還是僅僅為了報(bào)復(fù)Rahul？是他對(duì)妻子的冷漠，讓電影第一個(gè)鏡頭里遲遲下不去開槍的手的Shalini最終扣動(dòng)了扳機(jī)……旁觀者看著這些人物爭(zhēng)先恐后地推波助瀾，讓自己雙手染上罪惡的黑色，懷疑“第一推動(dòng)者”是傲慢愚蠢的前夫，是不忠的朋友，是虛榮的妻子，是貪婪的情人，是趁虛而入的弟弟，是冷漠的新丈夫，當(dāng)然也可能是最開始就死了的那位。旁觀者和這些人一起忘記被綁架了很久的小女孩。于是我們看到，故事在綁匪這個(gè)關(guān)鍵角色缺失的情況下走到了最后，而且是受害者慘遭撕票的黑暗結(jié)局。

如此眾多的矛盾集中在這幾個(gè)人物身上，假使Kali沒被綁架，他們中也許早晚有人會(huì)犯下同樣的罪行。而在電影里，無論哪個(gè)人物最終冒充綁匪打了電話，原先的犯罪故事的結(jié)局都是一樣的：Shalini的父親損失金錢，Kali會(huì)因無人過問而餓死。整部電影的敘事結(jié)構(gòu)仿佛一個(gè)有多條不同路線的迷宮，有著確定的入口和出口，抑或一架復(fù)雜精致的機(jī)器，一旦運(yùn)作起來，無論觸動(dòng)其中哪個(gè)零件，最后一個(gè)閘門都會(huì)被推動(dòng)。這樣的故事讓人懷疑，所謂犯罪故事中的“第一推動(dòng)者”，到底是不是只有角色上的意義，換誰來推一把都是一樣的？

或許可以把犯罪故事當(dāng)做敘事文本來解釋吧：文學(xué)學(xué)從不說故事是人物（Person）或者角色（Figur）構(gòu)成的，敘事文本的最小組成單位是“動(dòng)機(jī)”（Motiv），也就是一個(gè)一個(gè)細(xì)小的主題，比如某兩人之間的愛和恨，再比如某一場(chǎng)戰(zhàn)爭(zhēng)等等。它是情節(jié)（Handlung）出現(xiàn)和存在的緣由。關(guān)于《丑惡》這部電影，如果我們?yōu)槊恳粋€(gè)主要角色的行為尋找動(dòng)機(jī)，能找到太多：情敵間的仇恨和嫉妒，夢(mèng)想破碎后的頹唐，貪婪……而如果為這些動(dòng)機(jī)尋找共同點(diǎn)，那只能是每個(gè)人身上的自私。故事的開頭和結(jié)局都是因?yàn)樽运?，中間的每一重謊言、每一次背叛也是因?yàn)樽运健９适轮v到最后，真犯的生死不如其他角色的爾虞我詐重要，人物的過往和未來也可以用那唯一的動(dòng)機(jī)取代：最初就是一只自私的手推動(dòng)了整個(gè)事件，是誰的已經(jīng)不重要了。

所以在我看來，這部電影的意義在于，它首先還不是一個(gè)有關(guān)追查罪犯的情節(jié)式犯罪片，而是將情節(jié)一層層地剝離掉，最終找到的不是“第一推動(dòng)者”這個(gè)特定角色，而是最深處的動(dòng)機(jī)，讓人嗅到風(fēng)波迭起的情節(jié)下面，那一潭死水般的人性黑暗——而既然角色和情節(jié)一起，在這潭死水中失去了個(gè)性，觀眾也就應(yīng)該叩問一下自己，同樣的情況下，自己是否也會(huì)隱在那深潭中，趁亂伸出一只自私的手。