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A young Canadian nurse (Betsy) comes to the West Indies to care for Jessica, the wife of a plantation manager (Paul Holland). Jessica seems to be suffering from a kind of mental paralysis as a result of fever. When she falls in love with Paul, Betsy determines to cure Jessica even if she needs to use a voodoo ceremony, to give Paul what she thinks he wants.
長(zhǎng)篇影評(píng)
1 ) [Film Review] I Walked with a Zombie (1943) 6.7/10
an obsolete Hollywood novelty capitalizes on the now time-honored zombie trope by the maker of CAT PEOPLE
A Hollywood primordialexploration of the now time-honored zombie trope, running around a svelte 69-minute and with the filmmaker who previously brings us CAT PEOPLE (1942), I WALKED WITH A ZOMBIE holds its own in its compact narrative that takes place in theCaribbean island of Saint Sebastian, where the wife of a sugar plantation owner has slumped into a zombie-like state, viz. a living dead under the spell of voodoo magic.
Audience are whisked onto the tropical land with our heroine, a Canadian nurse Betsy Connell (Dee), who snatches the well-paid job to minister to the aforementioned wife Jessica Holland (Gordon), whose first apparitional appearance is a mild hair-raiser, and instinctively swoons for her hubby, Paul Holland (Conway), a suave gent ailed by a pessimistic streak, the first thing he tells her is that "everything is putrescent”. As she dedicatedly takes it on herself to bring Jessica back to the living world, a manifestation of her lofty affection to the man she loves, and is out of step with a more plausible self-serving/possessive maneuver that more likely pops up in the context of romantic pursuit, her last resort to work the miracle hinges on the local voodooism, and the most atmospherically stirring sequence is where she chaperones a sleep-walking Jessica across a nocturnal cane field interspersed with memento mori, to attend an occult ceremony and is appalled by the sight of a dead-fish-eyed guardian Carrefour (Jones), an archetypal zombie embodiment that might give viewers at then nightmares.
DirecterJacques Tourneur, cunningly straddles the explanation between scientific diagnosis and ethnic necromancy, also configuresa bare-bones JANE EYRE plot to leaven the narrative, although Frances Dee flourishes as a gamely virtuous can-doer, and theater dab-hand Edith Barrett upstages the rest with a layered rendition as Mrs. Rand, Paul’s mother, whose evasive culprit identity actually counterpoints her palpable bonhomie, the film per se is too much an obsolete novelty to be seriously reckoned as a masterwork, not even with the help of Sir Lancelot’s calypso invention, especially when he is unceremoniously introduced as a Janus-faced fabulist (apologizing first, scandal-disclosing later).
referential film: Tourneur’s CAT PEOPLE (1942, 7.0/10)
2 ) Chris Fujiwara評(píng)《與僵尸同行》
Tourneur preferred I Walked with a Zombie to Cat People and frequently cited it as one of his favorite films. Of all Tourneur’s films, I Walked with a Zombie goes farthest in the direction of pure cinematic poetry and the use of sounds and images purely for their “power of suggestion,” a power enhanced by the film’s narrative strategies, whose insistent ruptures, enigmas, and contradictions force the viewer to give up the attempt to read the narrative in a linear way. The film also expresses more directly than any other Tourneur film the essential features of his view of life: refusal of condemnation; respect for cultural difference; and the awareness of a permanent unknowability behind the lives and motives of people, their relations with each other, and their place in the cosmos.
3 ) 與僵尸同行
附：伏都教
http://baike.baidu.com/view/103891.htm
http://www.onewitch.url.tw/voodoo.htm
伏都教最著名與最恐怖的特色是活死人，即是僵尸。如果有人開(kāi)罪別人，那人會(huì)找巫師，巫師會(huì)讓他吃下河豚毒素，他會(huì)進(jìn)入奇怪的假死的狀態(tài)，成為奴隸，在莊園干苦工。
推薦網(wǎng)站：http://www.onewitch.url.tw/new.htm
I Walked with a Zombie維基百科
http://en.wikipedia.org/wiki/I_Walked_with_a_Zombie
#BFI# #In Dreams Are Monsters# 敘事上，這么短的篇幅卻把幾個(gè)方向都說(shuō)的非常是清晰也是非常不錯(cuò)了，尤其是對(duì)于殖民與被殖民之間關(guān)系的構(gòu)建非常簡(jiǎn)潔且直觀。影片的視覺(jué)效果很棒，尤其是光影的處理，幫助構(gòu)建角色和懸疑驚悚感，還有幾處柔焦的處理也非常不錯(cuò)。聽(tīng)覺(jué)上，太喜歡了，尤其是環(huán)境音，風(fēng)吹過(guò)骨頭和鏤空的器物發(fā)出的聲音。喜歡：交叉剪輯家中施法現(xiàn)場(chǎng)的時(shí)候鼓聲那種遠(yuǎn)近切換制造的緊張感和結(jié)尾的處理我覺(jué)得也非常的好。不喜歡：剪輯有時(shí)候非常跳脫，容易出戲。局限在時(shí)代中的那愛(ài)情，以超自然復(fù)仇和愛(ài)情建立了一個(gè)父權(quán)感比較強(qiáng)的關(guān)系，有些擰巴。
殖民者與被殖民者互相圍困控制，殖民者眼中被浪漫化的“異國(guó)風(fēng)情”和存在于臆想中的他者形象（作為“異族”的當(dāng)?shù)睾谌?、受支配的女性）被巫術(shù)故事?lián)羝?，作為Noir化、神秘化的《簡(jiǎn)愛(ài)》，它呈現(xiàn)出了令人驚嘆的豐富多義（連作為謎底的“母親下毒是否有用”也和《豹族》中“野獸逃脫還是豹人作祟”一樣存在開(kāi)放討論的空間）。當(dāng)然，和《簡(jiǎn)愛(ài)》一樣，它本質(zhì)上依然是一個(gè)愛(ài)情故事，浪漫的底色是陰森的氣氛、詭異的巫毒儀式都遮掩不住的。"Everything good dies here, even the stars.""They still weep when a child is born, and make merry at a burial."
太怨氣了。。唯一讓我覺(jué)得各應(yīng)的就是那個(gè)黑人。。╭(￣m￣*)╮
顯然，在“僵尸”這個(gè)概念里，有一些屬于影像最本真的東西。
與瀟瀟同行~搞到最后雷電華疑似又拍了個(gè)政治異域隱喻片？????
The mystery of Tourneur’s films comes not only from the complex, clouded plots that his protagonists seek to unravel but also from the unexpressed motives and unresolved interior conflicts of the protagonists themselves. Betsy, the nurse-heroine of I Walked with a Zombie, may unconsciously want her patient to die.
現(xiàn)在的審美...這哪里算恐怖
簡(jiǎn).愛(ài) PS：幽怨卻透著靈動(dòng)！
看到編劇一欄里寫(xiě)著夏洛蒂勃朗特，還納悶?zāi)?，居然就是改編自《?jiǎn)愛(ài)》，幾乎完全看不出來(lái)。片子拍的非常迷人，且精煉流暢、不落俗套。雅克特納是個(gè)不俗的導(dǎo)演，看過(guò)他五六部作品，都很別致。4星半。
RKO生產(chǎn)的僵尸恐怖電影?？购庥诋?dāng)時(shí)的環(huán)球的弗蘭肯斯坦系列。僵尸＝黑人和人類＝白人的二元對(duì)立。白人對(duì)異文化的一種恐懼。
不錯(cuò)的點(diǎn)子.拍得很Noir.
2009.2.21莫名其妙的一個(gè)電影。完全沒(méi)看懂。后排的女生唧唧咯咯笑個(gè)沒(méi)完沒(méi)了。看起來(lái)倒是沒(méi)那么恐怖了。據(jù)說(shuō)是所有僵尸片里面排名第五的... 那其他沒(méi)上線的電影得有多糟糕？
迷人的細(xì)節(jié)，Tourneur知道如何保存細(xì)節(jié)的魔力。
不像同時(shí)期的同類電影，也不屬于我們所熟悉的現(xiàn)代僵尸片，大多數(shù)僵尸片都在渲染恐怖，拒絕了劇情，而它專注的是伏都教巫術(shù)和復(fù)活死者的戲劇性，在某種程度上還是“黑色電影”。
雅克·特納的作品，最先是被影片的名字所吸引，想看看40年代的僵尸是什么樣的?，F(xiàn)在看來(lái)這部影片確實(shí)并不恐怖，懸念在于那個(gè)女人到底是僵尸還是疾病造成的。這居然是《簡(jiǎn)愛(ài)》改編來(lái)的，一開(kāi)始還沒(méi)意識(shí)到，細(xì)想一下兩者故事確實(shí)類似，只是側(cè)重點(diǎn)不同，影片對(duì)伏都教和招魂儀式的描寫(xiě)是個(gè)看點(diǎn)。
這是《蜘蛛女之吻》里莫利納講的其中一部片么，被他添油加醋改了好多東西，但還能看出來(lái)框架。
懺悔的哭聲，箭簇穿身的雕像 惡有惡報(bào)，愛(ài)有終結(jié)，走入大海結(jié)束一切，voodoo以及甘蔗林驚悚氣氛只是鋪陳，內(nèi)核卻是愛(ài)情故事，從哥特恐怖來(lái)說(shuō)稍微氣勢(shì)不足，太柔和了
電影沒(méi)有對(duì)神秘事物過(guò)分好奇，總體來(lái)說(shuō)對(duì)于Voodoo及Zombie還是懷揣敬畏之心。同時(shí)，雅克特納依然用擅長(zhǎng)的光影營(yíng)造恐怖懸疑氛圍，就是故事稍顯單薄了點(diǎn)。相比之下，《蜘蛛女之吻》里莫利納講述的故事就要飽滿的多。PS：這片子居然是改編自“簡(jiǎn)愛(ài)”，Respect！
維多利亞式哥特文本被置于一個(gè)異域風(fēng)情的背景之下，雅克·特納的B級(jí)影片總是關(guān)于Xeno，將非西方之物，非西方的影像或野性思維引入好萊塢影片之中，正如同在影片中，原住民的鼓點(diǎn)和咒語(yǔ)正在從聽(tīng)覺(jué)圍困這個(gè)作為西班牙殖民時(shí)期產(chǎn)物的白人=貴族領(lǐng)地。雅克·特納沒(méi)有像所有的好萊塢導(dǎo)演一樣通過(guò)視覺(jué)奇觀完成剝削電影，僵尸是知覺(jué)的，或是人類學(xué)乃至哲學(xué)的文本。觀看者不得不面對(duì)沉默，可怖又因?yàn)楣庥岸錆M強(qiáng)度的目光。影片松散改編自勃朗特的小說(shuō)，但是《與僵尸同行》最大的改動(dòng)在于Jessica的身體并不是“閣樓上的瘋女人”而是在高潮之前就已經(jīng)展現(xiàn)，空間既是去魅，又異常，所有生者和死者陷入某種中間狀態(tài)。在某個(gè)平行宇宙，《與僵尸同行》可能會(huì)是一部慢電影，但在這里仍然受到傳統(tǒng)運(yùn)動(dòng)-影像機(jī)制的限制而無(wú)法窮盡自身。
很奇妙的是電影體現(xiàn)的美式主流價(jià)值觀，發(fā)乎情止乎禮的愛(ài)情值得被表?yè)P(yáng)，淫奔必須死