第10屆#法羅島電影節(jié)#主競賽單元第9個(gè)放映日為大家?guī)怼秹櫬涞呐枷瘛?，下面為大家?guī)砬熬€天真孩子的世界坍塌的評價(jià)了！

果樹：

劇作的勝利。每一個(gè)人物與部件都被有機(jī)調(diào)用，合力拼接成這部佳作。

我們敏熙：

好一出捉迷藏，孩童的旁觀視角帶來對房子空間感、縱深感的細(xì)致描繪。

法羅島島主：

絕妙的構(gòu)圖，陰差陽錯(cuò)的劇本構(gòu)思，兒童迷失在成年人道德坍塌的世界里。

野凡：

絕對不要低估孩童的感知能力。影片從孩童的角度出發(fā)，講述出于他那充滿天真的善良而穿梭在謊言中的故事?？上У氖怯捌捎昧似戒佒睌⒌臄⑹路绞剑疵庥行┤狈@喜。

Bob Chow：

從孩童的視角看謊言這個(gè)主題并沒有被擴(kuò)張而是限定在了一個(gè)既定空間內(nèi)的事件，且視角切換的時(shí)候并沒有通過影像給予必要的銜接和身份。孩童的邏輯充斥著不合理性而不是非合理性，落入了純粹的敘事和推進(jìn)而不是共情。

kc512：

道德灰色地帶、情欲引發(fā)罪?，廣義上的黑色電影，只是黑色電影不會(huì)有小孩，因?yàn)闊o罪符號不會(huì)出現(xiàn)在犯罪世界。因此以小孩視覺出發(fā)成了雙面刅，一方面小孩看待事情的無知產(chǎn)生戲謔，有諷刺效果；但另一方面也滅殺了一個(gè)有潛力發(fā)展成風(fēng)格化黑色電影的點(diǎn)子，最終導(dǎo)致無論是諷刺或致郁都不夠力度。影像倒是很有力量，Carol Reed招牌Dutch Angle驚艷。

子夜無人：

對孩童視角的捕捉極具開創(chuàng)性，很多的鏡頭調(diào)度和語言設(shè)計(jì)都啟迪到了后來的電影，但更重要的是那股被內(nèi)化的窺私、挾制的氣質(zhì)得以被具象呈現(xiàn)出來。在他們對于黑白還是簡單分明的世界里，秘密是糖果而不是毒藥，天真往往因?yàn)闊o知而得以左右判斷，陰暗面仿佛并不真正存在而是幻化為童話故事里的惡龍、巫婆，謊言出于一廂情愿的保護(hù)而不是成人用來自我周全的欲望，竭盡全力的呼叫依然微弱到不值一提、因?yàn)楸惶^自然而然地?zé)o視掉而就此失語。最后他走向了始終沒有面目也沒有存在感的母親，看上去皆大歡喜，但沒有人知道發(fā)生了什么，有些東西已經(jīng)開始崩壞、紊亂。

#FIFF10#DAY9的主競賽場刊評分稍后會(huì)為大家釋出，請大家拭目以待了。

偷窺者，説謊者，傾聽者，保密者。 一位孤獨(dú)的孩童因?yàn)槌绨菡叩乃矫芮槭滤l(fā)的慘案在無意中扮演著多重角色：他窺探，當(dāng)他想得知“秘密”的意義；他説謊，當(dāng)他被'厭惡'的人逼迫或想捉緊喜愛之人時(shí)；他傾聽，當(dāng)他迷迷糊糊闖入婚姻的禁地時(shí)；他保密，當(dāng)他逝言順從并守口如瓶時(shí)。他還想充當(dāng)大人的保護(hù)者，為他镸久以來的陪伴者，尊崇者及私自以為的“謀殺者”辯護(hù)，他采取言聽計(jì)從的態(tài)度卻又不堪盤問；他撒謊，反而顛倒黑白，適得其反；然後他決定吐露真言，又被當(dāng)成麻煩以致被徹底無視。當(dāng)謊言與真實(shí)糾纏不休，把懵懵懂懂的孩子弄得無所適從，攪得頭暈?zāi)垦?，最後他帯著理不清的思緒投入到了陌生媽媽的桎梏與懷抱里。

This is an immemorial conundrum for a middle-aged married man in our monogamous society: whereas his wife becomes more and more embittered and insufferable, out of a stroke of luck (or desperation), he finds a possible new lease on life with a younger, beautiful woman, the strategy of bailing out from a dead-end marriage often goes awry when running afoul of a misery-needs-company retaliation from the deserted and begrudged. This is what happens in Carol Reed's THE FALLEN IDOL, adapted by Graham Greene from his short story THE BASEMENT STORY.

In London, Mr. Baines (Richardson) is the butler of the ambassador of an unspecified francophone country, whose wife (Dresdel, snarky, fierce and uncompromisingly obnoxious) also works in the embassy, but he is chastely enamored with a younger colleague Julie (Morgan), when the latter gently hands him her ultimatum, Mr. Baines decides to reclaim his freedom, only Ms. Baine is anything but a soft touch, she will fight her corner until her last breath, but is her falling to her death is an accidental windfall for Mr. Baines or his crime of passion?

In the eyes of an audience, the whole act is plain as day, but through the lens of our main subject, a young boy Philippe (Henrey), the son of the ambassador who is left alone in the palatial residence, Greene’s mordant tale points up a child’s innocence getting embroidered with the falsehood of the adult life, and who is the titular“the fallen idol”? It is Mr. Baines, an avuncular father figure to Philippe and entertains him with his tall-tale adventures in Africa, which doesn’t necessarily mean it is true. After incidentally discovering Mr. Baines’ assignation with Julie, whom he refers to Philippe as his niece (the jumping-off place of a concatenation of lies which would perniciously compound Philippe’s inchoate worldview), Philippe is subjected to an untapped territory of keeping secrets, firstly from the idolized Mr. Baines, then from a harpy Ms. Baines, until he has been caught between defending a murderer (at least from his perspective, no one would blame him for his conviction) and grappling with the horrific happenstance, although, the film dramatically blurs the moral line by depicting Ms. Baines as an utterly unpleasant creature (she is the one dispatches Philippe’s pet snake, an apt symbol of the reptilian treachery among adults), so much so that no one is supposed to feel sorry for her upshot, a broad stroke emanates a ghost of misogyny albeit conveniently enhancing the credibility of Philippe’s dithered reaction.

Yet by and large, the film is a cracking allegory taps into a grey area and ushered by a convincingly elicited child performance as our undivided focal point from a young Henrey, who is not exactly an acting prodigy and the end result should be equally attributed to Mr. Reed’s patient guidance as well as to this boy's expressive reaction shots.Ralph Richardson, establishing an impermeable veneer of decorousness and presence of mind nonetheless, carefully carries an undertow of cravenly helplessness writs large in the latter part before a rushed revelation saving the day. As for Michèle Morgan, as svelte as an indubitable attention-grabber, her part is thinly written and largely sidelined.

Against the grain of an arrestingBildungsroman, THE FALLEN IDOL potently accentuates Reed’s directional prowess and his impeccable knack of frame composition and handsome chiaroscuro, the shots of a nocturnal street-scape tellingly anticipates his defining pièce-de-résistance THE THIRD MAN (1949). For all its aesthetic inclination and profound perspicacity, when Philippe exasperatedly hollers that it is him who upset the vase, one feels unable to refrain from thinking that here is a step too far of Reed’s indoctrination, a conspiratorial contemplation in silence might have worked better under this circumstance.

referential point: Carol Reed’s THE THIRD MAN (1949, 8.3/10).