猜你喜歡
劇照
詳細劇情
長篇影評
1 ) 關(guān)于結(jié)局
前一小時的影片，節(jié)奏拖沓，甚至怒而想給2星，好在結(jié)尾將整體質(zhì)量挽回。
對于結(jié)局，IMDB上的解讀轉(zhuǎn)載如下（認為目睹謀殺以及找出真兇是男主的真實經(jīng)歷，而重新獲得出演吸血鬼的機會才是想象）：
Q: How does the movie end？
A: Holly admits that it was she, not Gloria, who was doing the erotic dance in the Revelle's window and storms off, calling Scully a pervert. Scully calls Detective McLean (Guy Boyd) and tries to explain how he was set up by Alexander Revelle to be witness to the Indian murdering Gloria. It takes some convincing to get McLean to believe his story, but he eventually asks Scully to come down to the station. Meanwhile, Holly has been trying to hitch a ride and been picked up by the Indian in his Ford Bronco. At a roadblock caused by an accident, Scully looks into the Bronco and sees the Indian hit Holly with a tire iron. Scully attempts to alert the police to the fact that the guy is attempting to kill Holly, but the police seem more intent on getting Scully back into his car so that they can move the traffic along. When the Bronco finally starts to move forward, Scully runs after it, scaling a fence and following them into a reservoir yard where he finds the Bronco and the dog inside growling and barking. Scully inches forward in the dark looking for Holly but is pulled into a deep pit by the Indian. Scully tries to defend himself. In doing so, he tears off the Indian's mask to find that the Indian is actually Sam. Sam starts to toss dirt over Scully, while Scully's claustrophobia starts to kick in. Knowing that he either has to act now or die, Scully visualizes himself back shooting his role as the vampire. Rubin the director (Dennis Franz) tells him that he'd better get it right this time, and Scully forces himself to scream. The dog breaks the window of the Bronco and comes tearing at him, but Scully ducks and the dog plows into Sam instead. Sam and dog go over the edge of the reservoir into the water below. Suddenly, Holly pops up beside him but refuses to listen to his explanation, calling him a "sicko" and preferring to stay in the pit. In the final scene, Scully is back on the movie set filming the shower scene, having convinced Rubin to give him back his role as the vampire. As they change the actress (Denise Loveday) for her body double, the credits roll. Holly stands nearby watching and tells the actress, "You're going to get a lot of dates when this comes out."
2 ) 沒創(chuàng)意拍電影，導(dǎo)演愛上“致敬”！
作為懸念大師，希區(qū)柯克的作品幾乎每一部都會給人留下深刻的印象，而且也會被后來者爭相模仿。這些恰恰是說明了希區(qū)柯克在懸疑電影領(lǐng)域的地位。與此同時，也能說明后來的創(chuàng)作者們對于新的創(chuàng)作方式的一種乏力。優(yōu)秀的作品總是會隨著時間的流逝逐漸的煥發(fā)出自己原有的光芒的，然而當一個行業(yè)開始踟躕不前的時候，致敬，這樣一種方式就誕生了。
今天給大家推薦的的影片是一部懸疑電影，本片就是《粉紅色殺人夜》。一個落寞的小演員杰克患有幽閉恐懼癥。因為他的這種病癥，杰克被丟掉了工作，屋漏偏逢連陰雨。杰克的女友出軌了，他不得不從原來的住所搬了出來。無家可歸的杰克在片場處處尋找住所，然而卻一直不可得。這個時候，一個叫做弗蘭克的男人出現(xiàn)了，他與杰克一見如故，兩個人很快在多個場合相逢，且成為了好友。
落寞的杰克認為弗蘭克是一個值得信賴的朋友，然而這樣的想法很快就得到了印證。弗蘭克得知杰克無家可歸，就將杰克引入了自己朋友的一間公寓，這間公寓的對面是一個身材曼妙的女郎，弗蘭克告訴杰克，每天晚上，這個女郎總是會大跳艷舞，杰克對此深信不疑，在弗蘭克的循循誘導(dǎo)之下，杰克發(fā)現(xiàn)了新世界。
弗蘭克走后，杰克以此為樂，在觀看到對面女郎的艷舞的同時，杰克還看到了另一件事情，一個印第安人也在覬覦這個女郎。某一天，外出的杰克恰巧遇到了女郎，兩個人你儂我儂好不快活，然而就在這個時候，印第安人偷走了女郎的背包，杰克幫忙找回來之后，本想著可以借此拉近關(guān)系，誰想到到了晚上，杰克卻目睹了一場兇殺案。
印第安人殺死了杰克覬覦已久的女郎，這一切被杰克親眼看到。報警后的杰克自知生活被毀，然而偶然間的發(fā)現(xiàn)卻使得杰克覺得這樣的事情是一場騙局，最終，他找到了答案，且克服了自己內(nèi)心中對于幽閉恐懼癥的恐懼。
希區(qū)柯克的電影的一大特點就在于故事情節(jié)的設(shè)置永遠是意料之外情理之中。而這種意料總是會用一種方式展現(xiàn)給觀眾，從而激發(fā)觀眾的參與感。就這一條來看，《粉紅色殺人夜》這一點做的很好，在對于人物進行了性格設(shè)置后，創(chuàng)作者便開始讓觀眾參與到整個故事當中了。對于杰克來說，對面的女郎是一個暴露狂，而自己是偷窺狂。然而對于屏幕前面的觀眾來說，杰克跟對面樓上的女郎，他們都是暴露狂，而觀眾這個時候卻是偷窺狂。
他們暴露著什么呢？自然是本片的故事架構(gòu)，創(chuàng)作者將本片的故事梳理出來之后，便通過屏幕展現(xiàn)給觀眾，觀眾通過看到屏幕前的所有的被拍攝成電影的電影故事來判斷電影中的故事的走向。這一點來說，創(chuàng)作者成功將這種狀態(tài)傳遞給了觀眾。這就形成了一種螳螂捕蟬黃雀在后的局面。杰克通過偷窺發(fā)現(xiàn)了這一系列的瘋狂的故事，而觀眾通過偷窺杰克發(fā)現(xiàn)了這一部瘋狂的電影。一舉兩得。
希區(qū)柯克電影還有一個顯著特點那就是故事邏輯清晰。本片中的故事邏輯最終指向的是一起精心策劃的謀殺案，這起謀殺案的元素主要有這幾個，杰克是一把刀子，他是謀殺案的見證者，卻也是謀殺案的被操控者。杰克無法看到自己背后手持著自己這把刀子的人究竟是誰，因此一開始便被蒙住了雙眼。杰克的反應(yīng)越是激動，他的參與感就越強，參與感越強，他對于眼前的一切的懷疑就越少。
因而，真正的犯罪者通過對于杰克的構(gòu)陷來達到了自己的目的，最終，杰克成功的完成了自己的角色切換，從原本一個置身事外的人，變成了這起謀殺案的參與者以及見證人。然而杰克屈服了嗎？自然是沒有了。影片一開始為我們描述的就是杰克患有幽閉恐懼癥，而到了結(jié)尾，這種幽閉恐懼癥卻被克服了，杰克是經(jīng)歷了什么才能克服這種病癥呢？這就成功勾起了觀眾們的興趣，本片也因此而有了發(fā)展。而最后的結(jié)局，自然是大家都愿意看到的。
作為一部懸疑電影，作為一部向著希區(qū)柯克致敬的懸疑電影，本片的特點很明顯，優(yōu)點也更是明顯，但是這些都替代不了本片的缺陷。當然，我不是說這是一種質(zhì)量上的缺陷，而是一種創(chuàng)作上的畏懼，如果后來者每一次都是這樣本著致敬的方式去創(chuàng)作，那么前人的陰影之下，影視行業(yè)的發(fā)展就無從談起。我們無法阻止阻止一個行業(yè)的衰敗，因為我們本身就是參與者。
如果后來的人們對于懸疑電影都持這種態(tài)度，那么這個精彩的電影分類就會逐漸的煙消云散，前人是用來超越的，而不是單純的景仰，如果做不到這一點，那么精彩如本片，那又有什么意義呢？
……
你
3 ) 懸疑大師布萊恩·德·帕爾瑪?shù)脑缙谛”娮髌?/h4> 完全就是沖著布萊恩·德·帕爾瑪?shù)拿^去看得這部電影，對這部電影心心念念已經(jīng)好久，今天終于有緣在網(wǎng)上找到了資源，看得還很順暢。影片涉及到了較多比較大膽的元素，但是作為懸疑大師早期的作品，瑕疵還是比較明顯，比如節(jié)奏比較冗長，電影橋段、畫面調(diào)色、構(gòu)圖和運鏡都比較平庸，無甚亮點，前面一度讓人感覺就是八十年代的流水賬式劇情B級片。在劇情設(shè)置上還是比較有新意得，劇情設(shè)置有諸多前后呼應(yīng)，但又讓人在觀影途中不容易猜到劇情走向，帶有較明顯迷幻色彩的多次男主場景的背景配樂其實暗示的就是男主經(jīng)歷的不真實或者說是被騙了，最后結(jié)局的連續(xù)兩次反轉(zhuǎn)是全片的最大驚喜，只有在這兒cult感和電影感一下就出來了，從整體上一下提升了影片的觀感。從電影的整體質(zhì)量上看，豆瓣的評分不高這下完全是可以理解了，但帕爾瑪?shù)拇髱煔赓|(zhì)從此片還是可以略感一二了。
4 ) 希區(qū)柯克變奏曲 2.0 | De Palma
粉紅色殺人夜
Body Double (1984)
食指の電影研究所出品
前言
美國著名導(dǎo)演布萊恩·德·帕爾瑪（Brian De Palma）憑借其多部優(yōu)秀的懸疑驚悚作品被譽為是“希區(qū)柯克的接班人”?！断^(qū)柯克變奏曲》將從敘事內(nèi)容和視覺實踐方面為大家介紹幾部關(guān)于帕爾瑪?shù)膸撞拷?jīng)典作品。
![]()
導(dǎo)演:布萊恩·德·帕爾瑪
編劇:布萊恩·德·帕爾瑪/羅伯特·J·阿夫里克
主演:梅蘭尼·格里菲斯/格雷格·亨利/克雷格·沃森/黛伯拉·謝爾頓
還記得《剃刀邊緣》開場的那一段香艷的浴室鏡頭嗎？事實上在沐浴中的安吉·迪金森（Angie Dickinson）并非其本人，而是雜志模特維多利亞·約翰遜（Victoria Johnson）。（迪金森女士當時已經(jīng)48歲，似乎已經(jīng)過了在大銀幕上展示自己的身體的時候了）
關(guān)于這次愉快的合作，導(dǎo)演布萊恩·德·帕爾瑪想出了自己下一部影片的點子 —— 替身殺人。
![]()
《剃刀邊緣》開篇美妙的浴室戲故事
作為另一首希區(qū)柯克變奏曲，對比前作《粉紅色殺人夜》（Body Double，1984）的劇情顯得更為復(fù)雜，影片將《迷魂記》的劇情作為主線并雜糅了《后窗》和《電話謀殺案》。
![]()
《迷魂記》里詹姆斯·斯圖爾特的偵探角色變成了一個被炒魷魚的失意演員杰克。同時，對于患有恐高癥的斯圖爾特而言，本片中的杰克則是幽閉恐懼癥（claustrophobia）。
![]()
《迷魂記》中由金·諾瓦克一人扮演的兩個女性角色瑪?shù)铝蘸椭斓?，在本片中則由兩位優(yōu)秀的女演員擔任，分別是黛伯拉·謝爾頓（Deborah Shelton）和梅蘭尼·格里菲斯（Melanie Griffith）。而謝爾頓和格里菲斯在片中所對應(yīng)的角色則是寂寞貴婦和成人片女演員。
此外，帕爾瑪還很有心的將希區(qū)柯克的另外的兩部影片《后窗》和《電話謀殺案》的情節(jié)貫穿其中。分別出現(xiàn)在主人公杰克通過望遠鏡偷窺貴婦以及貴婦遇刺兩段情節(jié)當中。
![]()
而對于兇手，本片則更為復(fù)雜。影片兇手的動機繞不開“厭女癥”，這和《迷魂記》《后窗》《迷魂記》類似。此外還牽扯進了印第安人這一類似《電話謀殺案》里協(xié)助殺人的角色。
光影
![]()
處于對于原作的尊重，就不在此過多展開劇情。帕爾瑪非常精通于鼓弄敘事結(jié)構(gòu)并使之合情合理，本片直到結(jié)尾依舊會讓人大吃一驚。
在風格上，相較之其視覺上的“分屏”或者是“優(yōu)美的長鏡頭”，帕爾瑪在本片中展示的則依舊是對于懸疑片這一類型的希區(qū)柯克式的探索：拋開屬于語言的、邏輯縝密的推理，而是通過視覺和聽覺來找出答案。
此外，他的一系列驚悚懸疑中，常常跑不了軟弱無能的男主角，二重生（Twins）的解讀以及窺陰癖等元素，在本片中都有所展現(xiàn)。
![]()
不同于之前的一些作品，帕爾瑪還將迪斯科和當時流行的MTV拍攝的一些手法運用到了影片當中，這種迷幻、避世和色情的表現(xiàn)方式使得影片如夢境一般的迷醉。而成人電影這一元素，則將擦邊球達到了商業(yè)院線電影的邊緣。
此外，在片中獨具特色的現(xiàn)代主義建筑“光化層”（Chemosphere），則賦予了影片更多的神秘和科幻的意味。
![]()
? “光化層”（Chemosphere）位于加州洛杉磯好萊塢山的圣費爾南多谷地區(qū)穆赫蘭道外。這座建筑曾被《大英百科全書》描述為“世界上最現(xiàn)代化的住宅”。這棟現(xiàn)代主義風格的住宅由美國建筑師約翰·洛特納(John Lautner)于1960年設(shè)計。
![]()
電影中所出現(xiàn)的洛杉磯地標 —— 光化層可惜的是，影片并未能取得像《剃刀邊緣》那樣的成功，評價和口碑方面也呈現(xiàn)兩極分化的趨勢。倒是因為其復(fù)雜的劇情和迪斯科色情俘獲了一批邪典愛好者。
著名的影評人羅杰·艾伯特(Roger Ebert)稱贊了這部電影，并給它打了3.5分(滿分4星)：這部電影結(jié)構(gòu)非常巧妙，強調(diào)視覺敘事而不是對話，所以我們既不快、也不慢于主人公，而是隨著主人公一同偵破謎案。
- 往 期 回 顧 -
![]()
投稿及其他事務(wù)請至「食指君」工作郵箱
zxl512@163.com
5 ) To be completed...
MEGA SPOILERS ALERT!
OKAY we know that there is at least one movie inside the movie. You might even add another one if you include the music-video part, when the MC goes to the porn & glamour basement. Which gives you (short) movie inside a movie, that is inside the movie you're watching.
So yeah, I get the fact that at least 90% of what we watch is actually a movie being shot, it's the second layer of the script.
Now let's talk about the plot in that movie being shot (the movie inside the movie).
There are at least two interpretations of the scenario, and I can't decide which one holds best.
1) The simple version : the MC gets framed for the crime itself, or probably is just manipulated in order to see an Indian killing the woman. The aim is that the real killer ("friend" of the MC, husband of the woman) gets his alibi and does not get caught for the crime he actually carried out.
This theory is clearly explained by the MC himself to Holly when she is at his home.
2) The afterthought version : the MC is a "conspiracy nut" (quoting the police officer here). Nothing of the previous version is really true. What it means is that the Indian does not exist (or at least that the scene towards the end, when Holly is burried, when the MC fights the Indian who is finally thrown in the river) never happened. This version would also explain why the scene in which the Indian was faking to repair some equipment near the house is not consistent with the Indian being the actual husband. Also why would the husband not hire someone to do the dirty job instead of him? And why would the husband own a huge saucerful in front of his wife's apartment? And how to explain that totally unreal scene in which the MC is kissing intensely the wife in the beach? Is she so desperate for sex? If Holly is dancing instead of the real wife, where does the real wife
go late at night? How does Holly get in the apartment if the husband himself does not have the key (he had to steal it after stalking the wife in his Indian disguise). On the day of the crime, why Holly did not show up for doing her usual dance, how did she get informed that on that specific day she didn't have to make the performance? How did Holly end up right next to a hole, meant to burry someone in the fight scene around the end?
The main problem is this one: in order to have a body double, some level of cooperation is necessary (just like in the end when the director is illustrating the concept of his movie through the porn shooting, in which two girls are actually acting, but the viewer thinks that it's actually the same person). Basically my point is that Holly cannot realistically play the body double without the real person voluntarily playing along with the plan.
But on the other hand, if you think not in terms of coherence but in terms of what is "possible" (certainly not "plausible"), just technically possible, all the questions raised above can be addressed without breaking any storyline logic, without raising any obvious contradiction. Strictly speaking, there are no plotholes, but only unlikely events or events that need extra planning that has not been shown in the movie (but which is potentially realized by the characters, especially the main antagonist).
But after a second thorough afterthought, it's the second version that predominates. Because the second is mainly destructive: okay, if the MC is a nut and the "main" theory (the conspiracy being real) does not hold, what does then? Who killed the wife? Did she even die or was all this just his imagination? Did she even EXIST? There is no end to it. If the husband did not offer to the MC to stay in that apartment for guaranteeing his inocence, why would he let the apartment to him in the first place, that seemed too "louche" from the beginning? The first version explains well the reason, but if we go with the second version, this question (and a lot more) remain unanswered.
I guess I need to see the movie a second time, in order to clarify these questions...
At least you know that you're in front of a great movie when you're totally into it, and when different conflicting interpretations can be explored. 6 ) 觀影筆記
布景，長鏡頭。Jake的兩種身份。劇場（fail）。買早餐?；丶遥ㄆ拮油庥觯?。酒吧。酒店外景。采訪。表演課（can't cry)。酒吧。New Stay Place（to Hollywood)（望遠鏡：女人）。片場：claustrophobia。家（女人，發(fā)射衛(wèi)星在偷拍？）。跟蹤（內(nèi)褲）（kiss, beach）。入室盜竊（女人被殺）。被審問?？措娨暎篐olly Body。電影。面試，bar acting。帶回家Holly，懷疑被陷害謀殺（I was set up）。報警路遇事故，救Holly。埋Holly，Indian to Sam (??)。棺材中出來。Again，洞里&Holly。吸血鬼吻美人。
完全就是沖著布萊恩·德·帕爾瑪?shù)拿^去看得這部電影，對這部電影心心念念已經(jīng)好久，今天終于有緣在網(wǎng)上找到了資源，看得還很順暢。影片涉及到了較多比較大膽的元素，但是作為懸疑大師早期的作品，瑕疵還是比較明顯，比如節(jié)奏比較冗長，電影橋段、畫面調(diào)色、構(gòu)圖和運鏡都比較平庸，無甚亮點，前面一度讓人感覺就是八十年代的流水賬式劇情B級片。在劇情設(shè)置上還是比較有新意得，劇情設(shè)置有諸多前后呼應(yīng)，但又讓人在觀影途中不容易猜到劇情走向，帶有較明顯迷幻色彩的多次男主場景的背景配樂其實暗示的就是男主經(jīng)歷的不真實或者說是被騙了，最后結(jié)局的連續(xù)兩次反轉(zhuǎn)是全片的最大驚喜，只有在這兒cult感和電影感一下就出來了，從整體上一下提升了影片的觀感。從電影的整體質(zhì)量上看，豆瓣的評分不高這下完全是可以理解了，但帕爾瑪?shù)拇髱煔赓|(zhì)從此片還是可以略感一二了。
粉紅色殺人夜
Body Double (1984)
食指の電影研究所出品
前言
美國著名導(dǎo)演布萊恩·德·帕爾瑪（Brian De Palma）憑借其多部優(yōu)秀的懸疑驚悚作品被譽為是“希區(qū)柯克的接班人”?！断^(qū)柯克變奏曲》將從敘事內(nèi)容和視覺實踐方面為大家介紹幾部關(guān)于帕爾瑪?shù)膸撞拷?jīng)典作品。
導(dǎo)演:布萊恩·德·帕爾瑪 編劇:布萊恩·德·帕爾瑪/羅伯特·J·阿夫里克 主演:梅蘭尼·格里菲斯/格雷格·亨利/克雷格·沃森/黛伯拉·謝爾頓
還記得《剃刀邊緣》開場的那一段香艷的浴室鏡頭嗎？事實上在沐浴中的安吉·迪金森（Angie Dickinson）并非其本人，而是雜志模特維多利亞·約翰遜（Victoria Johnson）。（迪金森女士當時已經(jīng)48歲，似乎已經(jīng)過了在大銀幕上展示自己的身體的時候了）
關(guān)于這次愉快的合作，導(dǎo)演布萊恩·德·帕爾瑪想出了自己下一部影片的點子 —— 替身殺人。
故事
作為另一首希區(qū)柯克變奏曲，對比前作《粉紅色殺人夜》（Body Double，1984）的劇情顯得更為復(fù)雜，影片將《迷魂記》的劇情作為主線并雜糅了《后窗》和《電話謀殺案》。
《迷魂記》里詹姆斯·斯圖爾特的偵探角色變成了一個被炒魷魚的失意演員杰克。同時，對于患有恐高癥的斯圖爾特而言，本片中的杰克則是幽閉恐懼癥（claustrophobia）。
《迷魂記》中由金·諾瓦克一人扮演的兩個女性角色瑪?shù)铝蘸椭斓?，在本片中則由兩位優(yōu)秀的女演員擔任，分別是黛伯拉·謝爾頓（Deborah Shelton）和梅蘭尼·格里菲斯（Melanie Griffith）。而謝爾頓和格里菲斯在片中所對應(yīng)的角色則是寂寞貴婦和成人片女演員。
此外，帕爾瑪還很有心的將希區(qū)柯克的另外的兩部影片《后窗》和《電話謀殺案》的情節(jié)貫穿其中。分別出現(xiàn)在主人公杰克通過望遠鏡偷窺貴婦以及貴婦遇刺兩段情節(jié)當中。
而對于兇手，本片則更為復(fù)雜。影片兇手的動機繞不開“厭女癥”，這和《迷魂記》《后窗》《迷魂記》類似。此外還牽扯進了印第安人這一類似《電話謀殺案》里協(xié)助殺人的角色。
光影
處于對于原作的尊重，就不在此過多展開劇情。帕爾瑪非常精通于鼓弄敘事結(jié)構(gòu)并使之合情合理，本片直到結(jié)尾依舊會讓人大吃一驚。
在風格上，相較之其視覺上的“分屏”或者是“優(yōu)美的長鏡頭”，帕爾瑪在本片中展示的則依舊是對于懸疑片這一類型的希區(qū)柯克式的探索：拋開屬于語言的、邏輯縝密的推理，而是通過視覺和聽覺來找出答案。
此外，他的一系列驚悚懸疑中，常常跑不了軟弱無能的男主角，二重生（Twins）的解讀以及窺陰癖等元素，在本片中都有所展現(xiàn)。
不同于之前的一些作品，帕爾瑪還將迪斯科和當時流行的MTV拍攝的一些手法運用到了影片當中，這種迷幻、避世和色情的表現(xiàn)方式使得影片如夢境一般的迷醉。而成人電影這一元素，則將擦邊球達到了商業(yè)院線電影的邊緣。
此外，在片中獨具特色的現(xiàn)代主義建筑“光化層”（Chemosphere），則賦予了影片更多的神秘和科幻的意味。
? “光化層”（Chemosphere）位于加州洛杉磯好萊塢山的圣費爾南多谷地區(qū)穆赫蘭道外。這座建筑曾被《大英百科全書》描述為“世界上最現(xiàn)代化的住宅”。這棟現(xiàn)代主義風格的住宅由美國建筑師約翰·洛特納(John Lautner)于1960年設(shè)計。
可惜的是，影片并未能取得像《剃刀邊緣》那樣的成功，評價和口碑方面也呈現(xiàn)兩極分化的趨勢。倒是因為其復(fù)雜的劇情和迪斯科色情俘獲了一批邪典愛好者。
著名的影評人羅杰·艾伯特(Roger Ebert)稱贊了這部電影，并給它打了3.5分(滿分4星)：這部電影結(jié)構(gòu)非常巧妙，強調(diào)視覺敘事而不是對話，所以我們既不快、也不慢于主人公，而是隨著主人公一同偵破謎案。
- 往 期 回 顧 -
投稿及其他事務(wù)請至「食指君」工作郵箱
zxl512@163.com
MEGA SPOILERS ALERT!
OKAY we know that there is at least one movie inside the movie. You might even add another one if you include the music-video part, when the MC goes to the porn & glamour basement. Which gives you (short) movie inside a movie, that is inside the movie you're watching.
So yeah, I get the fact that at least 90% of what we watch is actually a movie being shot, it's the second layer of the script.
Now let's talk about the plot in that movie being shot (the movie inside the movie).
There are at least two interpretations of the scenario, and I can't decide which one holds best.
1) The simple version : the MC gets framed for the crime itself, or probably is just manipulated in order to see an Indian killing the woman. The aim is that the real killer ("friend" of the MC, husband of the woman) gets his alibi and does not get caught for the crime he actually carried out.
This theory is clearly explained by the MC himself to Holly when she is at his home.
2) The afterthought version : the MC is a "conspiracy nut" (quoting the police officer here). Nothing of the previous version is really true. What it means is that the Indian does not exist (or at least that the scene towards the end, when Holly is burried, when the MC fights the Indian who is finally thrown in the river) never happened. This version would also explain why the scene in which the Indian was faking to repair some equipment near the house is not consistent with the Indian being the actual husband. Also why would the husband not hire someone to do the dirty job instead of him? And why would the husband own a huge saucerful in front of his wife's apartment? And how to explain that totally unreal scene in which the MC is kissing intensely the wife in the beach? Is she so desperate for sex? If Holly is dancing instead of the real wife, where does the real wife
go late at night? How does Holly get in the apartment if the husband himself does not have the key (he had to steal it after stalking the wife in his Indian disguise). On the day of the crime, why Holly did not show up for doing her usual dance, how did she get informed that on that specific day she didn't have to make the performance? How did Holly end up right next to a hole, meant to burry someone in the fight scene around the end?
The main problem is this one: in order to have a body double, some level of cooperation is necessary (just like in the end when the director is illustrating the concept of his movie through the porn shooting, in which two girls are actually acting, but the viewer thinks that it's actually the same person). Basically my point is that Holly cannot realistically play the body double without the real person voluntarily playing along with the plan.
But on the other hand, if you think not in terms of coherence but in terms of what is "possible" (certainly not "plausible"), just technically possible, all the questions raised above can be addressed without breaking any storyline logic, without raising any obvious contradiction. Strictly speaking, there are no plotholes, but only unlikely events or events that need extra planning that has not been shown in the movie (but which is potentially realized by the characters, especially the main antagonist).
But after a second thorough afterthought, it's the second version that predominates. Because the second is mainly destructive: okay, if the MC is a nut and the "main" theory (the conspiracy being real) does not hold, what does then? Who killed the wife? Did she even die or was all this just his imagination? Did she even EXIST? There is no end to it. If the husband did not offer to the MC to stay in that apartment for guaranteeing his inocence, why would he let the apartment to him in the first place, that seemed too "louche" from the beginning? The first version explains well the reason, but if we go with the second version, this question (and a lot more) remain unanswered.
I guess I need to see the movie a second time, in order to clarify these questions...
At least you know that you're in front of a great movie when you're totally into it, and when different conflicting interpretations can be explored.
屬于讓人享受的那種low...在沒有希區(qū)柯克的年代，帕爾瑪對希胖粉來說簡直就是一種肉體繼承，做完愛方知物是人非，但起碼爽了。
我簡直不知道如何評價這部cult電影：它驚悚離奇怪誕變態(tài)血腥色情惡心悲涼怪趣味黑色幽默超現(xiàn)實主義恐怖又搞笑充滿隱喻和秘密最后也沒分清哪些是夢境哪些是演戲。這片子很惡心我簡直不想看第二遍，不過又想看第二遍，希望有更多的人被惡心到。變態(tài)死了！?。?= 深入理解請參考拉康的鏡像原理。
這影片真的是太sexy了，性與犯罪片的最佳詮釋。帕爾瑪果然是徹頭徹尾的希區(qū)柯克迷。
《后窗》和《驚魂記》的混合產(chǎn)物，還加入了七十年代的B級片元素，讓整個電影呈現(xiàn)出一種“驚悚cult”味道。強烈的攝影機迷戀，使主角和觀眾同構(gòu)，變成凝視的主體。且德帕爾馬有意的用戲中戲的“間離”加深人物的精神恍惚狀態(tài)，主角的精神困境溢出屏幕，迷惑觀眾，結(jié)尾制造一種“出戲”的偽高潮效果，簡直是在鞭撻觀眾的快感。如果感覺不得勁，那么最后的字幕畫面的里“拍浴室殺人”，就包含了太多：致敬大師？嘲諷觀眾？解密真實？騙取快感？（《逃出絕命鎮(zhèn)》的“下墜鏡頭”的來源應(yīng)該是來自此片，并且德帕爾馬在此貢獻了一場絕佳的“電鉆”謀殺戲。）
情色版的后窗加迷魂記，德帕爾馬以身作則地告訴我們：追星過度只會魔怔。你們看，為了一個勁致敬希胖，劇情都不要了？！拼了老命把兩部經(jīng)典揉在一起，后半段完全瞎來來。但是呢，還是挺娛樂的哈，不討厭，男主雖然蠢，但格里菲斯美啊。一開始那男的去農(nóng)夫市場買菜還望了一眼那塔樓，差點被騙！
布萊恩·德·帕爾瑪?shù)脑缙谧髌?，作為希區(qū)柯克的超級粉絲，帕爾瑪導(dǎo)演在影片中向希區(qū)柯克致敬的地方比較多，例如偷窺劇情來源于《后窗》，電鉆殺人來源于《驚魂記》，最后的“活埋”則來源于《怪尸案》。導(dǎo)演的個人風格也非常明顯，那個“唯美”的環(huán)繞鏡頭，在之后的《蛇眼》中又被拿來使用。
抄襲希區(qū)柯克（后窗和vertigo）但是依然濃烈的德帕瑪風格，濃烈艷麗俗得有品味。長鏡頭還算喜歡，但有些情節(jié)太扯了，旋轉(zhuǎn)鏡頭甚至令人反感。他的女性角色要么無腦要么是b級片女星或者兩者都是。真是分裂觀眾的導(dǎo)演?？吹贸鰊wr從中學了不少東西。
正如“眩暈”置換成的幽閉恐懼（Dolly Zoom也換成了旋轉(zhuǎn)變焦），是殺人計劃之外的，男人的幾次幽閉遭遇都只是導(dǎo)演的設(shè)計。整部電影也是如此，將希區(qū)柯克的符號揉碎了重新反向組接，但設(shè)計本身是有趣的，所以也顯得可愛。
【4】從跟蹤、窺視到謀殺段落，每一場都完成得極到位，老道的鏡頭組合與場面調(diào)度迸發(fā)出影像的魅力。內(nèi)容層面不僅是以段落為單位去戲仿希區(qū)柯克，在每一個段落間都能看到帕爾瑪嫻熟的整合與轉(zhuǎn)制能力，結(jié)合色情產(chǎn)業(yè)的肌理，真正完成了類型元素的拼貼，生成了盎然趣味。
帕爾瑪真是希區(qū)柯克的忠實粉絲，把《后窗》和《迷魂記》完美的捏合成了一部精彩的電影，并且片中飾演AV女郎的梅蘭妮格里菲斯是希胖的《群鳥》女主角蒂比海德莉的女兒。跟蹤那場戲場面調(diào)度吊爆了
德帕爾馬的其他很多電影里只是把希胖的部分手法拿來模仿與致敬，整體的懸念設(shè)置畢竟還是自己的。這部則是赤裸裸把后窗和迷魂記的劇情拼湊在了一起，于是便導(dǎo)致了原創(chuàng)性的完全缺失，即使技法再神乎其神，啃的也只是別人留下的西瓜皮。
布賴恩·迪帕爾馬導(dǎo)演的B級恐怖片，還有點色情，粗制濫造，劇情也不太合理，但有些場景鏡頭感不錯。
2019-09-28，結(jié)尾又在嘲諷觀眾惹
如果，男主通片經(jīng)歷都只是幽閉在拍攝現(xiàn)場的一場“我如果此時放棄將會如何”的夢境（德帕爾瑪后來在蛇蝎中又來了一次，只是放在中段，并將“放棄”改為“執(zhí)著”），那么整個故事所表現(xiàn)出的邏輯缺陷、仿希堆疊、尺度恣意……倒算有了一個狡猾托詞。即使你對此依然不滿難以釋懷，片尾那段新奇搞笑的“換人浴血”的幕后實錄也值當追補半顆星。
后窗迷魂 —— 一個希區(qū)柯克硬核粉絲的自我修養(yǎng)，致敬的同時也帶有強烈的自我風格和趣味，看的好生過癮；自然，批評劇本薄弱和牽強是毫無問題的，但或許德·帕爾瑪在構(gòu)思本片伊始就將影像感和儀式性放在了遠高于故事性和邏輯性的位置上。
帕爾瑪致敬希胖[后窗]與[迷魂記]之作。聚焦偷窺與被偷窺，幽閉恐懼癥，穿透天花板的電鉆與鮮血，虛實難辨的戲中戲，好萊塢B級片與A片演員的工作與生存境況。跟蹤戲調(diào)度極佳，隧道口吻戲的變焦環(huán)繞鏡頭讓人目眩神迷。水庫邊活埋場景的上升鳥瞰鏡意味深長。首尾呼應(yīng)的情色恐怖片片場。（8.0/10）
帕爾瑪真是喜歡希區(qū)柯克啊，到處都是段子。當片名出來的時候，真帥啊，有點間離的感覺。帕爾瑪?shù)拿坎侩娪岸紩悬c小實驗。一直對帕爾瑪有獨特的偏愛。慎選。
全世界拍電影的人都想拍部致敬希胖的片，這部不知道是不是最黃最暴力的。帕爾馬標簽除了長鏡就是裸女了吧，看完發(fā)現(xiàn)楊凡翻拍《迷魂計》給鐘楚紅做的造型其實是抄襲的這部。
7.6將《迷魂記》《后窗》的設(shè)定拼湊了這個浮夸荒唐的b級片故事中，語調(diào)極不正經(jīng)且惡趣味十足 ，劇情雖然老套了點但還是被幾次機位設(shè)計給驚艷到了
至少能看出《驚魂記》《后窗》和《眩暈》的影子，但感覺比那幾個都好看！