第一次看Samuel Fuller，不愛(ài)做功課的我被開(kāi)場(chǎng)一系列極富沖擊力的鏡頭迅速帶進(jìn)狀態(tài)。Fuller從視聽(tīng)語(yǔ)言里挖掘沖量的能力很厲害。

開(kāi)場(chǎng)是真有勁，故事是真荒唐?；奶埔惨丛趺凑f(shuō)，如果編導(dǎo)想拍失足女性回歸社會(huì)的正能量戲碼，那么故事毫無(wú)疑問(wèn)很荒唐，看上去連最基本的連貫都沒(méi)做到。

但是Fuller的視聽(tīng)和Constance Towers棱角鮮明的骷髏臉讓女主硬朗剛烈的一面特別具有說(shuō)服力，跟她表現(xiàn)出柔情善良一面時(shí)釋放的能量不相上下，不知該說(shuō)她是一個(gè)敢于暴烈抗?fàn)幍臏亓寂?，還是善于假扮溫良的暴烈女性。

女主具有femme fatale的個(gè)性，但他又不同于典型的femme fatale或者其他形象負(fù)面——無(wú)論是法律還是道德層面——的女性角色，比如《夜以繼日》綠茶婊女主角朝子，后者的行為是決定性地負(fù)面，編導(dǎo)試圖從這些負(fù)面作為本身內(nèi)在為出發(fā)點(diǎn)，論證行為的合理性，喚起觀眾對(duì)其積極正面的同情或者敬畏；而《裸吻》女主角Kelly負(fù)面和正面的行為勢(shì)均力敵，不需要對(duì)人物性格的其中一面進(jìn)行深入的挖掘和表現(xiàn)，便已獲得人物形象多面性的平衡。

這樣一個(gè)復(fù)雜且值得探索的人物形象，不僅在影片問(wèn)世的60年代，即便在當(dāng)代影壇也極其少見(jiàn)，絕非一般編導(dǎo)、演員所能塑造。故事的跳躍感、形式感，甚至那些說(shuō)不清道不明的暗線，與人物性格一起成為這部黑色電影令人難忘的形式的一部分。

因?yàn)榕孕蜗缶哂胁还獠实囊馕叮矣X(jué)得《裸吻》如果參加今年坎城影展，九成不會(huì)得到以Cate Blanchett領(lǐng)銜、左翼女藝術(shù)家主導(dǎo)的評(píng)審團(tuán)的青睞，能不被她們唾棄就不錯(cuò)了。很多著名演員對(duì)于意識(shí)形態(tài)和藝術(shù)形式分辨能力和評(píng)判能力之匱乏和有限都是令人驚訝的。演員跟編導(dǎo)確實(shí)從來(lái)沒(méi)有站在同一角度看待電影藝術(shù)。意識(shí)形態(tài)掛帥的藝術(shù)價(jià)值觀是如此容易侵蝕我們的理性思維，他能在頃刻間摧毀我們冷靜評(píng)判藝術(shù)的意愿和能力。

“What is the smell of the naked kiss?” Samuel Fuller’s Film-Noir-inflected moral drama THE NAKED KISS tantalizes with an olfactory come-on, then debunks it as one of the lowest human perversity. Our protagonist is Kelly (Towers), a woman bestowed with both intellect (predisposed to quotes like Goethe’s “Nothing is more terrible than active ignorance”) and physical beauty, but practices the world’s oldest profession, Fuller offers no backdrop of her past, but in the movie’s sensational, jazz-infused, frenziedly montaged opening scenes where she whups the living daylight out of her ignoble pimp (Mansfield), a shocking reveal of her bald head piques audience’s interest in this unconventional heroine, and in the following story, she will literally slap her way into a cathouse madam (Virginia Grey, grittily holds true of her vice) and ultimately, a killing instinct when facing the abject shock. Escaping from the vindictive pimp, Kelly perambulates from town to town and alights at Grantville, after transacts her first business with the local police captain Griff (Eisley, cogently channeling the suspect ambivalence), Kelly gets a rude awakening and decides to go straight and enrolls as a nurse in the hospital to minister to handicapped children, although Griff is skeptical of her wiping-the-slate-clean endeavor. Kelly proves to be more than competent in her new vocation, meanwhile saves young girls from entering her abjured old profession, even ponying up a handsome amount of dough to convince and tide over a pregnant girl to keep her baby. Pro-life and ineluctably maternal, Kelly, who admits that she is sterile, is a steely moral police on that front, and soon her distinguished poise also spellbinds the most eligible man of the town, the scion Grant (Dante), who likewise enjoys throwing apothegms like “…h(huán)appiness was born a twin” from Lord Byron and “a sweetheart is a bottle of wine, a wife is a wine bottle” from Baudelaire. Moreover, much contrary to her trepidation, after confessing her unsavory past to Grant, Kelly is on cloud nine when his marriage proposal isn’t retracted. That is just a too unbelievably perfect ending for a woman like Kelly (almost never happens in a fiction movie except for Garry Marshall’s PRETTY WOMAN, 1990), and Fuller patiently divulges the catch while the catchy nursery rhyme piping up on the monograph when the small-town insidiousness coldly catches up with her, dashes her hope and puts the label of a murderer on her, she needs a key witness to vindicate her version of the story, aka. the truth, but there are many impediments laying about, not least a bloody-minded Griff who just cannot believe the concealed nature of the impeccable Grant. Although the crime-clearing procedure is a bit willful and incoherent, what makes THE NAKED KISS stick is Fuller’s sledgehammer esthetics of tackling and dissecting a tabooed and thorny issue no one has dared to approach thus far, wedding the story with an engrossing pace sustained compellingly by Towers’ wholesomely righteous and affecting performance, it also pointedly flags up the society’s sexist double standards on prostitution, there is no scruples for a john to disparage a fallen woman, and THE NAKED KISS is a veritable paean of a fallen woman, ever so unsparingly fearless, no wonder she doesn’t make changes. referential entries: Fuller’s UNDERWORLD U.S.A. (1961, 6.7/10); THE CRIMSON KIMONO (1959, 7.1/10).