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更新時間：2023-08-10 19:16
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Novelist Joseph Shearing specialized in using real cases which took place in Victorian England, altering them for fictional purposes. MOSS ROSE in 1947 was the first film to be made from his novels, then in 1948 two of his works were adapted for the screen, this film and THE MARK OF CAIN. The movie stars Todd as a recently widowed missionary returning to her home in England from Jamaica. During the voyage, she meets Milland, a charming though dangerous rascal who is wanted by police in connection with some unsavory dealings. Milland contracts malaria while onboard the ship and Todd nurses him back to health. In London, Todd settles into her home, taking in boarders to make ends meet. Milland arrives, moves in, and proclaims his love for her. Todd is thrilled, but it seems rather obvious that Milland is only toying with her. Milland finds some letters written to her by her friend, Fitzgerald, in which Fitzgerald reveals some of her sexual indiscretions. Since Fitzgerald is now married to the wealthy Huntley, Milland believes he can use the letters to blackmail Fitzgerald. Todd's love for Milland is so great that she goes along with the plan. Huntley, however, learns of the scheme and also uncovers details of Milland's shady past. Fearing for her lover's safety, Todd poisons Huntley, then remains silent when Fitzgerald is arrested for the murder. Milland has by now genuinely fallen in love with Todd and the two make plans to leave England. Before they can depart, one of Milland's former lovers shows up and Todd, in a jealous rage, kills Milland, then turns herself into the police. This is an intriguing film, although a little on the talky side. The performances are excellent throughout, with Milland shining as the cad, the type of role in which he excelled. Though he spent most of his time making films in the US, he occasionally returned to his native England for a production and this was his first British film since FRENCH WITHOUT TEARS in 1939. Director Allen was also an Englishman who chose to work in the US, this being his first directorial effort in his homeland. This was the fourth and last time Milland and Allen would work together, their pairing having begun in 1944 with the wonderfully eerie THE UNINVITED.
長篇影評
1 ) 窮畫家寧愿殺人放火也不出賣自己的藝術(shù)良知，你信嗎？
把邪惡的愛譯成《癡心女子負(fù)心郎》（1948），我也是醉了
影片根據(jù)“查爾斯·布拉沃神秘死亡事件”改編：1876年，著名律師查爾斯·布拉沃死于銻中毒，成為一樁歷史懸案。
編導(dǎo)對律師的神秘死亡做了全新的演繹，成為一部令人心碎的黑色經(jīng)典：
畫家為他在船上認(rèn)識的寡婦畫了一幅畫：
畫中人的眼神有寂寞，也有一分對生活的信心和倔強(qiáng)——
覺得自己在牙買加空耗青春的寡婦非常激動，內(nèi)心深處對生活的熱愛再次蘇醒：
同伙勸畫家仿制倫勃朗、魯本斯的名畫：
不！
畫家斷然拒絕：
同伙莫名其妙：
因?yàn)槟悴欢?/p>
窮畫家寧愿坑蒙拐騙、殺人放火、亡命天涯也絕不出賣自己的藝術(shù)良知，你信嗎？
畫家與同伙搶劫名畫：
計劃失敗……
畫家打算離開倫敦，寡婦已深深地愛上了他：
求助酗酒的有錢閨蜜，但閨蜜只是律師老公有錢：
20英鎊于事無補(bǔ)，但兩人之前的通信足以敲詐閨蜜老公一筆巨款……
畫家需要寡婦的配合，與其交換定情信物：
各種陰謀、背叛、殺戮……機(jī)關(guān)算盡，算不到定情信物戴在另一個女人的脖子上：
去犯罪，去亡命天涯，支撐她的無非就是刻骨銘心的愛戀，如果這份愛是空中樓閣，悲劇就已不可避免。
更大的悲劇，也更諷刺的是，畫家不再是利用和欺騙，而是發(fā)自內(nèi)心地愛上了她：
發(fā)自肺腑的蜜語甜言和她決絕的眼神：
陰差陽錯的情天恨海，每個人都要為自己的過去買單。
來不及解釋了，來不及了，
情人看劍：
這譯名...
她那一刀捅的是自己
譯名真的很差勁 米蘭德也沒有那么evil
令人心碎的黑色電影：一個落魄的藝術(shù)家寧愿殺人放火也不出賣自己的藝術(shù)良知，你相信嗎？
感謝拖延癥字幕組推薦和譯制！十分糾結(jié)的一個片子。Olivia渴望得到個人價值認(rèn)可，卻被迫居于傳教士寡婦的虛名里成為牌坊守門人，當(dāng)愛情和信仰背離時向他人尋求認(rèn)可，卻被告知她的奉獻(xiàn)途徑是“再婚”，失望至極而被牽引進(jìn)這場騙局中的；在這場不道德游戲中，她展示出了自己未想過的面目，這也說明她具有相當(dāng)?shù)囊靶?。最后的反轉(zhuǎn)，來自愛情破滅后個人價值寄托重新回到道德——自首還Susan清白、為警局結(jié)案——而做出的選擇。而Bellis最后的自白，看似是昔日浪子終于幡然醒悟，其實(shí)只是因?yàn)榇私巧L期保持低道德底線的原面目，和此刻的突兀覺醒對比過于強(qiáng)烈。
女主黑化，男主白化，可惜時間錯位。
這翻譯的爛名……癡心男子蛇蝎婦…還差不多就事論事，別動輒下藥捅刀的
展露貪婪自私是多么容易的事 或者說 克制是多么難的事 真好沒拍成love conquers all亡命天涯的結(jié)局 可憐被折磨至瘋的susan
So Evil My Love 翻譯成《癡心女負(fù)心郎》這種意譯太片面了。因愛生罪，不單單如此，這部我覺得更像一部心理片，女主心理“邪惡”的一部和不愿意丟掉良知的一部分，就像一對精靈，在面對愛時候，相互糾纏。
#So Simple My Hatred# 燭臺里的蠟燭還在燒，滴不完，燒不完 Cast：Ann Todd；Geraldine Fitzgerald P.S. 可是我沒入戲…
女主被蛇蝎男蠱惑犯罪的故事不稀奇，對犯罪心理機(jī)制的展示挺有趣。來自男主的影響是催化劑而非主因，犯罪是各方面壓抑緩慢釋放的結(jié)果，傳教士遺孀身份便于將貪欲合理化為補(bǔ)償，服飾變化緊扣角色道德水平變化。Todd缺乏性吸引力且絲毫不招人同情，這氣質(zhì)按說是合理的，但降低了男主因愛情白化的可信度。
蛇蝎美男
這個長得跟瓊芳登有點(diǎn)掛相的女主，有一種我很煩的眼神和氣質(zhì)，就是仿佛隨時可以對四周感到不滿。。。。。
2973 Time：2021-4-11
戲份重一點(diǎn)的幾個主角都不是正面形象，真相與真愛的時間錯位居然強(qiáng)行把結(jié)局圓回來了（指符合海斯法典）。70
7.7/10不同于其它黑色電影的一黑到底，本片中惡隨著劇情的推進(jìn)逐漸擴(kuò)張，并毀滅了一切，巧妙之處在于它的不易察覺
當(dāng)主人公說出「我從來沒有愛過誰」就陷入一種庸俗的「愛情至上」非邏輯腦殘環(huán)境中，受到時代與價值觀的影響，故事中的男女都深陷「直男癌」控制狂的觀念下，這個黑色故事最后還是需要一種符合當(dāng)時的「善惡有報」的生硬結(jié)局。
B
You made me what you are
雷人的中譯名。說雷米蘭負(fù)心也不對，人家明明可以在巴黎繼續(xù)快活，非要冒著生命危險回去看她，還是有愛的。這個故事有個奇妙之處，到底是因?yàn)閻圩尠餐械聫膫鹘淌抗褘D淪為罪人，還是雷米蘭喚醒了她自帶的蛇蝎本質(zhì)？或者說犯罪是種病毒，通過愚蠢的愛戀傳播？安·托德確實(shí)很乏味。英式Noir。