雨天下的迎神会 Seance on a Wet Afternoon(1964)
简介：
- 麦拉自称能通灵阴阳界，她欲通过捏造神话来提高自己知名度，她的计划是通过控制自己意志力薄弱的丈夫比利，让丈夫来诱拐有钱人家的女儿，而她向受害家属通风报现实自己的“神力”……
演员：
影评：
- High-contrast photography, in stark black-and-white, combined with the fequent use of close shots, underscore the stifling atmosphere in the apartment. Deep focus shows the grains and textures of the wallpaper, enhancing the claustrophobia of the childless, middle-aged household. So does the soundtrack: the dreary economy of words in the dialogues, long, uncomfortable pauses in conversation, and the deliberate absence of any sort of music.
The acting is first-class. The earnestness of Billy reflects the anxiety of a man with little imagination. But Kim Stanley surely dominates the film's mood: made sado-machstic by tragedy and loneliness, she is by turns manipulative and vulnerable. Her eyes fix with a mesmerizing gaze, not kindly, nor attractive, but curiously sexual and strangely hypnotizing. The closed space and palpable claustrophobia, under which the couple lives, creates a feeling of mutual dependence through a shared despair and enjoined insecurity; a weird camaraderie, even though there is little sign of phyisical or emotional intimacy.
One would class this with Polanski's earlier film, "Repulsion". A beautifully-crafted mood piece, but one still wonders, in service to what? One "meaning" short of a great movie. 1.蜡烛特写，右移，黑暗中互相牵着的手。 2.叠画至人物面部特写，所有人都闭着眼 “a message”没有主语，台词简略。 3.人物的脸在蜡烛的正后方，镜头缓慢上摇，定格，人物熄灭蜡烛。 4.各种雨天意象特写，湿漉漉的街道，雨伞，各色人物入镜。 特写和中远景任意切换，人物撑起伞，雨突然停了。 绝妙的开头。 5.突如其来的摄影师，真邪。 6.她也做了梦，那么催眠和通灵可以完全靠解梦联系起来。 7.门框上敲门的影子。 8.有配乐与无配乐得交叉剪辑。