粉红色杀人夜

名导布莱恩·德·帕尔玛执导的<粉红色杀人夜>，窃以为片名翻译甚佳，突出了本片两大要素:情色、惊悚。本片是向希区柯克的<后窗>、<迷魂记>的致敬之作。 有这样一类片子，谈不上特别经典或者说精彩，但是细细回味，却也别有一番滋味。这类片子在豆瓣的评分通常徘徊在7分左右。本片在悬疑惊悚的程度上并不及希导的原作，但是却另外平添了几分情欲的意味。 本片男主本是个倒霉的屌丝。名不见经传的小演员，因为幽闭恐怖症被导演炒了鱿鱼。回家又撞见女友和隔壁老王红杏出墙。因为房子是女友的，旋即被扫地出门。走投无路之际，忽然一个新认识的朋友请他去看护一栋豪宅。在豪宅中的望远镜里，他意外"邂逅"了本片女主一号，一个神秘而美丽的女子，顿时深陷其中，无法自拔。 是的，有这样一类女演员，她们或许美丽，或许在现实中容貌也并不是那么出众。但是在导演的点拨下，在化妆师，灯光师等人的辅助下，会在一部电影中绽放出令人着迷、无法抗拒的魅力与光彩。比如维吉尼亚·马德森之于<哥谭>、凯莉·勒布洛克之于<红衣女郎>、艾曼纽尔·塞尼耶之于<第九道门>、邱淑贞之于<赤裸羔羊>。以至于女主一号在片中短暂出场又仓促遇害，令我不禁惊呼，不忍卒看。 影片在大结局的戏谑处理上属于加分之举。最后反派利用男主幽闭症的弱点要活埋他，动手前羞辱他说再给你次“action”的机会。男主恍惚中又回到片头被炒鱿鱼的片场，憋着一股劲地从戏里又回到现实，克服了弱点，干掉了反派。 最后八卦一条，本片出演女主二号的正是希区柯克名作<群鸟>女主蒂比·海德莉的女儿，亦是西班牙男星安东尼奥·班德拉斯的前妻。

La lecture de Body Double ne doit sans doute pas se limiter au premier degré, c'est-à-dire à son apparence outrancière trompeuse, comme le suggère le dernier plan de son générique de début. Si le ton est donné dès le premier plan depuis le décor postiche d'un tournage du cinéma bis, totalement assumé, de Palma a osé une fusion parodique entre "Fenêtre sur cours" et "Sueurs froides" pour accoucher un rejeton aux emprunts techniques grotesques (comme le baiser à 360) qui vulgarisent (à coeur joie) les classiques hitchcockiens.

Derrière un soi-disant thriller érotique se cache une véritable comédie d'autodérision aux intrigues intentionnellement invraisemblable sur l'industrie du cinéma et le sens de la doublure

Une idée de folie ou de génie ? Nanar ou culte?

While Brian De Palma's BODY DOUBLE taps adeptly into its heteronormative erotic thrust, in post-mortem, its central plot fits right into a cracking-a-nut-with-a-sledgehammer case that if the nefarious perpetrator simply needs an eye-witness for his purported burglary-turned-murder skulduggery, he really wouldn’t have concocted such an involute set-up to pull the wools over the eyes of our protagonist, Jack Scully (Wasson), a struggling actor in Hollywood afflicted by claustrophobia.

So what De Palma blatantly exploits down pat is the libidinous bent and voyeuristic tantalization mostly derived from the straight male demography,plundering Hitchock’sREAR WINDOW and VERTIGO no end, BODY DOUBLE’s misbegotten plot is at first a thoroughgoing manifestation of female objectification through man's wish-fulfilment, as if in real world, a luscious woman really enjoys putting on such a show for no one’s gratification but herself, also the camp choice from a telephone cord to an electric drill in terms of the murder weapon in the archly designed gore climax does writ large a wicked sign of its times and De Palma’s thinly-veiled mean-spiritness.

Jack Scully is hare-brained enough to not suspect something bizarre is afoot right from the start, but the same can be referred to the culprit, so inimitable is theseductive routine that he must hire the porn star who invents it to do the same performance, and thanks to the slipshod prosthetics wearing by the ghastly-looking “Indian”, any sharp-eyed spectator can more or less guess who is underneath that halfway through the journey, ergo, thrill is drained by half.Having said that, Melanie Griffith does hold court in her breakthrough performance as the titular double, who only makes her appearance in the second half but charmingly weds immaculate allure with an air of nonchalance in her trademark cooing articulation, the paradigm of a woman in the eyes of her opposite sex beholder.

Ultimately, the takeaway of the film is exclusively ocular apart from Griffith’s grand entrance, the strikingly futuristicdwelling Chemosphere and a vampy music video ofFrankie Goes To Hollywood’s RELAX are here to stay, but as for De Palma’s facility, that Dutch-angle tunnel-vision might be any viewer's best shot.

referential films: De Palma’s SISTERS (1973, 6.8/10), CARRIE (1976, 8.1/10), OBSESSION (1976, 7.2/10); Alfred Hitchcock’s VERTIGO (1958, 8.4/10), REAR WINDOW (1954, 8.4/10).