失踪的女孩
The mystery of what happened to the girls goes unsolved in the novel, which includes a biographical note about Lindsay’s own Australian boarding school and her childhood in the district where the novel takes place, and an author’s note suggesting that it might be a true story. When director Peter Weir went to discuss the film rights for his 1975 adaptation, he was warned not to ask if something had really happened, but he did anyway. Lindsay said she hoped he wouldn’t ask again. So Weir asked if the question of what occurred was open-ended. Could they have fallen down a hole or been abducted by aliens? She said yes, it could have been any of the above.
Others had the same two oddly linked questions: was it a true story, and what happened to the characters? People searched old local newspapers in vain for mention of missing girls. In 1980, Yvonne Rousseau published The Murders at Hanging Rock, examining all the competing theories, including a parallel universe, UFO abduction, and a gruesome murder committed by two young men, leaving no trace. Australians read the book in school and became obsessed with the mystery.
According to Lindsay’s literary agent, John Taylor, she was impatient with the questions in part because she knew what happened. She had written, in those productive four weeks, a final, twelve-page chapter explaining how it all ended, and she’d turned it in with the book. Her publishers told her to cut it, so she did. But when she was 84, she gave the chapter to Taylor to be published after her death.
In the missing chapter, published as The Secret of Hanging Rock (stop reading if you don’t want to know), the girls hike up the rock and reach a circular plateau, where they begin to feel strange. Their math teacher, Miss McCraw, appears in her underwear, but they don’t recognize her. They take off their corsets and throw them off a cliff, and the corsets hang in the air. Seeing the suspended corsets makes the girls understand that they’re in the presence of a time warp, and they follow the math teacher into it, through a crack in the rock. They enter another dimension and never return.
You can see why the publishers told Lindsay to get rid of the ending. The earthly mystery is what gives the novel its impact. And people took the author’s note about fact and fiction seriously because the novel, with its romantic crushes, maddening injustices, and sweltering heat, is so realistic—because Lindsay was so good at making her characters feel like real people, to which something terrible had happened.
摘自外网
第15届#法罗岛电影节#无人知晓单元第2个放映日为大家带来《悬崖上的野餐》,下面请看前线柔光少女们陷入迷团的评价了!
donnie:
油画般的质感,美妙的少女,在美与神秘外一无所有。
曲有误:
就像少女的喊叫一样,这一喊片子就开始走了下坡路。
果树:
除了古典气息外几乎没有喜欢的点了,这个题材居然也能让人看得couldn't care less真相如何。
赵小毯:
导演将古典气息恰到好处地融入到摄影当中,前面节奏紧凑有质感,后半段开始丧失了优点了,变得十分无趣。
节南山:
过于晦涩的隐喻,甚至有点故弄玄虚,导致观感极度下降。即使是运用柯达胶卷拍出近似油画般对质感也无法补偿它空虚的内心,相比之下《楚门的世界》就做的好很多。
kc512:
其实只要找回一个米兰达,之后的剧情都不用演了,她是所有人对女性最美好的想像。当真相悬而未决,他们的想像和生活便日益崩解,人没有性欲对象是活不下去的。
我们敏熙:
同样是迷一样的失踪,失踪后如何发展是关键。本片前四十分钟完美展现了一种迷雾般的气质,纯洁美丽的少女,压抑人的寄宿学校,同性之情,性的暗示,但失踪后的杂乱处理则让影片的气质一下子降下来了,可惜。
子夜无人:
算是我一向最喜欢的那类氛围电影,也许用电影严丝合缝的逻辑来判断是有问题的,但当“迷”的特质被发挥到最大,真正会令你挂怀的那件事反而看着看着就忘记了,不需要答案也很好,没有那个真相也相当美妙。在古典主义的金黄色柔光里,所有看上去没什么了不得的自然景观都透出不自然的诡异感,一切实境都显得如同幻象。神隐少女的故事变成不断流传的恐怖寓言,天使的面孔上,笼罩被构陷的死亡阴影。
DAY2的无人知晓场刊将于稍后释出,请大家拭目以待了。
女性影展-大银幕观看,总感觉和牡丹花下类似,更为浓烈的是吊诡的气氛加剧,悬崖绝壁的神秘伴随强烈配乐加剧了少女内心的探知欲,那叠影的天空,那远飞的鸟儿似乎就是少女们幻化的内心,正是自由的象征,在此对自我的感知与存在的意识在延伸也在消亡,所以后来的事更外化了一种恐惧,女校长是权力的象征,接踵的死亡挑战了权力,女校的崩溃便是压抑最大化的表现,因而阳光之下,树林丛中,白色衣裙是制服,所以是否可认为她们更愿意脱去,走向无解?
压抑的气氛,仰拍灰褐岩石与白衣少女,古板保守教育与萌动的性意识和探险冲动,从至美到死亡,不真实的回忆和朦胧感。“有些问题有答案,有些则没有”
这种没答案的悬疑真让人抓狂,女孩们到底哪去了?日本称这为神隐。中国驴友失踪,新闻报道出动大量人力和警犬搜索也没找到,是被野兽吃了?好像也没有这么厉害的猛兽!还是被坏人拐走了?或是自己远走他乡?或是跌落在悬崖深谷某个无人触及之所?总之。。不见了!而片中提到紧身胸衣也许暗示解除束缚
万物生有时,亡有时。巨石与动物,自然与人类,永恒与瞬息,艺术与真实。午睡,慢镜头,荒茫的笛声,极具冲击力的闲笔。享受啊!就像躺在一艘没有桨与锚的船上,颤动,消逝,而并不想知道它会把你带去哪里。
彼得·威尔成名作。1.“一个没有鬼的鬼故事,一个没有谜底的谜,一个讲述性压抑却没有性的故事”,半途无解的神秘失踪与安东尼奥尼[奇遇]实而并非异曲同工。2.前半部极为出彩:阳光下的澳洲荒野(与禁锢的寄宿学校构成两极),恍若时空中的夹缝(停在12点的怀表,“一百万年来就是为了等我们”的预感);低机位仰拍的山岩被赋上灵魂,群鸟飞掠的叠影;蚂蚁分食面包屑的特写,睡着女孩身旁的蜥蜴;入山爬高后隐闷的背景音,迟缓陶醉的语调;在叠化中脱去内衣束缚...大自然的诡异伟力催眠了我们。3.光天化日下难以解开的可怖失踪之谜令我忆及少时噬咬心灵的“失踪与失踪再现之谜”,一如人体自燃般或真或虚却盘踞脑海的未知恐惧。4.可惜后半段无甚进展,大概也就睡着了几十次吧。(7.0/10)
真TM没劲,毫无意义的片子。
太迷人了!太迷人了!太迷人了!完全女性化的表达,女性化的恐惧,女性化的禁欲与依恋。摄人魂魄。
梦幻泡影。墨尔本维多利亚州的Werribee Mansion华勒比庄园1874年,悬崖叫Mount Diogenes(第欧根尼山)召唤着Miranda她们的性欲,用一场失踪宣布维多利亚时代的结束。
不知所云的坑爹之作。快进通过。
波提切利的天使.....这片几乎就是阿婆《复仇女神》的过去视角啊(去看了一眼原著小说里的解释,果然是神秘向的,而且再版的时候还删掉了
女性主义的 太女性主义的 | 冲天的石柱 丝袜 沾湿的鞋 荆棘划破的手指和脸颊 禁欲的 同性依恋的
这部片子在威尔早期的作品中只能算一般,太散。当然在所有作品中观察的话,还是不错
70年代的片子如此古典,配乐和服装,加上少女金色飞扬的头发,诗歌一般的语言,轻轻柔柔,最后米兰达脸上的定格美的像画儿,让我无法把他定位为悬疑片
光线就开始变得梦幻般明亮,空气澄澈,女孩们金色如云的秀发在通透的阳光下闪烁着梦幻的光泽,光线柔和得有一种莫名晕眩感,一切都像被催眠般的昏沉;“Everything begins and ends at exactly the right time and place”, 万事万物的兴起与灭亡皆有其特定时刻与地方,这一切都是命中注定的。
在墨尔本影像中心,看到三幅反应澳洲摄影捕捉自然景致变迁的剧照。其中第二幅就是《悬崖野餐》,说明文字是装载了特制柯达胶片,以呈现烈日下油彩溢出的画面。剧情和气氛都传递着强烈的神秘主义意象,内景的布景和色彩似《呼喊与细语》,外景的高仰和刺眼似《奇遇》,林间的米兰达则如波提切利之《春》
影片根据1967年琼·莱斯利(Joan Leslie)的小说改编,虽然小说是虚构的,但小说却暗示事件本身有可能是真实的。这部兼具戏剧、神秘、恐怖、噩梦以及梦幻诸多特征的影片不是要探究发生了什么,而是可能发生了什么。
竟是70年代的片子,极具先锋气质的古典美和神秘主义,摄影和配乐无比强大,对叙事和人物刻画的态度倒有所保留。惊现今年OSCAR女配种子选手Jackie Weaver!
诗一般的气息
作为“澳大利亚电影工业复兴期”的先声,依靠深受英国文化影响的古典美、更为大胆的爱欲表达还有彼时对许多人神秘的“南半球未知气息”迅速变成了一个出色的国际电影,后期取得了同规模成功、一些比较重要的澳大利亚制作(比如《失声岁月》)也多多少少延续了这样的风格;再加上Sofia Coppola、Chloë Sevigny包括Damon Lindelof在《守望尘世》等人和作品也收到影响,所以还是文化和先锋意义远远超出了电影本身。少女们眼中的世界、如同蝼蚁一样的尘世还有台词里提到的“仪式”,可以理解成大开脑洞的外星人入侵或平行世界,也可以是中暑、巨石砸下的自然灾害,更或者是一次有计划的逃脱...交织着每一帧如同油画的定格与朦胧,赏心悦目之外,“勾引”观众在观影当中都找到属于自己的结论。
神秘,古典美,油画一样的惊悚片。