吸血鬼 正片

分类：恐怖片 动作,爱情,恐怖,恐怖片地区：美国年份：2001

主演：朱利安·维斯特,莫里斯·舒茨,瑞纳·曼德尔,西比·施米茨,扬·希罗尼姆科,亨利埃特·杰勒德,艾伯特..

导演：岩井俊二

更新：2024-01-02 21:14

简介：本片是德莱叶的第一部有声片，是恐怖片的经典，而且比现代恐怖..本片是德莱叶的第一部有声片，是恐怖片的经典，而且比现代恐怖片更具有心理震撼性。影片以营造气氛著称，弥漫着梦幻和诡异。故事讲述一个年轻人觉得自己遭到僵尸的包围，并幻想自己被安葬到坟墓里。影片采用了很多新奇的拍摄角度，营造出独具一格的映像效果，又通过暗示手法展现邪恶的力量，取得了前所未有的成绩，将恐怖类型片提高到艺术片的高度。Dreyer’s first sound feature, VAMPYR is an archetypal induction of the blood-hankering undead onto the celluloid screen (but not in its stereotyped appearance), made in a time when the story is foisted to unspool predominantly through title cards with minimal dialogs (sound recording is still a nascent embryo in Europe then), the film’s chiefly non-professional cast serves as props rather than fully embodies flesh and occurrences are sometimes painstakingly tardy in their paces.Yet, Dreyer’s modus operandi prospers in the somber, eldritch and never-wracking mise-en-scène, dispersed with thanatological symbols (the Grim Reaper in the beginning betokens its mythos), enhanced by a dream-like soft-focus tactility, and most extraordinarily, Dreyer’s legerdemain of coaxing shadow and light into his narrative, a coup de maître where a soldier emerges with his seemingly discrete shadow denotes the mystic separation and unification of body and soul. During the thick of its vampyr-myth debunking sequences, our protagonist, the spiffy young man named Allan Gray (played by the French scion and later illustrious magazine designer Nicolas de Gunzburg under the alias ofJulian West, who invests the movie with his own money to secure his dabbling into filmdom, which is his only screen credit) is afflicted by anout-of-body experience and witnesses a burying ceremony of his own body, swapping between camera’s (subjective/objective, body/soul)viewpoints, the film reaches its most eerie, preternatural actualization of a blurred vision between real and unreal. German actress,Sybille Schmitz, whose real-life tragedy inspires Fassbinder’s VERONIKA VOSS (1982), leaves behind an indelible image as the mostly bed-ridden vampyr-bitten girl, by dint of Dreyer’s stock-in-trade expressive close-ups. Poetic justice prevails in its simplistic ending (why the girl’s father who is in possession with the book doesn’t try to extirpate the scourge if he is presumably equipped with the know-how? A title card explanation would be apposite), but the scene wherethe evil village doctor impelled to receive his comeuppance potently flags up Dreyer’s ingenious flight of fancy, and this time, without being curtailed in the religious solemnity and rigidity, Dreyer’s VAMPYR soars with its top-drawer German expressionist idiom and avant-garde techniques that have timely reappraised the cachet of afilm maudit.referential points: Dreyer’s DAY OF WRATH (1943, 7.5/10);Rainer Werner Fassbinder’s VERONIKA VOSS (1982, 7.2/10)详情