就像等待一封明知会来的信,你的紧张和焦灼丝毫不减,即便你以为自己时时刻刻都等待着邮差,他却总是当你在后院的时候才来,而你,也常常只能听到他第二次按铃。上帝就是那个姗姗来迟的奇怪邮差,第一遍按铃时或许他也很忐忑,他手持的正义和公平,正如那封秘密的信,以一种自然到非理性的态度就改变了一个人的一生。
现在看来这部黑色影片着实拖沓的要命,几近两个小时的时长看到一半的时候已经让我怀疑影生了,杀人也算利索但被检察官盯上了?还有将近一个小时的时长命案在法庭上就判决结束了?莫名其妙相爱之后因为检察官的挑拨又或许相杀成史密斯夫妇了?这对外强中干的通奸男女最终受不了良心的谴责接受了上帝的惩罚,所以好好地悬疑惊悚片为毛要奔着五讲四美的不归路啊,忘记了手牵手在太阳下散步的梦想了吗。
一个居无定所的男人弗兰克到一家路边的汉堡店应聘,与老板娘迅速火热陷入爱河,两人预谋杀死老板独用汉堡店,然而当他们成功之后,惩罚的脚步总要比幸福快许多......
其实这个故事如果拍成《廊桥遗梦》那样的婚外恋经典不是没有可能,老板娘和弗兰克面对自己的恋情时何尝没有过挣扎的冷处理,不解风情的榆木脑袋老板可以说一手牵成了两个人的红线,一场跳舞的戏奠定了全片的基调:在老板娘尽量疏远弗兰克时,是弗兰克帮她实现了换灯的小小心愿;当老板只顾着欣赏新灯的霓虹时,却弹着吉他催促老板娘和弗兰克跳一场舞助兴;舞罢后心烦意乱的老板娘希望老板可以陪她去海边游泳散心,而老板却想继续庆祝换了新的霓虹灯打发弗兰克去陪他。
在这场舞里,老板弹着吉他、唱片机播放的舞曲细细软软从耳朵钻进心里,新换的灯管将屋子笼罩在时亮时黑的暧昧气氛中,他强壮的手臂揽住她的较弱无力、她逐渐抬高的唇几乎要烧灼到他的皮肤。忽明忽暗的灯光让三个人陷入奇妙的哀伤里,任凭谁的心思都无法在此刻碰撞啷当,要命的灯光指不出光明大道的方向,就此你会从黑白片里闻出荷尔蒙的味道。
对于欲望的表达,影片始终呈现出一种典范的姿态,既巧妙又不失水准:当老板娘第一次出现在弗兰克视野中时,首先登场的是她的脚,藏在白色鱼嘴鞋里的纤细对应着弗兰克的不安;在知道眼前的美女是有夫之妇后,他将牌子狠狠丢入了火中,熊熊燃烧的火焰像是要吞没理智;当他们奔向波涛的大海时,激涌的浪花绘出内心欢呼的轮廓,而面临死亡时,平静的水面终于让他们坦诚面对了自己的罪恶。有时候我觉得这对可怜的恋人仅仅是老板试探忠诚度的产物,谁知道他的死不是他自以为是的产物呢。
片尾莫名其妙的神父拯救破坏力不亚于好剧烂尾,回想起来似乎有很多片都是在结尾像上帝祈求赎罪,不知道原著当真有此设定,还是那个年代宗教氛围过于浓厚、以致于有能力决定电影结尾的走向。是人心所归的巧合,还是对信仰的刻意奉承呢。
The title and explanations of its meaning
The title is something of a non sequitur in that nowhere in the novel does a postman appear, nor is one even alluded to. The title's meaning has therefore often been the subject of speculation. William Marling, for instance, suggested that Cain may have taken the title from the sensational 1927 case of Ruth Snyder. Snyder was a woman who, like Cora in Postman, had conspired with her lover to murder her husband. It is recognized that Cain used the Snyder case as an inspiration for his 1943 novel Double Indemnity; Marling believes it was also a model for the plot and the title of Postman. In the real-life case, Snyder said she had prevented her husband from discovering the changes she had made to his life insurance policy by telling the postman to deliver the policy's payment notices only to her, and instructing him to ring the doorbell twice as a signal indicating he had such a delivery for her.
In the preface to Double Indemnity, however, Cain gave a specific, and entirely different, explanation of the origin the title for The Postman Always Rings Twice, writing that it came from a discussion he had had with screenwriter Vincent Lawrence. According to Cain, Lawrence spoke of the anxiety he felt when waiting for the postman to bring him news on a submitted manuscript—specifically noting that he would know when the postman had finally arrived because he always rang twice. Cain then lit upon that phrase as a title for his novel. Upon discussing it further, the two men agreed such a phrase was metaphorically suited to Frank's situation at the end of the novel.
With the "postman" being God, or Fate, the "delivery" meant for Frank was his own death as just retribution for murdering Nick. Frank had missed the first "ring" when he initially got away with that killing. However, the postman rang again, and this time the ring was heard: Frank is wrongly convicted of having murdered Cora, and then sentenced to die. The theme of an inescapable fate is further underscored by the Greek's escape from death in the lovers' first murder attempt, only to be done in by their second one.
In his biography of Cain, Roy Hoopes recounts the conversation between Cain and Lawrence, only he extends Lawrence's remarks. He did not merely say that the postman always rang twice, but rather that he was sometimes so anxious waiting for the postman that he would go into his backyard to avoid hearing his ring. It was no good, however, for if the postman's first ring was not noticed, his second one, even from the backyard, would be.
This is the explanation offered in the 1946 film adaptation of the novel.
转自豆瓣同名书籍词条下论坛
2014年一刷,但前半部有字幕,后半部没有,所以没看完。去年刷完给了4星,再刷81版,发现这版缺点太多(多半是法典因素),改成3星(就怕货比货)。拉娜和女主的人设太违和,十指不沾阳春水的派头和装扮,哪儿像个天天在后厨做粗活的老板娘?这一点就很减分。尼克尔森演技太赞,甩加菲一条街。46版过于含蓄晦涩(也是无奈),有些戏剧性的冲突无法呈现,然而不拍出来整个气氛就上不去。
粗俗
经典中经典啊
出来混,迟早要还的
情节层次丰富简单明了,看的不累。话说拉娜·特纳真美真风骚。
Lana Turner的女主角塑造得很好,说真的她和男主角deserve each other,我怎么觉着浪漫呢...结尾并不仓促,但那人命的相互偿还和细节的铺垫相当值得玩味。比起杀了人的“痴情”男女,律师们的嘴脸更是丑恶
杀夫之后的情节过于仓促。邮差总按两次铃,命运无法逃脱。
正反打很少,倒是不少侧面双人镜。
报应啊~我还是相信报应的~
起初以为智谋惊悚片,因奸除夫…后发现就俩神经病,看得烦人。前半段表现还趋于正常,只是唐突冒失了些,男主总要在主人跟前做危险动作;中段开始抽疯:女主法庭暴怒、自供、庭审对律师惊咋;后段简直发癫,俩莫名其妙的时好时坏,上句拔枪下句亲密,跳脱得有如剪切不接。哪怕老片不细腻讲究也别糊弄啊
古典好莱坞中的“古典”,一个反奥德修斯的现代案例。和81年尼克尔森那版不同,这一部中绝对且唯一的枢纽是Lana Turner饰演的老板娘。白衣黑衣,黑衣白衣,所有人都围绕着皇后旋转,一切像漩涡般缓慢有力地毁灭着。皇后最终以白衣的姿态死去,但黑衣的Lana Turner呢?
头戴一项软帽,上身穿着那件曲线毕露的“著名”毛衣,下身一条40年代风行的紧身裤,满脸一副目空一切的表情。在玛丽莲·梦露以前的日子里,简直无人可以遮掩透纳的妖艳。
欲望会将你拉近无穷深渊,怎么也无法逃脱。拉娜特纳总是一身素色服装,确实勾引人犯罪啊。
直到最后才明白片名的意思捏。。。我才知道yellow是胆小的意思啊,以前对coldplay的那首歌意思全理解错鸟
我也喜欢女主角
让人相信“人在做,天在看”。。。
“黑色电影(film noir)”是不是还有个名字叫“祸水电影”?
那个年代的黑色电影中亡命鸳鸯还真多,还是宿命论,非常喜欢最后这句话:这就像你期待的一封急于得到的信一样,你徘徊在门前,生怕会听不见门铃声,你从来都没有意识到他会按两次门铃,上帝就像邮差,他总是按两次铃,你通常都在后院,总要等到第二次按铃的时候才能听见。
厨房,厨房的那一幕——堪称影片限界的经典。
还是书更好啊。。。以及那些带小朋友来看这片的家长到底是怎么想的?!