推动摇篮的手

1992年的美国犯罪佳作《推动摇篮的手》，尽管是比较老派的一部惊悚片，还有美女裸露的香艳大尺度镜头，却通过一位蛇蝎女对中产阶级的复仇故事，在剧本、摄影、剪辑、打斗都拍出了惊艳，既有R级爽片的刺激感，又暗藏着讽刺！

克莱尔在产检时候，觉得妇产科医生莫顿模自己胸，动作有点猥亵，便控告对方犯罪！没想到导致了后者的自杀，甚至莫顿的太太亦因此流产，再也无法怀孕。这位遗孀为了复仇，干脆假扮保姆，去女主角家“鸠占鹊巢”，从此危机四伏。

瑞贝卡·德·莫妮饰演的莫顿太太，拥有金发碧眼的美貌，看似人畜无害，眼神却清澈中透着犀利，内心阴暗歹毒，她的表演堪称惊艳。这位蛇蝎复仇女能很好地将切肤之恨隐藏在亲切温和的外表之下，轻松获得了仇人一家的好感！

克莱尔和迈克尔夫妇看似是衣食无忧的有钱人，却透着一股居高临下、自以为是、虚伪乏味的蠢劲儿。例如他们雇了一个弱智的黑人做帮工，以彰显爱心，骨子里却不信任他。对于儿女的生活，夫妻俩也关心不够，给敌人有机可乘！

女保姆先从孩子下手，学校里谁欺负了女儿，她就去教训对方，从而博得好感；她有意无意地利用性感的躯体，对男主人进行挑逗，并勾搭出轨；她甚至半夜起来喂奶，逐渐让婴儿脱离对母亲的身体依赖，进而造成骨肉生疏！

她偷窃并撕毁男主人的快递信件，从日常闲聊中得知男主人与闺蜜的往事，用打火机进行离间；看见口舌笨拙、忠心不二的黑人建筑工偷窥自己喂奶，为避免事情败露，她就把小女儿内裤放进黑人房内，挑拨离间，轰走了对方！

奥斯卡影后朱丽安·摩尔客串了女主角的闺蜜，也是男主人的初恋，她身为房地产女强人，同时也不忘在百忙之中取悦丈夫，对好友更是推心置腹、两肋插刀。正是她提醒了女主角：“晃动摇篮的手，就是操控世界的手！”

女主角家里盖了温室花圃，每天去植物园购买新鲜花种，并定做了一个上面插着鸟窝的长杆子，等着燕子回巢，这明显是有钱瞎折腾的摆设！偏偏等女闺蜜发现阴谋，女保姆就靠诱骗对方进花圃，弄碎玻璃搞陷阱杀她，在残忍中透着讽刺！

周围的同事也不断地说：“这么好的保姆从哪找的，给我也找一个！”，男女主角起初也被假仁假义的蛇蝎女迷昏了眼。直到闺蜜死后，娇妻才发现家里一切都被蛇蝎女控制了，才开始绝地反击！靠着所有人奋起死磕，才惊险地消灭了她！

曾拍摄《洛城机密》《8英里》的导演柯蒂斯·汉森看似在拍邪不压正的惊悚片，实则讽刺了中产阶级的虚伪和愚蠢！从克莱尔猜疑黑人侵犯女儿，怀疑闺蜜跟老公有一腿，以及当年老公鼓动她去报警，昔日的“性骚扰”指控弄不好是诬告！

当亲情、友情、爱情都经历了严峻的考验，反而黑人的报恩则是“好人”有好报！毕竟一家人为智障的他提供了工作，并送给他一部梦寐以求的自行车，这导致后者被驱除后，依旧做他们的隐身保镖，这才在关键时候搭救众人，洗清嫌疑！

本片的情节曲折，收放自如，扣人心弦，悬疑感绝佳！前面让人痛心，中段让人担心，结尾让人安心，两位靓丽女主角的身材都很性感火辣，令人大饱眼福！

首先，朱利安摩尔真的太美啦！是九几年的电影的剧情为主导的很像短篇小说的风格，故事讲得不错，希区柯克式的，观众知道炸弹在哪里，为主角担心的讲述方式，算是中规中矩不算太出彩。看的同时我一直想到一部讲第三者插足的九几年的电影，还有《孤儿怨》，都是在正常的家庭中出现了隐秘地破坏性的人物，但是不管是那部九几年的电影，还是孤儿怨，都比这一部要出彩，前一部的人物动机和心理状态非常合理，比这一部的破坏性角色的动力要来得复杂和正当，也更贴近日常生活。而后一部更是以打破观众对孩子的柔弱的预期来破题，给人很强的震撼。本片只能说故事的节奏很好，看出来是会讲故事的人，但是人物的设定不那么出彩，整个故事也比较流于套路。总的来说不错。

如果你喜欢《寄生虫》、《斯托克》那种调调，我向你推荐一部老片《推动摇篮的手》，非常精彩。

“推动摇篮的手，可以统治世界”--威廉·罗斯·华莱士。名字如此诗意，说明本片不是一部廉价的惊悚片。导演是柯蒂斯·汉森，《洛城机密》、《8英里》都是他的作品。他是个优秀的导演，但作品不是很多。

本片是个报复的故事，安娜贝拉·史欧拉（她的姓不是豆瓣上写的莎拉）扮演的女主人是个非常富裕的中产主妇，她和丈夫、女儿住在豪宅中，衣食无忧，可惜她有哮喘病。她决定要二胎，去医院产检，但接待她的妇科医生的手势却让她觉得是一种侮辱(片中有医生在指检前脱掉手套的特写镜头，正是这个镜头，让本片的善恶显得明确了一些)。她并不确定医生是不是借机揩油，但她丈夫鼓励她对医生提出“性骚扰”的起诉。没想到她一起诉，还有几个女人也附和指控，让这个妇科医生马上声名狼藉，无地自容。在开庭前，医生选择了自尽。

医生的妻子由“新黑色电影女王”--莫妮卡·德·莫妮扮演，她丈夫死的时候她已经身怀六甲，但法理无情，不但房产被没收了，而且她不慎跌倒，孩子也胎死腹中。就这样，一个中产阶级家庭家破人亡，莫妮卡成了无产阶级。当她看到电视中播出的安娜贝拉的照片时，恨的牙根痒痒，马上决定余生要报此大仇!于是她就去仇人家里当保姆了。

安娜贝拉的家庭就像《寄生虫》等片中里的大富家庭一样，透着一股居高临下、自以为是、虚伪乏味的蠢劲儿，他们雇了一个弱智的黑人做帮工，以彰显他们家的爱心。但他们对这个善良的傻老黑并不放心，可以说打心眼里瞧不起人家，所以莫妮卡想赶走这个累赘的时候，只需要把他们女儿的小内裤放在傻老黑的工具箱里就可以了。可以说安娜贝拉这个女主人非常的愚蠢，因为她没有任何判断力，所以被莫妮卡玩的团团转。

很快的，保姆就反客为主，全方位的超越了女主人。他们家女儿被欺负了也要保姆搞定，小儿子饿了也吃保姆的奶（莫妮卡一直在半夜偷偷奶孩子），甚至男主人也渐渐喜欢上了这个金发美人。只有一个不识相的倒霉蛋--朱利安摩尔扮演的男主人的初恋，她感觉不对头，终于查到了莫妮卡的真实身份，可惜没等说出口就被治死了，本来这个死亡陷阱是给安娜贝拉设置的。

影片的最后很俗套，正义战胜了邪恶，那个傻老黑以德报怨，在关键时刻挺身而出，帮安娜贝拉除掉了莫妮卡。但这个结局显然不够“大快人心”。

试想下，如果拿掉医生妇检的那场戏，变成安娜贝拉回家后的主观陈述，那本片的主题就要复杂的多了。而这个女人的多疑和猜忌，在后面的剧情里一再出现，比如她对傻老黑的态度，她一开始就被黑人吓到，又不让黑人碰baby，最后怀疑黑人对她女儿毛手毛脚，这虽然是被莫妮卡所诬陷，但如果她心里不是歧视黑人，也不会那么快就下结论。还有她怀疑丈夫和摩尔偷情，如果不是她心里早有芥蒂，光凭莫妮卡的撺掇也无济于事。种种迹象，让观众对安娜贝拉当初的“性骚扰”指控和她的人品也产生了怀疑。

莫妮卡的复仇计划之所以这么成功，也是因为她和安娜贝拉曾经是同一个阶级的人，她太了解这些富太太们空虚的内心了。安娜贝拉大费周章的雇傻老黑在家里盖温室花圃，还天天去植物园购买新的花种，并定做了一个上面插着一个鸟窝的长杆子，说是每年有一窝燕子会在春天准时飞来。这些事情其实毫无意义，只不过是消费的游戏罢了，目的只是找点事儿干，它们本末倒置，竟成了中产生活的主要部分，真是可笑。更可笑的是，最后这个花圃竟成了杀人的陷阱、摩尔的坟墓。

豪宅里的房间很多，但安娜贝拉还是让莫妮卡住到了阴暗的地下室，莫妮卡的闹钟歌曲是高雅的W.S .吉尔伯特和亚瑟·沙利文音乐剧《彭赞斯的海盗》选段，这也体现了这个昔日贵妇不甘沦落成为仆人的怨念。其实莫妮卡无论从气质还是长相上，根本就不可能是一个穷出身的保姆，但安娜贝拉两口子却一直用一种“捡便宜”的心态骗自己，他们周围的同事也不断说“这么好的保姆从哪找的，给我也找一个！”仿佛有了这个漂亮保姆就给他们家镶金边了似的。他们以为占了便宜，所以就没有了任何戒心，临了差点丧命，也是他们活该！

片中莫妮卡的演技十分精彩，安娜贝拉虽然不是花瓶，但在她面前确实黯然失色。很喜欢莫妮卡欺负傻老黑的几场戏，今天看起来有点喜剧效果。

这个保姆的丈夫是医生因为被怀第二胎的女主指控性骚扰自杀了。自己也流产再也不孕就跑到主角家当保姆来复仇了。这保姆很聪明一边跟这家人搞好关系，一边又暗中行动搞破坏。撕掉男主计划书，温室里制造意外，把女主的哮喘器喷干这些的。还有分裂这个家庭的和睦。然而却不想自己给这家人送的风铃却成了暴露身份的关键。最后保姆摔下楼被栅栏扎死也算是美好的结局了。这电影里的黑人也算是个关键人物。最后来的很及时。

没想到无意下载下来的九十年代初的这部老片也让我心惊肉跳了一番。

作为著名医生的娇妻，以前的penton想必是一直过着养尊处优的生活，然而丈夫因为性骚扰女患者的行为东窗事发，所以羞愧难当，饮弹自尽。丈夫过世，资产被冻结，年轻的寡妇怨气攻心，最终导致胎死腹中。多重打击对于peyton来说无异于五雷轰顶，然而她没有痛定思痛，将主因归结于丈夫的卑劣行为，而是偏激狭隘地归咎于受害者的控告行为，从而进行了一系列缜密入微的疯狂报复行动。
她虽然进入了报复的非理性状态，但是她却能很好地将切肤之恨隐藏在亲切温和的外表之下，正因为如此，她才能得以顺利博得claire的好感而成为她家的保姆。然而在claire家做建筑工人的智障黑人solomon却很敏感地觉察到了peyton内心的怨念，从此对她敬而远之。由此看来这复仇少妇的修为还没有完全到家，收放自如这一点她还没彻底领悟，话说回来，要她真是一个完美的复仇者，那这片就会呈现一边倒的局面，刺激的窒息气氛就无从营造。
其实从现代中国人的观念来看，一般人都不会雇一个年轻貌美的女保姆，这种女保姆很容易令人产生下面的印象：1.手脚不麻利，就算麻利也难免担保能勤快。2.貌美容易让男主人想入非非，就算不产生出轨事件也会让女主人相形失色，从而更容易破坏家庭和谐。当然，对于大多数男士来说，能雇到美女是一件可遇不可求的快事。3.优越的外在条件完全能让美女找到其他更为轻松的工作，而依然从事保姆职业是否会另有所图？这也会让雇主心生狐疑。当然，对于这点，peyton的解释是喜欢抚养孩子，倒也合情合理。对于第二点，claire的闺蜜Marlene其实是一早就提醒了她：晃动摇篮的手就是掌控世界的手。可惜的是，善良的claire没有将这话放在心上。
对于影视上经常出现的此类聪明果敢的女配角，本人通常是十分欣赏的，然而导演们又常常喜欢将这些女强人送入坟墓，好一个令人伤心的规律。Marlene的聪明之处在于本身就是个房地产女强人，同时也不忘在百忙之中取悦丈夫，对好友更是推心置腹、两肋插刀。对于claire家中的变化，她在开始也觉察到了什么，也进行了提醒，最难得的是她细心地发现了保姆与医生之间的联系，可惜这时大去之期骤然而至。在凶残狠毒面前，冰雪聪明有时也不得不退避三舍。何况蛇蝎心肠还有阴险狡诈辅佐，所以Marlene不仅被claire怀疑有背叛行为，最终还落个香消玉殒的悲惨结局。
说到阴险狡诈，真的不得不佩服peyton，半夜起来喂奶，目的是为了逐渐让婴儿脱离对母亲的身体依赖，从而造成骨肉生疏；偷窃并撕毁男主人的快递信件，从日常闲聊中得知男主人与闺蜜的往事，用打火机进行离间，有意无意地利用性感的躯体对男主人进行挑逗并行事，最终达到破坏夫妻间感情的目的；为避免事情败露，挑拨离间，轻易地赶走了口舌笨拙而忠心不二的建筑工solomon。
以上的种种行径，不禁让人感觉好人没好报，其实，影片的主旨并不是宣扬这种思想，对黑人的行为稍加分析，我们依然可以得到好人有好报的结论：claire一家都十分友善，为智障人士提供工作就是一个例证，他们还送给solomon一部梦寐以求的自行车，这让solomon对他们更加感激涕零，最后在遭遇驱逐之后，仍然偷偷骑着那部爱心自行车做他们的隐身保镖，最终挽救了婴儿，洗清了嫌疑，得到了大家的认可。

总的来说，影片中亲情、友情、爱情都经历了严峻的考验，善与恶，美与丑，爱与恨的尖锐斗争让不同的人性进行了充分发挥。情节收放自如，扣人心弦，前段让人痛心，中段让人担心，尾段让人安心。推荐推荐！

影评原文链接

Directed by Mercedes Bryce Morgan, Shudder’s “Spoonful of Sugar” revolves around a 21-year-old medical student, Millicent, who is working on a thesis that focuses on children with severe allergies. When she sees an “ad for babysitter wanted” for Johnny, who is allergic to almost everything in existence, she responds to it. Johnny’s mother, Rebecca, writes books about lovemaking, and his father, Jacob, is a carpenter. Since Millicent is good with Johnny, his parents decide to hire her. Soon after, we learn that Millicent actually goes to therapy under Dr. Welsh, who gives her small doses of LSD to keep her lucid. In addition to that, Millicent doesn’t have a family of her own, and she lives with her foster father, Roger, who is interested in having a romantic relationship with her. Millicent is adamant about keeping her job at Rebecca’s, so she tries to manage the issues in her personal life while being there for Johnny. However, things go very badly, very quickly.

Major Spoilers Ahead

What Was The Result Of Giving LSD To Johnny?

It’s made pretty clear by the makers of “Spoonful of Sugar” that Millicent is always high off her rocker because she’s taking LSD. It’s seen as a means to disassociate from her reality. But since she takes a lot of it, she hallucinates quite a bit. Some of those hallucinations are quite regular, and then there are others that are kind of erotic in nature, thereby hinting at her sexual awakening. She’s very obviously attracted to Jacob, and she senses Rebecca’s estranged relationship with both Johnny and Jacob. I mean, Rebecca tries to be there for Johnny and Jacob in every possible way. However, it never seems to work out. That’s why Millicent thinks she can replace Rebecca permanently and start her own family, something which is proven by her intense self-stimulated dreams. Her assumptions about Rebecca’s position in the family are proven right by her growing distance from Johnny and Jacob. And Millicent takes a big swing at getting Johnny over to her side by giving him LSD through his medications.

Millicent’s working theory is that since the LSD has helped her to see things “clearly,” and since Johnny doesn’t perceive the world in a straightforward fashion, the drug is going to help him out or at least bring him to her level of consciousness. Initially, Johnny seems to be doing nothing more than tripping out of his mind. But after nearly getting pancaked by Jacob and Rebecca’s car, he utters the first word of his life: “mommy.” Now, what would’ve been a moment of pride and elation soon turns into one of horror as Rebecca realizes that Johnny isn’t calling her “mommy” and is actually referring to Millicent. Infuriated by this sequence of events, Rebecca tells Millicent to get the hell out of there while interrogating a high-to-the-sky Johnny about his odd behavior. Does this mean that the movie is saying that addictive and dangerous drugs can help a kid with a fear of having allergies? I don’t think so. It’s a bonkers premise, and all the characters are weird and off-putting. There’s no real-world logic at play here. So, don’t try to look into it too deeply.

Did Millicent Kill All Of Her Foster Fathers?

After the LSD and “mommy”-calling incident, Jacob drives Millicent to her home, and they decide to put their inhibitions on the back burner and get physically intimate. This irks Roger very much, as Millicent was supposed to cater to him and him alone. It’s because of this agreement that Roger probably killed his wife. Anyway, when Roger starts to insist on getting some kind of pleasure out of Millicent, she obliges because, in her head, she can beeline straight into Jacob and Johnny’s household and replace Rebecca. Since Roger is the only one who is keeping her from doing that, she needs to get him out of the way. So, she does the most obvious thing: she chokes Roger to death and then buries him in the backyard beside his rotting wife. That’s not one of the main twists, though, because it was expected of her to do so at that point. The twist that triggers the third act is that Millicent is actually a serial killer who has killed all of her former foster fathers.

Early on in “Spoonful of Sugar,” we see Millicent toying with a diary or a decorated Bible after doing drugs. She keeps it atop her ceiling fan, which means that she doesn’t want anyone to find out about it. After killing Roger, we see that each page of that diary is dedicated to a foster father she has killed. Jake was apparently her first victim, and he was guilty of lying about liking her. Then there was Simon. The reason why he was killed is unclear. Andrew was killed for liking Millicent’s legs. While flipping through the pages, we see the recurring motif of the man with goat horns before coming across a page for Dr. Welsh, who eventually ends up dead for putting his hands on her. And then we finally arrive at Roger’s page, which is decorated with a lock of his hair. So, in case it’s not apparent, Millicent has been transferred from one foster family to another ever since she was a kid, and all of them abused her in some way or another. This likely traumatized Millicent to a frightening degree, thereby leading her to depend on drugs and death to stay functional. Since she’s addicted to both of those practices, she is unable to stop herself from taking things to the next level.

‘Spoonful Of Sugar’ Ending Explained: Was Johnny Also A Serial Killer?

Millicent sets the stage for the third act by getting intimate with Jacob in the backyard while Johnny watches them and screams into the void. Since Johnny likes to draw, he starts making sketch after sketch of Millicent and Jacob doing naughty stuff in the garden. This angers Rebecca, and she prevents Millicent from resuming her job as the babysitter. Millicent initially tries to force her way into the house again but is stopped by Rebecca. Then she tries to win Jacob over to her side by seducing him. While all this is going on, Johnny attacks Rebecca with the knife that Millicent gave him. Rebecca manages to trap Johnny, takes her own knife, and then stabs Millicent. While bleeding out, Millicent gets to the porch where Johnny is standing after reacquiring his knife. And although it looks like Johnny is going to help out Millicent because he is so attached to her, the demented kid proceeds to stab the life out of his babysitter as Jacob and Rebecca look on in horror. Once Johnny is done, it becomes clear that Jacob and Rebecca aren’t horrified. They’re just tired yet another babysitting cycle has come to a disappointing end.

As suggested by the end credits, Johnny is actually a serial killer with an Oedipus complex. He probably doesn’t have any such allergies, and it’s highly likely that he is a full-blown psychopath. Jacob and Rebecca are evidently fed up with taking care of him themselves. That is why they hire a babysitter and hope that Johnny doesn’t kill her. But as soon as Johnny gets too familiar with the girl and starts to see her as his mother, things go wrong, thereby forcing the parents to bury them in the backyard. It’s insinuated throughout “Spoonful of Sugar” that the reason why a babysitter doesn’t last long is because of Jacob’s infidelity (his affair with Millicent is probably the first and the last one). However, the real cause is Johnny himself. It’s a pretty good last-minute twist because Bryce Morgan and Leah Saint Marie were painting Millicent as the villain of the story, and she was quite villainous. It’s only that Johnny was much more villainous than her. I think that the big message that you should take from this film is that you shouldn’t do drugs, especially if you need therapy. Also, do not go to a therapist who suggests you do LSD. In addition to all that, if you want a triple-feature suggestion, watch “Spoonful of Sugar” with “The Hand That Rocks the Cradle” and “The Nanny.”