撒旦的面具

作为一部在恐怖电影历史中颇具里程碑意义的影片，“撒旦的面具” 融合的恐怖元素。资料显示这部电影是基于果戈里的小说VIY创作的。科普viy了解，这是过去英国一个名叫 Little Russia 的地方对侏儒精灵老大的称号，传说这位精灵老大的眼睫毛可以拖到地面（是因为矮还是睫毛长就没有兴趣研究了）。然而果戈里的故事精简概括就是一个学生与女巫、魔鬼在教堂的终极战斗。学生因为对魔鬼的恐惧最终死亡，而邪恶力量因为战斗过瘾没有发现天亮了还待在教堂里（太无脑了吧。。。）被永久封印在教堂里，最终教堂被废弃。本部电影借鉴的就是小说中女巫借体复活，以及女巫召唤魔鬼这两个元素。电影从极刑开篇就使用各种元素，进行对比。导演不愧是摄影师出身，光影对比掌握太好，以至于这部黑白电影在营造恐怖氛围上并不输给任意一帧彩片。电影手法就不去深入讨论了，随便网上搜搜有大量对这部的分析与膜拜。随手记录几句喜欢的台词侧面膜拜下意大利人充斥着骨血的哥特式浪漫情怀吧。背景是Katia公主在经历父亲恐怖死亡以及诸多恐怖事件后独自漫步在城堡凄凉的花园遇到钦慕她的医生AndreAndre: Princess Katia, I hope I did not interrupt youKatia: No, I just feel so desperate and aloneAndre: I understand, But you must not fear. You must always have faith in yourself, and in life. Katia: In life? What is my life ?           Sadness and grave, something destroys it day by day, and no one can rebuild it. Katia walk to a stagnant poolKatia: Here is the very image of my life. Look at it, it is being consumed hour and hour, like this garden.            Abandoned, and purposeless exists. Andre: If there is the man who abandoned this castle, or even there is...             There should be no reason why you should do likewise to your life and to you.            Go far away from here, and you will be happy again, Katia.             Forgive me if I call you by name.           And remember, I am always ready to help you. Katia: You are very kind man, Andre. But today, everything seems so hopeless. I fear sense of terror， resemblance of death.           I am being destroyed by something inside my body.           How I wish I could have your faith and strength. Andre: You must not be despair, I know it's hard for you. But even in here in this garden, the sun will reach the darkness corner, chase away the shadow of the night. Katia: Andre, help me. I beg you to help me.  ... 最后小感，往往是suffer的越痛苦，魔鬼的力量越强大。而往往是内心越坚定，对抗魔鬼的战斗力越强。修炼强大的内心太重要了。。。

The dark holes on the witch’s face is like a nightmare, and her big eyes and dark circles are unforgettable images. I can clearly remember the opening scene when she were forced to put on a mask with sharp spikes inside and when the empty socket slowly refill to reveal the whites of eyes after the doctor left. This film illustrates Mario Bava’s distinct directorial style — his strong ability to control light and shadow, and to build a haunting atmosphere. Bava’s unique style and “consistency of viewpoint” , makes him so different from other European directors. Although Black Sunday is a black and white film, it is second to none in artistic style, and some of its special effects are considered to be quite good to this day. I think it is even better than some color horror movies.     I can strongly feel the bloody Italian-styled gothic romance in Black Sunday. Some of the dialogue attracted my attention, like when Katia says to Andre, “In life? What is my life? Sadness and grave, something destroys it day by day, and no one can rebuild it.” It is terrifying in most of the scenes, but I couldn’t help but laugh at the way Andre is obsessed with Katia, especially when his vision fell upon Katia’s body.

《撒旦的面具》豆瓣评分7.1，放在今天看，节奏确实慢，叙事也松散——不少观众吐槽“看得快睡着了”。但如果你冲着吓人去看，恐怕要失望，这片子根本不是靠Jump Scare吃饭的。马里奥·巴瓦的构图和光影才是真正的主角：每一帧都像精心设计的黑白版画，阴影切割出人物扭曲的面孔，镜头缓缓推进时那种压迫感，比现在那些廉价惊吓高级太多。影评人称赞“依赖光影对比和复杂构图打造出阴森难忘的哥特氛围”，一点不夸张。芭芭拉·斯蒂尔一人分饰女巫和后代两角，她的脸就是这部电影的符号。那双眼睛，同样的五官，一个邪恶到骨子里，一个纯洁无辜。幕后花絮说这暗示“善恶仅一线之隔”，但我更愿意理解成：同一个身体可能住着两个灵魂，看你怎么选。可惜剧本没深挖这个点，复仇线就是典型B级片套路，女巫被十字架烧死，完事。不过，作为巴瓦的导演处女作，这片子宣告了意大利恐怖电影的成熟。1960年，好莱坞还在玩野兽科幻，巴瓦已经开始用哥特城堡、迷雾、石棺、蝙蝠构筑视觉奇观。今天你看《撒旦的面具》，可能觉得道具假、特效简陋，但那种从骨子里透出的古典恐怖气质，后来的导演学都学不像。它在美国上映时改名《黑色星期天》，还是大获好评——说明好作品自己会说话。所以别把它当恐怖片，它是一部用恐怖外衣包装的艺术电影。如果你能接受慢节奏，建议周末深夜关灯看，你会明白为什么导演们至今还在向巴瓦致敬。