《勾魂手》劇情介紹
《勾魂手》是由理查德·弗萊徹執(zhí)導(dǎo)，愛德華·安哈爾特編劇，托尼·柯蒂斯,亨利·方達(dá),喬治·肯尼等明星主演的劇情,電影。
《勾魂手》是一部1962年上映的美國驚悚犯罪片。該片由理查德·弗萊舍執(zhí)導(dǎo)，亨利·方達(dá)和托尼·柯蒂斯主演。影片根據(jù)波士頓連環(huán)殺手阿爾伯特·德薩爾科（AlbertDeSalvo）的真實事件改編，該殺手在1962年至1964年期間對13名婦女進(jìn)行了性侵和謀殺。電影以半紀(jì)錄片的形式呈現(xiàn)，通過展示警方調(diào)查和追捕連環(huán)殺手的過程，展現(xiàn)了真實事件的殘酷性和恐怖性。影片獲得了一些好評，尤其是對亨利·方達(dá)和托尼·柯蒂斯的表演給予了高度評價。
《勾魂手》別名：波士頓殺人王,辣手人魔，于1968-10-16上映，制片國家/地區(qū)為美國。時長共116分鐘，語言對白英語，最新狀態(tài)已完結(jié)。該電影評分7.0分，評分人數(shù)229人。
《勾魂手》演員表
《勾魂手》評論
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《勾魂手》影評
[FilmReview]TheBostonStrangler(1968)?。?/h3>《勾魂手》是一部根據(jù)真實新聞事件改編的驚悚犯罪電影。導(dǎo)演理查德·弗萊舍以半紀(jì)錄片的方式處理了這部影片，使得劇情更加真實感人。影片講述了在六十年代的波士頓，一名色魔橫行霸道，對女性進(jìn)行殘忍的襲擊，導(dǎo)致許多無辜的婦女喪命。這一系列惡性犯罪行為震驚了整個城市。影片在處理兇手行兇時采用了分割銀幕的技巧，同時展示了室內(nèi)和室外的情況，這種大膽的嘗試使得觀眾更加身臨其境，感受到了緊張刺激的氛圍。雖然這種技巧并非完全成功，但是仍然給人留下了深刻的印象。亨利·方達(dá)和托尼·柯蒂斯在影片中都有出色的表演，他們將角色演繹得淋漓盡致，使得觀眾能夠更好地理解和感受到劇中人物的內(nèi)心世界。總的來說，《勾魂手》是一部扣人心弦的懸疑驚悚犯罪電影，通過真實的故事和精彩的演技，成功地吸引了觀眾的注意力，并給人留下了深刻的印象。
Taking on the notorious murder cases perpetrated by the “Boston Strangler”, altogether 13 women were killed from 1962 to 1964 in Boston, Fleischer’s film adaptation is an ambitious undertaking trying not just to be a police procedural, but a snapshot of the 60s counterculture and indecency, and boasts a distinct visual swagger: split screen.
Unlike the symmetrical, equal divide of split screen that is arranged to brilliant merriment in Michael Gordon’s PILLOW TALK (1959), in THE BOSTON STRANGLER, what it portrays is a seedy business. Images are telescoped, juxtaposed or superimposed onto the screen to present different perspectives (subjective/objective, victim/murderer) simultaneously, to stimulate our curiosity and dangle our dread, but is not a genre flick that taps into horror or violence for pleasure, nudity is tantalized, but perverse and macabre sequences are left largely off screen, the battery subjected to a struggling victim Dianne Cluny (a bruised and traumatized Kellerman) is the closest scene to which we feel objectionable. Also there is no smoke and mirrors around the ultimate suspect, spoiled by the opening caption, the only question is when will he pop up?
The alleged strangler himself, Albert DeSalvo (Curtis) would crops up after one hour into the movie’s 116 minutes length, before that, led by the chief investigator John S. Bottomly (a scholarly, characteristically four-square Fonda), we are shown the police force’s bungling action of approaching one red herring after another, as if a vice squad is in the line of duty, enumerating those on the list of sexual indecency one by one, from adultery, crank-call mischief, homosexual (Hatfield, the quondam Dorian Gray spits in the eye of heteronormativity), lecherous imposture, domestic abuse to masochistic kink (Hickey is captivating as the poor sad sack), how swell! But what is the heck with that ESP charlatan? (Voskovec is a veritable luvvie!)
After DeSalvo comes under the limelight, the film changes its lane to a bogus psychological study, and offers Curtis, the “pretty boy” who has passed his prime, a once-in-a-lifetime opportunity to flex his muscles as a thespian, and Curtis doesn’t disappoint, mapping out DeSalvo’s twisted psyche in broad strokes but remains strikingly convincing when he stills himself and processes DeSalvo’s concealed horror with a modicum of inner disturbance. But Bottomly’s approach is so savage and the result is too simple (for example, why the perverse MO?), what he does is indiscriminately pushing DeSalvo toward a pernicious nervous breakdown, just to satisfy his suspicion, is it even a scientifically approved method?
Sacrificing a more fine-grained study of DeSalvo’s DID etiology (it is made far too hasty before the case could be more elucidated by later evidence and technological advancement) to a socially conscious drama, THE BOSTON STRANGLER may not be described as edifying or perceptive, but it earns some risible bonus points for being a self-serious Dutch uncle who tries to make good sense of an unsolved grisly case through pure postulation and half imagination.
referential entries: Fleischer’s COMPULSION (1959, 7.3/10); Michael Gordon’s PILLOW TALK (1959, 8.0/10)
Title: The Boston StranglerYear: 1968Country: USALanguage: EnglishGenre: Crime, Drama, MysteryDirector: Richard FleischerScreenwriter: Edward Anhaltbased on the book by Gerold FrankMusic: Lionel NewmanCinematography: Richard H. KlineEditing: Marion RothmanCast:Tony CurtisHenry FondaGeorge KennedyMurray HamiltonMike KellinRichard X. SlatteryHurd HatfieldWilliam HickeyCarolyn ConwellSally KellermanGeorge VoskovecJeff CoreyWilliam MarshallGeorge FurthLeora DanaAustin WillisJeanne CooperJames BrolinEnid MarkeyCarole ShelleyRating: 7.3/10
《勾魂手》是一部根據(jù)真實新聞事件改編的驚悚犯罪電影。導(dǎo)演理查德·弗萊舍以半紀(jì)錄片的方式處理了這部影片，使得劇情更加真實感人。影片講述了在六十年代的波士頓，一名色魔橫行霸道，對女性進(jìn)行殘忍的襲擊，導(dǎo)致許多無辜的婦女喪命。這一系列惡性犯罪行為震驚了整個城市。影片在處理兇手行兇時采用了分割銀幕的技巧，同時展示了室內(nèi)和室外的情況，這種大膽的嘗試使得觀眾更加身臨其境，感受到了緊張刺激的氛圍。雖然這種技巧并非完全成功，但是仍然給人留下了深刻的印象。亨利·方達(dá)和托尼·柯蒂斯在影片中都有出色的表演，他們將角色演繹得淋漓盡致，使得觀眾能夠更好地理解和感受到劇中人物的內(nèi)心世界。總的來說，《勾魂手》是一部扣人心弦的懸疑驚悚犯罪電影，通過真實的故事和精彩的演技，成功地吸引了觀眾的注意力，并給人留下了深刻的印象。
Taking on the notorious murder cases perpetrated by the “Boston Strangler”, altogether 13 women were killed from 1962 to 1964 in Boston, Fleischer’s film adaptation is an ambitious undertaking trying not just to be a police procedural, but a snapshot of the 60s counterculture and indecency, and boasts a distinct visual swagger: split screen.
Unlike the symmetrical, equal divide of split screen that is arranged to brilliant merriment in Michael Gordon’s PILLOW TALK (1959), in THE BOSTON STRANGLER, what it portrays is a seedy business. Images are telescoped, juxtaposed or superimposed onto the screen to present different perspectives (subjective/objective, victim/murderer) simultaneously, to stimulate our curiosity and dangle our dread, but is not a genre flick that taps into horror or violence for pleasure, nudity is tantalized, but perverse and macabre sequences are left largely off screen, the battery subjected to a struggling victim Dianne Cluny (a bruised and traumatized Kellerman) is the closest scene to which we feel objectionable. Also there is no smoke and mirrors around the ultimate suspect, spoiled by the opening caption, the only question is when will he pop up?
The alleged strangler himself, Albert DeSalvo (Curtis) would crops up after one hour into the movie’s 116 minutes length, before that, led by the chief investigator John S. Bottomly (a scholarly, characteristically four-square Fonda), we are shown the police force’s bungling action of approaching one red herring after another, as if a vice squad is in the line of duty, enumerating those on the list of sexual indecency one by one, from adultery, crank-call mischief, homosexual (Hatfield, the quondam Dorian Gray spits in the eye of heteronormativity), lecherous imposture, domestic abuse to masochistic kink (Hickey is captivating as the poor sad sack), how swell! But what is the heck with that ESP charlatan? (Voskovec is a veritable luvvie!)
After DeSalvo comes under the limelight, the film changes its lane to a bogus psychological study, and offers Curtis, the “pretty boy” who has passed his prime, a once-in-a-lifetime opportunity to flex his muscles as a thespian, and Curtis doesn’t disappoint, mapping out DeSalvo’s twisted psyche in broad strokes but remains strikingly convincing when he stills himself and processes DeSalvo’s concealed horror with a modicum of inner disturbance. But Bottomly’s approach is so savage and the result is too simple (for example, why the perverse MO?), what he does is indiscriminately pushing DeSalvo toward a pernicious nervous breakdown, just to satisfy his suspicion, is it even a scientifically approved method?
Sacrificing a more fine-grained study of DeSalvo’s DID etiology (it is made far too hasty before the case could be more elucidated by later evidence and technological advancement) to a socially conscious drama, THE BOSTON STRANGLER may not be described as edifying or perceptive, but it earns some risible bonus points for being a self-serious Dutch uncle who tries to make good sense of an unsolved grisly case through pure postulation and half imagination.
referential entries: Fleischer’s COMPULSION (1959, 7.3/10); Michael Gordon’s PILLOW TALK (1959, 8.0/10)
