血之海滩[电影解说]

如果你受够了那种一惊一乍的廉价恐怖，不妨试试1971年马里奥·巴瓦的《血之海滩》。剧情像多米诺骨牌，所有人被贪婪一个个推倒，没有谁是无辜的，这种设定让人越看越拧巴。适合那些不图爽快、愿意慢慢被冰冷氛围浸透的观众，尤其对老派铅黄恐怖或砍杀片起源好奇的人。克劳迪娜·奥格尔等演员的表演克制内敛，没有夸张的尖叫，反而用眼神和细微动作传递恐惧蔓延的过程。巴瓦擅用宽银幕画幅中的人物站位与自然环境互动，以变焦镜头和反常视角强化每一场杀戮的几何构图，比如横移长镜头扫过尸体的排列方式，暗示着因果报应的必然性。演员方面，克劳迪娜·奥格尔演的不是尖叫花瓶，她那双眼睛在接电话、翻抽屉时都透着反常的冷静，和路易吉·皮斯蒂利纠缠的对手戏把贪婪与恐惧揉得很碎。

　　One of the most influential horror films of all time, Mario Bava's A BAY OF BLOOD (aka TWITCH OF THE DEATH NERVE) is the spurting artery from which all future slasher films would flow. When crippled Countess Federica is murdered at her isolated mansion, a gruesome battle ensues to secure the rights to her valuable property around the bay. Everyone, from illegitimate children to shady real estate agents, stakes a claim, only to be killed in increasingly bizarre ways, from simple shootings to impalement by fishing spear. The makeup effects are by Carlo Rambaldi (who would later earn Oscars for his work on ALIEN). Initially scorned upon its original release because of its graphic violence, A BAY OF BLOOD eventually became a trendsetter, the model slasher film that FRIDAY THE 13TH would emulate nearly a decade later.

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