1987[静态自杀]Landscape Suicide[BT下载/迅雷下载]

TMW

                               
登錄/註冊後可看大圖

【导演】:詹姆斯·班宁
                            【主演】: Rhonda Bell/Elion Sucher
                            【标签】: 剧情/犯罪
                            【制片地区/国家】:美国
                            【年份】:1987
                            【语言】:英语
                            【上映时间】: 1987-09-17(多伦多电影节)
                            【片长】: 95
                            【原名】:Landscape Suicide
                            【又名】:
                            【评分】:豆瓣：0 ，IMDB：7.5
                            【IMDb链接】: tt0206871
                           
                           
                           
在这部静态自杀剧情/犯罪片中,Like his earlier work, it concentrates on the sights and sounds of backroads America, but it places those images in a different and disturbing context.
"Landscape Suicides" is centered on two murder cases: the story of Bernadette Protti, a teenager who stabbed a high school classmate to death in a California suburb in 1984, and the story of Ed Gein, a Wisconsin farmer who killed and grotesquely mutilated a number of victims in the late 1950s.
Each half of the film follows the same structure: the camera, looking through the windshield of a moving car, crosses the locales where the crimes took place (in California, it is spring and it is raining; in Wisconsin, it is winter and snow is falling); an actor, playing the killer, reads excerpts from the court records while the camera looks on impassively (Rhonda Bell plays Protti, Elion Sacker appears as Gein); and finally the camera returns to the landscape, as Benning strings together static, wide-angle shots of streets and buildings, fields and hills, that emphasize a perfect calm and an awful immensity of space. The shift, from moving to still camera, has been made through the medium of the killer--the film is a movement toward death.
Both these cases have obvious cinematic references: The Protti case, with its cheerleader victim and placid suburban setting, could be the stuff of any of several dozen teen slasher films, from "Halloween" on; the Gein case directly inspired "Psycho," as well as "The Texas Chainsaw Massacre" and any number of lesser exploitation movies.
It's part of Benning's project in "Landscape Suicide" to reclaim these deaths from the realm of popular fiction and place them again in a real world. His method is, alternatively, both to refuse to look (the killings, made familiar and even banal by their endless cinematic representation, are not depicted) and to look harder than anyone else.
Looking straight into the murderers' faces, as they describe their crimes in flat, methodical terms, Benning evokes the tremendous pain of a teenager disliked because she was "different," as well as the pathetic helplessness of Gein, trapped by forces beyond his control or consciousness. The pain of the victims is evoked, too, in extended shots that show a 1984 teenager talking animatedly on her bedroom phone while a song from "Cats" plays on the soundtrack, and a 1957 housewife dancing by herself to Patsy Cline's "Tennessee Waltz."
But Benning's deepest interest lies in the way the crimes have imprinted themselves on the landscape, and the no less powerful way the landscapes have imprinted themselves on the crimes. The prosperous California suburb is linked to the depressed Midwestern farm town through a shared sense of isolation, desolation and quiet despair.
We finally come to understand that both of these towns are located in the same place, somewhere in the dark recesses of the American Dream.
                    In "Landscape Suicide" Benning continues his examination of Americana through the stories of two murderers. Ed Gein was a Wisconsin farmer and multiple murderer who taxidermied his victims in the 1950s. Bernadette Prott was a California teenager who stabbed a friend to death over an insult in 1984. Benning's distanced approach to such grisly material is as far removed as possible from sensationalism, however. Although the acts of murder are both bizarre and violent, Benning dwells on them only minimally, emphasizing instead the details of psychological motivation, which in both cases seem frighteningly mundane. Benning has created a script which is a masterpiece of understated colloquial writing, and the actors he employs to re-enact confessional testimony and incidents recounted in trial transcripts perform with a flatly convincing lack of affect reminiscent of Gary Gilmore. The two monologues are embedded in Benning's characteristic meditations of landscape: long shots of the Wisconsin farmlands, general stores, dirt roads and pick-up trucks, and the carefully tended lawns, swimming pools, sprawling bungalows and malls of the middle-class California suburb. These images are offered in the classically spare mise-en-scene which Benning has perfected in his work as a cinematic poet of the contemporary American environment. Here, in his most accessible film so far, the beautiful, open vistas are dense with the significance of the catastrophes they engendered
                    

                               
登錄/註冊後可看大圖

                               
登錄/註冊後可看大圖

                               
登錄/註冊後可看大圖

                               
登錄/註冊後可看大圖

                               
登錄/註冊後可看大圖

                               
登錄/註冊後可看大圖

遊客，如果您要查看本帖隱藏內容請回復