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2009-05-19 20:28:21
it allows actual violence to break the spell when false alarms would have suffic
That playfulness gets the movie off at least one hook: The material isn't as disturbing as it might have been, because we have the sense that this isn't a real "kidnapping," especially after the woman begins to assist in her own captivity. Does she enjoy being someone's possession? There certainly is a lot of security in being tied up and cared for, and you don't find yourself with a lot of tough decisions to make. In a perverse sense, it is always the captive who is in control, always the masochist who gets what he desires.
影片玩鬧的風格至少讓人們完全相信（gets off the hook）：這樣的題材並不如其一直以來那樣讓人不適，因為我們感覺到這不是一次真正的綁架，特別是女主人公開始自覺接受綁架之後。是否她享受成為別人的收藏呢？當然，被綁起來、被照顧多少是有一些安全感，而且還不用煩惱於自己做決定。從反常的（perverse）角度來看，總是被俘虜的人掌握控制權，總是性受虐者能夠滿足他的慾望。
If Almodovar had gone further in this direction - if he had explored the paradoxes of this sort of sexual captivity - he might have had something here, maybe a dark comedy to remind us of something by his Spanish countryman, Luis Bunuel. But the movie is too flighty and uncentered, and it allows actual violence to break the spell when false alarms would have sufficed. It's most entertaining in the quiet times in between the big moments - the little scenes where Marina begins to understand Ricky just a little.
如果阿爾莫多瓦繼續走這個方向——如果他繼續探索這種性束縛中的矛盾——他也許給我們帶來一部黑色喜劇，讓我們想起他的老鄉路易斯•布努埃爾。但是影片顯得過於輕浮（flighty）而不著重點，在往往假警報就足夠的時候，還允許直接的暴力鏡頭出現來打破節奏（break the spell，打破詛咒）。重大時刻之間的平靜空隙是最好看的——當Marina開始逐漸理解Ricky的那些小情節。
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19900525/REVIEWS/5250303/1023
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Almodovar's inventive direction, superb lensing by Jose Luis Alcaine, a fine score by Ennio Morricone and top technical credits make pic a pleasure to watch. The film has the same Spanish framework as its predecessors, reflecting the modern, amoral, sex and drug culture of modern Madrid, intertwined with long-entrenched religious and social values. Abril and Banderas are compelling to watch as the central couple.
阿爾莫多瓦創新的導演，Jose Luis Alcaine超凡的鏡頭表達，Ennio Morricone的出色配樂以及頂尖的技術人員讓這部影片賞心悅目。影片具有前作那樣的西班牙架構，反映著擁有現代生活、反道德、性與毒藥文化橫行的現代馬德里，交織著悠久建立的（long-entrenched）宗教和社會價值觀。Abril和Banderas出演的主角對手戲逼真無比。
http://www.variety.com/review/VE1117788779.html?categoryid=31&cs=1&p=0
影片玩鬧的風格至少讓人們完全相信（gets off the hook）：這樣的題材並不如其一直以來那樣讓人不適，因為我們感覺到這不是一次真正的綁架，特別是女主人公開始自覺接受綁架之後。是否她享受成為別人的收藏呢？當然，被綁起來、被照顧多少是有一些安全感，而且還不用煩惱於自己做決定。從反常的（perverse）角度來看，總是被俘虜的人掌握控制權，總是性受虐者能夠滿足他的慾望。
If Almodovar had gone further in this direction - if he had explored the paradoxes of this sort of sexual captivity - he might have had something here, maybe a dark comedy to remind us of something by his Spanish countryman, Luis Bunuel. But the movie is too flighty and uncentered, and it allows actual violence to break the spell when false alarms would have sufficed. It's most entertaining in the quiet times in between the big moments - the little scenes where Marina begins to understand Ricky just a little.
如果阿爾莫多瓦繼續走這個方向——如果他繼續探索這種性束縛中的矛盾——他也許給我們帶來一部黑色喜劇，讓我們想起他的老鄉路易斯•布努埃爾。但是影片顯得過於輕浮（flighty）而不著重點，在往往假警報就足夠的時候，還允許直接的暴力鏡頭出現來打破節奏（break the spell，打破詛咒）。重大時刻之間的平靜空隙是最好看的——當Marina開始逐漸理解Ricky的那些小情節。
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19900525/REVIEWS/5250303/1023
========================
Almodovar's inventive direction, superb lensing by Jose Luis Alcaine, a fine score by Ennio Morricone and top technical credits make pic a pleasure to watch. The film has the same Spanish framework as its predecessors, reflecting the modern, amoral, sex and drug culture of modern Madrid, intertwined with long-entrenched religious and social values. Abril and Banderas are compelling to watch as the central couple.
阿爾莫多瓦創新的導演，Jose Luis Alcaine超凡的鏡頭表達，Ennio Morricone的出色配樂以及頂尖的技術人員讓這部影片賞心悅目。影片具有前作那樣的西班牙架構，反映著擁有現代生活、反道德、性與毒藥文化橫行的現代馬德里，交織著悠久建立的（long-entrenched）宗教和社會價值觀。Abril和Banderas出演的主角對手戲逼真無比。
http://www.variety.com/review/VE1117788779.html?categoryid=31&cs=1&p=0
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