玛丽玛丽血玛丽[电影解说]

如果你正在犹豫要不要看，我可以告诉你：这部1975年的《玛丽玛丽血玛丽》更像一幅用鲜血缓慢晕染的哥特素描，没有廉价的惊吓，而是用潮湿的墨西哥小镇、阴郁的油画和女主苍白的皮肤拼出一场关于欲望与死亡的冥想。一个自称收藏家的陌生男人突然登门，他似乎洞悉她的秘密，而镇上也开始出现离奇的死亡事件。玛丽在嗜血本性和求生欲望之间摇摆，却发现自己早已被某种宿命缠住。 这部1975年的墨西哥恐怖片不走廉价惊吓路线，而是用晦暗的色调、缓慢的推轨镜头和大量静止长镜头，把压抑感一点点渗进观众皮肤里。如果你喜欢那种聚焦人物心理煎熬、氛围大于剧情推进的70年代心理恐怖片，这部片子会给你一段闷热又不安的体验。女主角不再是被动等待救援的受害少女，而是一个在创作中逐渐与吸血鬼本能纠缠的女画家——她一边在画布上涂抹血色，一边在现实中吞咽鲜血。

　　墨西哥超现实吸血鬼片，导演Juan López Moctezuma是JODOROWSKY大师的好友，曾经参与杨大师多部经典CULT片的拍摄工作。
　　A beautifull artist (Cristina Ferrare) moonlights as a vampire while in Mexico, killing lovers of both sex. It seems that the only person who has any chance of stopping her reign of terror is her father (John Carradine), who's also a vampire. Model and future TV host Christina Ferrare is a lesbian vampire whose victims are dying to quench her thirst for blood. Mexican authorities and her father (John Carradine) try to come between Ferrare and her next target's neck in this horrifying shockfest.
　　Juan Lopez Moctezuma's MARY, MARY, BLOODY MARY (1975) is one of those movies you watch and, after mentally cataloging all the things wrong with it, realize how cool it really is... mostly because of all the things you thought were wrong with it. Cristina Ferrare is such a Pamprin headache of an actress, as stiff as a celluloid collar, and yet she does create one of cinema's most interesting vampires. In many ways, Mary couldn't be worse at what she does - while the early murder of a man interested in more than her paintings goes off smoothly (Miss Thing slyly sliding a hairpin out of her chignon during female superior sex and using it to lay open his jugular), her next victim (a fisherman, whom she has attempted to drug) nearly fends her off until she takes him down in one of the most ungainly vampire attacks of all time.
　　Elsewhere, Mary proves herself a complete chicken shit in moments of tension, as when she breaks down in big boo-boo tears when confronted on a country road by a mysterious figure clad in black. She's lachrymose, emotionally withdrawn, sexually disengaged and her art sucks... what a perfect portrait of an Ugly Americana spreading the white man's poison south of the border. It's in this context that the cheapness of the production, the harsh 70s decor, the cold, perfunctory performances and the wall-to-wall Muzak score actually begin to seem like grounded artistic choices and have a lot to do with why I keep coming back to this one.
　　MARY, MARY, BLOODY MARY ends in a surprisingly cynical bloodbath of ultraviolence that leaves only the pathetic title character standing... or in reality on her knees sucking the life out of the one person whose love she had relied on to point her to some kind of normalcy. Not enough vampire movies use awkwardness and incompetence as character traits to define their bloodsuckers and that's too bad. George Romero had similar ideas for MARTIN (1976) a year later but portraying vampires as just folks is definitely the horror road not taken.

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