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》。这片子的风格就像沼泽里的死水——阴湿、黏稠，摄影机总爱贴着草丛和旧家具慢慢扫，让你觉得每个角落都藏着恶意。看完后我老想着那些泡在水里的树叶和混着血渍的泥地，后劲很足。马里奥·巴瓦用大量实景拍摄和长镜头调度，把悬疑感压在幽暗的树影和突然响起的鸟鸣里，节奏沉稳而不拖沓。叙事上不走一惊一乍的廉价吓人路线，而是用缓慢推进的长镜头和冷色调空镜，把一座海滨别墅的压抑感一寸寸渗进骨头里。适合那些看腻了血浆堆砌、想见识“优雅残忍”的老恐怖片爱好者，以及想研究意大利铅黄视觉美学的影迷。

　　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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