春心有谁怜

◎影片名称：春心有谁怜

◎影片别名：倒計時

◎影片类型：惊悚

◎豆瓣链接：5056506N/A

◎IMDb链接：tt00644626.9

◎影片时长：UK: 105 分钟

◎影片导演：大卫·格瑞尼 

◎影片编剧：奥黛丽·厄斯金-林多普 

◎影片主演：珍妮·艾加特 布莱恩·马歇尔 西蒙·沃德 布莱恩·马歇尔 Billy Madge Gregory 查尔斯·劳埃德·帕克 拉娜·莫里斯 刘易斯·菲安德 迈克尔·菲斯特 Lally 费伊·康普顿 

◎上映日期：1969

◎影片地区：英国

◎影片语言：英语

◎更新时间：2023-06-10 13:28:36

◎影片剧情：

　　The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.

　　At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.

　　But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.

　　I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.

　　by D.R. SHIMON@lounge.moviecodec.com

　　译文(3): 这个故事表面上看起来很简单，但事实证明，尤其是在多次观看后，它比卡萨韦茨的最佳状态更具层次感和质感。表面上看，这是关于一个14岁的天主教女孩，Wynne（Agutter饰），在这个后现代的荒原上长大，她对她的养兄（Marshall饰）产生了迷恋——一旦她开始相信他是当地的性杀手，这种迷恋就会反常地加深并发展成迷恋。这本身就是一个让你坐起来震惊的想法，但随着叙事的发展，它不一定沿着线性路径继续，而是朝着几个令人困惑和着迷的方向继续：这个家族的历史（在一次即兴降神会中，以令人不寒而栗的闪回进行了有效的详细描述）是一个曲折的历史，在过去的十年里，至少经历了一次重大的搬迁和动荡。

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