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红尘影院

冰刀
其它其它1972
  This early 70's giallo by Umberto Lenzi is certainly among the best in his filmography and also in the whole genre. Personally I think Lenzi's best films are the funny cartoon-turned-film Kriminal, the stylish giallo Seven Blood-Stained Orchids, the explosive Napoli violenta and this. In the eighties he did plenty of film trash in form of Eaten Alive, Hitcher in the Dark or Black Demons, all of which are ripping something off and/or very dull and slow moving. Knife of Ice came when the giallo boom was at its hottest and the result is convincing.  Technically the film is superb, containing great cinematography in the beginning when we learn about the main character's trauma towards trains. From this point on, Lenzi shows us his ability to benefit the widescreen and, for example, the bicycle ride near the forest is genuinely beautiful! This scene also shows Lenzi's ability to build suspense, very slowly but meaningfully. After all, there aren't so many murders in the whole film, only the suspense circulating around the murderer's identity.  One suspect is a devil worshipper which brings new aspects to the mystery. Since the final scene takes place in a church, one can wonder if Lenzi wanted to comment on something, maybe the hypocritical morale of church and superstition. The main character (Carrol Baker) is mute which demands a lot from her face and eyes. The actress works very well, giving us a believable performance circulating around the emotions of fear and mental pain. The other actors are good, too. The finally, however, may not give too positive a sight about female sex since they all are expressed rather negatively in the film, one way or another. Still this is easily among the most noteworthy in the genre, not as bloody as the Argento films, for example, but equally suspenseful and visually also interesting.

红尘影院

浩劫之后其四:最后的不公正
法国其它2013
  地点:特莱西恩施塔特,一个独特的被阿道夫·艾希曼称为“模范集中营”而宣传的地方,隐藏着其真实面目——毒气室前的最后一步而误导着世界和犹太人民。一个男人:本杰明·穆勒斯坦因,特莱西恩施塔特犹太议会的最后一任主席,被流放的落难英雄,从1938年至战争结束期间被迫与艾希曼日复一日地谈判,而到了艾希曼被审判之日却甚至没有被传唤作证,尽管他无疑是最了解这位纳粹死刑执行者的人。距离《浩劫》超过二十五年,克劳德·朗兹曼的新作展现了纳粹大屠杀鲜为人知却意义重大的一面,并前所未有地揭示了“最终方案”的起源。  A place: Theresienstadt. A unique place of propaganda which Adolf Eichmann called the "model ghetto", designed to mislead the world and Jewish people regarding its real nature, to be the last step before the gas chamber. A man: Benjamin Murmelstein, last president of the Theresienstadt Jewish Council, a fallen hero condemned to exile, who was forced to negotiate day after day from 1938 until the end of the war with Eichmann, to whose trial Murmelstein wasn't even called to testify. Even though he was without a doubt the one who knew the Nazi executioner best. More than twenty-five years after Shoah, Claude Lanzmann's new film reveals a little-known yet fundamental aspect of the Holocaust, and sheds light on the origins of the "Final Solution" like never before.

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