门后的秘密 Secret Beyond the Door...(1947)
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类型中的精神分析范本《蝴蝶梦》-《煤气灯下》-《门后的秘密》-《爱德华大夫》。对于朗导而言，也是《血红街道》和《绿窗艳影》沿线上的惯性创作。相比于那两部作品，回到封闭空间-古堡惊悚类型的朗终于能在光影上完全发挥其魏玛时期表现主义的全部效能。幼年雷德克里夫认为母亲将其反锁房内而对一切深爱的女性产生怀疑和毁灭欲望，实际上操控一切的则是腹黑女仆。
因此毁容的女仆也想通过大火带走男主人的新欢，不想早已被解开心结的男主选择回身相救。毁灭欲望与虚幻的错觉在走廊烈火中被对象化呈现，而男主与女主互相搀扶逃脱的戏剧动作又相对应着宣告这种被无意识占领的情感空缺告破。同样的手段被科恩用在《巴顿芬克》的最后，只不过那个地方特托罗从潜意识中的猛然醒悟，被科恩塑造成了与元剧本文本结构对应一个套层，又因为古德曼和特托罗一体两面的孪生隐喻，显得比此片中结尾更复杂一些。
Potently invoking Hitchcock’s REBECCA (1940) and SUSPICION (1941), Fritz Lang’s SECRET BEHIND THE DOOR... shrouds a well-to-do heiress under the unrelieved dread that her husband has an ulterior motive to snuff her (only this time, monetary concern is not a major impetus).
After the death of her brother Rick Barrett (Cavanagh), who bequeaths her a large sum of fortune, Celia (Bennett) is stuck by a coup de foudre while peregrinating in Mexico before her intending marriage with the straight-and-arrow lawyer Bob Dwight (Seay). Told through her voice in her head (a ploy Lang utilizes efficiently to propel the narrative momentum and spell out her inner thoughts), it is interesting to see under what circumstances her eyes meet his for the first time, their attraction shimmers with danger from the very start, ensorcelled by the mystique of Mark Lamphere (Redgrave), the pair hastens to the altar in situ, and Celia becomes Ms. Lamphere, but to her, Mark, the architect is a total stranger, she feels that she has a life-time ahead to get to know a man she truly loves, but even before they set their feet back on the US soil, Mark’s labile behavior during their honeymoon pours cold water on Celia’s marital anticipation and after the initial disquietude, she is bent on finding out the psychological reason behind that, even it means to put herself squarely in the harm’s way.
More and more secrets emerge when Celia moves into Mark’s domicile, his previous marriage which leaves him a son David (Dennis), his spinster sister Caroline (Revere), and a (presumably) disfigured secretary Miss Robey (O’Neil), plus the smothering atmosphere and rumors about his mother and first wife, both pushing up daisies now. Mark is in evidence, under a plethora of petticoat sway, especially the hand that rocks the cradle, which might be significantly accountable for his none-too-sane mindset.
But the most startling revelation is that Mark has a macabre hobby of collecting and recreating “murder rooms”, a quixotical idea but is effectuated with almost risible formality by everybody acting dead serious about it, as if it is a workaday thing. Celia is further intrigued by the seventh room, which Mark claims it is finished but allows no one to see. The secret behind that closed door will confirm Celia’s mortal fear (with Miklós Rózsa’s thrilling, sonorous accompaniment in its crescendo), but also emboldens her to put on the caper of an amateur headshrinker and finally disinter Mark’s psychopathic roots (lilacs and closed doors are two key clues) once and for all, Lang might take liberty with the high concept of psychoanalysis, but as a cinematic mystery, he holds fast to an arresting, alluring tale (starkly Gothic set design and expressive shadow and mist play are right up Fang’s alley) that the couple needs to rescue each other (one mentally and another physically) before forming a salutatory union, in another word, a happy-ever-after trite.
Joan Bennett’s star glamor aside, she really strengthens her spine to telegraph a gritty facade that befits a heroine who will sillily go out on a limb and ready to die for the man she loves, and Michael Redgrave’s suave persona is intermittently disrupted by the demon sizzling under the skin and makes a persuasive plea in his self-trial figment. Both Anne Revere and Barbara O’Neil leave strong impressions playing the friend-or-foe cards with a beguiling ghost of ambiguity. In the event, SECRET BEHIND THE DOOR... is an above-average entry among Lang’s oeuvre, an edge-of-the-seat, albeit derivative startler submersed in his expressionistic conceit and intoxicating syntax.
referential entries: Alfred Hitchcock’s REBECCA (1940, 8.3/10), SUSPICION (1941, 7.6/10); Lang’s MINISTRY OF FEAR (1944, 6.4/10), THE WOMAN IN THE WINDOW (1944, 7.5/10).
- 如果是急性子的人如我，会看得非常光火。跟《淑女制造法》类似但更甚之的蠢妇怪胎男故事。其实深究到底就是剧本不好，好演员也救不了一个烂剧本，演员表演越卖力越入戏就显得剧情越发不可信、扞格感越强。
喜新厌旧心性不定的阔小姐在婚前旅行中又一次熟练地抛弃未婚夫，却傻逼逼大发一堆文艺腔癔语后，毫无说服力地在导演安排下矢心忠贞地嫁给一个又老又丑、开始发福又爱装深沉的男人，无语一次；继而蜜月中很快发现发福汉做事怪诞，忽而蜜语忽而宵遁，无语二次；去夫家，陡然发现还一家子都是怪胎，无语三次；发福汉不但隐婚还有一人高的长子，无语四次……再次见面发福汉再次施展傲娇大法，陡然变脸离去，由此已经竟无语凝噎了……阔妞也展现出其蠢妇加贱婢的本色风华。
面对一系列乖悖常理的事，蠢妇却消泯骄横脾气、怪悖常理地笑纳下来；面对发福汉欺瞒重大情事还不以为然、回老宅后性情大异整天臭脸分房而居，贱婢却无缘由爱得深沉，无条件信任、死活不走。最后，夤夜探破密室隐秘、被发福汉追杀逃窜松林惊魂的蠢妇，竟然在这么大的惊惧后第二天还像什么事都没发生一样又回到家里，又宴宴然起居，死之将至还在纠结她那么爱阿福阿福爱不爱她，直至当晚绞索又一次行将套到她脖子上。套用淑女制造法的话，靠，你还真是叶名琛啊！不战不和不守、不死不降不走，揪心。
不论凶方和意图杀人这些显迹，单是新婚夫妻分房睡觉行礼如仪，发福汉整天煞有介事故作高深，刨去东西方差异，蠢妇对此无反应也堪称一朵奇葩。另外这个丑男四五十岁了，还开口闭口我很爱你，我深爱你——只在口头绝无行动，疑似杀掉前妻还吟叹“我觉得无法给她想要的爱”，动辄变脸阴沉拧巴还高兴起来就一堆爱情爱意真爱啥的脱口而出，丑逼，说话能不这么矫揉造作麽，能不这么抒情文艺麽？真足令人作三日呕！
惋惜的是，这装逼男坏事做尽，最后还得鸳侣善终。
肢解开来，编导明显想拍成兼具心理分析片、推理演绎片、惊悚悬疑片三大类型片奇效的钜制，孰料功力不逮，装逼失败，画虎成鼠。
搜集房间倒是个新奇、高大上的喜好，拥有一座大宅然后把某个名人或名事件的房间全屋实物搬迁移植入内。惭愧，才头次听说，膜拜一下。
（20140917首发，屏蔽后重发）