The final chapter of director John Frankenheimer’s paranoia trilogy (afterTHE MANCHURIAN CANDIDATE 1962 and SEVEN DAYS IN MAY 1964), SECONDS posits the possibility of a second chance to start one’s life with a clean slate, through proper plastic surgeries and a fake death, and our protagonist is a 51-year-old bank manager Arthur Hamilton (Randolph, cogently laying bare his ambivalence concerning the wacky proposition), who is consequentially, reborn as Tony Wilson (Hudso
这是20年代德国表现主义的延伸,是希区柯克60年拍摄《惊魂记》悬疑惊悚片后又一突破,是沿用41年奥逊威尔斯《公民凯恩》拍摄方法的尝试,是约翰弗兰克海默这个如教育家般导演36岁的作品。
如果我从上面三种角度谈这部电影,这篇文章就沦为老生常谈。
喜欢科幻的我,看到了几乎完全纪实的表述方式,这种表述在科幻题材显得独特,因为电影里毫不掩饰生活的琐碎、无奈。如果电影是“造梦”,那科幻就是更纯粹地创造极致的梦,这部电影没有造梦,甚至把我们要逃避的生活之苦更赤裸地揭露出来
《第二生命》惊世骇俗的脱胎换骨
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