剧情简介
1969英国惊悚片《倒计时》由大卫·格瑞尼导演，珍妮·艾加特主演，影片讲述的是：
The story appears simple on the surface but is revealed especially after multiple viewings as more multilayered and textured than Cassavetes at his best Ostensibly it concerns a 14year old Catholic girl Wynne Agutter growing up in this postmodern 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 familys 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 its 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 familys world their house their walls their TV Agutters underwear bedroom furniture and toys Sutcliffes 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 everpresent 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 nearperfect 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 DR SHIMON
The story appears simple on the surface but is revealed especially after multiple viewings as more multilayered and textured than Cassavetes at his best Ostensibly it concerns a 14year old Catholic girl Wynne Agutter growing up in this postmodern 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 familys 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 its 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 familys world their house their walls their TV Agutters underwear bedroom furniture and toys Sutcliffes 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 everpresent 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 nearperfect 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 DR SHIMON
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