永远的惊悚大师――希区柯克传(下)

开篇：润墨网以专业的文秘视角，为您筛选了一篇永远的惊悚大师――希区柯克传(下)范文，如需获取更多写作素材，在线客服老师一对一协助。欢迎您的阅读与分享！

今年万圣节有什么节目呢?想约上三五同好看一场恐怖片尽情尖叫,又厌烦了血浆满屏幕的美式套路?不如重温经典,找几部希区柯克的电影来细细品味吧!阿尔弗雷德・希区柯克(1899-1980)是惊悚片的创始人,他的传奇人生、经典作品、电影哲学及拍摄手法是电影课程必不可少的内容。紧接上期的介绍,“娱乐直播室”继续为大家带来这位大师的生平故事――

听力小提示:本文生词不多,语速缓慢,内容不乏风趣幽默之处,可用作精听材料。文中发音以英音为主,喜欢英音的同学可选取部分内容进行跟读模仿。

The Man Who Knew Too Much was the first of the so-called “1)thriller cycle” six films in four years, which Hitchcock made for Balcon’s Gaumont-British Studio注1, and which would earn him the title, the

Master of 2)Suspense.

The Master of Suspense

Suspense was the key to the Hitchcock thriller.

Working with screenwriter Charles Bennett, and with Alma contributing to script treatments and continuity, Hitchcock turned suspense into an exact science.

Alfred Hitchcock: The element of suspense is giving

an audience information. Now, you and I are sitting here. Suddenly a bomb goes off. Up we go, blown to

3)smithereens. What have the audience had watching this scene? Five or ten seconds of shock.

Now we do the scene over again, but we tell the

audience there’s a bomb underneath this table and it’s going to go off in five minutes. Now this 4)innocuous

conversation about football becomes very 5)potent. They say, “Don’t talk about football! There’s a bomb

under there!” That’s what they want to tell us. Then their

anxieties will be as long as that clock ticks away.

But, the bomb must never go off.

In a Hitchcock thriller, the thing which seems to be of primary importance generally turns out to be what he called, “the MacGuffin,” the least important thing of all.

Hitchcock: I don’t care about content at all. The film can be about anything you like so long as I’m making that audience react in a certain way to whatever I put on the screen. And if you begin to worry about the details of…of what…what are the papers about that the spies are trying to steal, well, that’s a lot of…I can’t be 6)bothered with what the papers are and what the spies are after…

A Masterpiece: Psycho

Hitchcock: Psycho is my first attempt at a shocker. In other words, it has in its content certain 7)episodes which do shock. In some sense it could be called a horror film, but the horror only comes to you after you’ve seen it, when you get home, in the dark.

Janet Leigh注2 (Actress): The shower scene took seven days to shoot, and…and over 70 set-ups, because, even though it was on the screen for two seconds say the shot from up above was on the screen for two seconds it still took two hours to set up, but…because it was a very important part of the whole 8)montage. So it was very hard…I had no idea of the impact of the shower scene when I was doing it. I knew each scene had an impact, especially the last one, but…but the…but the total effect I didn’t get until I actually saw it, because then I saw what he had 9)envisioned all along, which was each…each cut of the film, each editing cut, was the slice of the knife.

Alexander Walker (Film Critic): He refused to have a press show, and he made us queue up with the public, which he loved you know, get the critics down in the level of the people that actually pay the money. And when we came out, Hitchcock was waiting in the 10)lobby with his hands in front of his 11)paunch, looking with delight at the 12)aghast faces of the critics. And I said to him, “You know, I…I honestly don’t think this is going to get good notices.” He said, “You don’t think it will play very well, Mr. Walker?” He said, “Perhaps not with your 13)tribe, but I think, looking at them looking at the public, it’ll play very well indeed.”

And it did. Cost $800,000, it made 11 million. It was his first big 14)jackpot.

《擒凶记》是所谓的“惊险电影系列”的开山之作――在四年之内,希区柯克为鲍尔康的英国高蒙公司拍了六部电影,这些作品为他赢得了“悬疑大师”的称号。

悬疑大师

悬念是希式惊悚片的关键所在。

希区柯克与剧作家查尔斯・本涅特合作,妻子阿尔玛负责完善剧本与衔接,从而将悬念变成一门精细的学问。

阿尔弗雷德・希区柯克:悬念的关键就是让观众得到信息。你我坐在这里,突然一个炸弹爆炸了。我们被炸死了,灰飞烟灭。观众看完这一幕有什么感受呢?五至十秒的震惊罢了。

现在我们重拍这一幕,但告诉观众桌子底下有炸弹,它将在五分钟内爆炸。现在这个无关痛痒的足球讨论就变得非常有威力了。他们会说:“不要再谈足球了!底下有炸弹呢!”那就是观众想告诉我们的事情。他们的不安会随着时间流逝而持续下去。

不过,那个炸弹绝对不能爆炸。

在希式惊悚片中,看起来最重要的东西最后往往只是他所说的“麦格芬”――即所有事物中最无关紧要的东西。

希区柯克:我根本不在乎电影的内容。电影可以关于任何主题,只要观众能对我在银幕上展示的东西产生特定反应就行了。如果你开始为……间谍试图偷取什么文件之类的细节操心,那就很……我才不在意那是什么文件,也不在乎那些间谍在寻找什么……

代表作:《惊魂记》

希区柯克:《惊魂记》是我拍的第一部惊吓电影。换句话说,其内容本身就包含了某些让人震惊的情节。从某种意义上讲,也可以称之为恐怖片,但这种恐怖感在你看完电影回家的时候,才会在黑暗中蔓延开来。

珍妮特・利(演员):那场浴室凶杀戏整整拍了七天……超过

70个机位,因为即便它在银幕上不过出现两秒――比如那个俯拍镜头只出现了两秒――却还是要花两个小时来布置……因为它是整个蒙太奇片段中非常重要的一部分。所以非常困难……拍摄的时候,我并不知道这场沐浴戏会产生怎样的效果。我知道每一幕都有用,特别是最后一个镜头,但是……直到看了电影,我才知道整个效果是怎样的,因为直到那时我才看到希区柯克一直以来的构想,每一段……电影的每一个镜头剪辑就是一刀。

亚历山大・沃克(影评人):他拒绝举行试映,而是让我们和公众一起排队进场,他喜欢这样做――你知道,让影评人放下身段,与花了钱买票的观众一起观看。我们走出剧院时,希区柯克在休息大厅里等着,双手搁在他的大肚子上,开心地看着那些影评人吃惊的表情。我对他说:“你知道……我不认为这部电影会得到好评。”他说:“你不看好它吗,沃克先生?”他说:“也许它不对你们的胃口,不过我认为――看看那些观众的反应,这部电影真是棒极了。”

确实如此。《惊魂记》耗资不过80万美元,其票房收入却达到1100万。这是希区柯克第一次大获成功。