[FilmReview]Caught(1949)7.7/10
The penultimate feature made in Ophüls' transitory active stint in Hollywood (from 1947 to1049, 4 features totally), CAUGHT is an unconcealed reproach of the hidebound “marry...
電影《情海驚魂》豆瓣評分高嗎?
豆瓣評分7.3分,屬于黑色電影中上水準。推薦觀看《漩渦之外》——同為1940年代經典黑色電影,同樣講述致命女人與復雜情感糾葛。
哪里可以看1949年的老電影《情海驚魂》?
可在部分經典電影流媒體平臺或通過DVD收藏觀看這部1949年作品。推薦觀看《郵差總按兩次鈴》——同為1940年代黑色電影,同樣涉及婚姻危機與危險關系。
電影《情海驚魂》的結局是什么?(微劇透)
(微劇透)結局在情感與現實的沖突中走向高潮。推薦觀看《日落大道》——同為探討好萊塢黃金時代女性困境與欲望的黑色電影。
芭芭拉·貝爾·戈迪斯在電影《情海驚魂》里演得好嗎?
芭芭拉·貝爾·戈迪斯飾演的雷納德展現了從依附到獨立的轉變,表演細膩。推薦觀看《后窗》——同樣由她主演,刻畫了都市女性的觀察與情感。
馬克斯·奧菲爾斯導演的電影《情海驚魂》評價如何?
導演以精湛鏡頭語言刻畫女性心理,是黑色電影風格佳作。推薦觀看《一個陌生女人的來信》——同樣由馬克斯·奧菲爾斯執導,聚焦女性視角與宿命般的愛情。
電影《情海驚魂》適合喜歡劇情片的人看嗎?
適合,影片聚焦婚姻幻想破滅與女性獨立,劇情張力十足。推薦觀看《煤氣燈下》——同樣描繪丈夫對妻子的精神控制及女主角的反抗歷程。
詹姆斯·梅森在《情海驚魂》里是什么角色?
詹姆斯·梅森飾演拉里醫生,成為女主角逃離壓抑婚姻后的新希望。推薦觀看《虎膽忠魂》——同樣由詹姆斯·梅森主演,演繹陷入困境的男性角色。
電影《情海驚魂》主要講什么故事?
講述富家女雷納德婚后幻想破滅,逃離控制并邂逅新戀情卻意外懷孕的困境。推薦觀看《欲海情魔》——同樣描繪女性在婚姻、經濟與情感中的掙扎與抉擇。
The penultimate feature made in Ophüls' transitory active stint in Hollywood (from 1947 to1049, 4 features totally), CAUGHT is an unconcealed reproach of the hidebound “marrying rich"indoctrination that poisons beautiful young women (from less affluent background) into taking it as their sole goal in life.
The specimen under analysis is an unassuming young model Leonora Eames (Bel Geddes), who admittedly isn’t cut out to be a devout gold-digger, however, by way of sheer serendipity she falls in with just the right target, the multi-millionaire Smith Ohlrig (Ryan), but their rushed matrimony doesn’t augur well, as it is Smith's spur-of-the-moment decision to willfully contradict his headshrinker, only Leonora would have known better.
Blatantly modeled after Howard Hughes, Smith is a callous, high-handed megalomania, incessantly suffered from psychosomatic angina when he cannot get what he wants. After a fallout, Leonora strikes out on her own, leaving their august mansion and starting to work as a secretary of Dr. Larry Quinada (Mason, in hisstateside debut), a man who is the antithesis of Smith, mutual attraction sizzles during their working/after-working time, but to extricate herself from an abusive marriage, she has everything to sacrifice, including an unborn baby. The film’s espousal of pro-choice is a gallant coup-de-thêàtre transpiring as the exit route to the ill-sorted nuptial pairing, yet it is so emphatically abrupt, to a point it almost demonizes Larry for semi-foisting her in such a dazed state, and foreshadows their future in the end, which is not exactly a happy one one might foresee.
Entrusted with a very sympathetic role as the gaslighted wife who is caught into a snare, objectified as a rich man’s property and agonized by his contempt and sneer,Barbara Bel Geddes handsomely struts her stuff in manifesting disparate layers of Leonora’s emotional states, to a terrific impression. Regarding to the two dichotomy of her male co-stars, James Mason looks exquisitely dashing under the noir-ish shade, butas usual, it is the villain strikes gold, Robert Ryan effectively reveals a rough edge in his character and doesn’t relent even in those tender moments, a monster crystallized by his own obstinance, vanity and oceanic ego, and he knows it too well to readdress his atrocity.
Last but definitely not the least, what leaves a viewer profoundly awestruck is Ophüls under-appreciated (at least in its time) modality in his dexterity of unspooling the story, economy is judiciously achieved by applying newspaper tidings to inform the narrative's progression, not to mentionthose majestic-looking shots enriched by sublime composition, unconventional depth of field and transcendent chiaroscuro, often in gliding tracking shots meticulously choreographed by an invisible but steady hand. To all intents and purposes, CAUGHT is a neglected beauty needs to be dusted off from its ill-fated obscurity.
referential points: Ophüls’ LETTER FROM AN UNKNOWN WOMAN (1948, 8.1/10), LA RONDE (1950, 6.5/10).
短評