[LastFilmIWatched]Poison(1991)
Queer filmmaker Todd Haynes' debut feature POISON dazzles as a multi-faceted cinematic triptych, three segments: Hero, Horror, Homo, all inspired by Jean Genet's novels ...
電影《毒藥》豆瓣評分高嗎?講的是什么故事?
豆瓣評分7.2分,是1991年托德·海因斯執(zhí)導(dǎo)的三段式先鋒電影,分別講述弒父、性欲實(shí)驗(yàn)與監(jiān)獄虐戀。推薦觀看《紫醉金迷》——同樣由托德·海因斯執(zhí)導(dǎo),以華麗視覺探討邊緣群體與時(shí)代精神。
哪里可以看1991年的電影《毒藥》?
該片為獨(dú)立先鋒電影,可在部分藝術(shù)電影流媒體平臺或通過Criterion Collection等渠道尋找。推薦觀看《我自己的愛達(dá)荷》——同為90年代初描繪邊緣人群與另類情感的經(jīng)典獨(dú)立電影。
電影《毒藥》的結(jié)局是什么意思?(微劇透)
(微劇透)三段故事各自收尾,整體呈現(xiàn)欲望與暴力的荒誕性,無統(tǒng)一結(jié)局。推薦觀看《妖夜慌蹤》——同樣采用非線性和分段敘事,營造出詭異迷離的心理驚悚氛圍。
電影《毒藥》和《紫醉金迷》哪個(gè)更好看?
電影《毒藥》適合什么樣的人看?評價(jià)如何?
適合喜歡90年代獨(dú)立電影、三段式結(jié)構(gòu)和挑戰(zhàn)性題材的影迷。評價(jià)兩極,以其大膽敘事獲獎(jiǎng)。推薦觀看《神秘肌膚》——同樣涉及禁忌話題并以獨(dú)特章節(jié)結(jié)構(gòu)展現(xiàn)創(chuàng)傷記憶。
電影《毒藥》是恐怖片嗎?有什么看點(diǎn)?
非傳統(tǒng)恐怖片,屬劇情愛情類,看點(diǎn)在于向《變蠅人魔》致敬的科幻段落及監(jiān)獄虐戀的大膽描寫。推薦觀看《變蠅人魔》——同為探討科學(xué)實(shí)驗(yàn)異化與人性的經(jīng)典科幻恐怖片。
Queer filmmaker Todd Haynes' debut feature POISON dazzles as a multi-faceted cinematic triptych, three segments: Hero, Horror, Homo, all inspired by Jean Genet's novels (with his texts sporadically materialize on the screen as inner beacons), are intertwined altogether yet each is bestowed with a sui generis visual style that speaks volumes of Haynes' eclectic idioms.
Hero takes the form of a grainy and slipshod pseudo-documentary, interviewing sundry characters about a deadly homicide further confounded by a surreal twist, a 7-year-old boy, shoots his father dead and then wondrously flies away from the window witnessed by his mother Felicia (Meeks), various interviewees recounts the boy's aberrant deportment before the incident, some are startlingly perverse, finally, through Felicia's account, the boy's ascension smacks of something punitive and defiant in the face of family dysfunction and violent impulse, rather dissimilar in its undertone and timbre from that WTF upshot in Alejandro González I?árritu's BIRDMAN (2014, 7.6/10).
Horror, shot in retro-monochrome and abounds with eye-catching Dutch angles, namely is a none-too-engrossing pastiche of the erstwhile B-movies and body horror, a scientist Dr. Thomas Graves (Maxwell), accidentally ingests the serum of "human sexuality" which he has successfully extracted, starts to transmogrify into a leprosy-inflicted monster, and his condition is deadly contagious, which threats lives around him, especially his admirer Dr. Nancy Olsen (Norman), who against all odds, not daunted by his physical deterioration. In comparison, this segment is less savory owing to its own unstimulating camp, where Hero ends with a subjective ascending, the upshot for a beleaguered gargoyle is nothing but plummeting.
Last but not the least, Homo is plainly a more self-reflexive treatment conjured up à la Fassbinder's QUERELLE (1982), another mainstay of queer cinema derived from Genet's text. A prisoner John Broom (Renderer), grows intimate towards the blow-in Jack Bolton (Lyons), whom he has met before during his stint in a juvenile facility of delinquency, Jack's humiliated past emerges inside John's mind, now it is his turn to exert his suppressed libido. This chapter is as homoerotic as one can possibly imagine, a maneuver Haynes would have unwillingly relinquished en route pursuing mainstream acceptance, one tantalizing sequence of Broom groping an asleep Jack is divinely graphic and atmospherically transcendent.
Credited as an experimental juvenilia, POISON throbs with vitality, ambition and knowing archness, though the end result is far from flawless, it potently anticipates many a Haynes' modus operandi, say, the segmental structure and interview-style in I'M NOT THERE. (2007, 8.0/10), his distinct prediction for the photogenic period setting and outfit in FAR FROM HEAVEN (2002, 9.2/10) and CAROL (2015, 8.9/10), not to mention his latest sortie into black-and-white mystique and paralleled storytelling in the Cannes-premiered WONDERSTRUCK (2017).
Not many can embrace perversity as plucky as Mr. Haynes has done, whether it is a tragedy can easily take place around us in real life, or a man living through his most egregious incubus, or a blatantly idealized contest of one's sexuality (motifs like wedding, saliva and scars are all defying their accepted norms), just like a child’s stretching hand in the opening credit, Haynes' first directorial outing jauntily treads through many taboo subjects and in retrospect, vindicates that it will be our profound loss if his talent fails to be acknowledged and utilized in full scale.
referential points: Todd Haynes' SAFE (1995, 8.4/10), VELVET GOLDMINE (1998, 6.7/10); Rainer Werner Fassbinder's QUERELLE (1982, 7.8/10).

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