激情沸点

我第1次看到大概是96年前后，二十几年来，津津有味地重温过4─5遍，一直认为应该打9分以上！ 本片像一首散文诗： 生活像一条河，有的时候波澜不惊静水流深，有的时候波澜起伏惊涛拍岸。生活流的电影，一张一弛，张弛有度…… 大手笔大师气派，才能绷得住Hold得住！ 流窜犯光顾前，小镇似乎一潭死水却也岁月静好。他跑来了，搞出些金钱色情暴力的事情，好像巨石被推山崖，疯狂滚动起来、呼啸而去，俨然不受任何人的控制，…… 没多久，流窜犯像猎物一样被老板娘带走，一切烟消云散，又好像什么都没有发生过。 与此同时，本片富含哲理： 简而言之，主题（作者通过作品表达的理念、观念、根本性规律性的认识或者观点等等，主要的题旨）是什么呢？我想导演想说的是，人要有自知之明，没有金刚钻就不要揽瓷器活，是什么段位的只能大概站在什么位置做点什么事情。 具体来看：自作聪明、故作潇洒的流窜犯，不期而遇老谋深算又不择手段的老板娘，斗智斗勇后束手无策，认识到自己只配当小弟，连自身命运都把握不住，更左右不了人家，…… 服了，被她收走了。 （流窜犯明白了自己有多少分量，在老板娘眼里是个什么角色；不用多久，他也会被老板娘丢弃的。两人的交手，不仅让他对老板娘折服，更让他对自己有了更准确的评价，对自己的将来有了更恰当的判断──骄、娇二气丧失殆尽，自信心倍受打击，今后可能会像车行的那位混混同事一样得过且过。）

这部电影不能仅看看风月，应该看出通过看似男女之间的情感问题，导演想表达现实与梦想之间的距离。

男主已经过三十而立的年龄，还幻想着美梦。当然每个人都有做美梦的权利，但是美梦能否实现则是另回事。19岁的康纳利如同男主的美梦一样风情迷人，夏天热不穿胸罩，半袖羞轮廓乳头。她太年轻，太美丽，每个人都想要，石油工人亦不例外。

石油工人拍照抓住了康纳利的把柄----同性恋，向她索要钱，她则需要有人帮助她摆脱这个困境--钱和照片。或者，用另外一种表述来讲，每个人都有理想，理想那么诱人，现实那么惨淡，实现理想需要付出以及能否承受付出的代价。男主缺钱就抢了银行，老板娘知道了他的把柄。想当初不是为了钱，老板娘委身与老板吗？老板满足了钱的欲望，满足不了其他需求。男主正好满足这两个需要，帅哥又有性能力，又能调情。自古以来， 潘驴邓小闲 ，五大要素， 男人追女人需具备的五个条件 。

男主怎么满足康纳利，自己抢来的钱替她补上账户上偷的钱，康纳利没有债务危机了，他们俩可以私奔。男主似乎没想明白康纳利同性恋的事实。老板娘通过睡丑陋的石油工人，看透了康纳利用完男主会果断离开他计划（康纳利是同性恋），她率先把老板在床上制造捆绑性爱高潮之死的假象，中间截胡。毕竟男主可没有什么把抓住康纳利的把柄。最后时刻男主也想明白了康纳利的用意，果断退坑，跟老板娘私奔了。毕竟电影中他们俩的鬼混细分真不少，而跟康纳利晒晒太阳，游游泳，从没上过垒。

人到中年，应该妥协和放弃一些东西了。康纳利的失败在于，由于同性恋没有让男主上垒，光靠美色，显然斗不过美色和智慧的一身的老板娘，而且功课做的不好，显然不知道老板娘跟男主搞的昏天暗地。或者年轻人的通病，光年轻没有智慧。这也为什么社会中流抵触是中年人，而不是年轻人，他们知道什么值得抓住和挽留，什么应该放弃。

ps:1、剧情推进太慢了点。

2、全程靠康纳利和老板娘的色诱支撑，差点忘了导演想表达啥。

2019.12.13日

康纳利，老板娘，男主角的共同点是什么？

你为了实现你的梦想，付出什么代价？

男主角纵火抢银行;老板娘用自己的美貌换钱享受生活，于此同时跟石油工媾和满足性需求;康纳利偷公司的钱，想跟姐姐一起享受;all about money,all about life.

有些人成功，有些则失败。

Dennis Hopper’s side hustle as a movie director is sporadic and overshadowed by his prolific credits and versatility in front of the camera (we shall never forget he is also the helmer of EASY RIDER, 1969). THE HOT SPOT, the penultimate feature film he directs, didn’t set the world on fire when it was released. It is a slow-burning neo-noir fantasy showered in dramatically saturated hues, a mixture of THE POSTMAN ALWAYS RINGS TWICE (1946), BODY HEAT (1981), DOUBLE INDEMNITY (1944) that highlight a femme fatale with her hapless prey of the opposite sex, its source is a Charles Williams’ hardboiled novel that dates back to 1953.

Our antihero Harry Madox (Johnson) is so level-headed that not for a minute, can he be fooled by Dolly Harshaw (Madsen), the wife of his boss George Harshaw (Hardin). He knows she is a trouble at the glance, but it takes one to know one. There is no smoke and mirrors in Dolly’s wiles, she is an open book, she wants Harry because they are cut from the same cloth. A woman like Dolly cannot survive without a man in her life, so she carefully chooses a virile Harry as George’s successor, the only hurdle is, Harry thinks he deserves better, manages to sweep the feet of a 19-year-old girl Gloria Harper (Connelly), whose purity seems inviolable, he plans to marry her and start a new life somewhere else (interestingly, the connotation that Gloria might be swinging both ways doesn’t seem to bother him at all).

Were it not for his ambition, Harry might have a chance to wangle his holy grail, a drifter with no past fetching up in a small Texas town, Harry is conferred with the gift of gab, but he is not satisfied to live on the straight and narrow as a used car salesman, after carrying off an ill-conceived (and ridiculously easy) bank robbery, the local sheriff (and by extension, almost everyone around him) is much smarter than he reckons, his fate is sealed.

But just when feminine manipulation and masculine misogyny reach the boiling point near the end, tragedy seems ineluctable, Hopper asserts himself as a mischievous nonconformist, the send-off takes a u-turn and any attempt of moralization is dispelled. Dolly always gets what she wants, unlike Matty Walker in BODY HEAT, who also gets what she wants, Dolly has no disguise, she doesn’t pull wools over Harry’s eyes, and their tryst is also for her pleasure, she is unapologetically true to herself and her evilness has grits in it. Madsen arouses us with stunning sultriness, along with her discordant southern accent; Johnson is so singularly hard-nosed, when he fights off a sleazy deadbeat in the person of William Sadler, the type once he leeches off on you, he will not let you off the hook, you dread he doesn’t pull punches, and Sadler certainly knows how to take a beating and play a stiff convincingly. Connelly, on the cusp of adulthood, is as gorgeous as hell albeit Gloria doesn’t necessarily belong to that milieu, she is a lady!

On the minus side, THE HOT SPOT is weighed down by a lackluster tempo, especially during the first half, and a slapdash reveal (Gloria’s change of heart is noticeably contrived). Also it becomes quite conspicuous that Hopper’s characters’ sense of perception is delimited within the frame, imagine after Harry kisses Gloria good night, he turns back, a police officer standing just beside the frame, where is everybody’s peripheral vision?

Lastly, the icing on the cake is its soundtrack, scored by Jack Nitzsche with a potpourri of dazzling jazz tunage. THE HOT SPOT might not be a chef d’oeuvre, but for it is worth, the “hotness” is there from A to Z.

referential entries: Lawrence Kasdan’s BODY HEAT (1981, 7.9/10); Tay Garnett’s THE POSTMAN ALWAYS RINGS TWICE (1946, 6.4/10); Billy Wilder's DOUBLE INDEMNITY (1944, 8.2/10).

Title: The Hot Spot

Year: 1990

Genre: Crime, Drama, Romance

Country: USA

Language: English

Director: Dennis Hopper

Screenwriters: Nona Tyson, Charles Williams

based on Williams’ novel “Hell Hath No Fury”

Music: Jack Nitzsche

Cinematography: Ueli Steiger

Editing: Wende Phifer Mate

Cast:

Don Johnson

Virginia Madsen

Jennifer Connelly

William Sadler

Charles Martin Smith

Jerry Hardin

Jack Nance

Barry Corbin

Rating: 7.1/10

值得看的电影往往分成两种，一种是雅俗共赏的高质量电影，另一种则是赏心悦目的高颜值电影，本片显然属于后者，相信观看的绝大多数都是慕詹妮弗.康纳利之名而来的，19岁的詹妮弗颜值逆天，身材炸裂，果然是惊艳了一个时代的女神。 影片中的男主属于上辈子拯救过银河系的光环男人，杀人、放火、抢劫无恶不作，却总能逢凶化吉，并得到善终，更过分的是艳福无边，两位女主，一个负责纯，一个负责骚，都被男主拿捏七寸，清纯玉女为他舍身取爱，蛇蝎美人更为他弑夫夺财，这是典型后现代主义的杰克苏，地球都在为他公转。 当然，影片最大的看点还是两位风情万种的女人都为了电影轻解罗裳，倩影留痕，胶片帮忙记录下了她们最美好的时光。因此，本来常规的及格电影，为了高颜值加颗星！