神谴之日

#BFI# #BigScreenClassics#

灾难疾病下遗失信仰的人民（不害怕上天堂或下地狱却怕死的老妇人也恰恰印证了这一点）与裹藏在色欲之下的猎巫运动（男主未经同意的迎娶和儿子毫不犹豫的出卖）。

定场的横移推轨镜头带有一丝丝鬼祟感，大量的固定镜头帮助构建人物，还有很多摇镜头的的使用帮助刻画人物关系和加强戏剧张力。有一场印象较深的戏是规避了血腥的拷打，利用镜头带出在场人的反应。最后转到老妇身上。还有最后一场戏的镜头运用，构图和演员走位精彩至极！

影片光线运用得太好了。侧打搭配特写镜头加强对人物内心的刻画，各种阴影下的人物走位，直接从光影上展现人物的内心。还有利用光线让指挥家双手的阴影在乐谱上舞动，像是一首死亡的序曲。火刑时，背光的唱诗队伍，唱起这首死亡序曲，随着老妇的尖叫缓缓结束（双爆的烟雾效果还是不错）。

很喜欢的三场交叉剪辑的戏。第一，小提琴配乐下的男主与儿子和妻子的交叉剪辑，男主羞愧于自己的内心与妻子和儿子在互诉爱意，这种交交叉剪辑极大程度的展现了个体道德观的对撞，不间断的小提琴配乐把这种冲突间的张力处理的非常好，最后利用双重曝光把人物隐去在草丛中也是点睛之笔。第二，狂风之下的男主赶路感到死亡临近与妻子和儿子谈论“死亡”，这种交叉剪辑很大程度加强了戏剧冲突，妻子关上门，旁边是绣了一半的“母亲”，婀娜多姿，（台词太棒了）。第三，舒缓的配乐下棺材中的男主与背光如同剪影的妻子和儿子，而时而浓郁时而消散的“雾气”也直接反映出了儿子的内心。

A 17th century drama about the antediluvian act of witchery persecution and the excruciating human benightedness inflicted by religious indoctrination, Carl Theodor Dreyer’sDAY OF WRATH is a sublimely slow-paced threnody that sets to shock and awe.

Prior to Ingmar Bergman’s soul-searching felicity in psychoanalyzing our mentation on the existential basis, on that same Scandinavian land, Dreyer’s moreclinical and religion-inflected study has already plunged its scalpel into the realm of complex and DAY OF WRATH, albeit its archaic subject matter, is a cinematic accomplishment nonpareil.

In the central there is a simple moral allegory, Anne (Movin) is the much younger wife of the gaunt rector Absalon (Roose), she falls for the latter’s adult son Martin (Rye) from his first marriage, and her feeling is reciprocated, but their forbidden affair can never reach a happy ending because of the overshadowing witch-hunting, an example has been set by an elderly woman Marte (Svierkier), who has been accused as such and is subjected to the stake for immolation and before perishing, an anguished Marte implores Absalon in vain to save her just like he has bailed out Anne’s mother from the same undoing, which also explains his unbefitting union with Anne in the first place.

Advancing with assignations with Martin and domestic hostility with Absalon’s stern mother Merete (a horrific Neiiendam), Anne comes off as a self-liberating soul bent on sloughing herself from the loveless arranged marriage, she is cunning enough to ensure that Martin is on the same page with her but naively takes his affection for granted and ignores a man's guilt stemming from betraying his own father. It takes two to tango but eventually, it is only the woman who has to pay for the consequence in an era that no scientific post-mortem is at hand to find out the true cause of a death, thus it is easily to blame it on a woman’s curse and then denounces her as a witch. And amplifying a mystical tenor of the occurrences, Dreyer takes an equivocal view on the witchery itself, because apparently both Merete's and Anne’s curses are eventually fulfilled, so maybe they are witches after all, which sends out a contrarian message might leave viewers considerably bewildered.

Dreyer channels a more animated and poignant performance out ofLisbeth Movin’s Anne in tandem with a stiffer and more forthright acting bent of other thespians, and incredibly constructs a solemn chiaroscuro environment out of its austere setting with superb compositional choices (awe-striking portraitures galore) and camera mobility, the film is draped with a vampiric ominousness even in the outdoor scenes, which is not relieved by the portentous score.

It is not a comforting chamber piece to wallow in and requires a certain acquired taste and religious nourishment for Dreyer’s sense of rhythm and a story so execrably backward. But credits must be bestowed to Dreyer’ssymbolic coup de maître amongst others, for example, that final shot morphing from a cross to a stake is simply here to stay to remind us there is a thin fine line between religious devotion and theological abuses.

referential point: Ingmar Bergman’s PERSONA (1966, 7.7/10)

“你总是在我的心里” “而且你在我的梦里” “我通过我的眼泪看到你了” “我擦掉的眼泪” “没有人像你那样的眼睛” “它们像什么？天真的？纯洁干净的？” “不 深沉神秘的” “但是在它们的深度里 我看到了一种跳动飞舞的光芒” “那是你点燃的光芒” “听听它们在窃窃私语些什么？” “那是草地的嗡嗡声” “嗡嗡什么？” “关于我们两人的歌曲” “太阳让你的脸颊有了光彩” “不是太阳 是幸福” “幸福？它会持续多长时间？ “永恒！” “安尼 我们将要在什么地方结束？” “河流把我们带到的任何地方！”

关于中世纪女巫悲惨命运的文学和电影作品都不少。恰恰中世纪也是基督教最鼎盛的时期，教会的力量几乎可以决定一切。正是这种独断的精神和权利统治让民众可以心安理得的以正义的名义迫害他人，这与某朝某段时期何其相似。

影片中好心帮人治病反被指认为女巫的老太太在教会的刑讯逼供下被迫承认了自己是女巫，她凄厉的喊叫，撕心裂肺的疼痛无法承受。当教会要她供出其他女巫时，她隐瞒了牧师已经死去的岳母是女巫的事实。她这么做为的就是希望牧师对自己网开一面，不要烧死她，因为牧师曾经知道岳母是女巫但放过了岳母。可地位崇高的牧师代表了“正义”，代表了上帝。牧师最终还是冷酷的将老太太送上了火刑架。在被推入火焰之前，老太太绝望的喊叫着：我不管自己到底是上天堂还是下地狱，我只想活着，我不想被烧死，不要烧死我！不要烧死我！老太太的哀嚎让人汗毛竖立，最后死前老太太对牧师及其家人下了可怖诅咒。

年迈的牧师曾经之所以放过了被指认为女巫的岳母，完全是因为他希望通过展示自己的权利来得到年轻善良的妻子，也就是女主，他的第二任妻子安妮。他得到了，可这不是爱情，安妮憎恨他，同时也憎恨牧师刻薄的母亲。牧师的母亲之始至终都是一副严肃，高高在上，刻薄的贱人面孔，无时无刻不在刁难儿媳妇。

安妮与老牧师的儿子产生了感情，他们两背着牧师在暗地里谈着恋爱，说着情话，很是幸福。最终安妮告诉了老牧师自己与他儿子通奸的事情，牧师被活活气死了。这是妻子一直盼望的事情，自己痛恨的丈夫死掉，然后和丈夫的儿子坚守爱情。一开始丈夫的儿子是站在她这一边的，可在牧师的葬礼上，牧师的母亲却指认妻子是女巫，而牧师的儿子立刻翻脸站在了奶奶这一边，留下独自战斗的安妮面对莫须有的罪名。安妮在死去的牧师棺材前承认自己是女巫，显然，此时的她只想赶快结束自己的生命，等待她的将是火刑。

德莱叶的影片灯光和镜头可谓十分讲究。被陷害的女巫凄厉的叫声，恐惧的神情，被折磨的段落，德莱叶用了大量斜下俯拍的镜头和高光让观看者处在上帝视角，看着“女巫”面对圣光求饶，让人产生极大的共情反应。