Racial Equality and Blood Brotherhood: John 木匠’突袭区 13

It’s textbook 罗梅罗 in John 木匠’打破常规的西方城市


对于希望进入该行业的独立电影制片人,George A. 罗梅罗’s 活死人之夜 was something of a landmark picture. Shot in black and white on a budget of $114,000, the movie would use a soon-to-be-demolished setting, a cast of nameless extras and a few cleverly calculated narrative quirks to makes its mark, and in doing so became one of the most influential horror movies the genre has ever produced. Four years later, director John 木匠 would use a similar template for his low-budget classic 万圣节该公司在全球的累计收入达到7000万美元,甚至更成功,激起了一大批模仿者,他们希望利用现代独立电影的低风险现象赚钱。突然,任何拥有Steadicam摄像机的人都可以出去拍照,而随着家庭录像带的兴起,暴发户导演的潜力是空前的。

By 1974, 木匠 already had a feature directing credit under his belt in the Dan O’Bannon penned 暗星,这是一部低调的科幻喜剧,后来在 万圣节 和另一个O’Bannon project 外星人, but it was 木匠’的下一部电影将使他真正地出现在地图上。 突袭区13 has all the hallmarks of 罗梅罗’s 活死人之夜: an isolated setting, a cast of fated characters showing their true colours, both figuratively and literally, in a life and death situation, and an unending siege from a group of nameless agitators whose numbers seem boundless, who stalk their prey with an almost supernatural sense of ubiquity. Shot in a mere 20 days, it also has all the hallmarks of 木匠: an emblematic figure daubed in the anti-heroic guise of male fantasy, iconic dialogue, a smidgen of social commentary and an uncanny knack for visuals, all of it emboldened 通过 the director’独特的合成器目录,这是他制作最佳电影的原动力。

罗梅罗’s influence on 木匠’对于任何观看恐怖的粉丝来说,低调齐射可能是显而易见的,但是 袭击13区 is more reminiscent of another of 木匠’最喜欢的类型。一个即将搬迁的警察区的故事遭到报应的街头帮派的抨击,这很像是黎明时分的牛仔,这是一种都市西部,模糊了这种类型’通常通过将骗子与警察,男人与女人组合在一起,以及最终向Romero致意’s 活死人之夜,黑与白。这是反传统电影制作,让人想起了克林特·伊斯特伍德(Clint Eastwood)’s Dirty 哈里, and 木匠 has even gone on record as saying that 袭击13区‘稳定,断断续续的主题受到Lalo Schifrin的影响’s iconic score.

木匠 originally set out to make a western in the Howard Hawks mode, ultimately adapting the basic 里奥·布拉沃 scenario for a late-20th Century setting after budgetary restraints curbed his ambitions, but the ever-resourceful 木匠 has always worked best with his back against the the wall. In order to cut costs, the director would recruit similarly hungry and inexperienced upstarts such as fellow fellow USC student and cinematographer 道格拉斯·纳普(Douglas Knapp) in what was a similarly outlaw production. As future 万圣节: Season of the Witch 导演汤米·李·华莱士,电影’新秀艺术总监会解释说, “我几乎不知道这份工作需要什么,但是[木匠]相信我,当然我的价格是正确的。在那些日子不好过的时候,这是约翰的典型经历。无论他拥有什么样的才能和设施,他都竭尽所能。” According to 木匠’在他的音频评论中,他制作电影的理念是拍摄尽可能少的镜头并扩展场景,只要他可以使用已有的东西,他相信这一过程可以应用于任何低预算的工作。

[提供Bishop咖啡]

利 : Black?

主教:三十多年了。

投影片是一个同样谦逊的过程。与其使用新秀,不如通过选拔经验丰富但相对不知名的演员来保持经验的真实性和匿名性,他的主要明星包括Blaxploitation明星Austin Stoker,后者曾与Pam Grier一起出演。 示巴宝贝 a year prior, and the even lesser known Darwin Joston, a TV regular who just happened to be in the right place at the right time (Joston was actually 木匠’当时的真实邻居)。早在好莱坞将黑白变成一个有计划的人口统计特征之前,这两者就形成了动作电影院中最早,最具标志性的混血儿伙伴伙伴之一,而斯托克(Stoker)是未显示为从属小贩,减少为第二次计费。他和乔斯顿完全是龙骨。

袭击13区 本质上有两个主角。首先,斯托克’伊桑·毕晓普(Ethan Bishop)既有常规的又有非常规的-从某种意义上说,他是一位书记官,又是常规的,因为他的肤色和职位高低。喜欢 活死人之夜‘s Ben (Duane Jones), Bishop is a black character leading a white-dominated environment, only this time his rank is official, at least until the precinct comes under attack, plunging the natural order into jeopardy. 木匠 gives us black and white characters on both sides of the law, placing them in a situation where survival is based on cooperation, regardless of society’肤浅的专注。在《毕晓普》中,我们呈现出一个角色,这个角色的存在非常需要尊重,一个有信念的人已经基于功绩晋升为中尉,他摆脱了本区薄薄的不服从的统治’种族主义的服务台官员归根结底,他是值得我们尊重的英雄。

这些角色的第二个角色是您的原型反英雄,是 Escape From New 约克‘s Snake Plissken和导演’的第一个真正的象征性领导。乔斯顿’神秘的拿破仑·威尔逊(Napoleon Wilson)的无聊画作受到查尔斯·布朗森(Charles Bronson)的启发 ’塞尔吉奥·莱昂尼的口琴’史诗般的意粉西餐 西部往事。当面对他们行动背后的动机时,两个角色都会回答, “仅在dyin点’.” 威尔逊也谈到传教士,他曾经告诉过他, “儿子,你有些奇怪。你跟死亡有关” 回响莱昂尼的话’杰森·罗伯兹(Jason Robards)讲的经典’角色夏安。他是被狂野的西部神秘笼罩的角色。

威尔逊对于在死囚牢房中的男人同样不可渗透。他对自己的未来不抱任何幻想,他咧着嘴笑和一定程度的伤亡接受了自己行动的后果,掩盖了他困境的绝望。会播种电影院的种子’最不可能和最有意义的关系。威尔逊(Wilson)冒着机械上的轻率追逐浓烟,每一次请求都受到相同的抵制,要么是出于奉献观念而被拒绝的弊端,要么是陶醉于将他击落的机会的权威人物。这可能是又一次受到霍克斯启发的笑话,但它具有更深刻的叙述目的。当威尔逊向监狱长要烟时,无非是表现出一种无礼,一种自我惩罚的行为。当他后来向Bishop要求一名因同胞意外疾病而暂时被困在Precinct 13时,中尉提出了类似的答复,但他也表示歉意,而Wilson立刻就明白了他所要处理的那种人。用。

大多数缺点会立即利用这种体面的优势,将其作为劣势加以利用,并且您必须相信威尔逊 ’s intelligent hard-ass could have escaped if he so desired, or at the very least stamped his authority over the situation, but a mutual respect develops between two characters who on the surface seem to inhabit opposite ends of the ethical spectrum. When the precinct comes under fire, Bishop is smart enough to realise that he will need all the help he can get; not only from Wilson, but from the self-serving, yet ultimately decent Wells (Tony Burton), and on the other side of the law, bad ass female protagonist 利 (Laurie Zimmer), an unfortunate female employee whose smouldering attraction to a man like Wilson tells you all you need to know about her inner mettle and refusal to bow to convention.

威尔逊:你想要什么?

Starker:我需要什么吗?

威尔逊:你’re a cop. You’重新对我感到好奇,或者您想给我一些屎。

史塔克:我不’不了解你,威尔逊。

威尔逊:很好奇。

利’s polar opposite comes in the form of the irrational, self-centred Julie (Nancy Kyes). Her immediate solution is to sacrifice the semi-catatonic Lawson (Martin West), whose vengeful act against the brutal murder of his picture perfect daughter led the gang to their precinct in the first place. Julie is quickly killed 通过 a stray bullet for her show of cowardice, while 利 gets busy with a firearm of her own, braving the legions of killers piling through the back door to free the temporarily incarcerated prisoners and barely flinching as she takes a bullet in the shoulder. 利 does for women what Bishop does for African-Americans. They transcend society’努力成为逆境中的英雄。他们呼吁英雄般的精神,通常会保留给特权白种男性,因为暴力报应又厚又快。

早在1976年, 袭击13区 被认为是极其生动的图画,尤其是前面提到的对儿童的谋杀,这与山姆·佩金帕(Sam Peckinpah)的另一个开创性的西方人作了比较’s 野束. 木匠 sketches a very real and relatable scene between Kathy and her father using very little, and the casting of adorable Disney star Kim Richards was inspired. The cute-as-a-button Kim is tasked with convincing her grandmother to relocate following the death of her grandfather, something she is eager to do until the urge for an ice cream leads to an explosion of grue that could very well be mistaken for raspberry sauce. Kathy’暗杀就像一个残酷的童话,死于死刑,但沐浴在白色纠察栅栏的纯真中。对比令人叹为观止。

木匠’的图形挥霍没有摆脱MPAA的审查漏洞,MPAA威胁要束缚电影制片人’臭名昭著的反叛愿景“X” rating if the movie was edited with the scene intact. The onscreen killing of a child was rare, and remains so today, but the impact of such an image and its importance to such a thinly-sketched, low-budget movie cannot be underestimated. This proved something of a quandary for a filmmaker of 木匠’s persuasion, but these were different times, and loopholes were there to be exploited, though 木匠’s response wasn’这绝不是一个漏洞,而是纯粹,秃头的大胆行为。在发行商CKK的建议下,董事将向MPAA展示一个简化版本,以便有资格获得“R”在仅分发未删减版本之前进行评级,这是反对高管干预的傲慢立场,我们都应该对此表示感谢。

Ethan Bishop中尉:[猛烈地把警察推到一侧]离开他!

[致威尔逊]

伊桑·毕晓普中尉:如果您能’d和我一起走出去。

拿破仑·威尔逊:[死盘]我知道会的。

尽管 袭击13区‘s once-bloodthirsty reputation, the violence is ultimately peripheral. There may be an abundance of nameless faces lining up for the slaughter as the titular assault continues to grow, but the movie is very much character-driven, or, more precisely, driven 通过 the various relationships and against-type paradigms contained within the sitting duck precinct that would prove the setting for one of 木匠’最出色的成就。

主教和威尔逊之间的关系是电影’的核心。除去所有权利,威尔逊不会’当他看着Bishop时,没有看到一个黑人甚至一个警察,他看到一个遵守共同体面法则的公正的人,他永远不会危害自己的正直,这种人只要在他的生命中就一直不在可以回忆。他不是因为失职或职级而跟随他,而是根据在困难情况下的才智和品格,事实是,如果角色互换,他将以几乎相同的方式处理事物。

同样,Bishop不会’没有看到一个人不应该享有基本人权,他看到了一个能够帮助他们摆脱困境的人,并且由于他们的忠诚和毕晓普所表现出的信任,他的信仰得到了回报,威尔逊也得到了回报。’s,这是很长一段时间以来第一次被视为平等,这是Bishop的一个人’种族的说服力可以得到充分的赞赏。电影结束时,两个人已经形成了相互尊重,而我们作为观众的我们只希望看到威尔逊自由。内心深处,似乎毕晓普也想要这个决定,这超出了他的能力,也超出了他的正直,但是两个人平等地退出了选区,这名残忍的警察咆哮试图将威尔逊的黑人上司击落,并将其戴上手铐。轻蔑的态度通常留给看守,这种情绪使威尔逊最后一次得以像一个自由人一样有尊严地行走。

喜欢 all of 木匠’s finest works, 突袭区13 是一种稀疏的产品,没有最后一小撮脂肪。它既简单又具有毁灭性的效果,资金不足但资源充沛,尽管惯例上剧本和角色都比较陡峭,但我们最终得到的却是一部在许多层面上都是非正统的电影,通过反叛者来构架社会’在超凡脱俗的电影界及其他领域中获得无限回报的镜头。

导向器: John 木匠
编剧: John 木匠
音乐: John 木匠
摄影: 道格拉斯·纳普(Douglas Knapp)
编辑: 约翰·T·机会

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