《视差》全部影评 (4篇)

一桶猫
很惊喜的政治惊悚 阴谋论 教科书级别的摄影构图 对中间那段接受测试的短片印象最深
法式曌影
太好看了。高效简洁的同时始终蕴藏巨大的能量与危机意识，终于迎来蓄谋已久、且注定的黑色落幕。
阿斯巴-甜
恐怖的政治氛围塑造得不错，并且结尾也没有落入俗套的圆满结局。
爱丽丝梦魇
可以当做摄制教科书的电影，整部电影的摄影严谨不出错，剪辑也相当完美，可惜的是故事有些简单。
欧.尹
本以为是从小众影片中挖到了惊喜之作，没想到无非是一部我更加更加不喜欢的唐人街罢了。1. 首先是政治惊悚与阴谋论，我看无非是前后两个回环一样的zoom in/zoom out镜头，是还不错但这技巧要我去拍我也会拍；其余地，实实在在没给出任何有价值的点啊，无非是阴谋，然后呢？没了，就这俩字而已。2. 其次是很多人说节奏好，可我觉得差极了，从信息交待上很多关键信息和环节没有交待，却将一些单场戏的处理得极为冗余，比如飞机上的纸巾，拍的就非常old—fashion，两下对比观感就非常割裂，节奏也就乱了套。能看出这种“跳跃”或说“简化”是导演有意为之的，但您以为是谁都能做戈达尔或布列松吗？
子夜有人
并不输给同一年出自大导演之手的《唐人街》和《窃听大阴谋》，同为70年代美国政坛动荡的直接产物，包括三部片子的男主角也有相同设计，都有情报或安全人员的背景，与体制保持着若即若离的关系，而从政治电影的角度它甚至是其中更冷感、更纯粹的。最伟大的地方当然是男主角接受测验时看到的那些画面卡片，那是绝对意义上的“政治奇观”。能从电影媒介的角度来还原社会情绪、感受时代空气原本应该是电影的基本职能，而对于今天的我们来说，只能是一种伤今悼古的发愿了。
苍山古井空对月
视觉风格突出，高反差的打光 全景景别 人物边缘化的构图共同营造阴郁不安与渺小无力的气氛。刺杀者总隐藏在暗处，不展示暗杀的过程以及暗杀者面貌，只展示出暗杀的结果，上一秒在相拥安慰，下一秒便躺在停尸房，简洁省略的叙事方式更加强化了不寒而栗的心理感受。叙事方面导演对节奏和气氛的掌控很到位，虽然没有过于强烈的戏剧性，但是依靠影像风格制造出了张力：水坝一场戏弱化落水两人的缠斗戏剧性，而以全景镜头突显人物的渺小，水坝的水流如同时代的洪流，水中两人皆是洪流中的蝼蚁；参议员彩排部分参议员沿着对称画面的中线离场，工整对称的构图传递出权力的强大威慑感；开头与结尾的委员会报告的推镜与拉镜的呼应，同样是对称构图，暗示着真正的幕后主使。
#FIFF25#第8日的场刊将于稍后释出，请大家拭目以待了。

“Trust no one and nobody is safe” is the tenet of THE PARALLAX VIEW, the second installment of Pakula’s Political Paranoia trilogy, sandwiched between KLUTE (1971) and ALL THE PRESIDENT’S MAN (1976).
Constructing as a David and Goliath story about a conscientious journalist Joe Frady (Beatty) bird-dogging Parallax Corporate, a secret organization which is behind many a flagrant political assassination, the film is so driven by the stark revelation of an omniscient entity which can snuff out any living beings on planet earth in a trice, that our David is on a hiding to nothing, Goliath, which we are only permitted to see a tiny tip of its iceberg, perversely wins.
Narratively, only by the death of his old flame Lee Carter (a distraught Prentiss), a television journalist who has tearfully solicited his help after she finds her life in danger, but to no avail (a self-important man can never trust a woman’s sixth sense?), could Joe be jolted into action to burrow into the myth. After brushing with death multiple times (car chase is a tired visual stimulus, but for a ‘70s thriller, it is a prerequisite, and Joe’s survival of a boat exposition is simply because he has that “protagonist’s halo”), he finally attains the paper trail that leads him to the furtive organization and tenders his application as a potential psychopath under an alias.
After that, the film enters into the spirit of the all-powering myth of an opaque, immaterial behemoth (those hallucinatory brainwashing montages chalk up the ethos of that particularly turbulent era to a fare-thee-well), every progress made by our heroic Joe (he niftily thwarts the attempt of an explosion inside an aloft aircraft) can only imperil him further in the trap awaits him.
The climax takes place inside a cavernous auditorium, and Joe is framed not by his action but inaction, a fly on the wall hidden in the shadows, he watches attentively but hasn’t a clue of what is on the horizon, until another assassination takes place and he becomes the fall guy who cannot extricate himself from his sorry fate.
Beatty’s aloofness (and awful hairdo) does sugar the bitter pills we must swallow for the movie’s bleakness, but the technique of Pakula and cinematographer Gordon Willis is so remarkable that THE PARALLAX VIEW can survive simply for its visual brilliance: those gorgeous split focus shots will continue to shine in ALL THE PRESIDENT’S MAN two years later; its mise en scène often reflects an abstracted, architectonic vein of beauty, yet more often than not, it breathes like a menacing, almost primordial beast (the dam with onrushing water, the empty, three-colored festooned auditorium with ambulating squad cars, or the lofty Space Needle it self, looks like a somber harbinger of perilousness).
The effect often diminishes its characters into a flyspeck, not unlike what the film tries to scare us: every and each one, whether important or ordinary, is expendable and unlamented. It leaves a bad taste in one’s mouth, but that doesn’t make it less true, Pakula’s picture dares to go against the grain, for that matter alone, it deserves a loud pat on its shoulder!.
referential entries: Pakula’s ALL THE PRESIDENT’S MAN (1976, 8.3/10); John Schlesinger’s MARATHON MAN (1976, 7.3/10); John Frankenheimer’s THE MANCHURIAN CANDIDATE (1962, 7.8/10).

如果你是个阴谋论爱好者，
这是一部，证据电影。
它提供了阴谋论的一个调查样本，以谋杀开始，以谋杀结束。
如果你是个阴谋论厌恶者，
这是一部，打脸电影。
它展示了一个阴谋论的制造过程，以悬疑开始，以悬疑结束。