幽情秘恋

https://theghostinmymachine.com/2017/05/31/creepy-wikipedia-christine-and-lea-papin-the-murderous-maids-of-france/http://www.crimemagazine.com/papin-sisters-frances-crime-century彻头彻尾的虐女惨剧，十岁就被父亲强奸然后送到孤儿院做修女的emilia，乱伦时说出总好过做妓女的cristine，被母亲剥削和情感控制的lea。拉康评价了镜像理论，认为她们的冷漠是相对的，但不止如此，她们实际上也都同样在父权夹缝里流窜，女雇主患有抑郁并因家政问题和女佣们频繁产生冲突，而男雇主则声称在七年里没有和她们说过一句话，显然她们只是用不同的形式围绕家务活打转，女雇主嘲笑女佣的智识，女佣将母女像处理兔肉一样切割，她们对彼此使用虚幻的单向压迫，来获得心理上自尊的满足，在Cristine实施暴行时第一时间让Lea挖掉她们的眼睛，也象征着清除映射对自己罪行的逃避，最后Cristine在审判时表示还出于对男雇主的同情关上了血腥现场的大门，这更说明了她们认为男性是独立于女性痛苦，另一个层面权力的角色，而在当时舆论只聚焦于女性津津乐道，扼腕阶级哭丧的言论也仿佛是置身事外地在社会精心圈好的一块灰暗地里观赏斗兽，真正恐怖的不是作案手法的凶残，而是什么让她们没有别的选择，造成了只能互虐的封闭空间，那个年代的女性处境有时就像一种cult。字数超了只能转长评，顺便摘一下评论家们：Sartre“I've seen the photos of these two pretty girls, these servants who killed and battered their mistresses. I've seen the photosbefore and after. ‘Before’, their faces hovered like two docile flowers above their lace collars. They radiated clean living and appetizing honesty. A discreet curling iron had crimped their hair in a similar manner. And, even more reassuring than their waved hair, their collars and their air of being on a visit to the photographer, was their resemblance as sisters, the self-righteous resemblance that immediately brought blood ties and the natural roots of the family group to the fore. ‘After’, their faces glowed like a blaze. They had the bare necks of the future beheaded. Wrinkles everywhere, horrible wrinkles of fear and hatred, folds, holes in the flesh as if a clawed beast had roamed round and round on their faces. And those eyes, those same big, dark and bottomless eyes... And yet, they no longer looked alike. Each, in her own way, bore the memory of their common crime...” --"Le Mur" bySartre[edit]Simone de Beauvoir“In its broad outline, the tragedy of the Papin sisters was immediately clear to us. In Rouen, as in Le Mans, and perhaps even among the mothers of my pupils, there were no doubt women who deducted the cost of a broken plate from their maid's wages, who put on white gloves to find forgotten specks of dust on the furniture: in our eyes, they deserved death a hundred times over. With their wavy hair and their white collars, how sensible Christine and Léa Papin seem in the old photo that some papers published! How had they become those haggard furies offered up to public condemnation in the photos taken after the drama? One must accuse their childhood orphanage, their serfdom, the whole hideous system set up by decent people for the production of madmen, assassins and monsters. The horror of this all-consuming machine could only be rightfully denounced by an exemplary act of horror: the two sisters had made themselves the instruments and martyrs of a sombre form of justice... For two bourgeois women hacked to pieces, a bloody atonement was required. The killer wasn't judged. He acted as a scapegoat...”Simone de Beauvoirin"La Force de l'âge", 1960Jean Genet“I must specify one thing: this is not a petition for the case of servants. I suppose that there is a union for household employees - that is none of our concern. During the first production of this play, a theatre critic made the remark that real maids don't speak like the ones in my play. What does he know? I claim the contrary, for if I were a maid, I'd speak like they do. Some evenings. For maids only speak like this on some evenings: you have to catch them unawares, either in their loneliness or in that experienced by everyone on earth...” --Taken from"Comment jouer les bonnes" byJean Genet"Madame likes us like she likes her armchairs. And maybe not that much! Like the pink china of her lavatory. Like her bidet. And we are not allowed to love each other... Madame can call me Mademoiselle Solange. Precisely. It's because of what I've done...” --"Les Bonnes"Louis Le Guillant“As a psychiatrist says: ‘I'm asked to cure human beings but, three-quarters of the time, I'm totally ineffective. I would need to cure their lives too.’ It was all but impossible to ‘cure the lives’ of the Papin sisters...” --Louis Le Guillantin"L'affaire des soeurs Papin"Paul Éluard and Benjamin Peret“The Papin sisters were raised in a convent at Le Mans. Then their mother placed them in a 'bourgeois' home in the town. For six years, in total submission, they put up with remarks, demands and insults. Fear, exhaustion and humiliation slowly nourished the hatred within them, this sweet liquor that secretly consoles with its promise of blending violence with physical force sooner or later. When the day came, Léa and Christine Papin paid evil back in its own coin, a coin struck with a red-hot iron. They literally massacred their employers, tearing out their eyes and smashing their skulls. Then they went to bed. The lightning had struck, the wood had burned and the sun had gone out for good...”Le Surréalisme au service de la révolutionno. 5" byPaul ÉluardandBenjamin PéretJacques Lacan“Christine and Léa were genuine Siamese souls. Between them, the two sisters couldn't even find the distance needed to wound each other...“Christine must have gone through such torture before the desperate experience of crime tore her from her other self and allowed her, after the first hallucinatory fit in which she thought she saw her sister dead, to cry the words of blatant passion: ‘Yes, say yes!’”Taken from"Motives of Paranoiac Crime: The Crime of the Papin Sisters"--Jacques Lacanhttps://www.artandpopularculture.com/French_intellectuals_on_the_Papin_sisters

怎么说呢，Sylvie还是不错的，贡献了虽然不至于经典但是非常恰到好处的表演。但是其他主演，包括幼年版和成人版，都实在木讷干涩得叫人难以入戏……比如知道了自己和姐姐艾米莉要分离的克里斯汀站在院子里哭，小演员（事实上应该已经是少女的年纪）对于面部肌肉的把控实在尴尬，稍微拉个远景就会以为她在狂笑……再有成人版的妹妹，不知道是不是我自己的口味问题，觉着笑起来忒傻了…………也许这就是我与“天真烂漫”的距离…？（可我寻思其他“小灿烂”的女性角色不至于这么傻额……/挠头//挠头/成人版姐姐的表演，比较触动我的部分，在于她和妹妹之间那些弥漫着复杂情感氛围的互动，很难说是单纯的乱伦女同情，还有一种奇异而微微病态的母性寄托、或者说是温暖形象的自我描摹在里面。不是有这么一种说法嘛（忘记是谁了，亚里士多德？？），“认识在回忆中完成”，which强调了过往经历对于当下认识的引据和归溯意义。克里斯汀的病态和阴郁就是这样可以在回忆中逐步被理解的发展。首先是对他人的疏离感和永远的场外感——被父亲强暴的姐姐看上去在为人祈祷、实质上已经成了一个失去情感机能的空心人，给克里斯汀留下了一种特殊的榜样印象；母亲教会她作为社会下等人的屈从和无奈，还有不近人情的刻薄和强势；母亲的情人看上去似乎成为了父亲角色的替代品，心中想的确实坐拥母女的恶臭美梦……在这样的成长环境里，没有滋长信任感的空气，克里斯汀学会的大概就只是用冷言冷语和漠然来保护自己。所以在这样的情况下，妹妹利亚就是她的光。这个单纯、洁白、清秀的妹妹甚至意识不到被摸大腿是一种遭到猥亵的可怖情况，她的柔弱和年幼极大地触动着克里斯汀，成为她对于纯美追求的心里内投和施予关爱的影子——克里斯汀当然是爱美的，看起来非常冷淡，但私底下要偷偷穿上母亲的丝袜与长裙——正是这样的克里斯汀，才会望着利亚丰满窈窕的背影略微失神（这里感叹一下，妹子身材真好，真的到处都肉肉的，唯独腰细得不盈一握，而且丰乳肥臀）。在照顾和爱抚利亚时，克里斯汀仿佛是一位慈祥的母亲，其后才是不伦的情人。无论如何，个人认为克里斯汀是全片最着重刻画也是最丰满的形象。然后为什么说电影本身只有一星呢？首先这个事件本身是很有深挖的点的——某人杀人——某人为何杀人，这里面就有很多细节。如果是情感伦理片，则暧昧不足（和粗糙的剪辑、另一位女演员不十分在状态的表演、奇奇怪怪毫无章法的调色等等不无关系）；如果是社会题材悬疑片，则社会因素挖掘不足——安那其主义的部分有没有更多的暗示社会意识形态、个人心理问题背后的社会阶级矛盾、女主人代表的主流社会对于同性恋行为的态度，诸如此类，然而影片几乎可以算作没提及，像是早泄一样一带而过，毫无铺垫和说明（我说你实在不想明说、好歹给我点镜头语言不是？？）更不必说电影很多地方的转折实在过于生硬，以致于人物互动的不和谐感更甚。当然如果这些一切都是为了制造这种不适感的话，我只想说这也太模糊了吧……ORZ总而言之，这是一部如果你有空就可以顺便看看的电影，但是没空的话就可以拉倒，因为不至于。