致命的创伤
湖滨度假村由致力于一部惊悚片的作家 (亨利 Gregor) 参观。他躲藏在他的房间里写作,注意维罗妮卡是更多比有点奇怪。她不知疲倦地产生无可挑剔的陶瓷塑像,点缀着酒店。他听到她自言自语,见证她的敌意,每次一对夫妻租一个房间。维罗妮卡是种女性诺曼 贝茨,一个胆小的孤立的女人害怕男人和怨恨的未婚的夫妇并没有告诉汽车旅馆浪荡公子爱一夜崩溃。一天晚上,两个徒步旅行 (Antonio 玛雅人和伊莎贝尔诺) 是在他们的房间里砍死。这是从的黑色手套,剃刀杀手 POV 拍摄。尚不清楚,如果 Klimovsky 是模仿或戏仿当时流行的意大利 gialli。流血是当然丰富,与剃刀切割通过脖子、 脸、 胸部特写。后来,一个庸俗的商人 (Ricardo 美利奴羊) 和一个妓女亲热后被杀了。同样关闭 ups 的黑色手套,但是,再一次,我们没有看到凶手的脸。维罗妮卡,还是维罗妮卡"死"丈夫回来从坟墓?讽刺的是令人满意的双扭结结局揭开真相。
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剧情简介
湖滨度假村由致力于一部惊悚片的作家 (亨利 Gregor) 参观。他躲藏在他的房间里写作,注意维罗妮卡是更多比有点奇怪。她不知疲倦地产生无可挑剔的陶瓷塑像,点缀着酒店。他听到她自言自语,见证她的敌意,每次一对夫妻租一个房间。维罗妮卡是种女性诺曼 贝茨,一个胆小的孤立的女人害怕男人和怨恨的未婚的夫妇并没有告诉汽车旅馆浪荡公子爱一夜崩溃。一天晚上,两个徒步旅行 (Antonio 玛雅人和伊莎贝尔诺) 是在他们的房间里砍死。这是从的黑色手套,剃刀杀手 POV 拍摄。尚不清楚,如果 Klimovsky 是模仿或戏仿当时流行的意大利 gialli。流血是当然丰富,与剃刀切割通过脖子、 脸、 胸部特写。后来,一个庸俗的商人 (Ricardo 美利奴羊) 和一个妓女亲热后被杀了。同样关闭 ups 的黑色手套,但是,再一次,我们没有看到凶手的脸。维罗妮卡,还是维罗妮卡"死"丈夫回来从坟墓?讽刺的是令人满意的双扭结结局揭开真相。
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Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
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