不速之客

属于恐怖类型的影片，讲述的是一对夫妻到一个新房子里面居住，后面女主被附体了，房间里面还是有很多物品有鬼卦的，谨慎观看。影片是一个向西方看齐的电影，但学的不是很像，是一场活动吧，而且电影还是重活动，注重活动中的任务执行性，但电影就是电影。影片展现了1944年那个时候的一个人物情况，人物的意识还是不稳定。女主是一个很喜欢鬼的人，片中有类似早期笔仙的游戏，跟个鬼片一样，但西方的通灵也是类似这样的沟通方式。在上上世纪人类的娱乐就确定了要从小说转向电影文学这一领域，掀起了一场电影潮流，文学也因此没落，很多文学人士转向电影编剧行业，这个娱乐行业起初是富人、贵族的娱乐圣地，后面被大众所观看。电影中，从人物执行任务的活动，到鬼怪的活动，都有一个很好展现，比如房东他女儿在镇上的行动，和男主发生的一段爱情，最后男主回家在跟女主谈话中被女主发现她被出轨，女主还是很包容的，虽然是一笔带过，但很诧异女主会这么大度。鬼的活动，斯黛拉·梅雷迪思她妈妈在房间的哭泣，这是不是突破了空间上的规则，和影片后半部分引来的一些鬼怪，一部很具有挑战电影制片规则的电影啊。

An atmospheric haunted-house yarn nestled on the coast of Cornwall, Broadway workman Lewis Allen’s directorial feature debut THE UNINVITED is not a spine-tingling scare-fest one might expect it to be, but a decorous melodrama seeking out the truth about a past tragedy tinged with a tint of gothic spookiness owing to Charles Lang’s stupendous Oscar-worthy camera work through minimal torchlight and candlelight in the mansion where the London siblings Rick (Milland) and Pamela (Hussey) Fitzgerald dwell. The mansion is called Windward House, which the siblings buy from Commander Beech (a lumpen Crisp) for a knockdown price. The Commander is very cagey about the history of the house and whose only intention is to get the pecuniary profit to secure the future for his 20-year-old granddaughter Stella Meredith (Russell), he brazenly makes it clear that they don’t want anything to do with the Fitzgeralds after the deal is cut and dried, intriguing, isn't it? It is not every day someone is offering to buy a jinxed house. But an impressionable and spontaneous Stella takes a liking for the debonair but expansive Rick, confides in him that she feels a strong yet strange connection toward the house where she has been forbidden to set her foot since she was three, when her mother fell to her death from the escarpment in front. So, apparently it is the apparition of Mary, Stella’s mother who torments the new residents with the nightly wailing, chilling draft and pungent scent of mimosa (a clever olfactory indicator as we have to take the characters at their word), but the plot thickens when more details are disclosed: Stella’s father had a gypsy mistress Carmel, and the rumor says that it is her who murdered Stella’s mother then died of illness afterward. At this step, the ghosts become plural, the rub is whether it is Mary’s benevolent calling or Carmel’s malignant hex that draws Stella back to the place? Or, as we are all fully aware, there would be a final reveal to overturn all the previous presumptions, after the fuss of a séance and the intervention of a formal nurse, Mary’s best friend Miss Holloway (Skinner), there is something fishy about Stella’s real identity. Not quite often a pair of siblings is put in the center of a household, Milland and Hussey make do with their rivalry-free interaction and instill a patina of sangfroid which doesn’t seem to be congruent with the mystical happenings, and willfully gives the movie a jocund vibe, if they are not spooked, how can we, armchair rubberneckers, be startled through vicariousness? Forever remembered by Victor Young’s theme strain STELLA BY STARLIGHT, afresh-faced Gail Russell is pleasant to behold, but couldn’t be bothered to register a convincing reaction after receiving the bolt from the blue, which mars this otherwise fairly sustained suspense (along with Rick’s half-hearted final smackdown with Mary’s misty specter). In fact, the best part comes from a scrumptiously scenery-chewing Cornelia Otis Skinner, flagrantly furnishes the story with the requisite venom which one cannot get enough in the genre of uncanny mysteries, which, if really is your cuppa, bearing in mind thatJack Clayton’s THE INNOCENTS (1961) is a far superior achievement to be amazed, transfixed and awe-struck. referential points: Jack Clayton’s THE INNOCENTS (1961, 8.8/10); René Clair's I MARRIED A WITCH (1942, 5.8/10).

这部电影的低光线镜头之美妙令人想到奥森·威尔斯，但这里却不存在后者万花筒般的炫技构图，从头到尾都采用直率、温柔的自然式摄影（我原来至少也期待看到许多《第三人》式的斜角）。小镇背景中的帆船多么生动啊！（她笑起来很好看。）与克鲁佐的乡村悬疑和威尔斯无畏的反英雄主义形成对比——这里有某种触及人内心中最根本情感的东西。并且它拒绝故作阴森（那么多喜剧细节；对比《螺丝在拧紧》），也拒绝浪漫主义（那也是为什么黑色电影作者们不会拍幽灵：在真的超自然面前你根本没有办法正常地实行浪漫主义：这从一个侧面也揭露了后者的局限性）。问题是结尾仍然略微轻率（最结尾：扔烛台都还好；不过我倒是因为担心他把房子烧着而分了神），而例如尼古拉斯·雷In a Lonely Place这样的结尾，虽然意外地迅捷，却也完全保持了力度。音乐有时略烦人。整部电影的表演和对话总是介于一种自然和矫饰的状态之间，也有些奇怪。 B