一篇《霹雳大妞》(1982)的影评–转载自Kenneth Brorsson (Sogoodreviews.com)


Reviewed by Kenneth Brorsson

中译: 何亚威 (04/25/2014)

Fury In Red (1985)

原名: 霹雳大妞 (Girl with a Gun)

导演:Richard Chen 陈耀圻

剧本:Liu Ga 路加

制片:Chiang Jih-Shen 江日升

出品 : 永升影业公司

演员:Ying Hsia 银霞、Alan Tam 谭永麟、Wa Lun、Pauline Wong、Lee Cheung-On 、 Yin Su-Li


IFD(通用影艺)的目录,涵盖了1970年代晚期、1980年代初期台湾出品的恐怖片、动作片、惊悚片和奇幻片(要了解通用影艺的发展史,可观看本系列最早对Wolfen Ninja的影评和另一重点电影Deadly Darling的影评。)1985年上映的电影Fury In Red,是导演陈耀圻1982年出品的台湾复仇惊悚片霹雳大妞(Girl with a Gun)的更名之作。而它本身又是阿贝尔费拉拉(Abel Ferrara)所导的电影Ms. 45的复制品。(连电影海报都很神似。)但是本片多了一些电检审查友善的场景(稍后会再论述),不仅足以和堪称复仇经典的原作抗衡,更证实就Joseph Lai所欲保存、推广的品质而言,此一时期(台湾影片)也品味不凡。

经历父母过世的悲剧后,Penny变成哑巴(银霞饰,Women Warriors of Kinmen/金门女兵,IFD购入后改名为Pink Force Warriors/粉红兵团)。在一家Jimmy (谭咏麟饰)开设的成衣设计公司上班,回家途中,她侥幸逃过强暴,但回家后竟遭躲在家中的小偷给强暴了。她取得上风,把歹徒杀了,事件由此发展,把她推向杀人之路,她还把她在公寓中剁碎的尸体分批处理掉……

熟悉Ms. 45 的观众会注意到,Fury In Red 一剧中,花了更多时间处理为何女主角会变喑哑,而影片确实也是以倒述舗陈的方式来说故事。Fury In Red显然是因电检的需要而穿插此一剧情,即Penny后来被逮,得到善待。因此,并非所有无意义的暴力都是……无意义的。此一新的透露社会意识的结构,还蛮有效的,因为它不让你觉得有违导演的意旨而反感。但也许一些场景因看不见血腥而让人有不同意见,且容我后叙。

就本片中以私刑报复杀人的方面和Penny的经历来说,剧情当然和Ms. 45里的Zoë Lund(饰演Thana)并无二致。两位人物都遭遇非常不合理、不由自主的、又不名誉的事情,无意义的行为发展成主角恣意对其他人的报复事件。当悲剧雪上加霜发生在同一人物身上时,不再抱持信念,并走上血光之路反倒是比理性解答更合理的解答。两位导演,阿贝尔费拉拉和陈耀圻,都成功的从个自的地理背景描绘出此一苍凉的画面。(阿贝尔的场景设定在纽约街头)并且都有一位女性的图像独挑大梁。

银霞很自然的展现出这位女性如何面对各式各样不公平的对待,她从内向到运用她的性吸引力,唾手即可接近那些可能的被害人,而且在体认到自己仅存的人性时情绪崩溃,银霞完成了她同样iconic、悲剧性的表演。尽管陈耀圻电影中的主角和Lund饰演的Thana同一步调,但他添加的重要桥段,就是剧中银霞目睹一群喑哑人(用手语)唱着宗教歌曲「世界在祂手中」(”He’s Got The Whole World In His Hands”),具有无比的感染力。剧情从此回到此一仍然见证人性的悲剧,但在这当时,银霞也知道自己永远也不可能回到这个善意的当下了。这部台湾电影很独特的阐明了这一点。

在陈耀圻执导下,本片不至于过度血腥,但对于全片预期的暴力仍保持了有力的、严苛而怪诞的本质。虽然导演显然出于被迫,要把任何涉及支解尸体的场景,例如尸块出现在银霞的冰箱里,处理手法都很含蓄,似乎陈耀圻决定要运用这种彩色底片影像呈现手法,给整个氛围添加一种怪诞的本质,而并不是含糊带过。加上片中一些场景也运用了慢动作手法、巨大声响的设计,Fury In Red 既维持了Ms. 45 的基调,也同时维持某种基本的本质,使得本片更深化、更有力。


译文参考资料摘录: –

(1)通用影艺IFD Film Arts是一家香港电影公司,主要经营者是制作人/导演Joseph Lai、Godfrey Ho、和Betty Chan。1980年代中期,一些制作成本最低、最急就章、最明目张胆(毫不掩饰)把影片加以拼贴就出品,而且没什么目的的所谓忍者电影(ninja movies),有些就是它出品的。换句话说,这些电影才是「王道」。如果你没有看过他们出品的忍者电影,别自称是真正的电影迷。

可以说,Joseph Lai的通用影艺就像是真正C咖的邵氏影业

(2) Ms. 45,又称Angel of Vengeance,1981年出品的美国低成本剥削电影,阿贝尔费拉拉导演, Zoë Tamerlis Lund主演。本片受1973年的惊悚片Thriller – en grym film 、1974年 Death Wish启发,剧情是关于主角遭强暴和复仇的故事。主角Thana为一哑女,在同一天惨遭两次强暴后,变成厌恶男性的杀人狂(不单单是复仇者)。本片在戏院上演时受到不少恶评,但现在在地下粉丝和独立制片界里,都评价颇高。








Directed by: Richard Chen 陈耀圻
Written by: Liu Ga 路加

Producers: Chiang Jih-Shen 江日昇
Starring: Ying Hsia 银霞, Alan Tam谭咏麟, Wa Lun, Pauline Wong王玉环,
Lee Cheung-On & Yin Su-Li


Continuing the examination of IFD Films & Arts catalogue that included horror, action, thrillers and fantasy of the late 70s/early 80s coming out of Taiwan, for a breakdown of the basic history of IFD, please visit the series debut review of Wolfen Ninja in addition to visiting the other highlighted movie Deadly Darling. Released in 1985 as Fury In Red (and later on as one of their cut and paste-products. Recycle, kids), it’s the re-title of Richard Chen’s 1982 Taiwan revenge thriller Girl With A Gun. In itself a remake of Abel Ferrara’s Ms. 45 (right down to the poster art) but with added censor friendly scenes (more on that below), the film not only is a competent re-take on the vigilante classic but further proof that this period had a class in terms of quality that Joseph Lai wanted to preserve and spread.

After her parents death, Penny (Ying Hsia - Women Warriors of Kinmen aka Pink Force Warriors once IFD acquired it) goes mute after the tragedy. Working at a clothes designing company for Jimmy (Alan Tam), on her way home Penny goes through one attempted rape but also an actual one by a burglar still in her apartment. Managing to get the upper hand and killing the burglar, this sets Penny on a path of killing and bit by bit getting rid of the chopped up body in her apartment…

Those familiar with Ms. 45 will notice that Fury In Red spends more time on what leads up to our main character going mute and we do actually have a movie that plays out in flashback here. Clearly Fury In Red is a case of censors demanding such inclusions as Penny getting caught and that she’s getting good treatment.. Hence not all meaningless violence being that very thing… meaningless. This new structure reeking of social consciousness actually works rather well as it doesn’t feel like a piss poor demand made against director Richard Chen’s wishes. Perhaps the lack of visibility in the more graphic scenes were but I’ll get to that.

In terms of the vigilante side to the movie and what Penny goes through, it of course isn’t dissimilar to Zoë Lund’s journey as Thana in Ms. 45. Something very irrational, unmotivated and degrading happens to both characters and meaningless acts spills over to the run of vengeance against other random humans. When tragedy upon tragedy is thrown at a character, no wonder your faith goes out the window and the choices are more painted in blood than rational answers. Both Abel Ferrara and Richard Chen successfully paints this bleak picture within their respective geographic settings (Abel’s being the gritty streets of New York) and both has an iconic leading lady front and center.

Ying Hsia very smoothly inhabits the shell of this girl with all kinds of unfair hands dealt to her and the body mannerisms ranging from introverted to using her sexuality to get instant access to potential victims and breaking down emotionally in the face of the little humanity left that she does see, Ying Hsia comes through with an equally iconic, tragic performance. Following the same character beats as Lund’s Thana, one major addition of Richard Chen’s is an incredibly affecting scene of Penny witnessing a

group of deaf mute people in a sing along of “He’s Got The Whole World In His Hands”. This tracks back to the tragedy of still witnessing humanity but the realization is that she can never return to the goodness present in this moment. It’s the uniqueness Taiwan brought to it.

Not overly gory, Richard Chen still maintains a powerful, gritty and eerie nature to the expected violence throughout. Although clearly being forced to switch to introverted colours for any scenes involving the hacking up of body parts, showing them in Penny’s freezer etc, it seems Chen decided to make this work FOR him instead as the switch to an obscured view adds upon an eerie nature to to the whole atmosphere (1*). Also complemented by select scenes of slow motion and loud sound design, Fury In Red maintains a basic nature Ms. 45 also had which makes it all the more deep and powerful.


reviewed by Kenneth Brorsson


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