面具背后的脸 The Face Behind the Mask (1941)

面具背后的脸 The Face Behind the Mask (1941)

导演：罗伯特·弗洛里 Robert Florey
主演：彼得·洛 Peter Lorre/伊夫林·凯耶斯 Evelyn Keyes/唐·贝多 Don Beddoe/乔治·E·斯通 George E. Stone/李·费尔普斯 Lee Phelps/拉尔夫·彼得斯 Ralph Peters/David Oliver David Oliver/Lee Shumway Lee Shumway/赛·欣德尔 Cy Schindell/Claire Rochelle Claire Rochelle/Harry Strang Harry Strang/约翰·泰瑞尔 John Tyrrell/Ben Taggart Ben Taggart/Walter Soderling Walter Soderling/查尔斯·C·威尔逊 Charles C. Wilson/James Seay James Seay/Edwin Stanley Edwin Stanley/George McKay George McKay/斯坦利·布朗 Stanley Brown/弗兰克·雷歇尔 Frank Reicher/萨姆·阿什 Sam Ash/厄尼·亚当斯 Ernie Adams/Warren Ashe Warren Ashe/Mary Currier Mary Currier/阿尔·布里奇 Al Bridge/Joel Friedkin Joel Friedkin/Eddie Foster Eddie Foster/萨拉·爱德华兹 Sarah Edwards/约翰·迪尔森 John Dilson/Jack Gardner Jack Gardner/艾尔·希尔 Al Hill/Walter Merrill Walter Merrill
上映日期:1941
语言:英语
片长: 69 分钟
上映地区:美国
种子资源数:5
豆瓣评分: IMDB评分:7.1
剧情简介：
THE FACE BEHIND THE MASK, while generally regarded as a horror film, is not a pure example of the genre, and that is the very crux of its interest. Rather, it addresses topics outside the expected parameters of horror, and in offering an uncompromising view of human anguish, THE FACE BEHIND THE MASK is a truly unusual picture in both content and treatment. THE FACE BEHIND THE MASK relates how a hopeful new immigrant, Janos Szaby (Peter Lorre), arriving in New York City, is trapped in a hotel fire that leaves his face hideously scarred. Ostracized and refused employment although still able to work, the only way he can survive is by turning to theft. Hence, THE FACE BEHIND THE MASK is also a social consciousness film, detailing the position of the outcast and particularly the handicapped in society, along with crime and its causes, and the American immigrant milieu. All of these themes are treated with sympathy and taste, avoiding the gruesome potential of the premise. The only people who are kind to Janos are a tubercular small-time thief, Dinky (George E. Stone) and a blind woman, Helen (Evelyn Keyes). Janos falls in love with Helen as her soul sees the goodness within him, but the gang refuses to let Janos quit the rackets and kills her. This leads to a memorable denouement where Janos has suicidal revenge by flying the gang to the desert and marooning them all amid the sandy wastes, where he can watch their dying torment. The actual screenwriter of THE FACE BEHIND THE MASK gives a clue as to its intent: although the writing credit on screen was given to two men, Allen Vincent and Paul Jarrico (from a story by Arthur Levinson, based on a radio play by Thomas Edward O'Connell) the scripts indicate the picture was in fact written by Irmegard Von Cube, who explored similar themes in JOHNNY BELINDA (1948). Appropriately, the style also deemphasizes the horror elements, with a naturalized version of director Robert Florey's expressionistic tendencies, as in the waterfront scene when Janos and Dinky first meet. The abstract acting required by the mask, together with Lorre's costume, themselves become expressionistic devices. Moments of high tension are appropriately punctuated by director Florey's typical angled shots, as when Janos first sees his face after the bandages are removed, or when he tries to rescue Helen from the gang's car bomb. THE FACE BEHIND THE MASK was dependent on a strong and capable performance in the lead, and Lorre proved ideal in one of his best roles. He not only had to portray a man disintegrating under a terrible fate, but also had to exercise incredible control over his facial muscles, allowing him to only express emotion through his eyes in close-ups. Lorre simulated a mask where there was none, and the effect is achieved by white powder and two pieces of tape placed on his face, contrasted with his costume of black jacket and scarf, and enhanced through lighting. This was all the more remarkable in that Lorre was uncomfortable with the fast schedule and began his drinking with a straight Pernod for breakfast, so that by the afternoon he had became undirectable. As a result, Florey had to try and juggle the schedule so as to get all of the star's primary scenes in the morning. In the supporting roles, Stone and Keyes were equally memorable, as were the character actors in the remaining roles, together demonstrating the possibilities for fine acting despite the pressures of a two week shooting schedule. This was the fourth time Florey had dealt with an unusual theme, the effect of facial mutilation on men's lives, also depicted in his FACE VALUE (1927), THE FLORENTINE DAGGER (1935), THE PREVIEW MURDER MYSTERY (1935), and later in his television episode ALFRED HITCHCOCK PRESENTS: WHERE BEAUTY LIES (1961). Florey was engaged by Columbia in late 1940 on a deal for three so-called "action pictures," movies made on low budgets in twelve days. The first two, THE FACE BEHIND THE MASK and MEET BOSTON BLACKIE (first in the series), took two months to prepare--Florey was able to revise the script of THE FACE BEHIND THE MASK and write the continuity--and were shot back-to-back. Such a hasty schedule was especially difficult for a picture that required extensive location shooting. The cameraman was the talented Franz Planer, lately arrived from Germany, and still unaccustomed to working at the Hollywood pace, requiring that many shots be sacrificed because of the time lost in lighting. Today, Florey is best remembered for his other work in the horror genre, including coauthoring the script of the original FRANKENSTEIN (1931), writing and directing MURDERS IN THE RUE MORGUE (1932), and directing a later Peter Lorre classic, THE BEAST WITH FIVE FINGERS (1946). Florey was a key figure in adapting the German expressionism and other European styles into Hollywood film-making before the cycle of film noir, and THE FACE BEHIND THE MASK reflects an ideal mid-point, both using such techniques but also adjusting them to the needs of a genre-driven industry. Despite its modest origins, THE FACE BEHIND THE MASK is widely acknowledged to be among the greatest "B" films ever made, and one of the few to offer profundity and depth in theme and characterization, as well as artistry in its writing, direction, and acting. While containing elements of several genres--horror, social consciousness, gangster, and romance--the film transcends all of them. THE FACE BEHIND THE MASK won favor from both critics and audiences, and a small following in its time that has grown in the intervening years, an exceptional record of success for a movie made so inexpensively. The film remained in continuous showing for two years after it was released in 1941, and was later theatrically reissued on numerous occasions, as late as 1955, before it began to be shown on television.
译文(2): 《面具背后的脸》虽然通常被认为是一部恐怖电影，但它并不是这一类型电影的一个纯粹的例子，而这正是它引起人们兴趣的关键所在。相反，它涉及的话题超出了预期的恐怖参数，并提供了一个不妥协的人类痛苦的观点，面具背后的脸是一个真正不同寻常的图片在内容和治疗。面具背后的面孔讲述了一个满怀希望的新移民 Janos Szaby (Peter Lorre 饰)抵达纽约时，如何被困在一家旅馆的大火中，脸上留下了可怕的伤疤。被排斥和拒绝就业虽然仍然能够工作，他唯一能够生存的方式是转向盗窃。因此，《面具背后的脸》也是一部具有社会意识的电影，详细描述了被排斥者，尤其是残疾人在社会中的地位，以及犯罪及其原因和美国移民的环境。所有这些主题都以同情和品味来对待，避免了前提的可怕潜力。唯一善待亚诺斯的人是一个患有结核病的小偷丁基(乔治 · E · 斯通饰)和一个失明的女人海伦(伊芙琳 · 凯斯饰)。亚诺斯爱上了海伦，因为海伦的灵魂看到了他内心的善良，但是黑帮拒绝让亚诺斯放弃这个行当，并杀死了她。这导致了一个令人难忘的结局，雅诺斯有自杀式的报复飞行团伙到沙漠和孤立他们所有在沙漠废弃物，在那里他可以看到他们的垂死折磨。《面具背后的脸》的编剧提供了一个线索来说明它的意图: 尽管银幕上的作品归功于两个男人，艾伦 · 文森特和保罗 · 雅里科(来自亚瑟 · 莱文森的故事，根据托马斯 · 爱德华 · 奥康奈尔的广播剧改编) ，剧本表明这部电影实际上是由伊尔梅加德 · 冯 · 立方写的，他在《约翰尼 · 贝林达》(1948)中探索了类似的主题。恰当地说，这种风格也减少了对恐怖元素的强调，具有导演罗伯特 · 弗洛里的表现主义倾向的自然化版本，就像亚诺斯和丁基初次见面时的海滨场景一样。面具所要求的抽象表演，再加上洛尔的服装，本身就成了表现主义的装置。高度紧张的时刻被导演弗洛里典型的角度镜头恰当地打断，比如当雅诺斯在拆掉绷带后第一次看到他的脸，或者当他试图从帮派的汽车炸弹中救出海伦时。面具背后的脸依赖于一个强大的和能干的表现在领导，和洛尔证明了理想在他的最好的角色之一。他不仅要描绘一个在可怕命运下崩溃的人，还要对他的面部肌肉进行难以置信的控制，让他只能通过眼睛特写来表达情感。罗尔模拟了一个没有面具的场景，效果是通过在他的脸上放置白色粉末和两片胶带来实现的，与他的黑色夹克和围巾的服装形成对比，并通过灯光加强。这种情况尤其值得注意，因为洛尔对这么快的时间表感到不舒服，他早餐喝的是纯茴香酒，所以到了下午他就变得不知所措了。结果，弗洛里不得不试着调整日程安排，以便在早上拍摄这位明星的所有主要场景。在配角方面，斯通和基斯同样令人难忘，其余角色中的角色演员也同样令人难忘，他们一起展示了尽管有两周拍摄计划的压力，但仍有可能表演得很好。这是弗洛里第四次涉及一个不同寻常的主题，面部毁损对男人生活的影响，也在他的《面部价值》(1927年)、《佛罗伦萨匕首》(1935年)、《预览谋杀谜团》(1935年) ，以及后来在他的电视希区柯克悬念故事集《美丽在哪里》(1961年)中有所描述。1940年底，弗洛里与哥伦比亚大学签订了一项协议，要拍摄三部所谓的“动作片”，即12天内低成本制作的电影。前两部，《面具背后的脸》和《遇见波士顿黑鬼》(系列第一部) ，花了两个月的时间准备——弗洛里修改了《面具背后的脸》的剧本，写出了连续性——并且是背靠背拍摄的。对于一部需要大量外景拍摄的电影来说，如此仓促的时间安排尤其困难。摄影师是才华横溢的弗朗茨普拉纳，最近从德国抵达，仍然不习惯工作在好莱坞的速度，需要牺牲许多镜头，因为时间损失在灯光。今天，弗洛里最为人们所熟知的是他在恐怖片类型中的其他作品，包括与人合作编写原版《弗兰肯斯坦》(1931)的剧本，编剧和导演《伦敦街太平间的谋杀案》(1932) ，以及后来导演彼得 · 洛尔的经典之作《五指野兽》(1946)。在黑色电影周期之前，弗洛里是将德国表现主义和其他欧洲风格融入好莱坞电影制作的关键人物，《面具背后的脸》反映了一个理想的中间点，既运用了这些技巧，又使它们适应了流派驱动的电影产业的需要。尽管《面具背后的脸》的起源并不出名，但它被广泛认为是有史以来最伟大的“二流”电影之一，也是少数几部在主题和角色塑造以及在写作、导演和表演艺术方面提供深度和深度的影片之一。这部电影包含了几种类型的元素——恐怖、社会意识、黑帮和浪漫——超越了所有这些元素。《面具背后的面孔》赢得了评论家和观众的青睐，在这期间有一小批追随者增加，这是一部成本如此低廉的电影取得成功的非凡记录。这部电影在1941年上映后连续放映了两年，后来在电视上放映之前，一直到1955年都在多次重新上映。