春心有谁怜

The story appears simple on the surface, but is revealed, especially after multiple viewings, as more multi-layered and textured than Cassavetes at his best. Ostensibly it concerns a 14-year old Catholic girl, Wynne (Agutter) growing up in this post-modern wasteland, who develops a crush on her much older adoptive brother (Marshall)- a crush which perversely deepens and grows into infatuation once she starts to believe he is the local sex killer. This is in itself an idea that makes you sit up and jolt, but as the narrative develops, it continues not necessarily along a linear path but in several confusing and fascinating directions: the family's history, (detailed effectively in chilling flashback during an improvised seance) is a chequered one, and has suffered at least one major relocation and upheaval in the last ten years.At the crux, however, it's the depiction of socialal changes that make I Start Counting so fascinating and elevate its language far beyond the confines of the standard horror film. The major subtext- that teenage girls were maturing more quickly than before, and developing full sexual and romantic appetites (even if in thought rather than deed) but were not possessed of enough discretion to make the right choices- was a step forward for a genre in which its young females had previously been portrayed as bimbo victims (Cover Girl Killer and The Night Caller spring to mind), but not one that all viewers would necessarily agree with.But most striking of all, and possibly the most enduring image which the viewer will take away with them, is of the masterful symbolism with which director Greene invests every shot. Every inch of the Kinch family's world- their house, their walls, their TV, Agutters underwear, bedroom furniture and toys, Sutcliffe's clothes, Marshalls van, the local Catholic church, their town centre, their record shop) - is painted a bright, scintillating white- a white which, by inference, is slowly becoming smudged and corrupted with the dirt of the outside world. White also symbolises, of course, purity and innocence (two qualities Catholic schoolgirls are supposed to hold dear), and it is into this world of innocence that the ever-present red bus (a symbol of violation and penetration), conducted by the lecherous yet similarly juvenile Simon Ward, makes regular journeys. The allegory is further expanded in one scene where Agutter believes she sees the Christ figure in church weeping blood: by the time we acknowledge it, its gone, but the seed has already been planted. Rarely in a genre production has the use of colour and background been so important or effective in creating a uniformity of mood.I Start Counting is as near-perfect an end to a decade as one could hope for, and exactly the kind of film people should be making now- which is, of course, exactly why they never will. A genre essential.by D.R. SHIMON@lounge.moviecodec.com

春心有谁怜豆瓣评价：

newlight发表了评价：差不多46年的前，现在看一点都不过时。女主角选角非常好，Jenny Agutter真是一个出色的演员。【2017-01-09 07:02:12】
落水狗发表了评价：冷门佳片 非常棒 男女主演的都不错 特别是女主 虽然是大骨架根号三但把思春少女演的非常入味【2022-02-13 22:52:55】
FlicKkker.发表了评价：少女怀春缉凶两不误。朴素自然的英岛日常小片，气氛营造不错，让我想起74年的Symptoms。质感阴沉得泛黄，半是清妙半是伤感，Jenny Agutter的表演✔️【2023-06-23 18:29:49】
不思進取的小人发表了评价：20211221周二 22:30 把15岁时成长少女里的生活点滴和对懵懂爱情的幻想拍得很细腻，对老屋的怀旧之情都很有感触！为什么一个花季少女就已经像老头一样缅怀过去了呢！【2021-12-21 22:54:51】
地下室人发表了评价：一般吧，男女主都喜欢不起来，看着很奇怪。这个电影很神奇的地方是用轻松灵动的音乐配诡异的镜头【2022-12-05 04:52:31】
Paradiso二号机发表了评价：民俗恐怖纪录片里提到的但打开一看却是个层次丰富的思春期少女生活片，浮动的心思由英国小城镇翻新期（女孩家从独门独院林边老屋搬进新公寓楼、大兴土木改造现代派建筑的教堂）和令当地人心惶惶的少女遇害案作背景衬托，有细节有环境纪实有最美丽自然的70s胶片质感，其实跟民俗恐怖没啥关系，拍得这么好我居然从未听说过？女孩疯狂crush没血缘关系的大哥引来一堆想东想西Jenny Agutter说小不小说大不大演得真不错，八婆兮兮的闺蜜那位演员就流于装嫩了。比起大哥，一脸英国乐队小伙样的二哥不好吗，不过对向往熟男的小姑娘来说比自己大没几岁的男生大概看来都乳臭未干。【2022-06-17 15:43:59】
春心有谁怜相关链接： 春心有谁怜 layered old year 14 concerns Ostensibly