面具背后的脸

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(3): 《面具背后的脸》虽然被普遍认为是一部恐怖电影，但并不是这一类型的纯粹例子，这正是它感兴趣的关{资源屯-ziyuantun.com}。相反，它讲述了预期的恐怖参数之外的话题，并对人类的痛苦提供了一个毫不妥协的视角，《面具背后的脸》在内容和治疗上都是一幅真正不同寻常的画面。《面具背后的脸》讲述了一位满怀希望的新移民Janos Szaby（Peter Lorre饰）如何抵达纽约市，被困在一场酒店火灾中，脸上留下了可怕的疤痕。尽管他仍然能够工作，但他被排斥并拒绝就业，唯一能生存的方法就是转向盗窃。因此，《面具背后的脸》也是一部社会意识电影，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，以及美国移民环境。所有这些主题都以同情和品味的方式处理，避免了前提的可怕潜力。唯一对亚诺斯好的人是一个患有结核病的小小偷丁基（乔治·E·斯通饰）和一个失明的女人海伦（伊芙琳·凯斯饰）。Janos爱上了Helen，因为她的灵魂看到了他内心的善良，但这伙人拒绝让Janos退出敲诈勒索并杀死了她。这导致了一个令人难忘的结局，亚诺斯进行了自杀式的报复，将这伙人空运到沙漠，并将他们全部困在沙漠中，在那里他可以看到他们垂死的痛苦。《面具背后的脸》的实际编剧为其意图提供了线索：尽管银幕上的编剧是艾伦·文森特和保罗·贾里科（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），但剧本表明，这部电影实际上是由伊尔梅加德·冯·库贝创作的，他在《约翰·贝琳达》（1948）中探讨了类似的主题。恰如其分的是，这种风格也淡化了恐怖元素，采用了导演罗伯特·弗洛雷表现主义倾向的自然化版本，就像亚诺斯和丁基第一次见面时的海滨场景一样。面具所要求的抽象表演，加上罗尔的服装，本身就是表现主义的装置。导演弗洛雷典型的斜射恰当地打断了紧张的时刻，比如当杰诺斯在绷带被取下后第一次看到自己的脸时，或者当他试图从帮派的汽车炸弹中救出海伦时。面具背后的面孔取决于他在主角中强有力的表现，而罗尔在他最好的角色之一中表现得很理想。他不仅要描绘一个在可怕的命运下崩溃的男人，还要对他的面部肌肉进行令人难以置信的控制，让他只能在特写镜头中通过眼睛表达情感。Lorre模拟了一个没有口罩的地方，通过将白色粉末和两块胶带放在脸上，与他黑色夹克和围巾的服装形成对比，并通过照明来增强效果。更值得注意的是，罗尔对快速的日程安排感到不舒服，早餐时直接喝了一杯Pernod，到了下午，他已经无法控制了。因此，弗洛雷不得不努力调整日程，以便在早上拍摄这位明星的所有主要镜头。在配角中，斯通和凯斯同样令人难忘，其余角色中的角色演员也是如此，他们一起展示了在两周拍摄日程的压力下，出色表演的可能性。这是弗洛雷第四次处理一个不同寻常的主题，即面部残割对男性生活的影响，这也在他的《面部价值》（1927年）、《FLORENTINE DAGGER》（1935）、《预览谋杀谜团》（1935年）以及后来的电视集《阿尔弗雷德·希奇科克呈现：美丽的谎言在哪里》（1961年）中有所描述。弗洛里于1940年末与哥伦比亚大学签订了一份所谓的“；动作图片；十二天内低预算拍摄的电影。前两部，《面具背后的脸》和《遇见波士顿黑人》（该系列的第一部），花了两个月的时间准备——弗洛雷能够修改《面具后面的脸》的剧本并写出连续性——并且是背靠背拍摄的。对{Ziyuantun.Com}于一张需要大量外景拍摄的照片来说，如此仓促的时间表尤其困难。摄影师是才华横溢的Franz Planer，刚从德国来到这里，他仍然不习惯以好莱坞的速度工作，因为在照明方面浪费了时间，所以需要牺牲很多镜头。如今，弗洛雷最为人所铭记的是他在恐怖类型中的其他作品，包括共同创作《弗兰肯斯坦》（1931年）的剧本，编剧和导演《摩尔盖谋杀案》（1932年），以及导演彼得·洛尔后来的经典作品《五指野兽》（1946年）。在黑色电影周期之前，弗洛雷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，而《面具背后的脸》反映了一个理想的中点，既使用了这些技术，又根据类型驱动的行业需求进行了调整。尽管起源不多，但《面具背后的脸》被广泛认为是最伟大的“面具”之一；B”；有史以来拍摄的电影，是为数不多的在主题和人物塑造方面具有深刻性和深度的电影之一，在写作、导演和表演方面也具有艺术性。虽然这部电影包含了恐怖、社会意识、黑帮和浪漫等多种类型的元素，但它超越了所有这些。《面具背后的脸》赢得了影评人和观众的青睐，在这几年里，它的追随者越来越多，这是一部制作成本低廉的电影的非凡成功记录。这部电影在1941年上映后的两年里一直在持续上映，后来在1955年开始在电视上播放之前，多次在影院重新发行。