百年50部英文燒腦電影賞析:[19]Identity 致命ID

導(dǎo)演：詹姆斯·曼高德

編?。蝴溈藸?middot;庫(kù)尼

主演：普路特·泰勒·文斯 約翰·庫(kù)薩克 雷·利奧塔 阿曼達(dá)·皮特

首映日期：2003-04-25

The actors are good; the writing is clever and risky, but it's Mangold's excellent sense of just what to bring out and just when that makes this movie so effective.

演員不錯(cuò);劇本是有獨(dú)創(chuàng)性的，也是有風(fēng)險(xiǎn)的，但曼高德有出色的感覺(jué)，明白應(yīng)該展示出什么，使得這部電影讓人如此印象深刻。

——John R. McEwen, Film Quips Online

A gripping psychological thriller cum horror story that is complex and unpredictable.

一部引人入勝的心理驚悚片和恐怖的故事，它是復(fù)雜且不可預(yù)測(cè)的。

——Harvey S. Karten, Compuserve

I love this film. One of my favorites.

我喜歡這部電影。它是我最喜歡的影片之一。

——Joshua P

Malcolm Rivers(Pruitt Taylor Vince)awaits execution for several vicious murders that took place at a motel. His psychiatrist, Dr. Mallick, has discovered his journal that may explain why he committed the murders. With this late evidence brought forth, a new hearing takes place.

A group of 10 strangers find themselves stranded in the middle of a storm in a remote motel, run by Larry Washington. They are a limo driver, Ed Dakota(John Cusack); an 1980s movie star, Caroline Suzanne; a cop, Officer Rhodes(Ray Liotta), who is transporting a serial killer, Robert Maine; a prostitute, Paris Nevada(Amanda Peet); a pair of newlyweds, Lou and Ginny Isiana; and a family in crisis, Alice York who has been hit by Ed's car and her husband and son George, and Timmy. The group prepares to spend the night; however, they quickly find that there is an unknown murderer present, killing off each of the guests. Caroline is the first to be killed. Ed thinks that Maine killed her and when they check the convict, they discover he has escaped.

All the others become worried, and Ginny runs to her room. Her husband Lou chases after her but is also murdered. Ed and Rhodes find the con, knock him out, and put Larry on duty guarding him. However, he is later found dead. Paris discovers a dead body in Larry's freezer. Larry attempts to escape in his truck, claiming he did not kill anybody. He then accidentally runs over George, killing him. Each body is accompanied by a room key, which appear to represent a countdown. The survivors tie Larry up, and as he tells them his story the others start to believe that he really did not kill anyone. Ginny and Timmy both die when their car blows up, but their bodies are nowhere to be seen. The remaining four discover that all the bodies have disappeared and that all 10 share the same birthday, and have surnames the same as US states. Paris also discovers that Rhodes is a convict as well, having killed the corrections officer transporting him and Maine across state and assumed his identity as a police officer. Rhodes attempts to kill her, but she is saved by Larry, who in turn is shot dead by Rhodes.

Back at the hearing, the contents of Malcolm's journal are revealed, indicating the prisoner suffers from an extreme case of dissociative identity disorder, harboring 10 distinct personalities. Mallick is able to bring forth one of Malcolm's personalities, Ed, revealing that the events at the motel are occurring inside Malcolm's mind, each personality represented by one person at the motel. Mallick explains to that the events at the motel are a result of treatment Malcolm is receiving——i.e. the killings at the motel being Malcolm's mind's attempt to eliminate nine excess personalities. Mallick further gives “Ed” the mission of making sure that the hostile personality(i.e. the one responsible for Malcolm committing the crimes for which he is being tried)be eliminated to prevent Malcolm from being executed. In the motel setting, Ed believes that Rhodes is the murderer, and sacrifices himself to kill Rhodes, leaving only Paris alive. When Mallick demonstrates that the homicidal personality is dead, the Judge decides to place Malcolm in a mental institution under Mallick's care.

As Malcolm is driven along with Mallick to the institution, in Malcolm's mind, Paris has driven away from the motel to her hometown, Frostproof, Florida. As she tends an orange grove, she discovers the Room 1 motel key, and finds Timmy behind her. Timmy, the true homicidal personality, had orchestrated all the deaths at the motel, and made it appear that he had been killed as well; he finishes his task by killing Paris. Now driven only by Timmy, Malcolm strangles Mallick, and the van runs off the side of the road.

馬爾科姆·里夫斯(普路特·泰勒·文斯飾)因?yàn)閿?shù)起發(fā)生在汽車(chē)旅店的兇殘謀殺案而正等著執(zhí)行死刑。他的心理醫(yī)生馬利克博士發(fā)現(xiàn)了他的日記，這本日記也許可以解釋為什么他實(shí)施了謀殺行為。因?yàn)檫@一新證據(jù)的發(fā)現(xiàn)，又舉行了一的聽(tīng)證會(huì)。

10個(gè)陌生人因一場(chǎng)暴風(fēng)雨被困在拉里·華盛頓開(kāi)的一家偏僻的汽車(chē)旅館。其中包括：豪華轎車(chē)司機(jī)愛(ài)德華·達(dá)科特(約翰·庫(kù)薩克飾);20世紀(jì)80年代的電影明星卡羅琳·蘇珊娜;正押送連環(huán)殺手羅伯特·梅因的警官羅德斯(雷·利奧塔飾);妓女帕瑞斯·內(nèi)華達(dá)(阿曼達(dá)·皮特飾);新婚夫婦路威與基尼·伊斯安娜;正處于危機(jī)中的一家人：被愛(ài)德華的車(chē)撞了的艾麗絲·約克與她的丈夫和兒子喬治與蒂米。這人想在這里過(guò)一晚，但很快發(fā)現(xiàn)有一個(gè)潛伏的殺手正在謀殺每一個(gè)客人?？_琳是第一個(gè)被殺的。愛(ài)德華認(rèn)為梅因殺了她。當(dāng)他們檢查這個(gè)嫌疑犯時(shí)，發(fā)現(xiàn)他已經(jīng)跑了。

所有人都開(kāi)始擔(dān)心?；崤芑厮姆块g。他的丈夫路威跟了過(guò)去，但也被殺了。愛(ài)德華與羅德斯發(fā)現(xiàn)了罪犯，并打倒了他，他們讓拉里負(fù)責(zé)看守他。然而過(guò)了一會(huì)兒就發(fā)現(xiàn)他死了。帕瑞斯在拉里的冰箱中發(fā)現(xiàn)了一具尸體。拉里試圖駕駛他的卡車(chē)逃脫，并聲稱自己沒(méi)有殺任何人。這時(shí)他意外地撞死了喬治。每個(gè)人都有一把房間鑰匙，它似乎代表的是倒計(jì)時(shí)。幸存者們把拉里綁了起來(lái)，拉里把自己的遭遇告訴了他們，他們開(kāi)始相信拉里確實(shí)沒(méi)有殺任何人?；崤c蒂米在他們的車(chē)中被炸死了，但他們的尸體沒(méi)有被找到。剩下的四個(gè)人發(fā)現(xiàn)所有的尸體都消失了，而且十個(gè)人都是同一天生日，甚至發(fā)現(xiàn)名字中都有某個(gè)州的名字。帕瑞斯發(fā)現(xiàn)羅德斯也是一個(gè)罪犯。他殺了真正要跨州押運(yùn)他們的警官，并使用他的ID假扮作警官。羅德斯試圖殺死她，但她被拉里救了，而拉里則被羅德斯射殺了。

回到聽(tīng)證會(huì)現(xiàn)場(chǎng)，馬爾科姆日記的內(nèi)容顯示，他患有嚴(yán)重的分離性身份認(rèn)知障礙，他體內(nèi)隱藏著10個(gè)不同的人格。馬利克引出了馬爾科姆的人格之一，愛(ài)德華，這顯示在汽車(chē)旅店中發(fā)生的事件是發(fā)生在馬爾科姆的頭腦中。每一個(gè)人格代表著汽車(chē)旅店中的一個(gè)人。馬利克向愛(ài)德華解釋說(shuō)，發(fā)生在汽車(chē)旅館中的事件是因?yàn)轳R爾科姆正在接受的治療所致。例如，汽車(chē)旅店中的謀殺是因?yàn)轳R爾科姆的思想試圖殺死其他九個(gè)多余人格。馬利克進(jìn)一步向愛(ài)德華下達(dá)命令，讓他確保懷有敵意的人格已被消滅，以防止馬爾科姆被執(zhí)行死刑(例如，那個(gè)支配馬爾科姆犯下謀殺罪并被審判的人格)。在汽車(chē)旅館場(chǎng)景中，愛(ài)德華確信羅德斯是兇手，他以犧牲自己的方式殺死了羅德斯，只留下帕瑞斯活著。當(dāng)馬利克表明殺人的人格已經(jīng)死了后，法官?zèng)Q定把馬爾科姆送入精神病院，并讓馬利克看護(hù)他。

馬爾科姆與馬利克駕車(chē)去精神病院時(shí)，在馬爾科姆的思想中，帕瑞斯已經(jīng)駕車(chē)從汽車(chē)旅店回到了她位于佛羅里達(dá)州福羅斯特普魯夫的家鄉(xiāng)。她在打理橘園時(shí)，發(fā)現(xiàn)了汽車(chē)旅館中1號(hào)房間的鑰匙，并發(fā)現(xiàn)蒂米就在她后面。蒂米是真正的殺手人格。他策劃了汽車(chē)旅店中所有死亡，并讓自己看起來(lái)像是被殺了。他最終殺死了帕瑞斯?，F(xiàn)在蒂米是唯一的人格了。他殺死了馬利克并駕著面包車(chē)沖出了公路。

James Mangold Interviewed by Stephen Applebaum

What drew you to Identity?

I've always loved films that take place in closed and claustrophobic environments, whether they're old Hitchcock films — like Lifeboat or Rear Window — or newer ones like Alien or The Others. I think single location films, in a funny way, actually defy conventional wisdom in that they're more, not less, cinematic.

Your cast is unfamiliar in this genre. What made you pick actors like Ray Liotta and John Cusack?

I haven't made a horror film before, so I wanted to use the same calibre of actors that I was work with in dramas. Also the genre, at least in the United States, had become solely for teenagers, and starring teenagers. So the second you start casting grown ups, you suddenly are dealing with some wonderful actors and ones who are interested in exploring that wilderness.

The rain plays a huge part in the film. How difficult was that element to control?

Well, the motel is all built indoors, on one of the largest sound stages in Los Angeles. It's actually the same stage that the Emerald City in The Wizard of Oz was built on, and also the large sets from Singing in the Rain. So the entire motel swimming pool, parking areas, even the desert around it, was all a set with an amazing rig of sprinklers which made rain that we could turn on and off like lights.

The film asks questions about the death penalty. What's your position on this issue?

The film asks whether pure evil exists and what we should do about it. Do we destroy it, or do we try to love it into goodness? That question, I think, is a question that every country and every person debates all their life. It's a tough question and, personally, one that confuses me. As a matter of course, I don't support the death penalty. But if someone did something to my wife or to my family, God forbid，the rage you'd feel as the victim is very different.

是什么吸引你參演《致命ID》?

我一直都很喜歡發(fā)生在封閉環(huán)境中的電影，不管他們是像《救生艇》和《后窗》那樣的希區(qū)柯克式老電影，還是像《異形》和《小島驚魂》那樣的新片。我認(rèn)為單一場(chǎng)景電影，用一種有趣的方式，實(shí)際上顛覆了傳統(tǒng)觀念。相比而言，它們更富有戲劇性。

你所選擇的演員并不常出演這一類(lèi)型電影。你為什么選擇雷·利奧塔和約翰·庫(kù)薩克他們?

我以前從來(lái)沒(méi)拍過(guò)恐怖電影，所以我想選擇那些和我一起做話劇時(shí)與我有同樣水準(zhǔn)的演員。而且至少在美國(guó)，這種類(lèi)型的影片已經(jīng)成為了青少年專(zhuān)屬影片，主演也都是青少年。因此，只要你開(kāi)始拍攝關(guān)于成長(zhǎng)的影片，你忽然間就要面對(duì)一些很棒的演員和那些希望能夠激發(fā)野性的演員們。

雨在電影中發(fā)揮著巨大的作用?？刂朴赀@個(gè)因素有多困難?

整間汽車(chē)旅館都建在洛杉磯最大的攝影棚內(nèi)。它實(shí)際上同《綠野仙蹤》中的翡翠城使用的是同一攝影棚，也是拍《雨中曲》時(shí)設(shè)立的場(chǎng)景。因此，整個(gè)汽車(chē)旅館的游泳池，停車(chē)場(chǎng)，甚至連周?chē)纳衬?，都在一組驚人的灑水裝備制造出的雨中，我們可以像控制燈那樣打開(kāi)和關(guān)閉它。

這部戲涉及到了死刑的問(wèn)題。在這個(gè)問(wèn)題上你的立場(chǎng)是什么?

這部電影提出這樣一個(gè)問(wèn)題：純粹的邪惡存在嗎，以及我們應(yīng)該怎這類(lèi)問(wèn)題。我們是它還是努力用愛(ài)感化它?我認(rèn)為這個(gè)問(wèn)題國(guó)家、每個(gè)人都要永遠(yuǎn)爭(zhēng)論下去的。這個(gè)問(wèn)題很難回答，起碼說(shuō)一直困擾著我。當(dāng)然我不支持死刑。但如果有人傷害了我的妻子或家庭中其他成員，上帝啊，你作為受害者的憤怒會(huì)完全不同。

大多數(shù)影片都要有50個(gè)以上的場(chǎng)景，而該片只有一個(gè)——沙漠中的旅館。所以布景師努力將這個(gè)唯一的場(chǎng)景布置出多個(gè)層次來(lái)。內(nèi)景選在索尼公司第27號(hào)外場(chǎng)地，也是該公司第二大的布景地。參照加州的帕姆代爾市以東的一處真實(shí)沙漠旅館的外景而建。布景師們用了8周的時(shí)間來(lái)搭建布景，因?yàn)橛捌枰獱I(yíng)造暴風(fēng)雨的效果，所以這個(gè)布景的地板必須防水、排水性能要好。在這個(gè)大的旅館之下，是一層巨大橡膠做成的防雨地板。而旅館更是采用了建造游泳池的材料，壓力噴漿。

為了隱藏真正結(jié)尾的秘密，一共拍攝了幾個(gè)結(jié)局。

被拉里藏在冰箱里的旅館老板的尸體是斯圖爾特·貝瑟扮演的，他也是這部影片的執(zhí)行制片人和監(jiān)制人。