无情

  • 恐怖 剧情 奇幻
  • 吉姆·斯特吉斯 克蕾曼丝·波西 诺埃尔·克拉克 卢克·崔德威
  • 114分钟
  • 改编自陀斯妥耶夫斯基的小说。 HalfwaythroughF… 改编自陀斯妥耶夫斯基的小说。 HalfwaythroughFranciscoLombardi'sSincompasión,oneAlejandroVelaochagadropsinunexpectedlyontheprotagonist,astudentbythenameofRamónRomano.Velaochagaisarathersinistercharacter,andhe'smadehismayintotheroomwhileRomanoisstillasleep.Romano,troubledenoughbythenotionthatheisbeingpersecutedonallsides,wakesuptohisvisitor'spresencewithashock.PartofVelaochaga'screepiness,however,isthatheisquitesuaveandunruffled,intotalcontrasttohisunwillinghost. Inresponsetothequestionastohowhegotin,Velaochagacontinuescleaninghispipe,shrugshisshouldersslightly,andresponds"Throughthedoor."Leaninginslightlyinagestureoffamiliarityheadd,"Myadvicewouldbethatyougetyourselfabolt.They'renotexpensive."TheironyofVelaochaga'sapparentconcernforRomano'ssecurityandpeaceofmindisthatherepresentsthegreatestdangerbothtotheyoungmanandtohisevenmoredefenselessgirlfriend.Forthissophisticatedgentlemaninhisimmaculatelytailoredsuitturnsouttobebothalecherandablackmailer.AnditishewhoisthefirsttounearththeguiltysecretthathasRamonasoonedge:thatRamónhasbrutallymurderedhislandladyandherhusband. LeavingRamona'squarters,Velaochagaextendshishandtotheyoungman,whoratherreluctantlyshakesit."It'sbeenapleasuretomeetyou,"theoldmansays."You'requiteacharacter.Really."Then,lookingaroundathissurroundingsbeforefinallytakinghisleave,headds"Andyouhaveaveryinterestingplace.Ithasthefeelofaneorealistfilm." Indeed,Sincompasiónhasmorethanatouchofneorealism.It'sanadaptationofDostoevsky'sCrimeandPunishment,withRomanoforRomanovichRaskolnikov,setinthecuriouslytimelesscenterofLima.Thereislittlehereofeitherthecity'smanybarriosandsuburbs,orthehustleandbustlethatmoststrikesavisitortothecity.ThisisastrangelystrippeddownversionofLima.Thecolorpaletteismutedbrownsandcreams,fullofshadowsandcrevices.Interiorsincludesomeofthecity'soldestbars(suchasthemagnificentQuierolo,inwhichRomanomeetstheprostituteSonia'sdrunkenfather),whichcarryanairofdowdyresistancetotime'sencroachment,andexteriorsarealmostallconfinedtothenarrowstreetsandlanesaroundthePlazadeArmas.Andalmostattheendofthefilm,VelaochagagoestothePlazaitselftositontheCathedralsteps,whereafteracontemplativecigarettehecommitssuicide.Butthesquareisdeserted,andsonobodyistheretowitnesshisingloriousend. LombardithereforeachievesasortofuniversalitythatgivesweightanddepthtothisPeruvianadaptationoftheclassicRussiannovel.Limabecomesarchetypeofurbanityingeneral,andthecontinuitiesoftheurbanexperiencebetweennineteenthandtwentiethcenturies.Therewillalwaysbeameasureofpoverty,squalor,prostitution,drunkenness,injustice,debt,violence,guilt,andsoon.NomatterifthecityinquestionisDostoyevky'sStPetersburgorDickens'sLondon,DeSica'sRomeorLombardi'sPeru. SincompasionstillAndintheendtherewillalwaysbeadisparitybetweenthelawandcompassion.Indeed,thefilm'stitleisoddlyinaccurate.Romano'sproblemisnotthathelackscompassion--thenotionthathebelievesthatonlytheintellectualandmoralelitecanforgetheirownlawsismentionedbutscarcelydeveloped.Infact,hekillsthelandladyoutofcompassion,havingseenthewayinwhichtheytreattheirtenants.Romanorefusestoaccedetoanytranscendentmoralcode,sothatalthoughtheentirestoryistoldinflashback,framedasaconversationwithaprisonpriest,headamantlydeniesthatheisinfactconfessing.Hehasnothingtoconfess,onlyastorytotell.Andit'sasheexpoundsthatstorythatitbecomesclearthatneitherthelegalcodenororganizedreligioncanfullycomprehendforhisactions. Romanoneedsnottoconfess,buttonarrate,andbynarratingtounderstandandallowustootounderstandhowthemostcold-bloodedmurdercanbemotivatedbythemostcompassionateofintentions.

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