杀手的肖像电影

导演: 约翰·麦克诺顿
编剧: Richard Fire / 约翰·麦克诺顿
主演: Mary Demas / 迈克尔·鲁克 / Anne Bartoletti
类型: 剧情 / 惊悚 / 恐怖 / 传记 / 犯罪
制片国家/地区: 美国
语言: 英语
上映日期: 1986-09-24
片长: 83 分钟 / Australia: 77 分钟 / Norway: 78 分钟 / Sweden: 78 分钟 / Italy: 75 分钟(edited for TV)
又名: 连续杀人犯的一生 / 亨瑞
IMDb链接: tt0099763
杀手的肖像的剧情简介 · · · · · ·
　　The real Henry Lee Lucas had one of the worst childhoods that I have ever had the misfortune of reading about. Growing up in Texas, he lived with a family that was totally dysfunctional. He grew up in a shack, that had nothing more than a dirt floor. The father being a legless alcoholic, literally as well as figuratively. The mother worked as a prostitute. Henry was also forced into sexual activity with her clients. They forced him to dress as a girl and then would proceed to have sex with him. He was a child that grew up being raped.
　　He then grew up with such an intense rage that he became a serial killer. Are we surprised? Now, I am not trying to justify his behaviour. Rather, I am pointing out the fact that these people do not just fall out of the sky. There is no such thing as an inexplicable evil. That is, the person is just evil because they are. Yes, there seems to be some genetic evidence for psychopaths. However the majority do not become killers. The ones who become killers are made. If you are truly interested in what makes a psychopath, I suggest you read, ‘Not Guilty by reason of Insanity ‘ by Dorothy Otnow Lewis. Serial killers are often portrayed as being like Hannibal Lecter. Smart and talented creatures that have suddenly lost their moral code. The truth is most are a psychological mess. Losers that are full of conflicting emotions. There is also strong evidence to suggest that these people are made by a specific form of brain damage. Basically when you combine trauma in childhood and frontal lobe brain damage, you end up with Henry.
　　This movie is what happens when people are treated in an utterly horrific way. Michael Rooker is excellent as a psychopath who seems normal but deep down harbours a psychotic rage against society. He and Otis travel around killing. Why? Why not? The pointlessness of their lives is perfectly captured. People complain about the lack of plot. I think it perfectly captures the plot. It shows the emptiness of these characters. In fact Henry and Otis feel nothing unless they are killing. The emotional side of the characters has been like killed off by previous abuses against them. They are not unlike the living dead. Even when Otis‘s sister shows some affection towards Henry he cannot reciprocate. He can‘t relate to people, he can only get off on torture and death. Yeah, this is shocking. But it is also incredibly sad.
　　Here in New Zealand there are many shocking drunk driving ads that they play to try and get people to stop this behaviour. I feel that this movie is like that. The movie is an ad for psychopaths, who they are and the dysfunctional psychological world that they inhabit. It is a film that honestly looks at these kinds of people. This certainly does not glorify these people, which is a criticism that has been levelled at the ‘Silence of the Lambs‘ series. This is why I think it shocks people. The serial killer kills for visceral, physical pleasure. As Ted Bundy stated, ‘I killed because I wanted to.‘ Maybe, this is where the film falls down. That the characters motivations are not explained well enough. But either way the viewer is given a shockingly realistic interpretation of a serial killers world.
　　Obviously this is a film that was made on a budget! But this just adds to the bleakness. In fact Chicago looks dirty, grimy and not like somewhere that you would visit. The performances of the rest of the cast are pretty average if not bad. So the film has some definite flaws. The exploitation factor is there. But then I think of films like Baise Moi and this film has nothing on that!
　　Overall I think this is an objective look at a world that those of us who come from normal backgrounds will find horrific. A world that we prefer would never exist, but however does exist. Maybe one day, as our society matures these people will cease to exist. Stories like these will become completely fictional. I really hope for that day. 7 out of 10.

不同于Otis野狗或秃鹫式的低劣卑贱，在Henry身上能看到康德式冷漠/自律的伦理性和萨德式残酷/倒错的享乐意志间的缠结，更为深刻也更加可怖，所以配得上给一个Portrait。在杀手眼中作为受虐者的女性对象没有任何实在意义，只是美的现象的代理和苦难的能指，杀手通过执行大自然的意志(不是你就是他,不是杀就是被杀)为自身的短暂的快感续航。或许Becky曾象征着作为至善的母亲，其他受害者象征着作为至恶的母亲(乱伦对象—儿时被迫窥淫的经验的作用)，在她们身上他无数次弑母以至于在复数的幻象中混淆了唯一一次真实的杀戮方式，然而至善即至恶，Becky于他或许理应存在于不可触碰的彼岸。悬念策略:赢取信任—放下戒备—空门一击，迫使人思考杀手的本质。凶杀尸体场景的三层声音:当下环境声(水声虫声等)+宗教质感氛围音+闪回并回响的残虐刺耳的凶杀现场断片

4.5星！教科书级的犯罪片开场，镜头几乎没有正面给主角 人物的形象仅从短短的几个凶杀后的犯罪现场和日常生活的画面切换就被塑造完成了，而且不管是镜头的推拉还是融入的声音和配乐 气氛营造的都非常到位，极具震撼力，为影片后面整体的氛围与内容的展开都做足了铺垫。16毫米拍摄的影片整体带来了一种粗劣的写实的真实质感 还颇有新好莱坞的感觉，而犯罪的过程与周围的环境导演其实也在不停的做着对比，形成一种既冰冷又恐怖又像理所应当的日常生活的残酷现实感。

现在看无端杀戮的片段有点恶心，虽然并没有那么写实。一对父母的弃儿相遇，本以为男杀手可以牵手女主过新生活，但结尾太冷酷了，电影一般都是开头或者中间段用几场戏来组合描写主角最深处的特性，以此让我们投入甚至共情于他随后的选择，而这部电影直到最后两场戏才揭示。不剧透，此部可看。浓浓的小成本B级独立电影，混合着80年代的古典推拉和各种生涩的机位选择，别有风味。很多处让我想起了那部瑞典电影《性女暴力日记》。

4 outta 4. 整部电影最可怕的地方不是Henry的杀人手段有多么残暴，而是他本身的同理心的缺失却反过来影响了观众，对他的无情和残忍产生了悲伤的情绪。所有人都以为Betty能够拯救他的灵魂，他的种种行为都能被以学术性质的研究解读，但Henry对此的态度是，无所谓，他的杀戮和暴虐只不过是他的本能，他的空虚和行尸走肉浇灭了所有观众心中的火苗。

外壳很像一部八十年代常规的杀人狂电影，只是He’s not Freddy，he’s not Jason，he’s real. 真实事件改编的电影里，真的很少有这种把私人情感讲得如此深刻的了，它被誉为最后一部“黑色电影”，血腥的画面背后，是每个人都能或多或少能够找到的认同感，在这无所事事的人生里，杀人让我感知到自己。tap：天生杀人狂。

看完之后惊奇地发现，所有的情节都很符合黑色电影的风格。并且从正面和侧面都细致的描绘出了一个杀手的成长经历和内心活动，真的很应片名了。在Henry制止Otis的那一刻，我想导演赋予了杀手人性，让他有了爱情，而最后Henry杀掉爱人，又像他杀死普通人一样简单。也许爱和恨的界限本来就很模糊，对于杀手来说，杀死她也许是他爱人的方式。

世界史 把人性那层善良的皮囊扒了个干干净净，剩下纯粹的恶，镜头始终以旁观者的视角讲述，不带任何感情，冷酷到底，前半段几乎很少正面展示暴力镜头，旁敲侧击，利用声轨回溯杀人现场，很高明的操作。男主是猛兽和恶魔的结合体，疯狂在人间寻找猎物，果断残忍，结尾的杀戮应验了那句老话，狮虎都是独行的，豺狼才成群结

男主是大牛心理学家从400多部罪案电影里选出的『最像连环杀手』的角色，排名仅次于《老无所依》里的安东，理由是——冷漠，聪明，沉着，毫无情绪波澜，从不愧疚。嗯，其实现实中的凶手本尊在法庭上表达得更清晰：“我喜欢杀人，就好像其他人喜欢散步，只是嗜好不同罢了。如果需要猎物，我只需要到街上随便找一個。”

隔了十来年，又看到一部类似《山腰绞杀手》的片子，年轻的勇度演了个有童年阴影、杀人无算但又有所不为的人物。全片用大量特写和4比3响应录像带美学，但全员表演又很踏实，尤其妹妹一角把这片拉到更现实的调子。这片子更像八九十年代那些中国大案纪实电视剧，只不过尺度大些，令乏味生活添些危险的甜蜜

@QuadCinema ；电影最为可怕的是用现实主义手法不断地、直接的展示形色的毫无人性的谋杀场面，其中一个关于杀手奇怪的悖论是：之所以成为连环杀手，必然有冷酷一面，不仅仅是针对非特定的谋杀，也包括“人性、善良的理性”唤醒后的冷静，所以才会有这样的结局，也是整个故事最黑暗的一刻。

黑色电影，开头介绍人物用平行剪辑通过声画时空分离表现杀手让人无法想象的凶残和动机，用冷静的镜头表现冷血的杀戮，表演毫不造作更令人不寒而栗，粗糙的影像里还原出超高的真实感。结尾长镜头再次强调了杀人动机不可知论这主题，若保护者与施暴者的身份只有一线之隔，也许只有人性本恶能概括一切。

全片充斥黑暗醜惡污穢感覺,雖然血腥暴力場面亦不少,但很多時巧妙地用上剪接配樂等等而為,個人感覺此類電影還是獨行比較冷酷孤寂,當加上另一人時有點兒變味,當然以現在角度來看還是充滿反社會的暴力形態片,但沒多大藝術感覺反而是意識不良的暗黑現實電影,結尾處理不錯,喜歡此類電影的可以一試

开头的音画平行蒙太奇传递的信息有效而精确：随机，熟练，冷血，没有目的，杀手的肖像由此缓缓浮现。节制的杀戮场景，出现在一种可以预感又不可预知的突发可能性之中，刻画出杀手无法自制的杀戮欲望。最后一个序列的剧情，杀手由保护者再次化身为本性中的施暴者，全片在一种无奈的绝望中结束。