致命赌局

这部片子里的老女人们都怎么了？一个比一个狠！！玩惯骗人游戏因忌妒可以冷静跟踪并杀人的迈拉，但姜总是老的辣，女人对抗中，母亲莉莉赢了，一枪轰了迈拉，迈拉死不足惜，可惜那个只会耍耍小聪明的小骗子混混罗伊就死得太冤了，看似平时莉莉是个堂尔皇之劝儿子罢手找个正经工作的好母亲，而自己却是惯偷，却在儿子表示真正退出想改过自新时却根本无法相信，当儿子认尸发现不是母亲时及回到住的地方看到母亲时嘴角由衷露出的笑容却在母亲就抢夺儿子平时行骗得来的积蓄钱时的冷酷而熄灭了，对执中，母亲变成了中性角色，疯狂的嘴脸，库萨克那时还太嫩，长相青葱甜美的小混混而已，行骗中一碰上冷硬角色给一拳打胃出血都不敢吭声的，他根本做不到如他母亲莉莉及迈拉的狠决，而母亲在处于疯狂逃命状态中为了钱不惜色诱儿子不成后，最终误杀了儿子，嚎哭几声后还能冷静自持抓拢被儿子鲜血染红的钱放入箱中出逃，此时坐在车中真如一具僵尸，真正地进化成了一个魔鬼，不知她还能逃到何时。。。

    关于这部影片，我发现我实在说不出个所以然来，知其然，不知其所以然，搞不懂它要表达什么主题，看完之后，脑子里没有什么头绪，这在我看过的电影里也算是头一遭。

    影片的主演是鼎鼎大名的约翰·库萨克，还有大名鼎鼎的安杰莉卡·休斯顿，还有小名鼎鼎的（在我看来）安妮特·贝宁，其中贝宁还有大胆的漏点演出，她的身材很迷人。

    影片讲述了三个骗子的故事，三个蹩脚的骗子，一个渴望退出江湖的老女骗子，一个有恋母情结的小骗子，还有一个无时无刻不在出卖色相，卖弄风情，极端享受行骗过程的小女骗子。三个人之间在情感与金钱中互相纠葛，互相伤害，最后搞得血肉模糊，一塌糊涂，是我看过的以骗子位主人公的电影里最为狼狈的几个骗子。

    影片没有对行骗技巧作过份的渲染，而是把重点放在了对三个人这种危险的，前不着村后不着店的生活的描述上面，这使得影片跳出了商业片的框架，向文艺片靠拢，这给演员以很大的表演空间，三个演员的表演都很到位，尤其是安妮特·贝宁扮演的小女骗子天真无邪的笑容和她的所做作为形成了强烈的反差，让人感到毛骨悚然。

    影片的结尾，约翰·库萨克死的非常突兀而又莫名其妙，喀吧一下就死了，不知道导演为何如此安排。另外电影里出现了凤凰城的字样，这使得我发现我的域名出现了拼写错误，把phoenix拼写成了pheonix，就当我自创了一个单词吧，就好像甲壳虫乐队是“beatles”，而不是“beetles”一样。呵呵，胡说八道，人家是故意的，而我这个是big mistake。

    没什么可说的也说了不少，看来文字也像海绵里的水，只要你去挤，总还是有的，这句话鲁迅先生亦有所贡献。


 
 

Con men are more appealing than run-of-the-mill villains, who want to take your money because they are stronger or more dangerous than you are. Con men want to take it because they're smarter than you are. And there is hardly ever a con man who isn't likable, because, after all, if he can't win your confidence, how can he take your money? Movies about con men are seductive because the audience is on both sides of the moral issues: We want to see justice done, of course, but at the same time we're intrigued by the audacity of this character who is trying to out-think his opposition.


"The Grifters" is the first American production by Stephen Frears, one of the best new British directors. His credit list is short but distinguished: "My Beautiful Launderette," "Prick Up Your Ears," "Sammy and Rosie Get Laid" and "Dangerous Liaisons." All four films deal with labyrinths of passion, with characters deceiving others about the true nature of their loves.

 the underlying story is universal. It involves the archetypal triangle of the lover, the loved one, and the authority figure who would separate them. The lover is Roy Dillon (John Cusack), a con man in his 20s, who isn't very good and pulls mostly small-time cons. The loved one is Myra Langtry (Annette Bening), who looks young and sexy but is probably older than she looks and certainly more dangerous than Roy realizes.And the authority figure is Roy's mother, Lily (Anjelica Huston), who has been pulling cons since a very early age and considers everyone a potential victim. That list would certainly include her son.


Why do confidence operators do what they do? Why do they need to win our love and trust, and then betray us? In "The Grifters," it's pretty clear that they're locked into an old pattern of trust and betrayal that goes back to childhood, and that they're trying to get even. Poor Roy. He thinks he wants to be a great con man, and all he really wants is to find just one person he can safely love, one person who isn't trying to con him.