感官吸引力4

　　A journalist who writes about a notorious serial killer, Finster, leaves the city for a more peaceful life but soon learns violence has no boundaries.

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.

　　大婚之夜，太子獨(dú)自喝醉，留下姚芊芊盛裝獨(dú)坐到天亮。太子本宣蘭心侍寢，卻傳來(lái)畫室失火的消息，太子走后，蘭心因?yàn)閾?dān)心張清遠(yuǎn)也尾隨而去，卻被張清遠(yuǎn)告知火是他放的，兩人終于決定私奔。梅兒故意告知蘭心私奔的錯(cuò)誤時(shí)間，致使蘭心在雪中凍了一夜，被太子發(fā)現(xiàn)救回?！　∫奋犯嵸F妃抱怨遭冷落，正逢三皇子前來(lái)，兩人暗通款曲并有了身孕。為了掩飾，她不得不通過(guò)鄭貴妃向王恭妃施壓，使得太子終于與她圓房，并擇定時(shí)間宣布自己有孕?！　〗鸨态幰虮灰奋氛茡澏c蘭心、梅兒交好，并告知從姚芊芊處偷取了可助懷孕的藥，梅兒因?yàn)橄霠?zhēng)寵而不顧蘭心勸告將藥粉放入酒中并讓太子喝下，太子卻突然倒下，蘭心趕到并宣太醫(yī)醫(yī)治，原來(lái)，藥粉是一種媚藥，若與酒一起服用便可致人于死地。王恭妃勃然大怒，下令搜府，卻從蘭心處搜出藥粉。原來(lái)，一切都是姚芊芊與金碧瑤的詭計(jì)。而金碧瑤也因?yàn)樘又卸菊J(rèn)清了姚芊芊的真面目?！　∴嵸F妃拷打蘭心，逼她簽寫敗壞太子聲譽(yù)的供詞，蘭心誓死不從。關(guān)鍵時(shí)刻，太子及時(shí)趕到并帶走蘭心，卻在路上暈倒，蘭心感動(dòng)不已?！　∫奋肥召I了丫鬟向張清遠(yuǎn)報(bào)信，讓他以為蘭心被太子害死，并用調(diào)虎離山計(jì)調(diào)離了蘭心。蘭心在路上感覺不對(duì)，匆匆往回趕，正好看見張清遠(yuǎn)持刀向太子刺去。蘭心以身相代，并控制不住問(wèn)張清遠(yuǎn)為何不守信約，張清遠(yuǎn)卻因?yàn)榇讨刑m心而心神恍惚。太子終于知道了蘭心眼中的憂郁從何而來(lái)，又為何獨(dú)自在雪中待了一夜?！　√m心幸好沒有被刺中要害，活了下來(lái)。太子正想審訊張清遠(yuǎn)，卻已發(fā)現(xiàn)張清遠(yuǎn)吊死在橫梁上，并留下了給蘭心的生死訣別書。