仙人掌旅館

　　生物學(xué)教授詹尼西爾（Pierre Brasseur 飾）因一次車禍?zhǔn)剐膼鄣呐畠嚎死蚪z?。‥dith Scob 飾）面容盡毀，女兒傷愈后只能終日戴著瘆人的白色面具，痛苦非常。愛女心切且心懷內(nèi)疚的詹尼西爾與助手路易絲（Alida Valli 阿莉達(dá)?瓦莉 飾）偽裝克莉絲汀失蹤、死亡的假象，暗中誘拐與女兒年齡相仿的女性，將其麻醉后剝掉面皮，移植到克莉絲汀臉上?！　〉中g(shù)接連失敗，犧牲者也不斷增加。親眼所見諸多同齡女孩慘遭殺害，克莉絲汀心中痛苦不已。另一方面，眾多女孩失蹤的案件也引起了警方的注意，他們逐漸將目標(biāo)鎖在瘋狂的詹尼西爾身上……

　　四名劇場(chǎng)演員在倫敦排練即將在西區(qū)上演的復(fù)仇舞臺(tái)劇時(shí)，隨著彼此之間的秘密戀情逐漸曝光，參雜著才華嫉妒與愛恨糾葛。在一連串的陰謀與反擊中，原以為的盟友，竟私下已與旁人聯(lián)手陷害自己，這場(chǎng)角力最終將演變成致命的殺機(jī)。

　　一部混雜音樂劇和喪尸電影的喜劇片，這部僵尸歌舞片的框架基于2010年英國(guó)電影學(xué)院獎(jiǎng)獲獎(jiǎng)短片《僵尸音樂劇》（暫譯）（ZombieMusical），講述了一大波僵尸窮追猛打一撮人，他們邊唱邊打，不斷求生的故事。電影取景地為蘇格蘭，由艾拉·亨特出演安娜，馬克·本頓飾演安娜的父親，保羅·凱耶出演反派。

　　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.