天使的胆量之名美
女记者土屋名美专门负责撰写被强奸女性的报道，在一次采访中，她认识了曾是一家大杂志高级编辑、如今正在到处寻找妻子的村木。村木的妻子三年前被一个仇恨他的男人强奸了，但他的妻子因为从这个男人身上得到了村木不能给她的满足，于是离开了村木。村木的故事引起名美的兴趣，而村木对名美的感情似乎也颇不一般，在他的介绍下，名美前去采访一名曾遭遇强奸的护士，结果却几乎被这名护士强奸，而接下来的剧情更是匪夷所思……本片是《天使的胆量》系列中剧情最为复杂难解的一部，但也是最风格化和娱乐性最高的一部，用一幅幅表现强奸的漫画所做的开场，多次出现的经过精心设计的极富视觉冲击力的画面，多名被强奸者对受害过程的回忆，都令影片带有明显的精神分析色彩，提高了影片的艺术层次，并为影片最后似幻似真的大结局做了很好的铺垫。而护士描述自己被强奸的那场戏，导演田中登将整个过程拍出一流惊悚恐怖片的效果，显示出他对类型片的出色驾驭能力。
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剧情提要
女记者土屋名美专门负责撰写被强奸女性的报道，在一次采访中，她认识了曾是一家大杂志高级编辑、如今正在到处寻找妻子的村木。村木的妻子三年前被一个仇恨他的男人强奸了，但他的妻子因为从这个男人身上得到了村木不能给她的满足，于是离开了村木。村木的故事引起名美的兴趣，而村木对名美的感情似乎也颇不一般，在他的介绍下，名美前去采访一名曾遭遇强奸的护士，结果却几乎被这名护士强奸，而接下来的剧情更是匪夷所思……本片是《天使的胆量》系列中剧情最为复杂难解的一部，但也是最风格化和娱乐性最高的一部，用一幅幅表现强奸的漫画所做的开场，多次出现的经过精心设计的极富视觉冲击力的画面，多名被强奸者对受害过程的回忆，都令影片带有明显的精神分析色彩，提高了影片的艺术层次，并为影片最后似幻似真的大结局做了很好的铺垫。而护士描述自己被强奸的那场戏，导演田中登将整个过程拍出一流惊悚恐怖片的效果，显示出他对类型片的出色驾驭能力。
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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.