《倒計時》是由知名导演大衛·格瑞尼 执导的一部劇情片，珍妮·艾加特 布萊恩·馬歇爾 Clare Sutc 等倾情出演，该片讲述了：The story appears s imple on the surface , but is re  vealed, especially after multiple viewings , as more multi- layere d and textured than Cassavetes at his bes t. Ostens ibly it con cerns a 14-year  old C atholic gi rl, Wynne (Agutter) g  rowin g up i n this post-moder n wastel and,  who develops a crush on her much older adoptive broth er (Ma rshall)- a  crush which pervers ely de epens an  d grows into infatua  tion once she starts to believe he is the l ocal sex k iller. This is in itself  an idea that  makes you sit  up an d jolt, but as the n  arrative develops, it c ontinues not necessari ly along a linear pat h but in s  everal con fusing and fascinating di rections: the fa  mily 9;s history,   (detailed  effectively in chil ling f lashback during an improvised seance) is a chequered  one, and has  suffere d at least o  ne major relocation and uph eaval in the last ten years. At the crux, however, i t' s the dep iction o f socialal chang es t hat make  I Start Counting s o fascinat ing and elev ate it s language far beyond  the co  nfines of the sta ndard horror film. The  major subtex t- that teenage girls were  maturing more quic kly than before, and develo ping full sexual and romantic a ppetites (e ven if in though t rather  than deed) but were not p ossessed of enough dis cretio  n to make the right choi ces- was a step  forward for   a genre in which its youn g females had previously been portr ayed as bi mbo victims (Cover Gir l Killer and  The Night Caller spring to mind), but not one that a ll viewers would n  ecessarily agree with. But most strik  ing of all, and possibl y the most  enduring i mage which  the viewer will tak e away with  them, is  of the masterful symbolism with which dir  ector Greene i nvests every  shot. E very  inch of the Kinch family 9;s    world- thei r house, t heir w  alls, the ir TV, Agutters underwear, bedroom furnit ure and toys , Sutcliffe& #39;s   clothes, Marshall  s van, the local Catholic church,  their town centre, thei r record shop) - is painted a bright, scinti llating  white- a whi te which,  by infe rence, is slowl y becoming smudged and corrupted with the dir  t of the outside worl d. White  also symbolises, of  course, purity and innocence (two qualities Catholic schoolgirls a re s upposed  to hold dear), and it is i nto this world of innocence that the eve  r-present red bus (a symbol of v iolation a nd penetration)  , conducted  by the lecherous y et similarly juvenile Simon Ward, makes regular journeys. The  alle gory is  furth er expanded in one scen e where Agutter beli eves she sees t he Christ figure in c  hurch weeping blo od: b y the  time we ackn owledge it, its g one, but t he seed has already bee n planted. Rarely in a  genre pro ducti on h  as the use o f colour and ba ckground been so importan t or effective in creati ng a uniformity  of mood. I Start C ounting i s as n ear- perfect  an end to a decade  as one could hope f  or, and exactly  the kind of film people should be ma king now- which is, of course, exactly why th ey never will. A genre essential. by D.R. SHIMO [email protected] iecodec. com　　说到这里，她 把她在幽古战场好不  容易拍来的宝物拿出，“师父，这是我们在大拍卖会上拍到的春月莲子，一共有四十九枚，听云天海 阁的朋友说，他们的宗主，以前就服用过 不少春月莲子，您试试看，有没有用，如果有用，我们以后多替您留意着。”