孟买的杀手

费希这部1960年的作品延续了他对维多利亚式恐怖美学的偏执，却以印度殖民地为空间载体完成了一次类型突围。别太期待 jump scare，它玩的是心理压迫，看完晚上睡觉可能觉得床底下有人。 费希对宽银幕比例的控制在茶室对峙场面中尤为精妙：人物被压缩在画框边缘，中央留白处悬置着未被看见的死亡威胁。 6️⃣6️⃣6️⃣。 盖伊·罗尔夫饰演的苏格兰场探长则相反，他的冷静近乎傲慢，直到地道追逐戏里呼吸失序才泄了底。他对待信徒时那份克制的礼貌尤其阴森，仿佛真心相信自己提供了某种出路。

A murderous religious cult is way-laying travellers and stealing goods in nineteenth century India. As the disappearances mount and trade becomes difficult, the British East India Company is forced to act. But they give the job to an upper-class officer completely out-of-touch with the country rather than the obvious candidate who has been in India for years and well understands the people and culture.

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