月光光心慌慌1978

离谱，最开始看的是这个，看完居然就忘了还标错了电影，今天准备挨个看整个系列的时候才发现这他妈之前看过了。

无语，也太他妈假了吧？

他妈的那个血，直接倒番茄酱都没这么假，真的，实在买不起我可以赞助两块钱，你妈的。还有掐死人那里，我就迷惑了，我甚至一度没理解他们在干什么，那个女的好像是挂了我才意识到啊这是在杀人啊，笑死我了。

虽然但是角色真的很经典，他妈的谁不喜欢人高马大戴面具不说话上去就是杀的变态杀人犯呢。。

要不是为了这戳xp的角色谁看这傻逼电影，他妈的拍了十多部一部一个导演，你们搁这击鼓传花呢？谁家揭不开锅了就拿这个炒点冷饭糊口是吧。我只能说那行，本着尊重艺术的想法还是看了。

BTW很想说我看影片最恐怖的地方就是开头雨夜精神病院门口开车那块。“他们可以在外面游荡吗？”，医生忽然满头冷汗支支吾吾，没有回答问题只是让快点开车，自己也意识到他们似乎不该在那里，但又不知道该做什么，这一切就在怪异中前进，不知这样不确定感的恐惧何时是个头。

卧槽，虽然拍的很离谱但是这设计真的挺吓人的，床上的墓碑，塞在衣柜里。。藏在房子最深处的坟场。。窒息了，我喜欢！！！

我干你妈，女主你别哭了，我求你了，快跑啊！！？？

操，大哥你真的想杀她吗，这命中率实在是感人。。

佛了，旁边就有个凳子，赶紧拿起来砸破门跑啊这是在他妈的干什么？？为什么要往家跑？？？我超你妈别喊了大黑天的反正对方也看不到你我干你妈我气死了救命🤯。

为什么不补刀？为什么？？？？？（气昏）

这家伙又直挺挺躺下了，笑死我了。

拍的像大便，但是杀人犯的概念设计真的好，nice！

我才知道这里面的杀人狂叫Michael Myers 🤣

真的是好无聊啊这部电影，不管他的手法啥的对后世有什么影响，同时期也有更好看的恐怖片啊，这个片儿就一直“反派晃出来，主角看不见，音乐一响起，反派不见了”这种桥段贯穿全片，反派背景也没怎么丰富，真的好无聊啊，说什么气氛营造，绝望恐怖，我是一点没感觉到，我只觉得好像把观众当小孩，真的觉得好没内容好无趣啊。

不懂哪里比较有趣，一个半小时的电影开头前五十分钟就一群小孩学生万圣节各种准备，男主默默跟踪然后在每个场景留下一个背影。后面好不容易等到开始搞事情被掐的人除了女主谁都不反抗，女主伤一下男主就以为他死了，扔下男主的刀就跑，有个杀人魔在后面追你不能拿着防身吗？第一次没杀死第二次还这个套路，还不知道多捅几刀赶紧跑还在那里流连忘返，等着送人头。医生枪法也是差到了极致，砰砰砰好几枪出去愣是没打死也没打残，不懂，不懂。

经过弗里兹·朗的《M就是凶手》，开创了变态杀人狂的恐惧与病态。约翰·卡朋特继往开来，他的《月光光心慌慌》几乎一人承包了万圣节的所有恐怖期待，他在本片中用近五分钟的主观长镜头制造了一场调度绝佳的童年谋杀案。导演在开场的五分钟里融入了众多的恐怖片元素，通过主观镜头的带入进行渐次的展现，包括悬念（未知的视角）、幽暗的环境、偷窥的快感、凶杀的恐吓、童真的噩梦等，观众的视角被限制于主观镜头之中，叙事变成了主观的自发行为，观众的旁边视角变成了一场被主动的冒险，这种视角的掠夺让观众失去了理性的思考，而是被裹挟进凶手的世界实施了一场残忍的凶杀。当段落的结尾镜头从凶手的视角挣脱，身居高空，以主观变为客观视角，凝视童真面目上的罪恶，将恐惧渗透进内心。

John Carpenter’s HALLOWEEN is a seminal low-budget slasher that spawns an ever-growing horror franchise, 40 years after its genesis, as the genre’s spooky ropes become proverbial, it is inexorable that its gripping and scary quotients are considerably blunted for new audience. But since it is such a money-spinner, one of the most successful independent movie ever, so that it obtains a Teflon shield owing to its capitalist high-water mark.

One of its most innovative esthetics is the perverse use of subjective POV, prominently in the prologue, when a cold-blooded murder is seamlessly edited from the unseen executor’s chilling viewpoint on a Halloween night, with a shocking reveal that the perpetrator is a six-year-old “bad seed”.

15 years later, another Halloween day, after escaping from the sanatorium he has been incarcerated ever since, the said “bad seed” Michael Myers (Castle) is back in the sleepy town Haddonfield, Illinois, and his new target is a bookish high school girl Laurie Strode (Curtis) and her two more world-savvy friends Lynda (Soles) and Annie (Kyes), the ensuing suspense is conjured up by rote, and Carpenter archly teases us when and how Myers’ unwitting victims will meet their makers, and knowingly refrains from producing a gory fest, blood is rarely shed, and everything looks more sinister under the Stygian lighting and Panavision expansion, in a forlorn suburbia, all Carpenter needs is two houses across each other and a thickset, silent man wearing a white mask to give audience the creeps we are craving for.

The usual trappings of the genre, like gratuitous nudity, misogynist whiff, teenager lust and angst, are all prescribed in right dosage, plus the moral yardstick, Laurie is the final girl mostly because she is not sexed up like her two ill-fated friends, yet amidst the ludicrousness of screaming, panicking and stabbing, it is rather bathetic she doesn’t emerge eventually as the savior herself (she has to leave the sharp knife beside a seemingly unconscious Myers not once but twice, turns her back to him and weep instead), it is a man who comes to her rescue in the person of Dr. Sam Loomis (Pleasence), Myers’ psychiatrist, ok, baby steps, a heroine’s self-making would run through the entire franchise for our scream queen Ms. Curtis, sinking her teeth in her very first movie.

As yours truly sees it, HALLOWEEN’s undimmed renown is more rooted in that it is a de facto exemplar of shoestring filmmaking that hits the jackpot, than its artistic value or cinematic flourishes, it is a no-frills, bantamweight horror/thriller, an archetypal adrenaline generator, and more than anything, bequeaths its unsettling, plonking theme strains to the posterity, invoking the eternal haunting of a creepy, preposterously bulletproof bogeyman.

referential entries: Carpenter’s THE THING (1982, 7.3/10); Alfred Hitchcock’s PSYCHO (1960, 9.2/10).