魔鬼=的陷阱

剧情简介

　　In the time@ of Counter-`!:$Ref-#ormation, `a miller[` and his s]?on (-;*come *
under investigation by a priest of the Inquisition/, when rumors sp+_read that the@#,$ir/ p
rosp erity co!_%-mes from working with\ ) t/ he Devil.　　The Devil&#39s Trap is -^^#a #!$film direc\ted by Fra[nti/šek  Vlá? il, bas ed- on a novel by ?+_Al+%fréd.- Techn
ik,.; adap$:ted by Fr
+?:ant#+išek A. Dvorá`k and Miloš Kratochví
l. It wa+,)s the fi$:rst=+ of thre %#e hist@+ ^oric` al dramas t@]hat V lá?+il?]( ma=)de duri ng the C!;!zech N%
ew Wave (technically he %isn't really !*a part of t;$[)#h=e New W=^ave,   howe:?ve$]=@r these films?\ were made during the same e.,+ra of arti: s. tic f`reedom), precedi/ @ng his \more well kn)#own Marketa Lazarová %)(1967[ ) ,/and Valle[
-y of the B ees (*1968).　　Set in the late 16th Ce:n.tury during^][ t#h#e Catholic- Refo`.+ rmation, in *[the Moravian Karst , *]situated ^  i@n wh ;:at ]!$ is no(w the Eastern Cze,-ch Republic(-, #[it te,,)%lls -the tale #.of @_a miller (%Vítezslav Ve`jr^$^az=ka), and his s_!on Jan (Vít Olme+r), who come un=@_d;^er suspi,cion an(d are investiga
(ted by a Jesu+it: priest ?of t.he Inquisi`tion (Mirosl)av M)\achá(@$(ch@,]+ek), when rumors o?=f wi-tchcraft @=\are s?!pr =ead by ): t\]he local re:+gent @;(Cestmír Randa`_@[), w#+ho is j,)eal; (ous o[?f the miller.9s^ .p\-rospe\.*rity and degree+- ;o(]f respect a%,m@o(,ng the local pop#ula:/ce.　　As expected from Vlá?(#:i?l,- this ?[film i (s =a stunning e!#xper \i^@ence al l t].#he way= through. Fro^+m t.@h[!e;[ ope[
%ning shot(,[, an ominous$- mani^!pulation of pe!rspective \.w)ith a */^close u$/p of a mangled f-]igure /@o;-f Christ domina tin$;g the
 foreground aga, in/\)st a? t$ .iny f
igure in bl$^ack =/wa`-lki?ng along+  the =-horizon, to the breathtaki)ng conf
rontational]!( f
_in\`ale^ insid?\%e ;%the vast ;sta#, +lactite fi=/ lled Karst cavern))(s, it is a wond\]_
e%rful) displ\ay of_( vis(ual mastery.　　Mayb=e not qu ite as i-m/- +press:^ iv!e as Marke:ta (:,/;Lazar@-*ová, but/[ ! .still ^full o,^ f aston((?ishing* ima?\gery. As,
. se*en from unique angl*[:e;/==s a`
nd _`d^#is!tinct points\ $;?_of = vi,
ew whi;ch highl--i)#*ght/) ;+the !direc%;$tor's . remar;$+kable sen(%se of awareness of fra`[min g, motion, and p:ositioning on th!e emo\):tional and d^/ramatic  t)=one -of the? s/cene.  The mo!st memor$*able being a`# repea :ted shot)] where t(_he camera is susp]`ended and laun`^che[)]$d w::ith s +peed through the air toward=^#s t.[he m (*iller@@'!s do%*=or:=.　　Th]_e stor-^
y h $e-]r\(e is a simple one and I wou,)ld say more acces@\)sibl$,e than h*#-is !] @-later (#w//orks. With @ ^a con
`ventional str ucture emphasize%d ]:as; much # by it,s(; plot a;nd characters, than  by it.#s expres,+!\sio
%/nistic )cinematogr$aphy ][or a+?*uthent-ic .,(histor\:ical d]+*=e_]t@ail*. The e v`(]ents pl$a@y out without; much surprise, a`nd there`
i=\:s a strong u?nderl `ying, almost supernatur(_al)
-, :myster[#;$io$us _ aspect t..hat is left unresolved, in fact barely expl=ored, - w-hich is sl))ig$=htly disapp++ointing, but only
- ( b?
ecause it's s%o fasci
natin=;g that I wish t.*here wa=$)%s more.　#\
　Acting;/ is great a [)ll around @.-]  (Pa- \r% +ticularl[y $t[he vill;
ains:! Mirosla(v Machác_h# ek as the pries(]@[t, c.]asting a( sinister and impo\]??sing sha d.$ow +
[where*ver he g[@_oes, and Cestmír Randa as the-\ w;]*eas^;e/%l ]like regent beh@% in %d all th.e p_=e#/rsec/ ution. While Vít Olme-(=@r b#-[rings]= a charismatic leading man presence i)n his role as the miller&#-][39s ]\son Jan, +(\i 
.n love wi=(th the l/@ovely_`^ orp #(han -girl Mart_%ina _
(Kar#*la Chadimová), who becomes a dangerous=?# !;objec$t of^*
riv
 _al ]/.r` y between Jan and ot?%her young(-! men of the_! vi_([=llage.　:*`　T^?^he film al++=%+so feat@]?ures the evocati)ve.$ music o+f Zden\^?k L,@*iška (perha+p@?;s )]the most!,; #=-prolific composer of the Czec,h New Wave). In [-this his,*^( second of elev![e/ n collaborations with Vlá?il-, his c *%omposit.,ions are ):#use`;-d sparing^ly,=;\ but to grea t effec``]t,$ co;_mplimenting-]
.!]but never ove .rp]#*owering`- ;a scene. The best e`xample of which can be heard[
[]in an amazingly shot cele$ bration @an]]d !-dance seq=[uence at the end ? of the secon,d act.　　The D-)e\ =) vil's Trap might n%#\ ot b_#%^e a mast(^erpiece, b = ut.;. it is stil+l a strong effort, with a [-fascinat]ing str: aightforward sto#(
/ry`! !/ an^`d */a glori!`ous histor]@i+` ]ca\?l setting __?;/captured be#;
(.autifully by Vlá?il& ?
#+!=3`9s unmistaka ^bl@*e $\` visu]al prowe_^$@*ss?\=. A fine work that!^ .:w!ould als :o be [$^)the perfect starter plate to pr 
epar!e@! your self ^[for the challen!ging feast of Mar:ke(#=,ta L?a\zarová or Th!e Vall(@)e]y o#.$f th*=%:e B$ ee
 s. It even h[a`s an eas-*y to \`digest running time. \It's #ther]$efore pu(`zzl/^*ing why thi[s ge]m$ remains la-;rge-(ly over:[looked and igno/,red.