My idea for telling the story like I did came from Robert Altman’s The Long Goodbye. It’s adapted from the book by Raymond Chandler, his best book in my opinion, and it’s really about the last remaining detective with morals. The ones around him are all corrupt, falling prey to the darker side of things. Altman filmed the story in today’s L.A., but his protagonist wears clothes from 1942, drives a car from 1942, has the morals of a detective from 1942. He’s surrounded by modern-day Hollywood, pimps, the mafia, and he tries to act like Phillip Marlowe in a Chandler novel. That’s actually where I got the the idea for a yesterday embedded in today’s environment.//viaC.Petzold

除了貓咪的傾情表演非常喜歡外，男主逼逼個(gè)沒完的感覺太讓人討厭了?？床怀鲞@片子有啥牛逼的。

2013 Christmas movie~ One of the best film I have seen in 2013

《性本惡》《銀湖之底》和這一部結(jié)構(gòu)和處理都有點(diǎn)像，不知道該怎么命名這個(gè)類型，還都經(jīng)常出現(xiàn)大麻、裸女和神秘主義。《性本惡》要更氤氳垮塌一點(diǎn)，《銀湖之底》更像時(shí)代文化側(cè)寫，這一部底子還是“硬漢偵探”，一條外線和一條內(nèi)心弧光，沒想到最后結(jié)尾這么不搭調(diào)... 奧爾特曼的調(diào)度總是來回變焦徘徊配合戲劇，成為介乎正反打和一鏡一景之間的對(duì)話處理方式，不知道PTA繼承了幾成。

這結(jié)局看麻了

和霍克斯和鮑嘉版的馬洛比起來，就可見阿爾特曼和古爾德的個(gè)性，整個(gè)六七十年代的美國流行文化包裹著一切古典的內(nèi)核。阿爾特曼的變焦鏡頭和玻璃鏡面鏡頭讓人驚嘆，鏡頭穿透空間，折射人心暗涌，甚至直指世事之空無。