最后五个人

如果你受够了末世题材里永无止境的爆炸和追逃，这部1951年的《最后五个人》或许能让你静下来。最后那个反转来得突然又残忍，看完后好几天，一听到风吹窗户的声音，就会想起他们空荡荡的眼神。尤其后半段几个人为了瓶罐头、为了一丁点希望互相猜忌的样子，比什么特效都扎心。没有怪物的尖叫，只有沉默、恐惧和彼此试探的眼神——当仅存的人类为一点食物和信仰陷入猜忌时，你会不自觉地屏住呼吸。导演Arch Oboler用几乎是舞台剧般的调度，让镜头长时间停留在人物紧绷的面孔和锁死的门窗上。适合偏爱《十二怒汉》式密闭空间思辨、或对冷战时期科幻的意识形态隐喻感兴趣的观众——它用最简陋的成本，拍出了最刺痛的文明寓言。

Post-nuclear-war dramas centering on a small group of survivors now constitute an entire genre in science-fiction films. All of them, in some way or another, can be traced back to this seminal film from 1951 in which five people deal with the possibility they are the only human beings left alive on the planet.　　While most of the later movies exploited this possibility for B-movie thrills, Five adopts a quiet, contemplative tone which some may find dull but which thoughtful viewers are more likely to find, for want of a better word, haunting. There is something about this movie which gets under the skin and which lurks in the corners of the mind long after it's over.

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