昏迷 Coma(1978)

又名: 八号房禁地 / 麻木

导演: 迈克尔·克莱顿

编剧: 迈克尔·克莱顿 罗宾·库克

主演: 詹妮薇芙·布卓 迈克尔·道格拉斯 伊丽莎白·阿什利 雷普·汤恩 理查德·威德马克 洛伊丝·奇利斯 哈里·罗兹 Gary Barton Frank Downing 理查德·多伊尔 Alan Haufrect 蓝斯·勒高勒 迈克尔·麦克雷 贝蒂·麦奎尔 汤姆·塞立克 查尔斯西伯特 威廉·温特索尔 哈里·巴什 乔安娜·科恩斯 Kay Cole 本尼·鲁宾 大卫·霍兰德 Dick Balduzzi 库尔特·安东 迈克·拉里 Duane Tucker Del Hinkley 保罗·瑞恩 萨丽娜·C·格兰特 艾德·哈里斯 Joe Bratcher Roger Newman 苏·巴格登 沃恩·阿姆斯特朗 杰森·伯纳德 杰拉尔德·伯恩斯 菲利普·贝克·霍尔 Edward C. Higgins Donald Wayne Nicholas Worth

类型: 悬疑 惊悚

制片国家/地区: 美国

上映日期: 1978-01-06

片长: 113 分钟 IMDb: tt0077355 豆瓣评分：7.5 下载地址：迅雷下载

简介：

一位年轻的女医师苏珊菲勒，其好朋友因简单的手术而陷入昏迷状态；然而在她服务的医院中，也有许多类似的病人，在经过简单的手术后呈现昏迷， 这些病患被送至另一机构集中照顾，但是苏珊菲勒发现事情并不如她所想......

演员：

迈克尔·克莱顿(导演) 詹妮薇芙·布卓 迈克尔·道格拉斯 伊丽莎白·阿什利 雷普·汤恩 理查德·威德马克

影评：

1. 这个片挺现实的， 虽然是悬疑娱乐片。
   但是开始那段反应了美国男女关系的现实处境。
   70年代后期，应该是女权到了一个高点， 男女关系变得难以维持。同类电影还有著名的克莱默夫妇。
   
   电影中道格拉斯 和女主角同为医生， 道并没有吃软饭，即便这样 还是在家里受气，女主不愿意承担一定的家务。。
   记得道也说到， 要是是个护士就好了。。也就是希望社会阶层低一些。
2. 很喜欢的70年代电影风格电影，少一些现在好莱坞电影的公式化，多一点写实风格。
   感觉有点女性主义色彩。道格拉斯在此片也只能做2号主角。

3. 

   American Science Fiction author Michael Crichton’s second venture into filmmaking after dipping his toes in grinding out a futuristic WESTWORLD (1973) which is in dire urgency of a retrofit (here comes HBO’s popular TV series), COMA is not from his own novels, but transposed from his friend Robin Cook’s book (which also receives a TV re-interpretation in 2012), it cleverly taps into a paranoia-driven (our mortal fear about hospital and surgery), conspiracy theory routine that takes place in a major hospital in Boston and is headlined by our tenacious heroine Dr. Susan Wheeler (Bujold).

   After her best friend Nancy (Chiles) succumbs to a brain-dead coma after a minor surgery, Susan acutely sniffs some goings-on on top of the statistic hokum of bad luck, her pursuance of the truth will duly encounter mounting resistance, butnothing can hold her back, neither the bureaucratic pressure nor a ruthless killer trailing her among the cadaver-riddled hospital rooms in the witching hour. She even goes out on a limb and sneaks into a formidable institution on her lonesome to finally solve the puzzle and miraculously finds an exit route. Yet, just when we are astounded by her moxie and wits, she predictably makes a fatal mistake and throws herself on the mercy of the vile ringleader to be silenced on the operation table by carbon monoxide poisoning, only to be rescued by her knight-in-shining armor in the eleventh hour, as an ostensibly female-centered trend-bucker, that final phallocratic deed is tastelessly self-defeating.

   What is more excruciating is the portrait of the aforementioned knight, Susan’s boyfriend and colleague Dr. Mark Bellows, played bya flip Michael Douglas, often gratingly plays the contrarian whenever a stressed Susan propounds her theory, and Crichton rams the hovering question into his audience by implicating that he might be complicit in the whole backdoor human organ trafficking, simply to pull off the kicker and feather the movie’s deceitful macho nest, don’t forget, he is the one who would rather staying in his car and leaving Susan alone to visit the sinister-looking facility in the first place, plus, if he were really such a perfect dreamboat, it would not have taken him until that later phase to realize that something is amiss.

   While it is the imagery of horizontally floating comatose patients (all young, fit bodies, for practical and aesthetic reasons), that chiefly subsists the film’s dimmed allure, there is no denying that apert and competent Ms. Bujold makes for a strikingly sympathetic heroine, in spite of Crichton’s carefully veiled comments on women liberation, as Mark frustratingly mutters, he should have fallen in love with a nurse instead, which strikes her as a frigid, lippy woman whose femininity is subdued by her own aptitude.

   Finally, two supporting turns are worth singling out here, an authoritatively stern Rip Torn can always give us goosebumps even without uttering one single syllable; whereas a blink-refrainingElizabeth Ashley knows perfectly how to put impersonality to the fore, her Nurse Emerson could be intricately computer-manufactured herself, to more align with the drift of Crichton’s works.

   referential film: Crichton’s WESTWORLD (1973, 5.7/10)

   

4. 很小的时候在电影院里看的
   影响很深刻
   大概是八十年代末或九十年代除
   那时候居然也有这样的片子引进