爱到天堂 Leave Her to Heaven(1945)
简介：
- 本片描述一名自私心和嫉妒心很重的女人，为了独占她丈夫的爱，不惜接二连三做出很多不可思议的暴行，但多行不义必自毙，她最终落得个自杀的结局。本片是根据宾埃姆斯·威廉斯的原著小说改编而成，是一部传统的心理传奇片。
演员：
影评：
提醒小编修改下演员表，男主角不是文森特·普莱斯，而是出演过奥斯卡最佳影片《大马戏团》的。
如果在豆瓣上看到《爱到天堂》这个片名估计会有很多人受骗以为是个温馨爱情片，时光上的翻译《狂恋》就靠谱得多，疯狂的爱情致人死地也毁灭自己，看完这么一个因为嫉妒而不惜自杀嫁祸给丈夫间接让其陪葬的女人的故事，我觉得影片取《leavehertoheaven》这个片名的初衷应该是很简单粗暴的“让她狗带”：对不起，取天堂的门太窄，您走那边，地狱门宽。
影片的主角乃是一个占有欲强烈、嫉妒心强烈的女人，美丽而优雅是她无暇的外表，而骨子里却是不折不扣的魔鬼。当她嫁给了男主角后，因为不能永远和男主二人长相厮守，不惜想方设法赶走男主多年知己、眼睁睁看着男主弟弟溺死、自导自演脚滑摔倒的堕胎大戏，直到发现自己丈夫和妹妹之间的端倪，干脆设计了自己的死亡来彻底毁掉男人。
爱情中一头挑子热往往都是悲剧前奏：要么当个备胎之王，沉沦在一点点暧昧的气氛中自我麻醉；要么当个混世魔王，沉沦在毁灭所爱之人的快感中自鸣得意。然而本来好好的爱情故事徒然转变画风变成了惊悚推理剧着实落差太大，在美轮美奂恍若桃源的湖边小屋里充斥着的竟然只有因为扭曲的爱导致的仇恨和嫉妒，一如美人外表下的蛇蝎心肠一经暴露所产生的的反差一样。
男主角很像黄日华啊
但不得不说，女主的死直接促成了一直以来保持暧昧关系的姐夫小姨子的姻缘，着实被狗血了一脸。对于姐夫小姨子或者嫂子小叔子这种组合只能保持冷眼旁观：在自己怀孕甚至流产的时候丈夫都在和自己的妹妹（表亲）愉快玩耍，放在哪个正常的女人眼里恐怕都是粒砂子吧。只不过有心计的女人往往会将危机杜绝，而本片的女主选择了大家一起狗带永绝后患。
影片的摄影和构图应该是最吸引我的地方，演员毫无瑕疵的妆容和举手投足间的华贵气质要么驰骋在西部荒原，要么婉转于灵动如月湖边，艳丽缥缈如油画的色彩给罪恶增添了一笔黑暗森林的趣味，古典美人因这份自然之美而愈发惹人怜爱，死亡的阴影也因柔和的色调而被降沉。
电影采取了第三人称回忆的结构讲诉这桩悲剧，节奏适中，主要以女主养母和妹妹的反常反应来制造悬疑感，不经意的情绪流露使得普通的日常生活突谲风云。如果女主不是难以控制自己的嫉妒心，倒也算得上是一名敢爱敢恨的女子：恋爱时敢大胆求婚，失掉所爱宁死不弯。可惜计划如此周全能陷害两人于死地甚至不惜拉前男友下水，此等聪明才智却用错了地方，被执念所毁，可惜了这枚英气女子。
疯狂的爱并没有错，只可惜她爱错了人，有的时候，那个天作之合的人并未出现或者永远不会出现，所以我们才会为眼前这个人所苦，他不懂，甚至未曾去了解或理解，仅仅是享受她贤德的外表，如此悲剧，又岂能由她一人负责呢。
构图优秀 光影有氛围感 加上复古的布景和服装 无一不是完美的视觉享受
唯独故事不似以上这些表面元素渲染得那么浪漫 女主一人撑起了一部黑色电影（因为恐怖片和惊悚片这样简单粗暴的定义实在难以匹配该片的定位）
她的颜值其实不如饰演妹妹的女二那么可爱 开头的一身皮草衬得她的气质雍容华贵 隐隐透着压迫感 也不如妹妹的装扮来得知性优雅…可是她有一双摄人心魄的眼睛 宝石一样的蓝色 与男主初识几日就能撩得他互许终身 这双眼睛一定是杀手锏
每当她用这双既透明又深邃的眸子定定地注视着他 用呢喃似的口吻低声向他倾诉 他很难不神魂颠倒 沦为她的一件战利品…记得比赛游泳时旁人的评价吗？艾伦总是会赢的…
被这样的女人爱上是很悲哀的事 不止是因为那种狂热到可以杀死任何人的占有欲 更因为这段建立在女主猝不及防的变心 对未婚夫悔婚并和男主闪婚之上的亲密关系太过诡谲 不得不让我更怀疑这种狂恋背后究竟有几分是真实的爱情？
她早就说过 他长得像她父亲 而她又是那样虔诚地爱着父亲 不能容忍别人移动亡父的遗物一分一毫…我想 她对丈夫的爱恐怕更像是一种恋父情结的投射 仿佛一个想要独占父亲全部目光的女儿 母亲和姐妹都会成为她的妨碍 所以到了婚姻里 丈夫的弟弟 腹中未出生的孩子 以及没有血缘关系的妹妹 她都想一一铲除的心理也就说得通了
摄影、画面和角色都非常美. 有人诟病于它的剧情有些浅薄, 我倒觉得讲了个很不错的故事. 情节进展合理, 从开头到结尾都十分抓人. 结局也是令人欣慰的. 最重要的还是它实在是太美了, 就那么坐着从这部电影里想象一下近一个世纪以前美国的光景, 也是十分心旷神怡.
影片塑造了一对有些典型的童话姐妹. 姐姐Elle靓丽迷人, 收获所有的关注, 占有欲极强; 寄养在这个家庭的妹妹Ruth可爱温柔, 在人群中不是最抢眼的那一个, 但拥有自己的小世界. 但一个让此妹妹的角色不同于其他众多“温柔”妹妹的细节是, 她冷眼观察一切, 而非唯唯诺诺.她丝毫不嫉妒于姐姐身边围绕的虚荣的光辉, 反倒是为她悲哀, 因为她以爱的名义伤害身边的人、捆绑自己. 最终Ruth敢于首先在法庭上承认自己对姐夫的爱也是令人震动的. 有趣的是此处倒合了姐姐的那句话 — Man never propose. 此片说到底可以说是一正一邪两个女子与同一个男人的爱情, 且她们都是在爱情中更勇敢的那一个.
[Film Review] Leave Her to Heaven (1945)
A resplendent Technicolor film-noir earns its star Gene Tierney her sole Oscar nomination, John M. Stahl’s LEAVE HER TO HEAVEN (borrowing a quote from HAMLET, but more germanely should be rephrased as LEAVE HER TO HELL), starts with a frame story, the return of novelist Richard Harland (Wilde) after his 2-year stint in jail, then expounds its causation from the jumping-off place, a train journey where he chances upon a sultry socialite Ellen Berent (Tierney), who is incidentally, reading his novel.
Jo Swerling’s script tactfully leaves many a warning sign throughout the pair’s ineluctable budding romance, e.g., Ellen’s initial attraction to Richard is his uncanny physical resemblance of her late father whose ashes are sprayed by her in their favorite haunts where her mother (Philips) barely visits, also through the mouth of her adoptive sister Ruth (a 19-year-old Crain), Richard apprises that Ms. Berent had been very lonely were it not for Ruth’s company, all of which intrigues a perceptive viewer to guesstimate what was going on between Ellen and her father. Although engaged to an intending district attorney Russel Quinton (Price), Ellen doesn’t hesitate to call off their engagement and roundly proposes to a wrong-footed Richard, which the latter nevertheless countenances as the magic potion of infatuation has not yet lapsed.
Then entering Richard’s disabled teenage brother Danny (a jaunty Hickman tasked with mimicking crippledom and swimming stunt work), who obliviously becomes a bête noire in Ellen’s eyes for intruding their nuptial space when Richard brings him to their island home. Feigning an appearance of a loving sister-in-law, Ellen tends him with a ghost of exasperation only fleetingly but acutely manifested, until Danny, again, unwittingly upsets her apple cart, she simply cannot let go a golden opportunity to get him out of the picture, literally by doing nothing, sitting stone-cold straight afloat, Tierney superbly brings about the calculated equilibrium between internal intensity and outward aloofness.
Yet, this is not the only bereavement befalls Richard, after taking an ill advice from Ruth to cheer up a woebegone Richard, a gravid Ellen, suddenly realizes the unborn child will soon become another gooseberry, her unwarranted jealousy is also exacerbated by the growing bonhomie between Richard and Ruth, a drastic self-inflicted incident conveniently nips that possibility in the bud, but also casts increasing doubt on Richard’s mind, who finally mans up to face his worst fear and press-gang her into telling the truth. Wilde and Tierney give a textbook sample of pull-push interrogation here.
Just when the film successfully leads us to think Ruth will be her next victim, a brilliant curveball shifts the poison recipient to reveal Ellen’s last-ditch, posthumous revenge toward the demise of her ill-assorted matrimony, and her undying venom to keep Richard as hers only. But the ensuing courtroom drama is irritably hastened on the homestretch, and it is rather sadist to not allow Richard to spill the beans until a young gal is railroaded into admit her innocent affection by a prosecutor as fiercely unsympathetic as the one-and-only Vincent Price. Also, Jeanne Crain is a very fine sylph who acquits oneself extremely well for her age and dangles both audience and Richard that he must have married the wrong sister.
Underscored by Alfred Newman’s emphatic, symphonic accompaniment and Leon Shamroy’s Oscar-winning cinematographic grandeur, LEAVE HER TO HEAVEN is a rara avis in the film-noir crop, a woman’s pathological possessiveness is more much lethal under a picturesque milieu, if one cannot taste honey, why call it a honey trap?
referential entries: Stahl’s IMITATION OF LIFE (1934, 7.3/10), Otto Preminger’s LAURA (1944, 8.0/10); Nagisa Ôshima’s IN THE REALM OF THE SENSES (1976, 8.2/10).
