嘿，我跟你说，1933年那部《大洪水》真挺妙的。 如果你喜欢《卡萨布兰卡》那种战乱中的人性切片式叙事，或者着迷于上世纪三十年代粗粝胶片里记录的真实恐惧，这部电影会让你在七十年后仍能听见洪水的咆哮。家庭主妇佩吉·香农饰演的玛莎，和丈夫西德尼·布莱克默饰演的汤姆为是否撤离争执不休，而流浪至此的洛伊斯·威尔逊饰演的陌生女人，却用一句预言般的警告打破了小镇的平静。 适合喜欢早期灾难片粗犷质感、想了解大萧条时期美国普通人面对危机的精神状态、以及对默片向有声片过渡时期的表演风格感兴趣的观众。剧情在“逃生”和“救人”的拉扯中保持克制，连灾难场面都带着默片时代干脆利落的剪辑节奏。佩吉·香农演的那个倔强农妇，从头到尾只有一身湿透的旧裙子，却在激流中死死攥住木桩的指节让人跟着心揪起来。

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black castle on the outskirts of Paris, awaiting their executions. A brief and condensed period where, amidst violence and harassment, all masks fell off: those of two royals, as public and private figures; that of the old regime; that of a History that finally turned the page; and that of God who, from then on, was eclipsed by the shadows, leaving man entirely alone.

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