因为是 Agasha Christie 的作品,《无人生还》得到了不一样的推崇和热度。电视改编尽到了小屏幕前的惊悚改写,演员表现可圈可点,不失为一部不错的犯罪迷你剧。
然而,
And Then There Were None 能够成为 Agasha 的经典作品,并不仅仅因为精巧的情节设置(何况电视改编中的细节修改,冲淡了整个作品的主题,下面会详细提及),“性本恶”的主题挖掘和延伸才是最吸引人的部分,构成了故事的起始和发展。
在原著小说里,Agatha 创造了一个极度嗜血、酷爱谋杀却有着异常正义感的角色,字里行间传达着:
没看过原著,但是阿加莎的著作改编所以非常感兴趣。当隆巴顿承认自己杀人的时候,就猜到可能是要揭露人性什么的,看到中途突然想起致命ID,会不会是人格分裂,但是一想阿加莎写的是悬疑推理,不是心理片,so放弃这个想法。我看极限挑战的时候说法官是正义,但是法官中途却死了,也是万万没想到这是他的阴谋。故事情节非常紧凑,能马上把人带入情节中,气氛渲染也非常不错,但是觉得人物塑造不够丰满,没有造成强烈的冲击性。
TEN LITTLE NIGGERS
by Frank Green, 1869
Ten little nigger boys went out to dine;
One choked his little self, and then there were nine.
Nine little nigger boys sat up very late;
One overslept himself, and then there were eight.
Eight little nigger boys traveling in Devon;
One said he'd stay there, and then there were seven.
Seven little nigger boys chopping up sticks;
One chopped himself in half, and then there were six.
无人生还:带着推理外衣的“恐怖片”
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