《步步惊魂》是典型的黑色电影，凌厉而简洁的抢劫戏，夹杂着主角沃克的呓语，勾勒出主角沃克阴郁孤绝的状态，通过如梦般的闪回主角逃出了号称最森严监狱的阿尔卡特兹岛，而通过最开始的具有梦的色彩的回溯我们能够感受到故事的混乱暴力程度和暧昧、失衡的氛围，这些元素在那样的叙事方式下被强化。再次归来的沃克已是银发苍苍，而背叛他的妻子也与同样背叛他的友人里斯分开，紧接着向沃克忏悔过的妻子选择了自杀，而沃克走到窗前时却又听见妻子的歌唱，再次打开门只是空荡荡的房间，远处再次传来妻子的歌声
绝对不容忽视的电影，也是John Boorman除去《Deliverance》之外我最喜爱的作品。
影片非常风格化，以致于剧情在这部电影里已显得不再重要。电影的剪接与音乐、摄影都相当出色，闪回的运用致使观众同Walker（Lee Marvin）一起置身于一场冷酷而无法消除的梦魇之中。走廊那段拍得真精彩，摄影机紧随Lee Marvin后移，沉重脚步声在空寂的廊道里回响然后渐渐吞没，完美的渲染出了Walker强烈的孤独感以及杀人前的紧张气氛，而且，Lee Marvin的走路步法实在是太帅了，这段镜头，绝对可算得上是电影史上最COOL的镜头之一。还有狙击手远程射杀Walker的那段，镜位与剪接配合精彩之极。在看完《史密斯夫妇》这样的动作烂片之后再去看这部电影，你就会怀疑究竟哪部影片才是拍摄于60年代的。很可惜，我们现在已难以看到有这样优美而有力的老式动作电影了，现在的大多数动作片，只要有飞车手和爆破专家，一切就解决了。1999年Brian Helgeland根据小说《The Hunter》重新翻拍了这部电影，由Mel Gibson主演，取名叫《Payback》， 尽管拍得不算太差，但与这部相比起来，实在是相差甚远。
This excellent period piece carries the weight of its time very well: the political paranoid of the late 60s, the impersonal sinisterness of large corporation, and the general mood of exploitation and distrust in the air. Boorman is sophisticated enough a director to spice up the simple, noirish story with creative cutting and a wild soundtrack, which jogs our mind from time to time, leading us to suspect undetected depth in the movie. The search may be futile, but the attempt can be fun.
The movie was re-made in 1990s into a Mel Gibson vehicle, "Payback". While the movie is trash, it is nevertheless interesting to compare the huffy threat of Lee Marvin with the blatant madness of Gibson. Suffice it to say that each serves the movie they are cast in well, in their own way.
【步步惊魂】[Film Review] Point Blank (1967) 8.1/10
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