2008/4/18 (Fri) at 5:21 am

映画|暴行列車|Torture Train

美少女ふたりが長距離列車の狭い車内で監禁されてひぃいいいいい。マーシャ・メリル、フラビオ・ブッチ、アイリーン・ミラクル他豪華キャストのイタリア古典ホラー。監督アルド・ラド。1975年。

暴行列車 / Torture Train DVDDVD画像

クリスマス。ふたりのカワイコちゃんが長距離列車で旅をする。窓の外はヨーロッパの田園風景。列車の旅って楽しいなーるんるん。この美少女ふたりがわるもんたちに目をつけられちゃう。邪悪な3人組に拘束され、「いよーねーちゃん」といたぶられ、残虐非道に監禁レイプされちゃうのだ。閉所恐怖のナイトメア。

わるもんキャラがおもしろい。上品ぶったマダムと破滅型のチンピラ2名という組み合わせは『ヤッターマン』のドロンジョ様チームみたいである。上品マダムはつんとすました上流婦人であり、一方のチンピラ2名は小汚い暴力男たちであるからして、この両者はまったく接点がなさそうなんだけど、狭いトイレでレイプされたことをきっかけに上品マダムの隠された悪魔が開花しちゃうのだ。彼女の本性は色情狂サディストだったのであり、短絡思考のチンピラふたりをヒョイと手なづける。3名は即席トリオを結成。彼らは出会ったばかりとは思えないあうんの呼吸で意気投合する。たまたま見つけたカワイコちゃんたちを捕まえてパーティタイム。ワルノリのお遊びのつもりだったのが、過激にエスカレートする。ヤメテ〜!と絶叫する美少女にあなたの胸はしめつけられます。

映画の後半では、優しいパパママも参戦してくる。娘を陵辱された怒りのパパのライフル銃が炸裂。70年代の映画なので残虐描写はおとなしめだが(「検閲にわーわーいわれてカットせざるをえなかった」とアルド・ラドがいってた)、総じてキャストが魅力的であり、物語としてもおもしろい。Blue UndergroundのDVDは1975年の映画とは思えない画質のよさであり、アルド・ラド監督の当時を振り返るインタビューも収録されてるからえらい。

※感想

私、思うに、この3人は元々それほどの悪人ではなかったような気がする。チンピラ2名は犯罪者ではあるけれど殺人を犯すほどではなく、また、マダムの方はといえば、たまたまワルノリをやりすぎちゃったという風に感じられた。チョイワルの3人がたまたま出会い、お互いのキャラが触媒のように作用した結果、チームとしての残虐性が高まったという風に見えた。現代社会のいぢめの構造みたいな。3本の枝の教訓話は悪の世界でもありえるんだなとおもった。

お上品なマダムが真性サディストに変化するというのがすごくおもしろいと思うが、DVDに収録されていたインタビューの中で、アルド・ラドは「上流階級の貴婦人の二面性」について触れており「帽子のベールでソレを表現した」と話していた。なるほどー。そういわれるとあのラストはますますしっくりきます。彼女がこの台詞をいうときの演技がよかった↓

"You don't need to be afraid. We simply want to see what is between your legs."

「こわがらなくていいのよ。あなたの両脚のあいだにあるもんを見たいだけ、うふふん」

邪悪な3人に加えて、不気味な脇役男が1名いる。ピーピングしていた中年男がフラリと入ってきて女の子をレイプし、無言で去っていくのだ。これがまた生々しくリアルであった。ああいう変態オヤジはいかにもいそうである。演じたのはフランコ・ファブリッツィ。フェリーニの『サテリコン』、ヴィスコンティの『ヴェニスに死す』他出演多数。

ホラーな3人にいたぶられるカワイコちゃんは、ほんとにカワイコちゃんである。かわいいいいいい。アイリーン・ミラクルはこの映画の3年後に『ミッドナイトエクスプレス』に出た。そして、その2年後にダリオ・アルジェントの『インフェルノ』でローズ・エリオットを演じた。最初の方のシーンでビルの地下の溜まり水に潜って死体を発見した女の子。彼女はimdbによれば "Night Train Murders" が女優デビューだが、下半身ハダカでシャツとブーツのみ着用というたまらん格好で列車内を逃げ回った。すばらしい!ホラー女優賞ナンバーワンだ。チンピラ役のフラビオ・ブッチは『サスペリア』のダニエル役他出演多数。お色気の悪女を演じたマーシャ・メリルは『サスペリアpart2(ほんとはパート2じゃないのに邦題はそうなっている)』、ゴダールの『恋人のいる時間』、ルイス・ブニュエルの『昼顔』その他モロモロ、昔のフランス映画でおなじみのエロティック女優。怒りのパパ役エンリコ・マリア・サレルノはダリオ・アルジェントの『歓びの毒牙』他出演多数。

繰り返すが、Blue UndergroundのDVDはものすごく画質がいい。いくらいい映画でもVHSビデオを焼き直しただけのDVDでは楽しみが半減しちゃうが、コレはストレスなく楽しめる。日本版のDVDも出てるが、そっちの画質がどうなんだか私は知らない。Blue Undergroundのヤツを日本語ローカライズしてるのなら同じだと思うけれど。

DVDに収録されてたアルド・ラドのインタビューの全文を書き出してみたので置いときます。キャスティングのこと/当局に検閲されてカットを余儀なくされたこと等、当時を振り返っていろいろ語ってます。興味のある方は監督のお言葉をかみしめてください。最後のほうでこんなこといってます↓

There are films which glamorize violence and therefore encourage violence, but generally, I believe if the movie's main issue is violence, to convey the fear of violence, it can act as a deterrent to violence.

つまり↓

暴力を題材にした映画というのは、暴力の怖さを表現しているのである。ゆえにそれは暴力を抑止するものである。

スクリーニングの際、残虐シーンで観客が席を立ち始めた。最初は「こりゃヤバい!」とビビったんだけど、プロデューサーがニコニコ顔でやってきて「大成功だよー。みんなほんとに気持ち悪くなったんだ!」と映画を賞賛された。それを聞いて「いいもんつくった!」とうれしくなったそうです。ホラースピリッツを感じますねー。だれがいったか忘れちゃったんですけど、"We're creating the shit!" って言葉を思いだしました。だれがいったのか思いだせない!なにかのホラー映画のコメンタリで聞いたと思うのですが。

以下インタビュー全文↓

"Riding The Night Train"
Aldo Lado
Co-Writer/Director

The project came about because a producer whose name was Roberto Infascelli, called me bacause he wanted to do a movie, some sort of genre movie, which meant a movie with violence etc., etc., so we discussed the project.

This particular story in terms of its structure had something to do with an American movie that Infascelli had seen, a movie he had liked both for its story and its genre. Anyway, I did not see the film. He probably saw it and had this idea. But it was not intentional to reproduce that story. I had a chat with Infascelli and he told me he'd like a movie like this, and this, and this. You might say he gave me the structure by saying a girl is raped then the father goes after him for revenge. And this is how the story was conceived. It was created as this little treatment which I modified and then developed in a direction which was very specific to me, which was the metaphor.

A metaphor to tell the story of two outcasts who are exploited by the middle class, and the exploitation represented by the character played by Macha Meril who bookends the metaphor with two symbolic gestures. At the point where Macha Meril exploits the two outcasts and pushes them to use violence on the girls, she lifts the veil on her little hat. At the end of the movie, when Enrico Maria Salerno has massacred the two guys, out of revenge, he then tries to attack the so-called upper-class lady. She pulls down her veil and says, "I'm just like you, I have nothing to do with this. It's not my fault." By making that gesture of pulling down the veil of the hat she is back behind the mask, right? A mask of respectability. I have explored this theme since my first movie, "THE SHORT NIGHT OF GLASS DOLLS", where the ones that have power use the blood of the young to save their lives and therefore maintain power. So that's what I tried to do in this movie. I tried to tell this story and it was up to whomever to read it this way, showing how the middle class, the so-called good people, in reality, use the unfortunate to carry out their own evil.

I wanted to make a one way movie. I mean I wanted to show both sides of violence: violence and anti-violence. Show violence because society is violent because violence was all around us, especially in those days, everywhere, so I wanted to show that. I didn't want any concessions, any comic relief, or laugh breaks, which is often used, especially in the last ten, fifteen years. The kind of filmmaking we were creating in those days was a much more straightforward kind of cinema that would follow a certain path and tell you what it had to tell you and that was it.

FLAVIO BUCCI
"Blackie"

Flavio I had seen in the theater and had gone backstage to compliment him at one of his shows. So when I decided to make this movie I thought he was the most suitable actor for the role. The only problem with Flavio was that he had to be monitored because he had a tendency to give too much. Therefore, since he already had a strong face, you had to contain him.

Irene Miracle
"Margaret"

Laura D'Angelo
"Lisa"

Enrico Maria Salerno
"Guilio Stradi"

And the two girls I picked just like that, by chance I suppose. Since I didn't have to comply with the distributors for name actors, for them we already had Salerno who at the time was a good name. So I chose them because I really liked them. Miracle went on to make a great film and then she dissappeared.

Macha Meril
"The lady on the Train"

I knew Macha already, but had never worked with her.

Franco Fabrizi
"Voyeur"

I knew Franco Fabrizi, who plays the peeping Tom. I asked him to play this rather unpleasant role for me. I don't know if he was happy to do it, but he did it and did it well, after all he came from having worked with the greatest post-war Italian directors.

Ennio Morricone
Composer

Demis Roussos
Singer

I actually wanted one of the characters to play an instrument in the scene. I discussed it with Ennio, with whom I was working, and he came up with the harmonica and he did the whole score of the movie, practically a harmonica concert, and there was one performer, playing different harmonics with overlapping tunes etcs. doing this concert. But Ennio also suggested, I don't know, he had a relationship with Demis Roussos, to put in that song, to relieve the spectator in the end. And after all, Mr. Roussos was very big in those days. "Why not?"

I used something from my memory, but from when I was a young man. Trains at night had this blue light. I tried to give this sense of claustrophobia using this blue light, and not just that light, but for that whole part of the movie with the girls I gave a lot of attention to the costumes and things, to have this prevailing blue constantly. I think that's what ultimately gives the sense of claustrophobia as well as the closed wagons giving that claustrophobic feel.

I put in the story of the upper-class lady being deflowered by a doctor with a surgical knife because it was something that happened to a guy I know, who was a great designer, and had his future wife's virginity taken by a doctor with a surgical knife. Naturally this story really hit me and so for this reason I made the upper-class lady use her hand armed with a knife to do this thing. So I used this memory to tell a true story and as you know it's something that everyone that watches the movie cannnot help but notice.

As for the censors, when the movie was submitted to the censor board. which is made up of, well, weird people. I mean I had a few opportunities to meet them and we talked but the movie was rejected, which means we couldn't release it. Therefore in order to get it released and avoid ruining the producer I had to cut it by the meter, cut a lot of scenes. I believe I cut seven, eight, ten minutes. There wasn't any graphic bloodshed, there were no gross scenes. The problem was the structure of the film caused great great discomfort. The censors felt this discomfort and said the movie couldn't come out. So naturally you go there, you discuss it, say you'll cut a meter here, a meter there, and then cut only half a meter. In the end things settled down and I was able to get it out there.

The original title was "THE LAST NIGHT TRAIN." The distributors wanted "VIOLENCE ON THE LAST NIGHT TRAIN" to emphasize the violence for the public. That was the time of VIOLENT MILAN, violence everywhere. Audiences loved the word "violence." When we were scrutinized again because the movie had been rejected, luckily the word "violence" was removed leaving "THE LAST NIGHT TRAIN."

There are films which glamorize violence and therefore encourage violence, but generally, I believe if the movie's main issue is violence, to convey the fear of violence, it can act as a deterrent to violence. I'll give you an example, when I made this movie "NIGHT TRAIN MURDERS", I set up a screening at Fonorama, which at the time was near Piazza del Popolo. Naturally I invited many friends including Bertolucci and Domenico Modugno, and the theater was full. I was up iin the booth, petrified by the advance screening. About half way through the movie, right when the train scenes start, I see a person get up and leave the auditorium. And then a second. And then two more. I thought, "My God! What a disaster!" Then the producer comes to me and says, "Look what you've done!" All these people were sitting on the steps drinking cognac because they felt sick. I had created such a strong feeling amongst the audience that they became sick to their stomachs. Therefore, in creating such a sense of unease among the audience you cannot be glorifying violence, nothing of the sort. I'm glad because it means the movie achieved what it was supposed to, and therefore I think this is a positive thing.

twitterのご案内

当ブログをお読みくださり、ありがとうございます。twitterやってます。ホラー映画好きな方はフォローしてくださいませ。サイトの更新や新作ホラーの情報を随時流しています↓

Facebookのご案内

ノスタルジックな古典ホラー/サスペンス

アルド・ラド監督の映画

『復讐/リベンジ』テーマの映画

ホラー映画 :: 洋画』の最近のエントリ

PV27,474
ホラーなブログの方はどうぞ
原題: L'ultimo treno della notte
別題: Last House - Part II
New House on the Left
Second House on the Left
The New House on the Left
Assassinatos do Expresso da Meia-Noite
Don't Ride on Late Night Trains
La bête tue de sang-froid
Last Stop on the Night Train
Late Night Trains
Le dernier train de la nuit
Le train de l'enfer
Le train de la mort
Night Train - Der letzte Zug in der Nacht
Night Train Murders
Nighttrain Murders
To traino ton kannivalon
Train de nuit pour un tueur
Violencia en el último tren de la noche
Violenza sull'ultimo treno della notte
Xmas Massacre
邦題(カタカナ): 『暴行列車』
制作年: 1975年
制作国: イタリア
公開日: 1975年4月8日 (イタリア)
1978年8月30日 (フランス)
imdb.com: imdb.com :: L'ultimo treno della notte
監督
脚本/原案
出演
音楽
シネマトグラフィ
編集
プロダクション・デザイン
衣装デザイン

ホラーSHOX [呪](『ほらーしょっくすのろい』と読む)は新作ホラー映画のレビュー中心のブログです。たまに古いのやコメディ等もとりあげます。HORROR SHOX is a Japan-based web site, which is all about horror flicks.

 

すべての投稿 (1542)

CALL GIRL COMIC by DAIJU KURABAYSHIEL GIGANTE COMIC COMIC by DAIJU KURABAYSHI
HORROR SHOX - Horror Reviews, News