“What is the smell of the naked kiss?” Samuel Fuller’s Film-Noir-inflected moral drama THE NAKED KISS tantalizes with an olfactory come-on, then debunks it as one of the lowest human perversity. Our protagonist is Kelly (Towers), a woman bestowed with both intellect (predisposed to quotes like Goethe’s “Nothing is more terrible than active ignorance”) and physical beauty, but practices the world’s oldest profession, Fuller offers no backdrop of her past, but in the movie’s sensational, jazz-infused, frenziedly montaged opening scenes where she whups the living daylight out of her ignoble pimp (Mansfield), a shocking reveal of her bald head piques audience’s interest in this unconventional heroine, and in the following story, she will literally slap her way into a cathouse madam (Virginia Grey, grittily holds true of her vice) and ultimately, a killing instinct when facing the abject shock. nnEscaping from the vindictive pimp, Kelly perambulates from town to town and alights at Grantville, after transacts her first business with the local police captain Griff (Eisley, cogently channeling the suspect ambivalence), Kelly gets a rude awakening and decides to go straight and enrolls as a nurse in the hospital to minister to handicapped children, although Griff is skeptical of her wiping-the-slate-clean endeavor. Kelly proves to be more than competent in her new vocation, meanwhile saves young girls from entering her abjured old profession, even ponying up a handsome amount of dough to convince and tide over a pregnant girl to keep her baby.nnPro-life and ineluctably maternal, Kelly, who admits that she is sterile, is a steely moral police on that front, and soon her distinguished poise also spellbinds the most eligible man of the town, the scion Grant (Dante), who likewise enjoys throwing apothegms like “…happiness was born a twin” from Lord Byron and “a sweetheart is a bottle of wine, a wife is a wine bottle” from Baudelaire. Moreover, much contrary to her trepidation, after confessing her unsavory past to Grant, Kelly is on cloud nine when his marriage proposal isn’t retracted. nnThat is just a too unbelievably perfect ending for a woman like Kelly (almost never happens in a fiction movie except for Garry Marshall’s PRETTY WOMAN, 1990), and Fuller patiently divulges the catch while the catchy nursery rhyme piping up on the monograph when the small-town insidiousness coldly catches up with her, dashes her hope and puts the label of a murderer on her, she needs a key witness to vindicate her version of the story, aka. the truth, but there are many impediments laying about, not least a bloody-minded Griff who just cannot believe the concealed nature of the impeccable Grant. nnAlthough the crime-clearing procedure is a bit willful and incoherent, what makes THE NAKED KISS stick is Fuller’s sledgehammer esthetics of tackling and dissecting a tabooed and thorny issue no one has dared to approach thus far, wedding the story with an engrossing pace sustained compellingly by Towers’ wholesomely righteous and affecting performance, it also pointedly flags up the society’s sexist double standards on prostitution, there is no scruples for a john to disparage a fallen woman, and THE NAKED KISS is a veritable paean of a fallen woman, ever so unsparingly fearless, no wonder she doesn’t make changes. nnreferential entries: Fuller’s UNDERWORLD U.S.A. (1961, 6.7/10); THE CRIMSON KIMONO (1959, 7.1/10).
《裸吻》是富勒的第十七部电影，发生在一个老派的年代，人们用“grabbing a snort”来表示喝酒，所有女人都叫做“女士”，所有男人都叫做“浑球”。凯莉（Kelly）从置身世外开始，然后走入社会，目睹它的腐败，最后离开。尽管她偶尔会诉诸武力，但观众们到了影片结尾还是会对她的行为加以赞赏。她是两类人试图在男权社会里寻找救赎的化身。富勒借惊人的暴力开场告知观众：这个女人并不是她所看起来的那样。在下一个镜头中，凯莉出现在一处郊区——格兰特维尔，那里的每个人都道貌岸然。另一部富勒的电影《恐怖走廊》（1963年）正在镇上唯一的剧院放映，街上挂着一道横幅写着：格兰特维尔骨科医疗中心即将为残疾儿童举办时装秀。这显然是一个关爱儿童的小镇，所以凯莉做的第一件事就是给哭泣的婴儿一个奶瓶。很快，她变成了特蕾莎修女一样的人，谈吐间引经据典、引导残疾儿童走路。
你看到凝视和赞美了吗？看到爱情了吗？
富勒把电影献给了它们，甚至不惜将关键情节压缩到最后20分钟，而在前100分钟里，是的，特写，中景，特写，中景，镜头围着kelly旋转，让她发光，让她无声的歌唱，让人们看到天使，他的天使，电影的天使。
把观众需要的剧情、悬念扔到一边去吧，给他们不曾期望的美和爱，哪怕他们不解他们愤怒。这是圣女贞德、随心所欲、劳拉、面孔、红色沙漠、呼喊与细语，以及后来的卡拉克斯阿巴斯王家卫都遵循的电影最高法则之一，不比希区柯克或黑泽明们更低等。
这不是部完美的电影，但因为人们的看低，而应额外的抬高。
“What is the smell of the naked kiss?” Samuel Fuller’s Film-Noir-inflected moral drama THE NAKED KISS tantalizes with an olfactory come-on, then debunks it as one of the lowest human perversity. Our protagonist is Kelly (Towers), a woman bestowed with both intellect (predisposed to quotes like Goethe’s “Nothing is more terrible than active ignorance”) and physical beauty, but practices the world’s oldest profession, Fuller offers no backdrop of her past, but in the movie’s sensational, jazz-infused, frenziedly montaged opening scenes where she whups the living daylight out of her ignoble pimp (Mansfield), a shocking reveal of her bald head piques audience’s interest in this unconventional heroine, and in the following story, she will literally slap her way into a cathouse madam (Virginia Grey, grittily holds true of her vice) and ultimately, a killing instinct when facing the abject shock. nnEscaping from the vindictive pimp, Kelly perambulates from town to town and alights at Grantville, after transacts her first business with the local police captain Griff (Eisley, cogently channeling the suspect ambivalence), Kelly gets a rude awakening and decides to go straight and enrolls as a nurse in the hospital to minister to handicapped children, although Griff is skeptical of her wiping-the-slate-clean endeavor. Kelly proves to be more than competent in her new vocation, meanwhile saves young girls from entering her abjured old profession, even ponying up a handsome amount of dough to convince and tide over a pregnant girl to keep her baby.nnPro-life and ineluctably maternal, Kelly, who admits that she is sterile, is a steely moral police on that front, and soon her distinguished poise also spellbinds the most eligible man of the town, the scion Grant (Dante), who likewise enjoys throwing apothegms like “…happiness was born a twin” from Lord Byron and “a sweetheart is a bottle of wine, a wife is a wine bottle” from Baudelaire. Moreover, much contrary to her trepidation, after confessing her unsavory past to Grant, Kelly is on cloud nine when his marriage proposal isn’t retracted. nnThat is just a too unbelievably perfect ending for a woman like Kelly (almost never happens in a fiction movie except for Garry Marshall’s PRETTY WOMAN, 1990), and Fuller patiently divulges the catch while the catchy nursery rhyme piping up on the monograph when the small-town insidiousness coldly catches up with her, dashes her hope and puts the label of a murderer on her, she needs a key witness to vindicate her version of the story, aka. the truth, but there are many impediments laying about, not least a bloody-minded Griff who just cannot believe the concealed nature of the impeccable Grant. nnAlthough the crime-clearing procedure is a bit willful and incoherent, what makes THE NAKED KISS stick is Fuller’s sledgehammer esthetics of tackling and dissecting a tabooed and thorny issue no one has dared to approach thus far, wedding the story with an engrossing pace sustained compellingly by Towers’ wholesomely righteous and affecting performance, it also pointedly flags up the society’s sexist double standards on prostitution, there is no scruples for a john to disparage a fallen woman, and THE NAKED KISS is a veritable paean of a fallen woman, ever so unsparingly fearless, no wonder she doesn’t make changes. nnreferential entries: Fuller’s UNDERWORLD U.S.A. (1961, 6.7/10); THE CRIMSON KIMONO (1959, 7.1/10).
nn
第一次看Samuel Fuller，不爱做功课的我被开场一系列极富冲击力的镜头迅速带进状态。Fuller从视听语言里挖掘冲量的能力很厉害。
开场是真有劲，故事是真荒唐。荒唐也要看怎么说，如果编导想拍失足女性回归社会的正能量戏码，那么故事毫无疑问很荒唐，看上去连最基本的连贯都没做到。
但是Fuller的视听和Constance Towers棱角鲜明的骷髅脸让女主硬朗刚烈的一面特别具有说服力，跟她表现出柔情善良一面时释放的能量不相上下，不知该说她是一个敢于暴烈抗争的温良女性，还是善于假扮温良的暴烈女性。
女主具有femme fatale的个性，但他又不同于典型的femme fatale或者其他形象负面——无论是法律还是道德层面——的女性角色，比如《夜以继日》绿茶婊女主角朝子，后者的行为是决定性地负面，编导试图从这些负面作为本身内在为出发点，论证行为的合理性，唤起观众对其积极正面的同情或者敬畏；而《裸吻》女主角Kelly负面和正面的行为势均力敌，不需要对人物性格的其中一面进行深入的挖掘和表现，便已获得人物形象多面性的平衡。
这样一个复杂且值得探索的人物形象，不仅在影片问世的60年代，即便在当代影坛也极其少见，绝非一般编导、演员所能塑造。故事的跳跃感、形式感，甚至那些说不清道不明的暗线，与人物性格一起成为这部黑色电影令人难忘的形式的一部分。
因为女性形象具有不光彩的意味，我觉得《裸吻》如果参加今年坎城影展，九成不会得到以Cate Blanchett领衔、左翼女艺术家主导的评审团的青睐，能不被她们唾弃就不错了。很多著名演员对于意识形态和艺术形式分辨能力和评判能力之匮乏和有限都是令人惊讶的。演员跟编导确实从来没有站在同一角度看待电影艺术。意识形态挂帅的艺术价值观是如此容易侵蚀我们的理性思维，他能在顷刻间摧毁我们冷静评判艺术的意愿和能力。
一位美人正把一名醉醺醺的男子打得措手不及，他突然扯住她的头发，头发脱落了。然后这位完全秃头的女人继续用她的鞋子捶打他，直到把他打倒在地。紧接着她不再打他，而是开始翻他的钱包。他有一大笔现金，但她只拿了属于她的75美元。她很暴力，但很诚实。
《裸吻》就此开幕。这是一部由以夸张的戏剧性而闻名的美国电影人塞缪尔·富勒（Samuel Fuller）编剧、制作和导演的电影，且丝毫没有辜负他的名声。
塞缪尔·富勒生于1911年。他的第一份工作是在《圣地亚哥太阳报》报道青少年犯罪的记者，他很快转向创作短篇小说和低俗小说，比如1935年的《燃烧吧！宝贝》。他于1938年撰写剧本《纽约黑帮》，但随后卷入第二次世界大战，他在非洲第一步兵师参战时获得了铜星、银星和紫心勋章。1949年，他回到好莱坞，执导了他的第一部电影《击毙杰西·詹姆斯》。
和希区柯克一样，富勒现在被公认为通俗电影大师。在《南街奇遇》（1953年）、《刑警大队》（1961年）、《视死如归》（1962年）和《恐怖走廊》（1963年） 等电影中，富勒的政治倾向可能是粗俗和大男子主义的，但他的电影制作能力是不可否认的。他熟练地运镜，运用高对比度的灯光、富有戏剧性的对白和无处不在的音乐。
在一个美国人眼中，富勒的电影可能看起来像是直接从廉价商店卖的犯罪杂志的上撕下来的类型化低俗小说。但在一个外国人看来，正是这些特质使他的电影完美地描绘了美国。他被国际电影界公认为典型的美国导演，这意味着他是法西斯、大男子主义者和无耻的操纵者。富勒充满艺术气息的剧本和对白在字幕中看起来似乎效果更好。那些热情撩人的话语，充满性暗示。只有电影里的角色才会这样说话。
《裸吻》是富勒的第十七部电影，发生在一个老派的年代，人们用“grabbing a snort”来表示喝酒，所有女人都叫做“女士”，所有男人都叫做“浑球”。凯莉（Kelly）从置身世外开始，然后走入社会，目睹它的腐败，最后离开。尽管她偶尔会诉诸武力，但观众们到了影片结尾还是会对她的行为加以赞赏。她是两类人试图在男权社会里寻找救赎的化身。富勒借惊人的暴力开场告知观众：这个女人并不是她所看起来的那样。在下一个镜头中，凯莉出现在一处郊区——格兰特维尔，那里的每个人都道貌岸然。另一部富勒的电影《恐怖走廊》（1963年）正在镇上唯一的剧院放映，街上挂着一道横幅写着：格兰特维尔骨科医疗中心即将为残疾儿童举办时装秀。这显然是一个关爱儿童的小镇，所以凯莉做的第一件事就是给哭泣的婴儿一个奶瓶。很快，她变成了特蕾莎修女一样的人，谈吐间引经据典、引导残疾儿童走路。
富勒有一种独特的保密能力，使得观众不大可能认出《裸吻》中的演员，除了弗吉尼亚·格雷（Virginia Grey）扮演的老鸨坎迪（Candy）（她在《汤姆叔叔的小屋》（1927年）中扮演的小伊娃）以及罗斯·梅尔（Russ Meyer）的妻子爱蒂·威廉姆斯（Edy Williams），她短暂客串了一个叫哈特拉克（Hatrack）的廉价妓女（因为每个走进来的男人都想和她勾肩搭背）。这是一个奇怪的演员阵容，充满了完全透明的演员。你对他们的第一印象就是全部印象。
富勒还设法违抗了电影制作的几大规律，包括使用跳剪、冗长的内心独白，以及有史以来最不恰当和伤感的配乐之一。
富勒的电影经常因为自我意识的悲观而遭到批评，但即使是他的诋毁者也不得不承认他的电影是作者电影。富勒本人给后世留下了相当丰厚的电影遗产。安德鲁·萨里斯（Andrew Sarris）称他为“美国原始人”，彼得·沃伦（Peter Wollen）说“富勒的电影与自然主义电影背道而驰。他呈现的是人的道德品质，而不是外表。”他是为数不多的用他的艺术来教化的电影人之一，他的电影都是道德小册子。
这些溢美之词对富勒来说都没有意义。“电影就像战场，”富勒曾说，“有爱、恨、动作、暴力、死亡......一言以蔽之，就是情感。”欢迎来到“情感电影”的世界。
作者：Michael Dare, AUG 25, 1998
译者：Higgs Howard, MAR 11, 2025