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.

絕對(duì)不容忽視的電影，也是John Boorman除去《Deliverance》之外我最喜愛(ài)的作品。
影片非常風(fēng)格化，以致于劇情在這部電影里已顯得不再重要。電影的剪接與音樂(lè)、攝影都相當(dāng)出色，閃回的運(yùn)用致使觀眾同Walker（Lee Marvin）一起置身于一場(chǎng)冷酷而無(wú)法消除的夢(mèng)魘之中。走廊那段拍得真精彩，攝影機(jī)緊隨Lee Marvin后移，沉重腳步聲在空寂的廊道里回響然后漸漸吞沒(méi)，完美的渲染出了Walker強(qiáng)烈的孤獨(dú)感以及殺人前的緊張氣氛，而且，Lee Marvin的走路步法實(shí)在是太帥了，這段鏡頭，絕對(duì)可算得上是電影史上最COOL的鏡頭之一。還有狙擊手遠(yuǎn)程射殺Walker的那段，鏡位與剪接配合精彩之極。在看完《史密斯夫婦》這樣的動(dòng)作爛片之后再去看這部電影，你就會(huì)懷疑究竟哪部影片才是拍攝于60年代的。很可惜，我們現(xiàn)在已難以看到有這樣優(yōu)美而有力的老式動(dòng)作電影了，現(xiàn)在的大多數(shù)動(dòng)作片，只要有飛車手和爆破專家，一切就解決了。1999年Brian Helgeland根據(jù)小說(shuō)《The Hunter》重新翻拍了這部電影，由Mel Gibson主演，取名叫《Payback》， 盡管拍得不算太差，但與這部相比起來(lái)，實(shí)在是相差甚遠(yuǎn)。

【步步驚魂】彩色的黑色經(jīng)典
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