Film Name:性女暴力日记 / 暴力日记 / hey Call Her One Eye / Thriller: A Cruel Picture
As a young child, Madeleine was sexually assaulted by a seemingly kindly old man while playing in the park, and never spoke again because of the shock. Instead, the old man was released because he was diagnosed as mentally ill. Time passes and Madeleine is fifteen years old, growing into a beautiful young woman, budding. All these years, she has been living in seclusion on a farm with her parents. Though still unable to speak, life was pleasant. There was some compensation.
The farm is in a remote location and she misses the bus home and meets a gentlemanly and humble man who invites her to take a lift. The girl was attracted to the gentlemanly man and got into the car. Who knows that this man is a villain, he firstly doused madelein with ecstasy, and then hired a doctor to inject her with drugs. to control the girl as a prostitute. Soon, Madeleine became more and more dependent on the drugs and failed to escape as she wished several times. Even after escaping the man’s control, she could not leave the pain of drug rehabilitation. She has no choice but to commit to staying and working as a child prostitute.。
She was not kind to her first customer, even scratching his cheek. As punishment, the man stabs Madeleine blind in one eye. In the face of violence, the girl complies helplessly. The beginning of her life as a prostitute is like a zombie, painful and without any hope for the future. Another young girl, who has been seduced by a man, gently takes Madeleine in her arms and tells her to have hope. Only by catering to the customers and earning money will she be able to capitalise on leaving this deep pit.
Madeleine steals a letter from her parents and realises that her only family members have passed away. The reason for this is that it was all orchestrated by the man who had seduced her. At the end of her days, her best friend, the only teenage girl who ever gave her care and attention, is killed by one of the guests. Crying on her bloody mattress, the bed where countless men have slept, Madeleine finally decides to take revenge.
She learns taekwondo, drives a car, shoots a gun, and every customer who has insulted her is a target for revenge. The last one to be taken out is the man who abducted her as a prostitute and got her hooked on drugs in the first place.
《Thriller – en grym film》 film A Swedish CULT film from 1974 that combines eroticism and violence. Director Bo Arne Vibenius is said to have been Fellini’s assistant director. The whole film is shot in a very different style, with a lot of subjective close-ups and slow-mo shots, crocheting out a very distinct cult classic.
Christina Lindberg, who plays Madeleine, is a Swedish beauty (today’s word describes her as a loli look-alike) born in 1950, who has been a leading actress in pornographic films before, and naturally, this film doesn’t waste her seductive figure. Lindberg was 24 years old when she shot Diary of a Violent Sex Woman, and the age setting for the character she plays in the film is that of a 15-year-old girl. The Swedish beauty with the body of a devil and the face of an angel is more than up to the task. Petite figure, tender face, clear pupils, long silky hair …… no one would imagine that this woman has passed the age of twenty-four.
Unhelpfully, the main gimmick of this CULT film still revolves around eroticism and violence, so its release didn’t bring Lindberg the transformation she was expecting. Shortly thereafter, she officially retired
《hey Call Her One Eye》 is one of my personal favourite CULT films, not to mention the story. (In fact, the story is a single line of revenge.) The main thing is that the director’s approach to the camera is so alternative, from the colour of the screen to the camera movements are very experimental style. For example, the blood flowing (or rather spraying) out of the corner of the mouth of the violently whacked person is shown in slow-motion, and you can see the teeth that are punched out of the mouth and fly into mid-air. The blood flows but pours out slowly. Bullets are shot into the body, and the blood is pushed by inertial forces to show some well-traced angle of spraying out. One can see any moment of struggle, deepening the intensity of the representation of death.
Some people don’t like the film, thinking it’s nothing more than an erotic film with the theme of revenge and illogical changes in characters and character strengths and weaknesses. For a CULT film born in the 1970s, it is possible to imagine and speculate on the intentions of the film in later times. Cinema in that period had no rules to follow, and the so-called cult classic is both good and evil, there is no standard. It is still not objective enough to understand the whole film by simply taking out the story of the film. Cinema is the seventh art beyond literature, theatre, music, sculpture, painting and architecture. No one says that a director can only follow one of these elements in making a film, and vice versa.
The second half of the film is Madeleine’s journey of revenge, and ironically (and I think deliberately by the director), the girl overpowers and escapes the police, driving their police car to thwart another enemy. In other words, each offence is driven to the police. At the very beginning of the film, it’s a police car that slowly rolls into the frame while the young Madeleine is being sexually assaulted in an open public place while the city is being policed, with the killer eventually exonerated from criminal law due to a psychiatric diagnosis. In the second half of the film, Madeleine, the initial victim, takes on the role of “law enforcer”, driving a police car on a suburban road with lights flashing, seemingly representing public security (patrolling), but how many crimes are covered up in broad daylight? It’s not just responsibility that goes with the name, it’s also justice.
Madeleine finally catches the man who abducted her in the first place, and she devises a rather darkly humorous way for him to die. The man was buried immobile in the rubble (having already broken both his legs with a pistol) and then strangled with a rope around his neck, the other end of which was tied to the top of the horse’s saddle. In the heat of the day, Madeleine placed a bucket of water a metre or so in front of the horse, and as soon as the horse was thirsty, it would move forward to drink, and the rope around the man’s neck would tighten, and he would die of asphyxiation.
Madeleine put everything in place and sat in front of the man, waiting for the horse to move. In the sunlight, she watched expressionless as she watched the man who had ruined her life. Or rather, Madeleine’s life was destroyed early on in her sexual abuse as a toddler; she couldn’t speak and lost her ability to express herself. For society she hid at first, hiding on the farm. But the evil surfaces in a subtle way all the time, and violence becomes the only means of redemption.
At the end of the film, Madeleine drives away slowly in the police car.
Departure, the end.
The director has compassionately given her a freedom, or rather a right, a right to self-determination. But the Madeleine who leaves is no longer the same weak Madeleine; what ends is the past and what begins is the future.
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