The boyfriend of a young co-ed turns into a demented stalker after his sister's suicide.
The boyfriend of a young co-ed turns into a demented stalker after his sister's suicide.
The politics of primary reds. Yuppie ennui giving away for madness and stalk and slash murders. The spaces are empty, stylish dread, the colors are lush, the bodies manequinns long past their expiration date. It is the Chinese Zabriskie Point. In many ways a reversal of Nomad, all the aspirations, the hopes, the searching for an idealized society is replacing for moving around through a foreign San Francisco waiting for damaged male ego to just do what damaged male egos do in movies: kill, kill, kill. It is a vision of color-cordinated hell.
ghostly, blown-out whites and the almost illegible subtitles rendered this more of a mystery than i was expecting. a few sequences had me fully slasher-screaming but it ultimately becomes a heartbreaking and haunting romantic tragedy. chinese with european arthouse vibes set in the US of A with a deliberate and distinct red, white, and blue palette. beautiful as is but desperately deserves a restoration.
extremely stylish minimalist slasher. it's a shame the extant print is so faded, with white on white subs illegible at times, since bold colors seem to be integral to the director's intended effect. the story is straightforward and lulls you with its romantic tone, with stray hints of perversity. the startling geometric compositions are the main draw, with characters framed in long shots becoming just another design element in the scene. dialogue is delivered with little expression. the title 'love massacre' reveals it's meaning in the final third as one character spins into madness. blood effect is heightened by having the principals dressed in white. reportedly heavily censored on release, i'm not sure if an uncut version even exists. i'd certainly like to see it restored. screens: madamebeudet.tumblr.com/post/151610436056/ai-sha-patrick-tam-1981
I'd probably rate this even higher if it existed in any better quality or at least with legible subtitles. Even so, this is such a remarkable approach to the slasher, as minimalistic as Halloween yet possibly even more geometrically precise as Carpenter. Carpenter's own stripped-down approach has roots in classical, low-budget Hollywood, but here the references are European, with Godardian Pop Art color schemes and Antonioni-esque emphasis on the human body as merely an unfixed point on a larger background. Tam's direction, with its prevalence of long shots and frequent silences, is so antithetical to the language of the slasher that it's remarkable how well it works, but the distance allows him to get the most out of the emotional detachment, using the dehumanization of victims in horror as a mirror of larger social alienation.
that this so feverishly commits to a strict formal economy of overblown whites makes the occasional, heh, stabs of rich primary colors far more sinister. not to mention, this is at the moment only available in a very fuzzy print — so everything white seems to properly bleed into each other, separated only by the generosity of shadow (on that note, my mark of truly great cinematography is that no matter how shitty the file might be, the film still looks dope). you could maybe see this as like an early-godard-but-horror, but it really reminded me of duvidha in its intense and maybe even transcendental control of composition and texture — transcendent of body, of mind, of narrative. am also fully convinced now that there is nothing scarier than a nice guy.
Emotionally voided actors in white, standing in front of bare white walls both interior and exterior, or dehydrated white skies. Tam's control over the film's visual aesthetic is total, and DP Brian Lai's location photography is astounding, capturing overexposed urban vistas that seem provisional, unfinished. A lonely film, incident crowded-in despite the vast geographic distances of its second act. The ubiquitous airy whites of the film--the subtitles are frequently impossible to read--are often only cut by rough blocks of solid blue or red. Tam is painting, and very up-front about that, hanging up Rothko and Mondrian prints in Brigitte Lin's apartment, even stacking Campbell's soup cans in her kitchen. A slasher but only as third act, bloody, abject, twisting Charlie Chin's bland romantic lead into an ableist cartoon psychopath. I would love to read a translation of Joyce Chan's script, because despite twisty Hitchcock accents, I can't imagine this film as a piece of narrative writing. A dream, a nightmare.
You can get a 4K disc of the Rambo movie that was dedicated to the Mujahedin but you can't even get a decent DVD copy of one of the best slashers in existence, made by the guy who taught Wong Kar-wai his knuckleball. Amazing. Needless to say, would be taught in classes if given the proper release it deserves. An icy, mostly bloodless yet harrowing tale of bad love, obsession, and instability in an alienated and eerily quiet San Francisco. Should be sought out at all costs, even in its less-than-adequate state.
Definitely not what I had expected; tragedy in the colors of the flag of the United States, the country in which this Hong Kong new wave film takes place. It isn't only weird package in its settings and colors but how it fools around with different elements of genre and cinema history. During the first half you think you're watching love drama, then it becomes thriller, steps on the gas and turns into a horror film just to become psychological human drama at the end. We were expecting right from the beginning but we never knew what kind of route the film was going to take. It feels like 60s art film or late golden age Hollywood film with howling…
developing psychic powers so I can recreate this film
This feels like a Godardesque collage of influences and quotations, so much so that it very much resembles JLG's nouvelle vague films minus the political commentary. This is apparent in the visual design and staging of the film (and also the credits) and also in how Patrick Tam goes against the grain of audience's expectations in his telling of the story. Also want to see Tam's The Sword and Cherrie.
Love Massacre is a San Fransisco set slasher directed by Patrick Tam and starring a 27 years old Brigitte Lin whose boyfriend turns into a murdering maniac after his little sister committed suicide.
The story itself is fairly basic although well-paced but the real highlight is Tam’s eye for great composition of shots and a distinct use of colours that make for a delightful slasher atmosphere.
Delightful slasher atmosphere. Whatever that means. It’s awesome to look at and entertaining is what I’m trying to say.
There are also some sweet handheld, stalking sequences that are full of fun tension and like one would expect from a 1981 film the score is one odd and sweet experimentation in synth sounds.
As little slasher from the early 80’s its stylish cinematography and obscurity alone make it worth a watch for fans of the genre, but besides that it’s also plain entertaining.
Given how clearly it spells out its influences*, Love Massacre always retains a sense of idiosyncrasy. The insistence on abstraction and color-coordination, while still operating within a clearly mapped out narrative framework should lead to a natural tension, but is completely diffused by its displacement. If Hong Kong New Wave was prone to capitalize on its transatlantic or European education, San Francisco as a place seems completely of disinterest here; impersonal overpainted hallways and Art dèco-rated apartments leavened by an early sojourn into the Redwoods. The plot is of pointed non-interest here, serving as a springboard for Tam's visual sensibilities and interests. More a film about ambiance - those pan flutes, dude! - than actual feelings, but that's…
Love Massacre is a very good film and one of the most distinct slasher films. The film explores love and obsession in interesting ways as it uses its elaborate pace to its advantage. The film has an uneasy and eerie atmosphere as the psychological story occurs in desolate locations. The characters are given some nuance as they build off their traumas and relationships in unexpected ways. The performances are very good as they work with the film's mix of understated characters and sudden bursts of violence.
The direction is very good, as Patrick Tam Kar-Ming creates some tense set pieces while using the silences in ways that make the horror scenes more effective. The film looks great as it presents…
the oftentimes illegible subs only added to the tension. love the tight framing and how the movie shifts tones. so different than my heart is that eternal rose and has me excited to see more from the director.
Superb Antonioni homage that morphs into a psychothriller slasher kind of deal. The two Elemis pull against each other: this doesn’t have Antonioni’s philosophical commitment, and fails to marry the earthy concerns of fighting off a killer with the more conceptual interest in modern alienation. Fascinating though, with great images.
Enigmatic, even if the white subtitles and white-hot surfaces of the rip didn't make the dialogue illegible. Tam disperses the efficient narrative economy and broad archetypes of the slasher, filling it with long stretches of silence that are interrupted by precise, disturbing blasts of slaughter and color. Antonioni was the first comparison that came to mind. Reminded me of the time that I dozed off during a screening of "L'Avventura," waking up closer to the end to be shocked, scared even, by how sad it suddenly seemed. Violence as the only valid contact, maybe something about there being conformity in death too. I'd wait for a cleaner copy to find its way out there though.
was lost for about 2/3 of it, but the last 30 minutes reaches a beautiful rhythm. it's not red, it's blood; it's not sex, it's love
maybe the scariest slasher i've seen?
I do hate to be the 667th person to log this on letterboxd, because 666 is almost the perfect number for something this obscure; but if the reviews here are basically one long petition for this thing to get a proper remaster, I'm glad to add my name to it - this study of isolation and alienation as essential components of the American experience deserves so much better than what's currently available. It's not perfect - a lot of the horror elements in the back half are well-handled, but feel like they're only there to meet a quota. But the mood of anxious desolation that pervades the whole thing is so strong that even the faded print can't obscure it, with the illegible subtitles almost seeming superfluous. Remaster, please!
Se Mondrian algum dia tivesse a ideia de produzir um slasher, o resultado seria exatamente o "Love Massacre" de Patrick Tam; poucas vezes na História o filme de gênero conviveu tão bem com pesquisas formalistas ligadas à arte moderna. Nessa obra-prima da New Wave de Hong Kong, a mise en scène deve muito ao abstracionismo pictórico, apostando na geometrização do espaço e no trabalho cromático puro, calcado sobretudo na saturação do azul, do branco e do vermelho.
Aqui não há psicologia das cores, elas pouco ou nada dizem do estado de espírito dos personagens. Elas são formas em si mesmas, são parâmetros puros que entram em contato no quadro fílmico e criam contrastes ou complementaridades visuais: enquanto o branco do…
Tam's Love Massacre is one of the more singular deployments of the horror genre I've ever experienced, infusing European impressionist aesthetic sensibilities - the cold precise aesthetics of Antonioni & the color/vibrancy of Godard - with that lean narrative form of the slasher film to deliver a singular vision ripe for inquiry and interpretation related to the male ego, diaspora, and environment-induced nihilism. A transfixing deconstruction of wealthy, diasporic ennui, Love Massacre is in a sense antithetical to Tam's Nomad in the way violence and destruction feels inevitable - the cold, aesthetic deployed here consistently evoking a sense of detachment and alienation that is palpable and uneasy. Love Massacre is in a sense of a deeply nihilistic film, one in which…
tudo que eu preciso
This review may contain spoilers. I can handle the truth.
1981 films sure had this feel. Everything, from camera color, flat characters and lines and yet somehow calming to it, retro French New Wave to brew up HK New Wave.
I for sure thought Brigette Lin would be a femme fatale here given the neo noir taste. Yes, calm shots within violent nature. Spoiler, at least she saved herself not a damsel in distress. The only thing I would like to know is that of desert on opening and last scene, was that how she felt. Also, I love how she hugged Chung in the end.
Frankly I like Nomad (1982) better for its Chinese fever. Still, I don't mind watching both only for the sake of high quality cinematography Tam had.
No me llego a atrapar del todo, pero la música y la cinematografía (más la pinta VHS, pero eso creo es mas porque la película fue subida así a youtube) hizo que en todo momento yo estuviera re tranquilo, siendo que esa nisiquiera era la intención, pero bueh.
Puto genio el que puso los subtitulos de color blanco siendo que en la mayoría de las escenas el color que predomina es el blanco, haciendo que no se pueda leer nadaaa.
Restaurenla por favor.
Enormemente interessante. Tam sceglie di optare per una sorta di ibridazione tra amore, delitto, guerra e follia, puntando soprattutto su contrasti per costruire una realtà alienante, dove tutto assume un carattere schizofrenico proprio per catapultarci in una sorta di slasher metropolitano che diventa intrigante non tanto per la sua effettiva poetica, che risulta comunque straniante grazie al continuo cambio di registro, quanto piuttosto per la ricerca estetica che va ad adottare.
Si potrebbe infatti dire che il regista sceglie di concentrarsi quasi esclusivamente su quello, garantendo un carattere assolutamente unico soprattutto alla forma. Sebbene la sperimentazione dei codici cinematografici garantisca una natura "liquida" al film, capace di cambiare più volte in corso d'opera la propria matrice portante, l'obiettivo di Tam…
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