同样是对动作事无巨细地呈现布列松与梅尔维尔不同的是:没有优雅只有冷峻;没有潇洒浪子只有卑猥凡人;没有驾轻就熟从容淡定地抽身离去只有犹豫迟疑后因环境压迫而不得不做出“to be or not to be”的抉择 大量旁白让电影极富文学性连同几乎是“黏”在男主身上的镜头把观众和死囚置于同一境地结尾用声音拓展叙事空间营造出的紧张感出神入化
Mizoguchi employs his trademark graceful and meditative camera style, especially gliding long takes, in checking against ambition, greed, and the iniquity of patriarchal society. A towering masterpiece with quiet intensity and emotional subtlety.