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.

說實(shí)在的，這類片子我不大喜歡，因?yàn)椴幌矚g推理吧（這樣就會(huì)錯(cuò)過好些片子）。
那個(gè)女人徒手打男人的場(chǎng)景不錯(cuò)。
很多插入的鏡頭，切換到另一個(gè)相似的場(chǎng)合。
1967年的片子彩色已經(jīng)很不錯(cuò)了，看來如同90年的。

《步步驚魂》是典型的黑色電影，凌厲而簡(jiǎn)潔的搶劫戲，夾雜著主角沃克的囈語，勾勒出主角沃克陰郁孤絕的狀態(tài)，通過如夢(mèng)般的閃回主角逃出了號(hào)稱最森嚴(yán)監(jiān)獄的阿爾卡特茲島，而通過最開始的具有夢(mèng)的色彩的回溯我們能夠感受到故事的混亂暴力程度和曖昧、失衡的氛圍，這些元素在那樣的敘事方式下被強(qiáng)化。再次歸來的沃克已是銀發(fā)蒼蒼，而背叛他的妻子也與同樣背叛他的友人里斯分開，緊接著向沃克懺悔過的妻子選擇了自殺，而沃克走到窗前時(shí)卻又聽見妻子的歌唱，再次打開門只是空蕩蕩的房間，遠(yuǎn)處再次傳來妻子的歌聲

“步步驚魂”彩色的黑色經(jīng)典
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