白衣天使：美臀不设防

 伦敦一个建筑工地发现了一枚未爆炸的二战时期炸弹，当拆弹专家前来处理时，引发了大规模疏散，同时也为一场银行抢劫提供了完美的掩护。

 故事发生在1966年6月6日的上午6时，在这样一个不吉利的时刻，美国大使罗伯特（格利高里·派克 Gregory Peck 饰）领养了一个男孩并取名戴米（哈维·史蒂芬斯 Harvey Stephens 饰）。随着时间的推移，戴米渐渐长大，一些奇怪事件的接连发生预示着厄运敲响了罗伯特的家门。戴米的保姆莫名自杀后，一个神秘的女人贝洛克（比莉·怀特劳 Billie Whitelaw 饰）毛遂自荐留在了戴米的身边。之后，神父博南（帕特里克·斯偌顿 Patrick Troughton 饰）找到了罗伯特，他告诉罗伯特，戴米是撒旦的孩子，戴米会不择手段完成统治世界的野心。对于神父的话，罗伯特半信半疑，直到博南神父的死讯传来，罗伯特才意识到，事态的发展是多么的糟糕。

　　年轻的贡嘎和他的表弟巴特在一个废品场里意外发现了一个装满生锈十字架的手提箱。巴特灵机一动，决定将这些十字架改造成霓虹十字架，并逐户向第比利斯的居民推销。他们在城市郊区的漫游因此变成了一场寻找爱情与友情的冒险。

　　Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart.　　Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory?　　n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in.　　What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts.　　On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired.　　One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places.　　Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.