ブラック・スネーク・モーン スペシャル・コレクターズ・エディション;BLACK SNAKE MOAN [DVD]
フォーマット | 色, ドルビー, ワイドスクリーン, 字幕付き, 吹き替え |
コントリビュータ | サミュエル・L・ジャクソン.クリスティーナ・リッチ.ジャスティン・ティンバーレイク.S・エパサ・マーカーソン, クレイグ・ブリュワー |
言語 | 英語, 日本語 |
稼働時間 | 1 時間 56 分 |
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商品の説明
商品紹介
★セックス依存症の女と孤独な中年男・・・ 壊れた二人の心を1本の"鎖"が結びつける、衝撃的な愛を描いた問題作!
★過激なヌード&セックスシーンを惜しみなく披露したクリスティーナ・リッチ!!
★想像を絶する「愛のカタチ」に世界中が絶賛!!
【映像特典】
■監督、脚本クレイグ・ブリュワーによる音声解説
■「ブラック・スネーク・モーン」制作における葛藤
■「ブラック・スネーク・モーン」の音楽
■テーマ曲「ブラック・スネーク・モーン」
■削除シーン(監督、脚本クレイグ・ブリュワーによる音声解説あり)
■フォト・ギャラリー
【ストーリー】
アメリカ南部の田舎町。妻に逃げられた孤独な元ブルース・ミュージシャン、ラザラスは、道ばたに捨てられていた若い女性を発見する。彼女の名前はレイ。子供の時のトラウマが原因でセックス依存症となり、恋人がいながら、いきずりの男と肉体関係を重ねていた。レイの中に深い闇を見たラザラスは、鎖で縛り付けて彼女を監禁。"ブルース"によってその痛んだ心を癒していく…
※ジャケット写真、商品仕様、映像特典などは予告なく変更となる場合がございますのでご了承ください。
Amazonより
アメリカ南部の田舎町。流れるブルース。黒人の中年男が、若い白人の女を鎖で縛って監禁する。キワモノ感プンプンの設定に反して、あまりにもまっとうな愛の物語に面食らう。ヒロインのレイはセックス依存症。恋人が新兵訓練のために町を離れ、寂しさに耐えきれない彼女は、男に暴行を受け、道端に捨てられてしまう。そんなレイを助けるラザルスも、浮気妻に出て行かれたばかりの傷心の身。ラザルスは、自分なりの過激な方法でレイに本当の愛を教えていく。
タイトルがブルースの曲名であることから分かるように、重要シーンでブルースが奏でられ、その歌詞が映画のテーマを伝えていく。前作『ハッスル&フロウ』でも音楽をモチーフにしたクレイグ・ブリュワー監督らしいアプローチだ。そして音楽以上に際立つのが、俳優の存在感。ブルースを切々と歌うサミュエル・L・ジャクソンもいいが、堕落しまくりのスキャンダラスなヒロインで共感を誘うクリスティーナ・リッチの演技には唸るしかない。どんなに悲しい経験をしても、いつかは小さな幸せが待っている…と思わせてくれる佳作だ。(斉藤博昭)
登録情報
- アスペクト比 : 2.35:1
- 言語 : 英語, 日本語
- 梱包サイズ : 19 x 13.5 x 1.5 cm; 49.9 g
- EAN : 4988113822688
- 監督 : クレイグ・ブリュワー
- メディア形式 : 色, ドルビー, ワイドスクリーン, 字幕付き, 吹き替え
- 時間 : 1 時間 56 分
- 発売日 : 2008/1/11
- 出演 : サミュエル・L・ジャクソン.クリスティーナ・リッチ.ジャスティン・ティンバーレイク.S・エパサ・マーカーソン
- 字幕: : 英語, 日本語
- 言語 : 日本語 (Dolby Digital 5.1), 英語 (Dolby Digital 5.1)
- 販売元 : パラマウント ホーム エンタテインメント ジャパン
- ASIN : B000YIRQNW
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 20,299位DVD (DVDの売れ筋ランキングを見る)
- - 1,757位外国のドラマ映画
- カスタマーレビュー:
-
トップレビュー
上位レビュー、対象国: 日本
レビューのフィルタリング中に問題が発生しました。後でもう一度試してください。
実際には人道主義的かつ、ブルースのナンバーに彩られた渋いアーチスティックな内容である。カンヌ、ベネチアには壁が高いのかもしれないが、何ら映画賞を受賞していないのが不思議なぐらいの傑作だと思う。
誰かが“飼育”と書いているが、これはオッサンによる性的な“飼育”なのではない。愛情のある“説諭”なのである。
開始30分程度は救いようのない内容であるが、そこで視聴を止めることのないようお願いしたい。何故なら、これは救いようのない人間への救済を試みる話なのだから。つまり、テーマは救済、癒しといった建設的なものなのだ。
雷鳴轟く中、サミュエル・L・ジャクソンがブルースを弾く場面は、特に胸に響く名シーンだった。
ありがとうございました。
優しさだけでは甘えさせるだけで治らない心の病
哀しさを併せ持った優しさ、ブルースの調べの様な優しさが彼女を救う
繰り返す調べは日々の変化の少ない田舎町での生活と一緒
悲哀や孤独感を歌っているけど最終小節には幸せと希望を願った黒人の歌。ブルースにのせて
単音だけでは味気がないけど福音(パートナー)で奏でる音楽も魅力だ♪
彼にとっては願いが届かなかった娘への悪魔祓いの気持ちだったんだろうね
最後に黒人の言葉を使う白人女と文明人らしい(私の説明が下手だね)思考の黒人が逆転しているのが感じ取れました。もっと沢山詰め込まれていたように思うけど、私には限界ですww
.
失敗しても大丈夫!明日からも頑張ろーって気分になれる。
人に優しくしたくなる。
途中に出てくるヒドイ人達には、ちゃんと自分の罪を認めて償ってほしいとけども。
それほどまでに、映画とブルース音楽が不可分になっており、音楽や映像は当然として、人物造形でさえも、奏でられるブルース音楽によって語られているのである。
かくいう私は、ブルース音楽については無知である。なので、内容についてはよくわからなかったのだった。
ところで、この映画にはキャスパーやアダムズファミリーの子役こと、クリスティーナ・リッチが大人になって出演している。役柄はトラウマ故に色情過多となった貧乏白人。映画のほとんどを半裸で過ごし、おヌードまで披露という、肉弾体当たり演技で役者魂を見せつけてくれる。
しかし・・・それが意外にもあんまりヤらしくないんですよね。
アイスストームやバッファロー66では、ぽちゃぽちゃぷりんぷりんしてたのは皆さんご存知でしょうが、この映画では見事に肉体はシェイプされ、張り詰めた肌の下に隆起する筋肉の動きがありありとわかるアスリートばりの精悍さ。しかし身長は155センチ。正直、ちんちくりんで色気に乏しいような気が・・・こういうの、なんか既視感あるなと思ったら、それは安達○実。
う~ん、個人的には昔のようにむっちんむっちんしててほしかったが、やはり一流の役者は進化し続けてるということか。とはいえ、痩せてる女性が好みの人はストライクだと思います。
冒頭から伝説のブルーズマン、サンハウスの白黒インタビューをかまされしかたなく襟をただすと
間髪入れずに濃厚なセックスシーン。
数分経過していかにもアメリカンな巨大トラクターに中指たてるクリスティーナ・リッチ
それを背にしたタイトルバックを目にする段階ですでにKOです。
終始流れるのは、いわゆるシカゴあたりの観光客向けに洗練された渋がったブルースではなく
サオモノ片手にがなりたてる黒光りした情念がのたうつミシシッピのブルーズです。
ジョン・スペンサー以降のインディー・ロックに信奉されたファット・ポッサムの面々など、誰にも分かりやすいギンギンに屹立したブルーズです。
ジュークジョイント的な舞台でRLバーンサイドのAlice Maeをぶちかました瞬間に目的を100%達成した映画です。
こういう最もわかりやすく尊いはずの価値観がなぜか絶滅に瀕しているのかは現代社会の由々しき問題だろうと思います。
レッドスネークカモ〜ン!!…を日本の配給会社がもじってつけた、そんなフザけた系の作品かと思いきや、、、
無茶苦茶いい作品やん。。。(タイトルも原題ママやん。。。)
ポスターデザインも、フォントも、全く作品の内容を伝えないですよね、これでは。。。
なんとも残念なプレゼンだと思います。すごくいい作品なのに。。。
一言で言えば、良い監禁映画です。
通常で言えば監禁映画なんて、古くは“コレクター”、“ミザリー”、比較的最近なら“ルーム”、“クリーブランド監禁事件”など胸糞系の“悪い”監禁映画ってのが相場のはずですが、こんな素敵な監禁映画があるとわ。。。🫢😁
ブルースマンも、偉大なミュージシャンだけどダメ人間…みたいな方が多い印象(すみません。独断です…)ですが、サミュエル L 、無茶苦茶素敵なおじさんじゃないですか。。。顔つきだけでいっても、彼以上にブルースマンを地でいく俳優は他にいないというくらいで、ダミ声での moanin'(呻めき) も最高なキャスティングでした。
ライブシーンも、演奏そして何よりカット割というか撮り方がとてもうまくて、クリスティーナリッチのトランス状態も納得の迫力シーンに仕上がっています。
ブルースがパンクな人生を癒す…とてもハートフルな作品です。
他の国からのトップレビュー
Samuel L. Jackson and Christina Ricci go to the brink here - two of their finest roles.
The South isn’t just in Craig Brewer’s heart but underneath his fingernails as well, and with Black Snake Moan he gives his home region a kick-a** modern exploitation film to call its own. Whereas hip-hop was the groove underscoring Brewer’s overrated Hustle & Flow, it’s the blues that infects his latest, a sonic substitution that goes hand in hand with the writer-director’s storytelling maturation from a Little Pimp That Could fable to his current tale, which ultimately exudes skepticism over the possibility for personal transcendence and redemptive happily-ever-afters. Yet before such conclusions can be drawn about the filmmakers’ evolution (which also includes a more finely honed and controlled aesthetic), first one must make it through the provocative—and occasionally borderline-misogynistic—content that he serves up in bucketloads. Drenched in explosively charged imagery, Black Snake Moan is exploitation cinema of the grungiest, nastiest, and thus finest order, delivering a volatile batch of extreme sex, extreme profanity, and—most of all—extreme racial and gender dynamics. A B movie with an A-list cast, it’s an audaciously confrontational, button- and boundary-pushing work, marked by a sharp wit and a gleeful desire to see just how much it can get away with.
As it turns out, that’s quite a lot, thanks in large part to Christina Ricci. Left to her own devices after boyfriend Ronnie (Justin Timberlake) heads off to Iraq, notorious town pump Rae (Ricci) finds herself powerless to repress her nymphomaniacal itch, temporarily satiating her carnal appetites with anyone who has a pulse and an...itch. Sporting filthy blond hair, a body that’s all sharp, skinny angles, and often nothing more than a teensy Confederate Flag-adorned cut-off top and white panties, Ricci embodies Rae with debased fierceness, her giant eyes radiating a voracious, self-destructive, animalistic sexual hunger. She’s a b**** in perpetual heat, so, naturally, after being beaten and left for dead on the side of the road, she’s discovered by a churchgoing farmer and former blues singer named Lazarus (Samuel L. Jackson) who, horrified by the girl’s condition—and, after she awakens, her unbridled libidinous cravings—chains her to his radiator like a dog in need of housetraining so as to cure her of her wickedness. It’s slavery role-reversal with a porno twist, featuring a grizzled, scripture-quoting African-American as plantation massa, and a feisty, semi-nude white girl as his captive, the latter a feral creature apt to snatch and swallow up any unsuspecting virgin visitors to her new abode. (Which, indeed happens.)
In this contentious arrangement, Rae, turned rotten by childhood abuse from one of Mom’s (played brilliantly by Kim Richards, former Disney star, last seen in 1985's Tiff Turf. She sold her soul to the Bravo/Real Housewives franchise) boyfriends, gets a caring but stern father figure; Lazarus, still bitter over his cheating (though it's debatable) wife’s desertion with his brother, gets someone at whom he can direct both his anger and his Christian benevolence. Brewer, meanwhile, initially treats his scenario as a vehicle for sleazily amusing and erotic kicks. Lazarus’s name is a tip-off to his role as an agent of Rae’s—and, via their chaste relationship, his own—resurrection, and the crudity of the bibilical reference is indicative of Black Snake Moan’s charm-through-rawness, which permeates everything from Rae crawling like a dog across Lazarus’s living room floorboards, to her wrapping herself in chains (as one would do with a blanket or pillow) on a couch as a means of staving off her relentlessly impure thoughts. Yet despite the fact that the rowdy narrative itself is composed of spit, sweat, writhing, weeping, growling, and grinding, the film nonetheless treats the emotions of its characters and situations with surprising seriousness, thereby bringing touching tenderness to its odd couple’s gentle embrace after Lazarus strums a song for Rae, and palpable heat to Rae’s euphoric dance at Lazarus’s bruising, blistering comeback show.
Intimately familiar with his milieu, Brewer doesn’t strain to oversell his setting’s dusty, sticky, so-hot-you-only-need-wear-a-wife-beater atmosphere - the cinematography, courtesy of Amelia Vincent (who shot the hoo-doo classic, Eve's Bayou (1997) is excellent - you can feel the oppressive heat. Since Rae and Lazarus’s relationship is, at heart, a dual exorcism, the story is forced—to its detriment—to progress past its electric, incendiary girl-in-chains middle act and toward a wrap-up that’s light on out-there material and heavy on heartwarming healing (however ambiguous). Yet what eventually gives heartrending intensity to Rae and Lazarus’s spiritual journey from the dark, stank, STD-infected bowels of individual h*ll to the sunshiny warmth of mutual renewal is the filmmaker’s apparent distrust of his upbeat conclusion, his final scene casting ambiguous light on the attainability of sustained salvation. Brewer’s prior film may have argued that it’s hard in the South for a p*mp, but with Black Snake Moan, he confirms that what’s even harder is finding peace with one’s own inner demons.
And what a soundtrack! ASIN#B000L211NC (CD or Prime Music). Amazing. The film is scored by Scott Bomar, who recently scored the recent Eddie Murphy comeback and Rudy Ray Moore biopic. He's worked with everyone from Al Green to Cyndi Lauper.
Opening Theme (Scott Bomar)
Scott Bomar: Ain't But One Kind Of Blues
Son House: Just Like A Bird Without A Feather
Samuel L Jackson: When The Lights Go Out
The Black Keys: Standing In My Doorway Crying
Jesse Mae Hemphill: Chicken Heads
Bobby Rush: Black Snake Moan
Samuel L Jackson: Morning Train
Precious Bryant: The Losing Kind
John Doe: Lord Have Mercy On Me
Outragious Cherry: Ronnie and Rae's Theme
Scott Bomar: The Chain
Scott Bomar: Alice Mae
Samuel L Jackson: Stack-O-Lee
Samuel L Jackson: Old Black Mattie
R.L. Burnside: That's Where The Blues Started
Son House: Mean Ol' Wind Died Down
North Mississippi Allstars
Bluray Extras:
Audio Commentary by the Writer/Director Craig Brewer, who previously helmed the okay Hustle and Flow. This is actually one of the most interesting Commentaries that I have come across recently, Brewer is a captivating narrator who provides just the right mix of background into character/story, and anecdotes about the production itself. The best bits are the personal bits, where he talks about Jackson's own ideas for the movie, his own observations on real-life situations and the production antics. If you like the movie then you have to sit down for this commentary, it is well worth listening to.
Conflicted: The Making of Black Snake Moan is nearly half an hour in length and takes an in-depth look at this production, with comments from the crew: the writer, director, the composer and the producers (the late John Singleton amongst them), all talking about the almost fantastical movie that they were trying to create, and how they set about forging it. There is plenty of behind the scenes footage injected it - far more than there is final film shots - and the discussions over the blues roots, the sexual themes and the characters depicted are quite interesting. Jackson, Timberlake and Ricci provide on-set interviews, offering their viewpoints as well, and this is quite a refreshingly honest, down-to-earth Documentary that never seems fluffy.
Rooted in the Blues takes out twelve minutes to look specifically at the soundtrack that they created for this movie, the blues artists that they put together and the music that they wanted to produce. There is plenty of Behind the Scenes footage, as well as contributions from most of those seen on the previous Making-Of and this makes for a nice companion Featurette. The Black Snake Moan Featurette takes a ten-minute specific look at the Black Snake Moan song that is brought to life halfway through the movie and how they created their perfect rendition of it.
There are also 6 Deleted Scenes, all presented in glorious High Definition. Totalling nearly fifteen minutes of cut footage (all with optional Commentary by the Director explaining why they were excised), they vary from scene extensions (Ricci's scene in the bathtub with more religious overtones, to advice that Lazarus seeks from his friends, to flashbacks to how Rae met her true love, it is nice to have them included here, and looking especially good in High Definition. Finally there's the Theatrical Trailer to round off the disc.
2020年5月25日にアメリカ合衆国でレビュー済み
Samuel L. Jackson and Christina Ricci go to the brink here - two of their finest roles.
The South isn’t just in Craig Brewer’s heart but underneath his fingernails as well, and with Black Snake Moan he gives his home region a kick-a** modern exploitation film to call its own. Whereas hip-hop was the groove underscoring Brewer’s overrated Hustle & Flow, it’s the blues that infects his latest, a sonic substitution that goes hand in hand with the writer-director’s storytelling maturation from a Little Pimp That Could fable to his current tale, which ultimately exudes skepticism over the possibility for personal transcendence and redemptive happily-ever-afters. Yet before such conclusions can be drawn about the filmmakers’ evolution (which also includes a more finely honed and controlled aesthetic), first one must make it through the provocative—and occasionally borderline-misogynistic—content that he serves up in bucketloads. Drenched in explosively charged imagery, Black Snake Moan is exploitation cinema of the grungiest, nastiest, and thus finest order, delivering a volatile batch of extreme sex, extreme profanity, and—most of all—extreme racial and gender dynamics. A B movie with an A-list cast, it’s an audaciously confrontational, button- and boundary-pushing work, marked by a sharp wit and a gleeful desire to see just how much it can get away with.
As it turns out, that’s quite a lot, thanks in large part to Christina Ricci. Left to her own devices after boyfriend Ronnie (Justin Timberlake) heads off to Iraq, notorious town pump Rae (Ricci) finds herself powerless to repress her nymphomaniacal itch, temporarily satiating her carnal appetites with anyone who has a pulse and an...itch. Sporting filthy blond hair, a body that’s all sharp, skinny angles, and often nothing more than a teensy Confederate Flag-adorned cut-off top and white panties, Ricci embodies Rae with debased fierceness, her giant eyes radiating a voracious, self-destructive, animalistic sexual hunger. She’s a b**** in perpetual heat, so, naturally, after being beaten and left for dead on the side of the road, she’s discovered by a churchgoing farmer and former blues singer named Lazarus (Samuel L. Jackson) who, horrified by the girl’s condition—and, after she awakens, her unbridled libidinous cravings—chains her to his radiator like a dog in need of housetraining so as to cure her of her wickedness. It’s slavery role-reversal with a porno twist, featuring a grizzled, scripture-quoting African-American as plantation massa, and a feisty, semi-nude white girl as his captive, the latter a feral creature apt to snatch and swallow up any unsuspecting virgin visitors to her new abode. (Which, indeed happens.)
In this contentious arrangement, Rae, turned rotten by childhood abuse from one of Mom’s (played brilliantly by Kim Richards, former Disney star, last seen in 1985's Tiff Turf. She sold her soul to the Bravo/Real Housewives franchise) boyfriends, gets a caring but stern father figure; Lazarus, still bitter over his cheating (though it's debatable) wife’s desertion with his brother, gets someone at whom he can direct both his anger and his Christian benevolence. Brewer, meanwhile, initially treats his scenario as a vehicle for sleazily amusing and erotic kicks. Lazarus’s name is a tip-off to his role as an agent of Rae’s—and, via their chaste relationship, his own—resurrection, and the crudity of the bibilical reference is indicative of Black Snake Moan’s charm-through-rawness, which permeates everything from Rae crawling like a dog across Lazarus’s living room floorboards, to her wrapping herself in chains (as one would do with a blanket or pillow) on a couch as a means of staving off her relentlessly impure thoughts. Yet despite the fact that the rowdy narrative itself is composed of spit, sweat, writhing, weeping, growling, and grinding, the film nonetheless treats the emotions of its characters and situations with surprising seriousness, thereby bringing touching tenderness to its odd couple’s gentle embrace after Lazarus strums a song for Rae, and palpable heat to Rae’s euphoric dance at Lazarus’s bruising, blistering comeback show.
Intimately familiar with his milieu, Brewer doesn’t strain to oversell his setting’s dusty, sticky, so-hot-you-only-need-wear-a-wife-beater atmosphere - the cinematography, courtesy of Amelia Vincent (who shot the hoo-doo classic, Eve's Bayou (1997) is excellent - you can feel the oppressive heat. Since Rae and Lazarus’s relationship is, at heart, a dual exorcism, the story is forced—to its detriment—to progress past its electric, incendiary girl-in-chains middle act and toward a wrap-up that’s light on out-there material and heavy on heartwarming healing (however ambiguous). Yet what eventually gives heartrending intensity to Rae and Lazarus’s spiritual journey from the dark, stank, STD-infected bowels of individual h*ll to the sunshiny warmth of mutual renewal is the filmmaker’s apparent distrust of his upbeat conclusion, his final scene casting ambiguous light on the attainability of sustained salvation. Brewer’s prior film may have argued that it’s hard in the South for a p*mp, but with Black Snake Moan, he confirms that what’s even harder is finding peace with one’s own inner demons.
And what a soundtrack! ASIN#B000L211NC (CD or Prime Music). Amazing. The film is scored by Scott Bomar, who recently scored the recent Eddie Murphy comeback and Rudy Ray Moore biopic. He's worked with everyone from Al Green to Cyndi Lauper.
Opening Theme (Scott Bomar)
Scott Bomar: Ain't But One Kind Of Blues
Son House: Just Like A Bird Without A Feather
Samuel L Jackson: When The Lights Go Out
The Black Keys: Standing In My Doorway Crying
Jesse Mae Hemphill: Chicken Heads
Bobby Rush: Black Snake Moan
Samuel L Jackson: Morning Train
Precious Bryant: The Losing Kind
John Doe: Lord Have Mercy On Me
Outragious Cherry: Ronnie and Rae's Theme
Scott Bomar: The Chain
Scott Bomar: Alice Mae
Samuel L Jackson: Stack-O-Lee
Samuel L Jackson: Old Black Mattie
R.L. Burnside: That's Where The Blues Started
Son House: Mean Ol' Wind Died Down
North Mississippi Allstars
Bluray Extras:
Audio Commentary by the Writer/Director Craig Brewer, who previously helmed the okay Hustle and Flow. This is actually one of the most interesting Commentaries that I have come across recently, Brewer is a captivating narrator who provides just the right mix of background into character/story, and anecdotes about the production itself. The best bits are the personal bits, where he talks about Jackson's own ideas for the movie, his own observations on real-life situations and the production antics. If you like the movie then you have to sit down for this commentary, it is well worth listening to.
Conflicted: The Making of Black Snake Moan is nearly half an hour in length and takes an in-depth look at this production, with comments from the crew: the writer, director, the composer and the producers (the late John Singleton amongst them), all talking about the almost fantastical movie that they were trying to create, and how they set about forging it. There is plenty of behind the scenes footage injected it - far more than there is final film shots - and the discussions over the blues roots, the sexual themes and the characters depicted are quite interesting. Jackson, Timberlake and Ricci provide on-set interviews, offering their viewpoints as well, and this is quite a refreshingly honest, down-to-earth Documentary that never seems fluffy.
Rooted in the Blues takes out twelve minutes to look specifically at the soundtrack that they created for this movie, the blues artists that they put together and the music that they wanted to produce. There is plenty of Behind the Scenes footage, as well as contributions from most of those seen on the previous Making-Of and this makes for a nice companion Featurette. The Black Snake Moan Featurette takes a ten-minute specific look at the Black Snake Moan song that is brought to life halfway through the movie and how they created their perfect rendition of it.
There are also 6 Deleted Scenes, all presented in glorious High Definition. Totalling nearly fifteen minutes of cut footage (all with optional Commentary by the Director explaining why they were excised), they vary from scene extensions (Ricci's scene in the bathtub with more religious overtones, to advice that Lazarus seeks from his friends, to flashbacks to how Rae met her true love, it is nice to have them included here, and looking especially good in High Definition. Finally there's the Theatrical Trailer to round off the disc.
In summary, the plot revolves around Rae Dooley, a young and emotionally vulnerable girl (Christina Ricci) and we begin on the eve of the deployment of her nervous army boyfriend, Ronnie Morgan (Justin Timberlake). We see her quickly fall apart after his departure into a world of casual sex, drugs and ultimately violence, to end up being left for dead on the side of a country lane after having received a savage beating from Ronnie’s friend, Gill. She is then found and rescued by farmer Lazarus Redd (Samuel Jackson) and gradually nursed back to physical and mental health by his version of rough love. I say rough love, because one technique he uses to control her episodes of psychotic disorder whilst recovering includes restraining her to an old radiator in his little farmhouse/shack by the use of a long chain wrapped around her waist.
The characters are complex. Rae is by turns, vulnerable, incoherent and blisteringly sexy; Ronnie suffers from panic attacks and nerves; Lazarus displays a mix of brooding anger and helplessness as well as religious doubt, most of this arising from the breakdown of his marriage, a sub-plot to the main story. Of course this film will divide opinion. It’s easy to take a prejudiced and stereotypical view of the subject matter. I suppose the story could have been told without the overtly graphic scenes but then it would lose its edgy, visceral impact that is essential for driving home the desperately difficult situations that each character is going through.
If there is one scene that encapsulates the entire film, it is the one in the farmhouse kitchen where upon realizing that it is not for him to dictate how others lead their lives, he releases Rae from her chain, only for her not to immediately run away but to ask him to play the guitar for him. When he does so, he recounts events imminently preceding the breakup with his wife all the while strumming, at a slow tempo, the blues song ‘black snake moan’. The scene takes place amidst the back drop of a thunderstorm, with the power going on and off. It’s terrifically atmospheric and bluesy and leaves both characters emotionally drained and at the end you just know that a deep bond has developed between them. Now tell me that’s the hall mark of a sexual exploitation movie.
I’ve mentioned music. Indeed it underpins the whole film: a superb authentic Mississippi blues soundtrack which helps give the film such atmosphere. As I’ve said, some of the scenes where Lazarus sings the blues are electric. In fact, I enjoyed the music so much I went and bought the CD soundtrack.
I purchased this film as a DVD back in 2009 and have watched it several times since then and enjoyed it every time. I think Black Snake Moan is greatly underrated.
Mais, ce qui me retenait c'est la bande-annonce: comment ne pas penser à un truc tordu quand on suppose que l'essentiel du film va nous montrer une fille blanche en culotte enchaînée à un radiateur par un vieux bluesman noir?
Ce n'est pas l'essentiel du film, on comprend tout de suite que le bluesman est un homme bon, que la fille est en détresse et qu'il ne veut qu'une chose l'aider.
La chaîne devient la bouée, la force de cette fille fasse à ses démons intérieurs.
Un bon film et du bon blues!