跟读练习: When A Movie Hides That It's A Horror Film - 通过YouTube学习英语口语
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Sometimes when I'm watching a horror film,
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Sometimes when I'm watching a horror film,
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I can't help but be a little dissociated from the violence and the scares after a certain point.
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Going into a horror movie nowadays,
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I know what to expect.
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We all do in my mind.
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We get a basic setup with characters,
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introduce the threat, general creepy stuff until something actually happens.
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People fight the bad guy and either win or lose by the end.
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Now, I'm being generic, I know,
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but that's precisely what I'm critiquing.
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I think we all like to be taken on a journey when watching a movie.
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And for me, I like it when a horror movie feels unpredictable.
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But that's sometimes asking a lot from a genre that is pretty well explored at this point.
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So how do we keep our horror fresh?
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Well, one way to do it is to put it in a non-horror world.
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I've seen a couple videos now of the scariest scenes in non-horror movies,
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and I realize those films contain some of the most horrific moments in movies.
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I'm talking about scenes like the baby scene in Trainspotting,
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or just about any scene from the second half of Requiem for a Dream.
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I love when movies that aren't horror introduce elements of horror because I'm never quite expecting them to go there.
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I don't have those same expectations that I do in a straight-up horror movie,
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so those scenes are even more effective.
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Now, if you've been watching my videos for a while,
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you know I've been really scouring through IMDb looking for obscure horror movies from Asia that I want to give recognition to.
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And we are sticking with that trend today.
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But I'm not going to be talking about a movie that's technically labeled as horror,
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but it somehow contains some of the most disturbing and unsettling scenes I've seen in quite a while.
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I'm Nightmare Movies, and today I want to introduce you guys to 1996's Picnic.
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I'm not going to be covering Picnic in its entirety.
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It's a beautifully strange movie that I highly recommend you all check out.
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Instead, I want to give you a basic summary,
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then break down one of the main characters' stories neatly placed into three disturbing scenes.
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So let's get into it.
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The first part of this film introduces us to a character named Coco,
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a young alternative girl being driven to and placed in a mental asylum by her parents.
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She's pulled out of the car by a gang of overly enthusiastic attendants at the asylum.
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We're not entirely sure why she's being taken in at the moment,
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but as the film goes on,
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every character is revealed to have a dark secret.
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She's taken in and locked in a room to be processed by administration.
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A nurse enters soon after and roughly handles Coco,
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removing all the clips and accessories from her hair.
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And after getting Coco to change,
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the nurse starts going through her things.
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She takes interest in Coco's weird feathers scarf and tries to take it.
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The nurse and Coco fight over it, but Coco is stubborn.
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She, rightfully, doesn't want this nurse to take her things,
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but the nurse is fed up with her.
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Just before things get violent,
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the matron of the asylum interrupts them.
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And this is a good introduction into the world that we're going to be in for the next hour and 12 minutes.
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It's apparent that like most asylums,
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this place is run by people looking to take advantage of their patients.
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Each patient is supposedly mentally ill,
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so the staff has free reign to do as they please with these people.
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Now fast forwarding to the next scene,
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it seems that most of the patients have gathered on the roof for what looks like art time.
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They all sit and draw,
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being monitored by this extremely pleasant nurse.
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She goes around commenting on all of their drawings,
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and the patients seem to be delighted by her company.
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That is, except for one boy,
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the boy that we're going to be discussing for the rest of this video.
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His name is Sumaji, and unlike the other patients,
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he sits on this bench reading instead of drawing,
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isolating himself from the rest of the group.
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The nurse comes and sits down next to him.
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She rubs his knee, seemingly trying to start up a conversation,
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but Sumoji ignores her.
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She takes the hint and walks away from him.
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So far, it seems like this movie is setting up for a depressing drama about the mistreatment of mentally ill patients,
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sprinkled with some dark comedy and surrealism.
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But this is the point where I wasn't fully prepared for just how dark this film was going to get.
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For some context, Tsumiji suffers from graphic hallucinations,
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and three specific ones are shown to us in this film.
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I'm going to break down all of them,
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and with that warning and introduction, out of the way.
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Night has fallen.
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Tsumiji sits on his bed as his cellmate talks to him about Coco.
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Now, I can't show any of the cellmate because he is pleasuring himself while he talks about Coco,
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but that's not what's disturbing about this scene,
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though it fits thematically as you'll find out later.
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I told you that Tsumiji suffers from hallucinations,
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but I never told you exactly what he sees.
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The camera zooms in slowly.
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All of the sound is fading away,
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and someone speaks to Tsumiji.
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He turns to look, and this is what he sees.
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When I first saw this, I was shocked.
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This grotesque man-puppet fused to the wall of Sumoji's cell.
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If there was any time to describe something as uncanny,
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I feel like this is the perfect time to do so.
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The man, or the puppet,
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I don't even know how to describe it,
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asks Sumoji, what have you done now?
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Followed by asking, what are you hiding from me?
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Sumoji ignores the question, but then we start to gain some insight into the situation.
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The man accuses Sumuji of being the one who broke his classroom window,
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but he denies doing so.
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The man, who we can now assume was his teacher,
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then accuses Sumuji of stealing another student's lunch money,
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and again, Sumuji denies it.
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This line of questioning is bookended with the teacher asking,
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why do you always put the blame on others?
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Now, Sumuji is reverting back to his tactic of ignoring the teacher,
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waiting for him to go away.
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But this is where the scene goes from uncanny to downright disturbing.
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The teacher pesters Sumoji until he finally acknowledges him.
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That's when the teacher tells him that he needs to quote, take a leak.
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He asks Sumoji to unzip him and take it out,
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and Sumoji does just that.
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He gets on his knees,
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unzips his teacher's pants, and I'm bracing for the worst.
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But what I got was much worse than I thought.
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I obviously can't show it,
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but what pops out of his teacher's pants is what I can only really describe as a bouquet of lanky penises,
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something I never thought I would see or ever even wanted to.
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Tsumiji, shocked like the rest of us,
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backs away, and his teacher urinates all over the floor,
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moaning in pleasure as he does so.
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He even tells Tsumiji how good it feels,
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and everything about this is disgusting.
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But he did what the teacher wanted.
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Now he wants him to go away.
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But before he can, the teacher wants to know something else.
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He asks Tsumiji if he forgot June 20th.
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It was raining that day, wasn't it?
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He asks, why did you kill me, your teacher?
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It's hard to find words for this scene,
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but when I went into this film,
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I can't say I would have ever expected something like this
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though it's the exact type of horror integration I was looking for.
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Now there's a lot to unpack but I want to save it until we have all of the context,
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so with that I want to move on to the next hallucination.
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We're fast forwarding about halfway into the film now so I'll give you a little summary of how we got here.
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Koko and Tsumiji are caught exploring outside of the asylum and walking along the wall.
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There they ended up at a church where a priest gave them a bible.
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They arrive back at the asylum and are now being punished for leaving the premises.
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They give each of them a dose of sedative and smash cut to Coco alone in this dungeon.
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But she hears something.
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Tsumiji's muffled voice.
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She looks over and we all witness Tsumiji strapped to the bed,
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unable to move, and the nurse from the rooftop laying on top of him,
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using him for her own pleasure.
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It's an uncomfortable scene that goes on for far too long,
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but eventually we smash cut to them being finished.
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The nurse lying on top of Sumoji and him fast asleep.
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That is until he's awoken by someone,
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his teacher, urinating on his face.
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Now this is a quick hallucination, but an important one.
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The teacher is now stuck to the ceiling,
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urinating on Sumoji and telling him once again how good it feels,
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but something feels more malevolent.
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This isn't the teacher from earlier that was trying to be gentle with Sumoji.
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This is a man who has power and he knows it.
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Sumoji is begging for him to stop,
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but his teacher tells him to drink it.
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It's only when Coco calls out for him that this hallucination comes to an end.
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Coco looks at him, deeply worried,
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and Sumoji turns away, ashamed.
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And once he does, the nurse also wakes up.
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And since she's finished, all she does is get dressed,
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get up, and get on with the rest of her day.
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While not lasting all that long,
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this scene still helps us understand even more the trauma that Tsumiji is currently living with.
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But before we talk about it more, there's one last hallucination.
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By the end of the film,
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Coco is out exploring the wall once again,
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when out of nowhere it starts to rain.
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As it does, we jump to Sumoji and see him in a rage walking along the wall as well.
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The rain has triggered something in him and he starts to stomp on the ground.
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And as he does, his teacher's head appears, begging him to stop.
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But Sumoji won't.
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He just continues to stomp and stomp until the pain is just too much.
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He collapses in on himself,
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curling up and just wanting for all of this to stop.
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Coco walks up to him and is ready to comfort Sumoji.
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Under her broken umbrella, Coco tells him that she can smell that he's a killer.
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She asks who he killed,
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and this is where we get the explanation.
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Sumuji explains how he took his teacher's life,
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stabbing him in the back one day.
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He says his teacher hated him.
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He used to torment Sumuji.
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He followed him all the way from grade school to high school,
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doing god knows what.
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And the only way to stop him was to do what Sumuji did.
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But even in death, his teacher won't leave him.
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So in just a few scenes,
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we bear witness to an absolutely heartbreaking story of a boy who was taken advantage of.
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It's never outright said how he was,
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but we can apply quite a bit from these hallucinations.
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Our first hallucination is the longest and most revealing in the tactics the teacher used against Sumoji.
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The teacher berates him with questions and puts all of the blame on Sumoji,
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attempting to gaslight him and convince Sumoji that he is not a good child.
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After breaking Sumoji down, he would then uplift him with compliments and praise,
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but only after his teacher got what he wanted.
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He asked Sumoji if he would unzip his pants and take it out,
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and as he does, remember that Sumoji gets on his knees,
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something he doesn't actually have to do but seems to be an almost learned behavior.
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If this was what the teacher would have him do all the way back in grade school,
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when Sumoji would have been extremely naive and malleable,
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and when the power dynamic between the two of them would have been very one-sided,
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this ultimately highlights an absolutely terrifying relationship.
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The abuse probably started in a similar way.
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The teacher would break down Sumuji,
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ask him to do a task that he would frame as simple,
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or something the teacher would be incapable of doing on his own,
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hence why he's seen trapped in the walls, unable to move.
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Then reward Sumuji for doing so,
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a common tactic for abusers and their victims to create isolation and dependency.
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We see the opposite tactic actually being used by his current abuser,
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when she seemingly tries to build him up with affection,
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making him feel wanted, but that ultimately fails as he rejects her,
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but that doesn't stop her, as we know.
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Now, in the second hallucination,
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we get more of an idea of what this eventually became,
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both through the nurse and the teacher's actions.
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Both of his abusers in this scene are violently taking advantage of Sumoji,
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and his teacher says a downright disgusting thing to him.
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As the water falls on Sumoji,
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his teacher says that there's nothing like the first piss of the morning.
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I'm guessing that as he got older,
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this behavior extended far beyond the school and possibly turned into house calls for the teacher.
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There's also no more fake pleasantries or compliments,
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only the action and a crude comment.
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This hallucination most likely represents the tail end of their relationship,
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and in the final hallucination,
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what is being said is simple and bold.
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It's the day that Sumoji took a stand against his teacher,
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trying to rid himself of this trauma,
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but the tragedy of it is that for Tsumiji that wasn't enough
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and he will have to live with those memories and that man for the rest of his life.
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Tsumiji's story is just one part of this film but it's one
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that affected me and felt horrifically real even including the absurd man puppet.
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In just a few short scenes Picnic paints a picture of
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a traumatized boy who can't escape his past in the most unforgettable way possible.
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Like I said I love when movies that aren't considered horror utilize it for their stories.
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I can't think of a more memorable and disturbing way to portray a character's trauma than Picnic.
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And truthfully, I wish more films made bold choices like this.
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Film is a visual medium
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and there's no way for me to better understand what a character is going through than to show it.
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And Picnic shows a lot.
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Remember, this is only one part of a crazy film
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and I recommend you all give it a watch and let me know your opinions down below.
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Like I said in my last video I'm branching out into places I typically don't go,
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and I think I've found another incredibly dark film that hopefully all of you will enjoy.
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And with all that being said,
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thanks for watching, don't forget to subscribe if you like these videos,
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and I'm Nightmare Movies, and I'll see you guys next time.
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观看这段视频时，您可以体验到动态的英语对话，并提高自己的口语能力。当电影中的人物面临紧张的情境时，您可以练习如何表达惊讶和不安的情绪。视频中包含许多独特的场景和人物互动，这些都是提高英语发音和口语表达的绝佳材料。与其只是被动地看电影，不如通过模仿影中人物的对话来提高您的英语发音和流利度。结合看YouTube学英语，这样的练习将使您获得更真实的语言环境，增强自信心。
语法与表达在语境中的应用
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- 直接引用：讲者常用直接引用的方式来表达其他角色的对话，这有助于学习者熟悉不同口音和语调
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常见发音陷阱
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