Domestic difficulties develop in a working-class family when their daughter falls in love with a Jamaican. Made in the wake of the 1959 Notting Hill riots, Flame in the Streets (d. Roy Ward Baker, 1961), is a tense examination of racial prejudice. Adapted by Ted Willis from his own stage play Hot Summer Night, it had already been produced for television (ITV, tx. 1/2/1959) for the Armchair Theatre strand. In this screen presentation, Roy Ward Baker makes no allowances for liberal sensibilities and pulls few punches in delivering what he himself termed "a harsh picture". Baker's harshness, however, is not entirely without subtlety. He is careful not to be judgemental and much of what transpires is almost in the form of an exposé. Baker elicits a stirring performance from Brenda De Banzie as Nell, whose transformation from typical housewife and mother to snarling racist is the centrepiece of the drama. This is reminiscent of another Earl Cameron film, Sapphire (d. Basil Dearden, 1959), in which it is the sister of the main suspect who is finally revealed as the murderer, driven by a pathological hatred of black people. Peter Lincoln (Johnny Sekka) and Gabriel Gomez (Cameron) are driven by forces quite different from those that drive Kathie and her family, although this is not necessarily due to their cultural difference. Within the integrity of both black characters there is a sense of longing for something other, something as distant as it is difficult to express, and therefore never quite articulated. Gomez is especially keen to avoid conflict, even if this means accepting less than his ultimate worth. But his lack of assertiveness brings him into conflict with his wife Judy (Ann Lynn), who has to force him to attend the crucial union meeting at which his promotion will be decided. Rather than seize his opportunity, he would prefer others decided his fate. To a large extent this perception of West Indians died with the Notting Hill riots. Cameron's performance is assured and deliberate, while Sekka's Lincoln embodies the emotional consequences of the film - heartbreak and a sense of loss. Both characters are presented as martyrs to a higher cause. But in the end, as in reality, Gomez and Lincoln are forced to fight. Their main struggle, however, is with themselves, centred on their fleeting sense of belonging.

宿舍熄灯后，我刷到一条新闻，上面的内容说，附近有一个杀人犯在逃，在隔壁学校杀了好几个人，这个杀人犯极其厉害，会制造幻觉，如假的火灾，在痛下杀手，我以为是某个人再搞恶作剧，又或者是某个人在为了获得流量，通过恶搞来获取快感，我对此非常不屑，就在我准备睡觉时，收到了宿管阿姨的私信，【宿舍一楼发生火灾，请马上离开】

派玛拉（珍妮·提恩坡苏皖 Janie Tienphosuwan 饰）和阿洁（潘普·斯棠 Sitang Punpop 饰）是青梅竹马的玩伴，两个女孩之间感情十分的要好。一天，一个名叫雷克（纳瓦·君拉纳拉 Nawat Kulrattanarak 饰）的男孩搬到了她们家隔壁。没过多久，雷克就喜欢上了个性开朗的阿洁，然而，阿洁却并不是很中意雷克，两人之间常常爆发争吵，每当这时，雷克都习惯向派玛拉倾吐内心里的郁闷。 某日，阿洁告诉雷克，自己爱上了一个名叫特德潘（路易斯·斯科特 Louis Scott 饰）的男人，她要和他结婚。派玛拉不离不弃的守候在心碎欲绝的雷克身边，渐渐的，雷克爱上了她，两人决定携手步入婚姻的殿堂。哪知道，在结婚典礼上，阿洁再度出现了。

这部电影讲述了一个30多岁的女人和一个北非人的爱情故事的痛苦结局，以及她与一位“老牌”记者关系的开始和结束。这些故事说明了一个女人的绝对主张，她只能从生与死的角度来理解爱情，这种态度通常会让爱情看起来很戏剧化，但至少会像她心中燃烧的火焰一样燃烧和闪烁。

我所看过根据爱伦坡小说改编的电影中最超现实的一部。影像很怪诞的一部电视电影。茱莉泰摩是美国著名的女玩偶制作家。 Eerie,strange and beautiful adaptation of great Poe story I accidently caught this strange and beautiful tv movie when it first aired in the early 90's, while I was on a ski trip. With its weird and eerie and incredibly beautiful fairy tale atmosphere it is very reminiscent of Jim Henson's "Storyteller", and it's a shame that it only seems to have aired once and never rerun. I have no idea whether it's available on video or not, but if you can find it, I highly recommend watching it, and reading the Edgar Allen Poe story(titled "Hopfrog") it is based on as well.

Memories shattered in space. Real images transformed with digital special effects.

香港国际电影节国际短片竞赛节目 樹影婆娑，《火焰》光影迷離，靜看兩人無語交流。