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.
绝对不容忽视的电影，也是John Boorman除去《Deliverance》之外我最喜爱的作品。
影片非常风格化，以致于剧情在这部电影里已显得不再重要。电影的剪接与音乐、摄影都相当出色，闪回的运用致使观众同Walker（Lee Marvin）一起置身于一场冷酷而无法消除的梦魇之中。走廊那段拍得真精彩，摄影机紧随Lee Marvin后移，沉重脚步声在空寂的廊道里回响然后渐渐吞没，完美的渲染出了Walker强烈的孤独感以及杀人前的紧张气氛，而且，Lee Marvin的走路步法实在是太帅了，这段镜头，绝对可算得上是电影史上最COOL的镜头之一。还有狙击手远程射杀Walker的那段，镜位与剪接配合精彩之极。在看完《史密斯夫妇》这样的动作烂片之后再去看这部电影，你就会怀疑究竟哪部影片才是拍摄于60年代的。很可惜，我们现在已难以看到有这样优美而有力的老式动作电影了，现在的大多数动作片，只要有飞车手和爆破专家，一切就解决了。1999年Brian Helgeland根据小说《The Hunter》重新翻拍了这部电影，由Mel Gibson主演，取名叫《Payback》， 尽管拍得不算太差，但与这部相比起来，实在是相差甚远。
《步步惊魂》彩色的黑色经典
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