《逍遥小主》

“呵呵，怎么会不高兴，只是，一言难尽啊！”

外表平凡的安艺伦也（松冈祯丞 配音）是一个标准的御宅族，对ACG文化十分着迷的同时，亦是同时游戏社团的制作人。某日，安艺伦也遇见了名为加藤惠（安野希世乃 配音）的少女，尽管走在人群中的惠毫不起眼，没有任何特色，但安艺伦也还是情不自禁的喜欢上了这个身上散发着奇妙气场的少女。　　将少女的样貌牢牢的记在心里，安艺伦也以惠的样子作为设定，设计了一款同人游戏。让安艺伦也没有想到的是，之后，惠竟然成为了他的同班同学，亦成为了他同人游戏制作团队中的一份子。混血少女英梨梨（大西沙织 配音）、文静学姐霞之丘诗羽，不得了的角色一个接着一个地加入了安艺伦也的同人社团。 逍遥小主曾有过一次失败婚姻的上班族加贺美淳（安田显 饰）和第二任妻子千惠（荣仓奈奈 饰）已经结婚三年了，对他来说“三年之痒”近在眼前，他和妻子都必须好好考虑一下是否有必要继续维持这段婚姻。某晚下班回家，加贺美恐惧地发现千惠倒在血泊之中，但他很快发现，原来妻子在用这种方法逗他开心。原本以为只是一时兴起而为之，谁知此后每天千惠都要花样百出地死在加贺美面前。加贺美一面费尽心力配合老婆的演出，一面还要苦苦思索千惠这番作为背后的真意。为此他向职场好友佐野（大谷亮平 饰）大吐苦水，然而对方看似美满的婚姻也有着无法逾越的鸿沟。妻子的表演仍在继续，他们的婚姻将何去何从……　　电影取材自2010年在日本雅虎知惠袋上的提问，提问者写下的妻子奇特行为当时在网络上引起很大反响。

柳子明听了这些，立即就解释了：“楚公子，你此言差矣，其实你是可以帮忙的，你应该知道啊，你是魔都小少爷，身份地位是不一般的，既然如此，只要你出面帮助我们，相信问题就能得到解决的，你看行吗。”

In the time of Counter-Reformation, a miller and his son come under investigation by a priest of the Inquisition, when rumors spread that their prosperity comes from working with the Devil.　　The Devil's Trap is a film directed by František Vlá?il, based on a novel by Alfréd Technik, adapted by František A. Dvorák and Miloš Kratochvíl. It was the first of three historical dramas that Vlá?il made during the Czech New Wave (technically he isn't really a part of the New Wave, however these films were made during the same era of artistic freedom), preceding his more well known Marketa Lazarová (1967) and Valley of the Bees (1968).　　Set in the late 16th Century during the Catholic Reformation, in the Moravian Karst, situated in what is now the Eastern Czech Republic, it tells the tale of a miller (Vítezslav Vejrazka), and his son Jan (Vít Olmer), who come under suspicion and are investigated by a Jesuit priest of the Inquisition (Miroslav Macháchek), when rumors of witchcraft are spread by the local regent (Cestmír Randa), who is jealous of the miller's prosperity and degree of respect among the local populace.　　As expected from Vlá?il, this film is a stunning experience all the way through. From the opening shot, an ominous manipulation of perspective with a close up of a mangled figure of Christ dominating the foreground against a tiny figure in black walking along the horizon, to the breathtaking confrontational finale inside the vast stalactite filled Karst caverns, it is a wonderful display of visual mastery.　　Maybe not quite as impressive as Marketa Lazarová, but still full of astonishing imagery. As seen from unique angles and distinct points of view which highlight the director's remarkable sense of awareness of framing, motion, and positioning on the emotional and dramatic tone of the scene. The most memorable being a repeated shot where the camera is suspended and launched with speed through the air towards the miller's door.　　The story here is a simple one and I would say more accessible than his later works. With a conventional structure emphasized as much by its plot and characters, than by its expressionistic cinematography or authentic historical detail. The events play out without much surprise, and there is a strong underlying, almost supernatural, mysterious aspect that is left unresolved, in fact barely explored, which is slightly disappointing, but only because it's so fascinating that I wish there was more.　　Acting is great all around. Particularly the villains: Miroslav Macháchek as the priest, casting a sinister and imposing shadow wherever he goes, and Cestmír Randa as the weasel like regent behind all the persecution. While Vít Olmer brings a charismatic leading man presence in his role as the miller's son Jan, in love with the lovely orphan girl Martina (Karla Chadimová), who becomes a dangerous object of rivalry between Jan and other young men of the village.　　The film also features the evocative music of Zden?k Liška (perhaps the most prolific composer of the Czech New Wave). In this his second of eleven collaborations with Vlá?il, his compositions are used sparingly, but to great effect, complimenting but never overpowering a scene. The best example of which can be heard in an amazingly shot celebration and dance sequence at the end of the second act.　　The Devil's Trap might not be a masterpiece, but it is still a strong effort, with a fascinating straightforward story and a glorious historical setting captured beautifully by Vlá?il's unmistakable visual prowess. A fine work that would also be the perfect starter plate to prepare yourself for the challenging feast of Marketa Lazarová or The Valley of the Bees. It even has an easy to digest running time. It's therefore puzzling why this gem remains largely overlooked and ignored.