《粉红色杀人夜》是一部由布莱恩·德·帕尔玛执导，梅兰尼·格里菲斯 / 格雷格·亨利 / 克雷格·沃森主演的一部犯罪 / 剧情 / 悬疑 / 惊悚类型的电影，特精心从网络上整理的一些观众的观后感，希望对大家能有帮助。

　　《粉红色杀人夜》观后感(一)：《粉红色的杀人夜》美国烂片

　　该片又名《替身》，是一部胡编乱造的片子。露了两点还露不出美感来。该片还有不好处，就是带血腥气，用电钻钻人钻的血直流，看的人很不舒服。

　　故事情节也乱七八糟的。

　　男演员还可以，女演员都演的不好。

　　《粉红色杀人夜》观后感(二)：风格第一

　　优美和幽深的音乐风格，散发着情色味道的血腥风格，化用偷窥情节的侦探风格，借助演员职业的戏剧风格，使得这部电影很有特色，而其中街道跟踪葛罗丽亚的戏让人印象深刻，当然对《后窗》的模仿和戏作也是很明显的，而其中冷静的一面让人想起《红圈》，惊惧时分又有着希区柯克的影子，最后让这部影片在精确中透着诡异，风格独具。

　　《粉红色杀人夜》观后感(三)：标准的德-帕尔玛向希区柯克致敬的电影

　　本片不是什么鬼怪片，而是正宗的悬疑阴谋惊悚片，是标准的德-帕尔玛向希区柯克致敬的电影，但该电影的标签绝对是德-帕尔玛自己的。很奇怪，这部电影在豆瓣上竟然一篇长影评都没有，我怎么觉得这部电影也算经典呢？除了开始部分有一点拖沓，整部电影很快就进入状态了呀，偷窥，跟踪，艳遇，谋杀，一波接一波，都很吸引人，而且德-帕尔玛的镜头调度绝对一流，赏心悦目。

　　《粉红色杀人夜》观后感(四)：1984 Body Double - 粉紅色殺人夜 觀後感

　　1984 Body Double - 粉紅色殺人夜 觀後感

　　《粉红色杀人夜》观后感(五)：观影笔记

　　布景，长镜头。Jake的两种身份。剧场（fail）。买早餐。回家（妻子外遇）。酒吧。酒店外景。采访。表演课（can’t cry)。酒吧。New Stay Place（to Hollywood)（望远镜：女人）。片场：claustrophobia。家（女人，发射卫星在偷拍？）。跟踪（内裤）（kiss, beach）。入室盗窃（女人被杀）。被审问。看电视：Holly Body。电影。面试，bar acting。带回家Holly，怀疑被陷害谋杀（I was set up）。报警路遇事故，救Holly。埋Holly，Indian to Sam (？？)。棺材中出来。Again，洞里&Holly。吸血鬼吻美人。

　　《粉红色杀人夜》观后感(六)：仍然是德帕尔马的迷影情结之作

　　明眼人看得出致敬了悬念大师希区柯克的《后窗》与《惊魂记》：望远镜、电钻、幽闭恐惧症、精心布局的谋杀案，全都是希区柯克经典作品里的鲜明印记，而德帕尔马借助这些熟悉的符号向大师不断“献媚模仿”，并逐渐演练出属于自己的风格，整个影坛上恐怕也只有德帕尔马了。早在《剃刀边缘》里已精彩地诠释过这种怪诞迷离的悬念感，那场博物馆跟踪戏延续在这部的商场追踪里。复杂而紧凑的场面调度，空间感与人物表情动作营造出的紧张气氛依然是一流水准。

　　另外，影片开头与结尾两段呼应的场景进一步彰显出导演迷恋B级片与色情片的趣味。这一点也早在《凶线》里就已经全面暴露出来。这一部里更不惧争议找来真正的成人电影女星试镜，尽管后来被电影公司高层否决，但导演仍然在片中保留了一段色情电影片场的戏中戏，也算是对这个边缘群体的某种支持。

　　然而，对比《剃刀边缘》与《凶线》，这部《粉红色杀人夜》在剧本方面确实逊色不少，也许是过于沉溺在导演自我的趣味里，导致悬念设置不够高级，很容易看得出剧本里的伏笔，太容易猜出幕后真凶，导致揭秘的结尾部分不太让人满意。这也是这三部作品中，高潮段落最没意思的一部了。

　　《粉红色杀人夜》观后感(七)：穷小子色迷心窍，美少妇惨遭杀害，抽丝剥茧，竟是别有天地

　　有些电影你看着看着会很生气，觉得主角怎么这么蠢呢？明明应该往东，他偏偏往西，搞得事情一团糟，自己也深陷漩涡，没错，粉红色杀人夜就是这样一部电影。

　　话说片名够怪的啊！谁翻译的？站出来解释下。

　　穷困小演员男主身患幽闭恐惧症导致被导演辞退，回家发现女友和别人啪啪啪，房子又不是自己的，被女友赶出来几乎要流落街头，偶遇神秘人，愿意提供高级别墅一套借住，只需要浇浇花看看房子就行，房子对面更有美少妇夜夜跳艳舞可以偷窥，故事就这样展开了。

　　老话说的好啊，天上不会掉馅饼，男主很快发现事情没有那么简单，男主偷窥的时候发现别人也在偷窥，出于偷窥者的心态吧，男主开始跟踪少妇和跟踪少妇的跟踪者，最后不可收拾，少妇惨遭杀害，男主回家开始看A片，这是什么心态？发现跳艳舞的美少妇其实不是美少妇而是A片演员？？？后来发现是少妇老公故意设局让男主当目击者，自己变身另一个偷窥狂杀了自己老婆？？？这不严谨啊！导演！

　　这片子只要致敬了希区柯克的两部经典作品，迷魂记和后窗，加上导演喜欢的B级片和情色片风格，也算独树一帜。

　　片中的音乐不错，尤其是女声的低吟。

　　《粉红色杀人夜》观后感(八)：粉红杀人夜，情欲意迷离

　　名导布莱恩·德·帕尔玛执导的<粉红色杀人夜>，窃以为片名翻译甚佳，突出了本片两大要素:情色、惊悚。本片是向希区柯克的<后窗>、<迷魂记>的致敬之作。 有这样一类片子，谈不上特别经典或者说精彩，但是细细回味，却也别有一番滋味。这类片子在豆瓣的评分通常徘徊在7分左右。本片在悬疑惊悚的程度上并不及希导的原作，但是却另外平添了几分情欲的意味。 本片男主本是个倒霉的屌丝。名不见经传的小演员，因为幽闭恐怖症被导演炒了鱿鱼。回家又撞见女友和隔壁老王红杏出墙。因为房子是女友的，旋即被扫地出门。走投无路之际，忽然一个新认识的朋友请他去看护一栋豪宅。在豪宅中的望远镜里，他意外"邂逅"了本片女主一号，一个神秘而美丽的女子，顿时深陷其中，无法自拔。 是的，有这样一类女演员，她们或许美丽，或许在现实中容貌也并不是那么出众。但是在导演的点拨下，在化妆师，灯光师等人的辅助下，会在一部电影中绽放出令人着迷、无法抗拒的魅力与光彩。比如维吉尼亚·马德森之于<哥谭>、凯莉·勒布洛克之于<红衣女郎>、艾曼纽尔·塞尼耶之于<第九道门>、邱淑贞之于<赤裸羔羊>。以至于女主一号在片中短暂出场又仓促遇害，令我不禁惊呼，不忍卒看。 影片在大结局的戏谑处理上属于加分之举。最后反派利用男主幽闭症的弱点要活埋他，动手前羞辱他说再给你次“action”的机会。男主恍惚中又回到片头被炒鱿鱼的片场，憋着一股劲地从戏里又回到现实，克服了弱点，干掉了反派。 最后八卦一条，本片出演女主二号的正是希区柯克名作<群鸟>女主蒂比·海德莉的女儿，亦是西班牙男星安东尼奥·班德拉斯的前妻。

　　《粉红色杀人夜》观后感(九)：To be completed...

　　MEGA SPOILERS ALERT!

　　OKAY we know that there is at least one movie inside the movie. You might even add another one if you include the music-video part, when the MC goes to the porn & glamour basement. Which gives you (short) movie inside a movie, that is inside the movie you’re watching.

　　o yeah, I get the fact that at least 90% of what we watch is actually a movie being shot, it’s the second layer of the ｓｃｒｉｐｔ.

　　ow let’s talk about the plot in that movie being shot (the movie inside the movie).

　　There are at least two interpretations of the scenario, and I can’t decide which one holds best.

　　1) The simple version : the MC gets framed for the crime itself, or probably is just manipulated in order to see an Indian killing the woman. The aim is that the real killer ("friend" of the MC, husband of the woman) gets his alibi and does not get caught for the crime he actually carried out.

　　This theory is clearly explained by the MC himself to Holly when she is at his home.

　　2) The afterthought version : the MC is a "conspiracy nut" (quoting the police officer here). Nothing of the previous version is really true. What it means is that the Indian does not exist (or at least that the scene towards the end, when Holly is burried, when the MC fights the Indian who is finally thrown in the river) never happened. This version would also explain why the scene in which the Indian was faking to repair some equipment near the house is not consistent with the Indian being the actual husband. Also why would the husband not hire someone to do the dirty job instead of him？ And why would the husband own a huge saucerful in front of his wife’s apartment？ And how to explain that totally unreal scene in which the MC is kissing intensely the wife in the beach？ Is she so desperate for sex？ If Holly is dancing instead of the real wife, where does the real wife

　　go late at night？ How does Holly get in the apartment if the husband himself does not have the key (he had to steal it after stalking the wife in his Indian disguise). On the day of the crime, why Holly did not show up for doing her usual dance, how did she get informed that on that specific day she didn’t have to make the performance？ How did Holly end up right next to a hole, meant to burry someone in the fight scene around the end？

　　The main problem is this one: in order to have a body double, some level of cooperation is necessary (just like in the end when the director is illustrating the concept of his movie through the porn shooting, in which two girls are actually acting, but the viewer thinks that it’s actually the same person). Basically my point is that Holly cannot realistically play the body double without the real person voluntarily playing along with the plan.

　　ut on the other hand, if you think not in terms of coherence but in terms of what is "possible" (certainly not "plausible"), just technically possible, all the questions raised above can be addressed without breaking any storyline logic, without raising any obvious contradiction. Strictly speaking, there are no plotholes, but only unlikely events or events that need extra planning that has not been shown in the movie (but which is potentially realized by the characters, especially the main antagonist).

　　ut after a second thorough afterthought, it’s the second version that predominates. Because the second is mainly destructive: okay, if the MC is a nut and the "main" theory (the conspiracy being real) does not hold, what does then？ Who killed the wife？ Did she even die or was all this just his imagination？ Did she even EXIST？ There is no end to it. If the husband did not offer to the MC to stay in that apartment for guaranteeing his inocence, why would he let the apartment to him in the first place, that seemed too "louche" from the beginning？ The first version explains well the reason, but if we go with the second version, this question (and a lot more) remain unanswered.

　　I guess I need to see the movie a second time, in order to clarify these questions...

　　At least you know that you’re in front of a great movie when you’re totally into it, and when different conflicting interpretations can be explored.