情理法的春天第一季

本剧是基于David Simon所著书籍《Homicide: A Year on the Killing Streets》改编的电视剧。本剧描绘了巴尔的摩市警局凶案组警探的日常工作和生活。第一季不是那种现在很普遍的一集解决一个案子，很多案子都是慢慢调查、等待转机，所以这部并不像《The Wire》那样集体破获一桩大案再加上办公室权力斗争，更多的在反应现实中更真实的办案节奏。如果你是想看和火线一样的斗智斗勇，你可能会失望，这部剧是从警探的角度出发讲述的，而且没到严密的有组织犯罪的程度。

不太确定是预算不够还是故意为之，剪出来的成品有很多时候都是同一机位下演员动作的不连贯，也有一些同一动作同一句话剪了两个镜头进去，适应了之后倒也无伤大雅。

有两集拍得很有意思，"Night of the Dead Living"和"Three Men and Adena"。“Night”讲的是一次九月份炎热夜班的故事，“Three”则是全程聚焦于审问嫌疑人。这两集都是发生在凶案组办公区内，“Three”更是在审讯室里把故事讲开。这两集看起来很像话剧舞台剧，在固定的环境里拼演员的台词功力。 这两集也是最能反映警探日常工作的，上夜班有时就能碰到很多特胡闹的事儿；审问嫌疑人必须在规定时间内，超出规定时间但没有结果必须放人，这是更贴切地向观众展示警察办案并不会像一些“神探”电视剧里表现得那么神奇高效。

当然本剧第一季中也能看到一些后来在火线中出现的演员。饰演警探Meldrick Lewis的Clark Johnson就在火线第五季里出演报社的编辑Gus；饰演Barnfather的Clayton LeBouef在火线里则是演的开酒吧的Orlando；火线里演D'Angelo Barksdale的Larry Gilliard, Jr.则出演了一个小角色。

也有的情节用在了火线里。“Smoke Gets In Your Eyes”里就有拿复印机假冒测谎仪的桥段，只不过Homicide里拍得更夸张。虽然小年轻看出来是台复印机，但还是有些将信将疑，Munch唬他说“你在机器前面时间耗得越长越会影响你的生殖功能”。

火线是从各个角度来剖析巴尔的摩这座城，而Homicide则是反应警探的生活，在只言片语中了解巴尔的摩。原著国内也出了中译本，翻译得中规中矩，倒是不妨碍阅读，有兴趣可以搭配着看。

1 Gone for Goode (31-Jan-1993)

2 Ghost of a Chance (3-Feb-1993)

3 Son of a Gun (10-Feb-1993)

4 A Shot in the Dark (24-Feb-1993)

5 Three Men and Adena (3-Mar-1993)

6 A Dog and Pony Show (10-Mar-1993)

7 And the Rockets Dead Glare (17-Mar-1993)

8 Smoke Gets in Your Eyes (24-Mar-1993)

9 Night of the Dead Living (31-Mar-1993)

第一集 到最后都没有结案到底人是不是那个老头杀的……恋童癖到底是怎么审视自己的，是犯罪题材永远绕不开的话题。只不过肤浅一点同时也是大多数犯罪片的处理是着重描绘恋童癖在自我救赎方面的努力，或者猎奇化他们的癖好。这两种处理高度概括了多数群体是怎么利用少数群体来感动自己的，只要是在任何有少数多数分界线的领域（性取向、性别、民族、边缘行为）： 前者意淫恋童癖和非恋童癖一样对恋童行为高度厌恶，为了能和正常人一致不惜自残自杀。观众作为非恋童者很愿意看到这样的行为，恋童癖的极度自我厌恶（假如真的有的话）在非者眼里除了能带来非者对自己天生就有的价值观的高度肯定之外，不会有别的情感体验或者反思了。人会利用任何机会肯定自我已有的东西，证明自己的高洁并止步于此。而且自我献祭这个行为会引起非者本能的同情。这种compassion的来源因为旁观的缘故所以几乎不需要付出任何心理代价，多数群体又会因为自己产生了这种柔软的波动更加肯定自己。低廉的共情包装着自我肯定的循环，谁看谁快乐。 后者就更不用说了，完全猎奇，最纯粹的旁观，最纯粹的道德审判，最纯粹的快乐。 但事实上，恋童癖怎么可能厌恶自己啊。一想到自己的复杂深邃如海，自己的爱情纯粹伟大，自己的感受独一无二，就马上要射了。审讯室的警察们在道德审判中不小心入戏太深做了出格的事，恋童癖立刻找到我们之间也没什么不同：我们都有不受控制的情感，让人惶恐的想法，只要一直在脑海里，那就是安全的。你的阴暗面让你害怕，于是你发泄在我身上。而我和你不一样，我独自守护那些让你出格的强大情感，默默承受着比你更多的黑暗，我为我的爱情付出了一切。“没有那些东西，你看着镜子，看到的只是一个amateur”而我一直能直面你直面不了的东西。恋童癖还能过测谎仪，因为对于更复杂的人类，真相也应该有更多面，只是你们普通人无法深刻理解罢了。

Officer Chris Thormann: [Inside the squadroom, Munch relights the candle. Thormann, wearing a tuxedo, walks over to him] What do you do that for, every night?

John Munch: [sounding surprised and slightly annoyed] What's with you?

Officer Chris Thormann: I gotta go to a wedding.

John Munch: At this hour?

Officer Chris Thormann: It's a long story. The wedding's in Connecticut - Old Saybrook. Eva and I are driving up.

John Munch: Oh.

Officer Chris Thormann: I know you're the one who lights the candle.

John Munch: Yeah...

Officer Chris Thormann: So, why?

John Munch: [sounding rather sad] ... It's for all the ones who've been killed.

Officer Chris Thormann: [surprised by Munch's attitude, considering he is usually just a cynical jerk] Uh huh...?

John Munch: What I don't know is, who lit it when I was gone?

Officer Chris Thormann: I did.

John Munch: You?

Officer Chris Thormann: Yeah.

John Munch: Why?

Officer Chris Thormann: I figured it was important to you.

John Munch: It's gonna be our little secret, okay?

Officer Chris Thormann: Yeah, sure, okay.

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John Munch: All I was gonna say is, what are you gonna call Dr Blythe for? Say you go out. You're a saint. You're everything you can be in a perfect world. So you sleep together. After the third time you do it, it's actually good instead of just saying it is. But how could it not be good? It's sex. So you get intimate. You get real close. You talk about your childhood, your parents, your broken dreams. You talk about relationships that didn't work out. You get so intimate you tell her your problems. You get loose, rude, a little insensitive. You're not a saint anymore. And one day, she goes, "I don't know who you are. You're not the guy I got involved with." You apologize. You realize you've actually spent the last six months apologizing for who you were the first two weeks. Then, in the middle of some night, she leaves you. In the dark. Nice, huh? Is that what you want?