會員影評



In Defense of Miriam Yeung—Love Undercover II

Since Feel 100% II, Dummy Mummy, Without a Baby, and Lover Undercover, uncontrollable laughter has become Miriam Yeung’s trademark. Then a series of typical commercial productions like Dry Wood Fierce Fire, Frugal Game and My Lucky Star further set her on a course of no return, her touching performance with Paul Chun in the TV series Father of the Bride was quite forgotten. The films may be different, but her character is invariable the girl-next-door who harbours no ambition and is quite content with her lot.



替楊千嬅平反 ── 由《新紮師妹2》說起

導演:馬偉豪
編劇:馬偉豪、陳詠燊
演員:楊千嬅、吳彥祖、蔣怡、黃浩然、許紹雄、林雪、陳萬雷、周聰、胡楓、張英才、森美

在一次評論學會會員外遊的晚飯中,大家都談起楊千嬅,然後便會聽到不少批評說話,說她演技不行,劇本不好,《新紮師妹2》是注定要被罵得體無完膚。但不少觀眾仍然喜歡這位電影的新紮師妹,造就《玉女添丁》的楊千嬅傻大姐形象能夠接二連三,所以更進一步有會員問:點解楊千嬅咁都會掂?晚飯席間眾說紛紜,然後歸因於社會學的課題,有會員對我說:「你是搞社會學的,你說話吧!」要說甚麼?當時的我,腦海一片空白。

先此聲明,我只對阿嬌情有獨鍾,卻不是楊千嬅的擁躉,所以我並不是替楊千嬅說好話,但看過《新紮師妹2》之後,我真的想寫幾句為她平反。我的立論是楊千嬅其實並不差,而且更有一種雖然不是深層次,但也並非膚淺的閱讀,錯可能只錯在「製造」她的人把她過於定型定格,卻又正好迎合大眾口味;當然,要處理受眾角度並不容易,真的需要進行一次社會研究嘗試描繪一鱗半爪。




The trendsetters - My Dream Girl and the Birth of the New Market Films

My Dream Girl was released right after the CEPA announcement in which the restrictions on Hong Kong-mainland joint productions are partially lifted. My Dream Girl then becomes a timely case for study, more of an experiment than Heroic Duo. There are eager talks of a new market among my friends. So, let’s call films with Hong Kong people trying to start anew in the mainland as subject matter the “new market films". My Dream Girl points out that the first issue in new market adaptation is the matter of taste.



Feature of July: The Bobo Nature under Feminism –The Film of Wong Chen Chen

From Women's Private Parts to Truth or Dare: 6th Floor, Rear Flat, I am further convinced that Wong Chen Chen is a utilitarian director, by that I mean the subject matter under her camera is but a means to an end, its nature or content does not mean much to her. Truth is being promoted as a film about young people's lifestyle and the pursuit of their personal dreams. The irony is, it is precisely these parts that have been hollowed out.



女性主義底下的布波族本質 ── 黃真真的電影

黃真真的《女人那話兒》(2001)當然是擺明車馬的女性主義紀錄片,她以全女班的製作組開展攝影工作,已經清楚表明了選取的態度,而從片名的命名策略上,更加可知道她的決心。我們都知道重省「命名」(naming)是女性主義於語言性別歧視研究上的重心方向,尤其在克莉絲蒂娃(Julia Kristeva)的作品中。黃真真選擇把「女人」與一個男性性器代名詞的「那話兒」拼合,明顯便是一透過重新命名,來為女性發聲奪權的取態。但從命名的策略中,我更留意到它同時確認了紀錄片的整體格局:奠定了女性以仿男性的手段來爭逐性別上的權力,間接也在取悅男性的觀眾。換句話說,也是在計算如何把觀眾的入座率盡量提昇──即把男與女一起納入為紀錄片的可能對象作構思。

六樓后座



A Youth Film - Truth or Dare: 6th Floor Rear Flat

Youth, can be very simple; youth film, it turns out, can also be very simple.

Local youth films are invariably of two patterns: either they are like Herman Yau's Give Them a Chance, a tale of struggling for ideals from beginning to end, with a happy ending to make it encouraging; or they are like Shui Gaai Chung's Feel 100% 2003, in which everyone falls in love, falls out of love, or engages in the eternal triangle. Love means everything and love is everything.



「沒有」理想與愛情的青春片 ─ 《六樓后座》

導演:黃真真
編劇:鄭丹瑞、張帆、黃真真
演員:林嘉欣、盧巧音、梁森美、周永恆、周俊偉、鄧健泓、杜麗莎


青春,可以很簡單;青春片,亦可以來得簡單。


在香港看青春片,總離不開兩個很理所當然的模式:其一會像邱禮濤《給他們一個機會》,徹頭徹尾要談理想講掙扎,然後有心有力守得雲開;其二會像鍾澍佳《百份百感覺2003》,離離合合我愛你你愛他,以為青春必定戀愛大過天。

 




天道無親,常與善人 -《黃昏清兵衛》

導演:山田洋次
演員:真田廣之、宮澤里惠

山田洋次最新力作《黃昏清兵衛》在本年香港國際電影節中以開幕電影的姿態放映,獲得一致好評。較早前,該片囊括了第26屆日本電影金像獎多個重要獎項,包括包括最佳電影和最佳女主角(宮澤里惠),鋒頭一時無兩。

《黃昏清兵衛》的劇本來自著名小說家藤澤周平的短篇小說,被譽為日本映畫天皇的黑澤明看中,一心想將之拍成電影,未及成事,人已仙逝。現在由深受小津安二郎影響的山田洋次(代表作《幸福黃手絹》和《男人之苦》片集)正式搬上銀幕,容或少了武俠味和陽剛味,但人情細膩處,以及中年男人蒼涼與幸福兩行並置的心境,卻見全情展露,觀之動容。



The Stumbling Blocks in Cala, My Dog

Whether a realistic film on little people's life can pull it off or not, depends very much on the actors' performance. Ge You, who is more or less prompt to fall into overacting or exaggeration, is much more subdued and at ease here playing Lao Er in Cala, My Dog, though there are still traces of affectation.



Secondary School in a Limbo

Secondary School, Tammy Cheung's latest documentary shown in the Hong Kong Art Centre, is a work that is sure to cause repercussions, and which will come from two sides: the title education sector, and the cinema-going cultural sector. As a member of both, I sometimes find myself at a loss for words.

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