電影評論



細緻動人的《偷歡假期》

導演:美拉娜兒(Mira Nair)
編劇:莎嬪娜戴雲
(Sabrina Dhawan)



The Three Crossovers of Sound of Colors

Adapted by Joe Ma, Sound of Colors is actually a creation with the characters of Jimmy Liao's illustrated book of the same name. From Joe Ma to Wong Kar-wai, from Hong Kong to Taipei and Shanghai, then back to Jimmy Liao and Hong Kong cinema, there are in fact three crossovers in this film, more than the director thinks. But the addition of these parts fails to be greater than its sum, which, after all, is what crossover is meant for.

Joe Ma Crosses Wong Kar-wai



《地下鐵》的三重Cross over

導演:馬偉豪
編劇:馬偉豪、張珮華、陳詠燊、王雅萌
演員:梁朝偉、楊千嬅、張震、董潔、范植偉、桂綸鎂、葛民輝、林雪

 



終極無間的瘋狂遊戲

上帝要他滅亡,率先令他瘋狂。

但瘋狂大抵也是權力遊戲的結果;透過界定孰瘋狂孰正常,作為權力滲透的知識,生產了擁有心理世界的個人,並不斷把人構成和塑造成符合一定社會/論述規範的「主體」。

《無間道》沒有瘋子,因為《無間道》說到底其實沒有一個清晰的「主體」。陳永仁(梁朝偉飾)作為港產警匪片傳統邊緣人的角色,起初是無間受苦的當然敘事焦點,但隨著劉建明(劉德華飾)角色的發展,他的孰忠孰奸成為了觀眾關心所在,第一集據說拍了多個結局,包括劉建明被捕和被殺,而以劉建明幕後音結束全片,也明顯以他作為另一個無間受苦的主體而完成了轉換:我情願是他(被開除出警校者)!雖然當時觀眾實在看不出劉建明有甚麼無間痛苦,但及後看來居然是一語成讖,劉建明在《無間道III終極無間》的妄想狀態中自視為陳永仁,並且完成了成為瘋子的命運。




在《無間道III終極無間》中尋找出口

放大

劉健明、陳永仁、楊錦榮,三個香港仔。《無間道》裡,80、90年代港產片式臥底(雙重效忠者)陳永仁以死成全了00年代新派臥底(反轉來臥)的劉健明,讓他有自由選擇的機會,可惜劉健明到《無間道III終極無》時,仍是無法過根本不須當臥底的楊錦榮那一關,始終尋找不到出路,被困在醫院外的草地。

其實劉健明有出路嗎?有,有兩個可能性。

第一個是由《無間道III》中陳永仁的平衡敘事所提供的。



《無間道III終極無間》虛招多於實際

導演:劉偉強、麥兆輝
編劇:麥兆輝、莊文強
演員:梁朝偉、劉德華、黎明、黃秋生、曾志偉、陳慧琳、陳道明

強扭的瓜不甜,強扭的橋不鮮。《無間道III終極無間》在票房上應該計到是盤賺錢生意,所以雖然加料泡製,新加入黎明、陳道明以壯大聲勢,但仍然是個如意算盤。但從創作上來說,影片卻只能在一個很窄的範疇內打轉。雖然處理得已頗為用心,甚至玩了不少前後倒置、時空交錯的敘事手法,對一般看電影的觀眾來說應該是個頗起挑戰的處理,局部地方剪裁得頗用心,由這個場景跳到另一個場景具見心思,但劇情也失去了第一集基本做到的緊扣人心的張力。複雜的敘事方法卻沒有製造出複雜的內涵或通過複雜的敘事把一個老故事帶出新鮮感,這種複雜就有像《笑傲江湖》的衡山派劍法,虛招多於實際。




The Portrayal of the Undercover Cop and Gangster Mole in Infernal Affairs

The plot of Infernal Affairs, admittedly, does not break away from local cop/mob or undercover genre conventions, but it does stand above others in character portrayal and story development. The underlying questioning the blurred cop/mob line, particularly, leaves something to ponder.



Infernal Affairs III - Style over Substance

Infernal Affairs III adds Leon Lai and Chen Daoming to its cast, which is a smart box office calculation. But creatively speaking, it has not been given much room to maneuver. Much effort has been put into the arrangement, as seen in the inversion and crosscutting narration. It should a challenge to the general audience. Part of the editing is painstakingly done, especially in the transition from scene to scene. But the development has lost the gripping suspense that marked the first film.



Infernal Affairs III - A New Way Out for Local Crime Thrillers

Infernal Affairs is a brave jump from clichéd undercover genre of fiery actions to the battle of wit like the Catch Me If You Can type. Instead of the overly familiar gang wars, this is more in the league of duel of professional grade hi-fi system. The sacrifice of Anthony Wong is truly heroic, and the 'three-year after three-year' trial of Tony Leung is a test of perseverance. Brain is preferred to brawn. It can't be more true when Tony Leung says in the film, "Listen to it, it sounds so empty." Infernal Affairs has become the pride of local cinema and high officials.



A Way Out in Internal Affairs III

Lau Kin-ming, Chan Wing-yan, Yeung Kam-wing: three Hong-Kongers. In Infernal Affairs, the death of Chan Wing-yan, an undercover (conflicting loyalties) commonly found in local cinema of the 80s and 90s, gives an option of making a way out to Lau Kin-ming, the new type of undercovers (triad mole in the police) of the new millennium. But in the end, in Infernal Affairs III, he fails to pass the hurdle in the form of Yeung Kam-wing, who doesn't have to be an undercover. He fails to find his way out and is trapped in the lawn outside the hospital.

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