電影新人類



Kissing Paris. Missing the Past.

A writer in Paris - a character with similar background played by Woody Allen in Everyone says I love you - is protagonist in this new and highly acclaimed work of Allen. Gil, his first name, faces something very miracle this time in Paris. He met several world-renowned artists, writers, and art collector there. Nothing surprising? How about if they are... Well, let's not include too many spoilers here. Anyway, they are from the past, from the golden epoch. It is only possible to appear in a really metropolitan city like Paris that treasures art and creative minds so much that talents from all over the world were / are attracted.



醉爆後,到底戰勝了甚麼?──《醉爆伴郎團2》

沒有看過第一集也不打緊,因為這完全是獨立的故事。即使電影中特意安排一些場面,點出上集故事給本集新郎、Ed Helms 演的牙醫 Stu 帶來的心理陰影,竭力迴避單身派對,不過到最尾要發生的事(醉得一塌糊塗、弄出一大堆荒唐事),還是發生了。

讀這個故事,不妨從後開始讀起。結局 Stu 跟新娘剖白:他發現自己心中有一頭惡魔(demon),最初他想逃避、不想承認它的存在,經過一些事後,決定還坦白面對,承認這頭難以控制的惡魔,跟自己一體存在。消解自我欲望與理性的衝突,甚至能同時解決他跟未來岳丈的矛盾,讓婚禮圓滿地舉行。




難忘杜魯福──《愛情潛水》中的《四百擊》

《愛情潛水》 是李察‧艾育亞迪(Richard Ayoade)首次執導的劇情長片,成績十分不俗。由開場始,觀眾不難發現高達(Jean-Luc Godard)的痕跡和影響,單是開場的字幕已是高達慣用的形式,然後電影選用的主調顏色(紅、白、藍)、在電影中插入電影片段、正面鏡頭、突然斷裂的音效、敘事的跳接和一再出現的打字機,都叫觀眾聯想到高達身上。雖然導演故意運用高達電影的元素,但在敘事取態上,他就更接近杜魯福(François Truffaut)多於高達了。




《變種特攻:異能第一戰》──不再掩飾,自我膨脹

變種人電影系列旨在點出異常人在社會中應如何自處。前傳仍在這命題上打轉,並帶出兩種迥異自處方法的源起。

「自我」的論述

電影其中一主線為妖后的掙扎。她因生活上時常要掩飾天生的外表而感到苦惱,也認為博士不明白她要遮掩的痛苦。反觀磁力王鼓勵她接納自己異常的外表,當然更能得到她的投誠。導演與編劇立場鮮明,一面倒地強調「還我真我本色」的乾脆,缺乏以往三集電影中兩派較為旗鼓相當的論述。




《1+1》──無力,卻用力去愛

「感於哀樂,緣事而發」這是一套充滿現實主義精神的電影。一套三十五分鐘的電影,枝節分明,清新雋永,以輕鬆的調子表達了沉重的主題,經濟發展主導了社會,時代巨輪把環境、人們的家園、回憶和感情,一一壓碎。

沒有濫情,亦沒有「妖魔化」特區政府,透過兩爺孫的相處、對話,挑戰我們重新思考「新與舊」、「發展與保育」,甚至「價值」的有無。看畢電影,身為香港人的我,有一點傷感,不單單是為了將被剷平的菜園村而可惜,更是一種疑似幫兇的愧疚。



The Paradox of Pina 3D — the portrait of the artist in '2D'

Cinephiles have probably taken a glimpse of the work of the German modern dance choreographer, Pina Bausch (1940-2009), before come across Pina (Wenders, 2011) recently, albeit they might not be aware of the legendary figure by the time. I am referring to an early scene in Hable con ella (Almodóvar, 2002), a sexual-charged reimagining of the Sleeping Beauty fairytale. In this brief but pivotal sequence, two of the protagonists are watching Café Müller, one of the choreographer's masterpieces, in a theatre. Like many other films featuring characters as audience/ spectators by Almodóvar, the scene with its ballet of gazes is about the act of looking and we are invited to be a part of it. Nevertheless, it is the stunning choreography and the eloquent movements of the dancers catch our eyes and become the spectacle within the scene. Narrative is thus temporarily suspended. Even though one has no prior knowledge of modern dance, I doubt there will be any difficulties for him/ her to appreciate the sublimated beauty of the piece or even deeply moved by it like the above characters do. Therefore, it is not unnatural for one to think: if such an indirect rendering of the art of Bausch is proved to be so effective [1], Pina 3D, a supposedly more faithful and direct record of the master's art (and made by her friend, Wenders, as well), would be a more captivating visual feast, a spellbinding 3D experience and an inspiring insight into the world of Pina Bausch which ultimately preserves the aura of the performances of her company (Tanztheater).

Or is it only what we wish?




《四時之樂》的「生成自然」

意大利電影《四時之樂》(Le Quattro Volte)由米切朗基羅法爾瑪提諾(Michelangelo Frammartino)執導,四段故事組成,中文的副題「人.羊.樹.煤」給予觀眾明確的指示,這電影包含四段故事,而主角分別就是人、羊、樹和煤(其實是炭)。

人、羊、樹和炭驟眼看來不相干,導演卻以別具一格的電影手法把他/牠/它們串連起來。當然,羊、樹和炭的串連比較有跡可尋,可以看作是物質的轉換︰羊在山野中迷路,最後無聲無息在雪地中消失(大概是在大樹旁死了);冬去春來,小羊大概腐化,成為養份,變成樹的一部份。這時小鎮中的人到山野把樹砍去,用以慶祝他們的節期;最後樹被鋸成小塊,送往工地燒製木炭,而炭又再次運回小鎮,供鎮民使用。




Film of Forgotten Dream—Musing 3-D

When Herzog's torch-beam is illuminating the interior of the Chauvet Cave throughout his new 3-D adventure, Cave of Forgotten Dreams (2010), the effect is not unlike surveying the prehistoric rock paintings on the wall through an iris, a long-abandoned cinematic vocabulary which was much more in use during the infancy of the medium (it seems that the technique can only be occasionally spot in films by cinephile-directors like François Truffaut after that period). While the German filmmaker further contemplates the 'proto-cinematic' tendency of these paintings in his usual idiosyncratic voiceover commentary, the film seems to possess a self-reflexive subtext. Nevertheless, more than tracing cinematic imagination to the remote era, Cave is also a belated anticipation of the technological advent of stereoscopicity (of course the film is not solely about these issues and they are hardly Herzog's main concern). In other words, the film revisits the past but tells more about the future.




How does Mlle. Nina run amok

【may contain spoilers】

When Nina (Natalie Portman) knows she is being cast as both the Swan Queen and its alter ego, the Black Swan, in a modern version of Swan Lake, she thinks it is a dream-come-true, a pay-off for her devotion to the art of ballet and her agonizing daily training in the company. Nevertheless, this dream is far from sweet and actually more close to the grotesque, crazy and strange 'prologue' she dreams about in the beginning of the film and it soon turns chaotic and nightmarish.



《海豚灣》的 Mission Impossible

《海豚灣》奪得世界各地的電影獎項,包括奧斯卡最佳紀錄片,無容置疑,實至名歸。生態紀錄片向來有兩大任務,一是紀錄現況與深入討論生態議題,一是以影像改變觀眾對自然生態的看法。《海豚灣》固然涉及二者,甚至加入了「任務片」的元素,使電影更懸疑,更吸引,廣為大眾所接受。


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