Crazy Rich Asians II

Crazy Rich Asians II

9/13/2018

Thank you for the Time magazine article on the movie “ Crazy Rich Asians “.  It is indeed a comprehensive review on the film from many angles particularly from the business point of view.

As most critics among Asian viewers agree, it merits greatly the overall perspective change for Asian filmmakers as well as filmworkers including actors.  If every wish comes true and the wind blows the favorite direction, this category (Asian cast /Asian film crew) of films shall bring very promising result 情況大好。

A similar endeavor twenty some years ago, a mostly Asian cast movie based on bestseller “Joy Luck Club “,  however has not made much of a dent in the promise land after an initial box office success.  You may say: time is different now!  True, with globalization and technological advancement, the time may be ripe for the Asians in the film industry to shine now more than ever before.

25年前，《喜福會》也曾給亞裔帶來希望，後來呢？ - 紐約時報中文網

https://cn.nytimes.com/culture/20180911/joy-luck-club-crazy-rich-asians/zh-hant/?_ga=2.208447698.1542199955.1536690083-2010588281.1503603585

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Success in box office of a film does not always guarantee it to last or endure time and other situational changes. Most of the classic films like classical literature possess something endurable through time.  It is found in the content, style and innovative feature which set them apart from the rest.  What they unveiled through distinct narratives and styles made unforgettable impressions or spoke to the hearts of millions, or reveal truths of matter important to many.  This is just a short list of some lasting value of humanity and experience of humankind’s.  Without any of these qualities, artistic or otherwise, the film may not sustain against time and tides.  

Box office may bring in huge profits for those participating in the process, yet without endurable quality they may fade into thin air in time.  Say, similar features parading glitter and glamour may overload the audience and dull their senses.   When there are something else worth exploring in the movie, the human elements that speak universal language, such as arts and music, an authentic episode which touches the hearts of many, a poetic or lyric rendition which says more than you see on the screen, the films are thus elevated to the value of lasting quality, some may even become candidates for a future classic.

I am not at all critical to this film.  There are plenty of positive things in the movie which has been reiterated by many critics.  Such as: it opens eyes particularly of the westerners’ to eradicate the myths of yesterday’s stereotypes, it boosts Asian filmmakers‘ self-confidence and promises promotion of talents in the young and innovative newcomers in the industry.  

I give credits to those young filmmakers for a task well done.  Yet success often breeds complacency, I hope they continue to elevate their efforts toward providing more than entertainment to their audiences.  Not that the current film is deficient, but that their future endeavors could be focused on a wider range of subject matter or style, with more depth in theme development or issue raised.

This is just two cents from a layperson, may not be the cup of tea most people like to sip from.

Grace 

Crazy Rich Asians

Filmchat 

《 Crazy Rich Asians 》

8/27/2018

After reading some positive movie reviews penned by a few of my friends, I went to a theatre to watch this current talk of town movie “Crazy Rich Asians. “

One common thread of their comments seems to point in the direction that Asian films, particularly those with a majority Asian cast, are finally positioning themselves to go mainstream.  We do not know whether this is overly optimistic, yet the first week’s box office gross shows encouraging signs.

To be fair, this is a well made film filled to the rim with beautiful sights and colorful people.  Although the overall acting is not it’s strong suit, the leading female performance (Constance Wu) and those of a few supporting roles are promising.  The film is technically sound with fluid use of high-tech applications. The narrative reflects refreshing perspectives of young Asian Americans of nowadays. Music is generally upbeat  and fitting to the style and pace of the film.

Abundant attractions fill up the film including the opulent lifestyle of the super rich, its glitter, the romps 
and hilarious plots which come one right after another 
with no end. These episodes offered throughout the fast-paced film seem to dazzle and charm audiences young and old alike looking for entertainment.

Simply said this is yet another modern Cinderella story in Asian style. Romantic comedies never cease to please audiences among the population of 普羅大眾。Box office hits generally hold certain elements among them entertainment value.  Absent from all these dazzling scenes, ask yourself : Do you find yourself stepping out of the movie unable to stop thinking about the movie ? Or do you forget about it instantly?

Although the film has a lot to offer, sometimes it tries too hard and put too much on the screen.  At one or more occasions I mean they literally fill the screen with the entire Singapore’s rich and famous.

Secondary characters except a few are not exactly memorable. This includes the many cousins as they were introduced in the film, some in cameo roles.  The 
sheer number of these characters only adds to the confusion in an already crowded ensemble.  

Background music were oftentimes amplified in the foreground causing noises which overwhelm the 
subtle conversations and minute details.

The intensity of sights and sounds and pace leaves little room for audience to reflect on other less 
developed themes. For instance, what connected all these rich family members and what are their values and aspirations ?  Another theme lightly touched on but didn’t go further is about the female roles amidst the rich environment and its culture.

Case in point : Is our heroine satisfied with her choice of marrying into a super rich family even though she gets to keep the man she loves?  How about Astrid (the pretty cousin played by Gemma Chan) who managed to get her husband back but is this the best she can do? 

The film seems to contend itself with entertaining yet reluctant to explore other issues laying around to be picked. This includes the mentality of the rich and the females’ role in its midst mentioned above. 

I understand this is a comedy and a fun movie to see and there’s no need to over-philosophize its characters or backgrounds. The young filmmakers who worked on this project are certainly admirable in their persistent pursuit to move Asian movies to the 
forefront for all to see.  I sincerely hope the best for them to succeed.  

However, success of a film means different things to different people. I think when a film leaves in viewers a lasting impression, or when it touches hearts with passion or artistic inspirations or provokes thoughtful reflections on things important to our lives and experiences, that’s when I find it totally satisfying.

I am neither an expert nor a film student yet I hope to see more work coming out of these young filmmakers. They have equipped themselves with talents, skills and a variety of tools to further their craft.  Now it seems to be an auspicious time to reach even higher ground in their pursuit of excellence.

                                   Grace 

空中電影室

空中電影室

3/31/2018

Boarding on my flights to and back from my home visit in Taiwan has established for me a series of crash courses which works to update my movie information and knowledge, especially on new titles streaming out of the pipe each year.

The loots from my recent trip are the four listed here:

第三度謀殺 ( The Third Murder）- 是枝裕和導演 2017, 日本

Koreeda continues his search in finding meaning from events which happen in life of ordinary people. In this crime story he ruminated into questions such as “ Should some people be brought into this world after all?” as well as “Are those people destined to be evil?” (人性本惡？）

Star Wars - The Last Jedi - directed by Rian Johnson 2017

A very nice surprise as the  2nd installment of the “Star Wars Trilogy” sequels.  熱鬧有趣的情節中，注入了此類型片不常見的生命思考。 Lou Skywalker at his twilight years thought himself a failure and simply wanted to fade away quietly.  Rey, the young girl from installment #1, inspired in him hope for the future and what he could help a brand new band of galactic fighters. 

Three Bulletin Boards outside Ebbing, Missouri - directed by - Martin McDonagh 2017, US

Although there are a few plot holes in the storyline in this film,  it remains one of the best films coming out this past year.  Frances MacDormand portrayed a tough mother’s fight against the town’s police station after losing her daughter in a rape and murder incident which was yet to be resolved at the start of the movie.

What is unusual is the way the story was told, in beautifully framed shots by shots of the nostalgic atmosphere (in a 80th background),  we followed the stream of thoughts of a mother filled with guilt and hate altogether she waged a war single-handedly against the whole town (almost).

Phantom Thread - Paul Thomas Anderson

Daniel Day-Lewis, the star of the film, was the sole reason I watched it over other more popular titles. Simply watching his interpretation of an eccentric character, here as a famous dressmaking guru quite different from all those he have done earlier in his career is a treat.  I thought the story wasn’t too convincing, the girl who came to live with him, helped his career yet eventually decided to destroy him in order to keep loving him.  Again just my two cents!

Grace

細讀「化城再來人」 - 詩人周夢蝶

細讀《化城再來人》

2012, Taiwan

12/2/16

兩年前辭世的詩人周夢蝶自稱他有古人所謂的狷者風格，他的詩多為反觀內照頗富禪意的章句。作品雖然不多，影響卻深遠，是台灣最重要的詩人之一。

身為「孤獨國」國王的周夢蝶曾榮獲首屆國家文藝獎，他生活刻苦，獨自一人生活，至九十餘歲仍創作不輟。

一九五零六零年代開始詩人擺攤賣書以為生計。當年台北武昌街「明星咖啡館」除了是文人騷客薈集場所，店門口外邊擺攤的周夢蝶周公更是當代著名的文化風景線。

著作雖離等身很遠，卻是字字珠璣韻味深長。例如：「舉世皆笑，我不妨獨哭；舉世皆哭，我何忍獨笑。」

詩集包括：《孤獨國》、《還魂草》、《約會》、《十三朵白菊花》、《周夢蝶詩文集》等。

二零一二年的記錄片系列「他們在島嶼寫作」中的「化城再來人」是部中規中矩十分完美的一個片子。陳傳興這位資深老導演，將這部影片拍成一部罕見記錄片的經典作品。

影片自開始至結尾，每一個取鏡甚至配樂（或以無聲代有聲）都是細心安排的成果。拍攝步調極其徐緩，深合詩人的為人取向。影片長度接近三小時之久，但對有興趣的觀者並不感到繁瑣。影片真正讓人感動的是詩人本人的演出，在24小時攝影機追蹤之下，擺在我們眼前的是一個毫不做作天然可愛有真性情之人。而今他已揮別塵世，空留其音容形貌於此影片遺留給世人。

以上是我為影社在2014年 6月的電影欣賞會中所做的簡介。下面從電影的幾個不同層面來看這部紀錄片。

其一：全片節奏非常徐緩，鏡頭一般較長 (long take ), 即一鏡到底中間不切斷，基本上跟自然時間相符。譬如詩人寫字，裁紙就花了好幾分鐘，實實在在拍了大部分過程沒太多剪接。不急不徐是這部電影的基調。

其二：攝影上用許多空鏡 （pillow shots)  而且通常用和「水」有關之影像，如水草、荷葉等，旁邊打上詩句旁白。通篇意象連連，若未接觸過其詩，較難體會其中深意。

如詩人沐浴，全身浸泡在水裏，也有其象徵意義。最後一鏡最神秘。用大遠景鏡頭拍攝，廣袤的湖面，一葉方舟向遠方划去，往右上角的方向即東北方徐行，漸行漸遠，終至駛出影框之外。這似乎可對照詩人的詩句：「北北北愈北愈黑？」應該是刻意安排的結果，這意味深長的結尾，留給觀者靜靜體味各自的人生。

其三：用直接或襯托的方式描繪詩人的個性。他孤獨、低調、不喜出風頭。在另一位詩人的歡迎會中，周詩人出席坐在前面第一排。左右前後皆名流政要、寒喧聲不斷，詩人則靜坐如儀，也不和人説話。

最後引用詩人的名句做個結尾。

詩句中有：「荒涼的自由，溫馨的不自由」可為通篇做註腳。他的孤獨雖是不得已，同時也是自己的選擇。周夢蝶是蝴蝶，蝴蝶要有空間讓它自由飛翔。

他説：「人生無常，但也無可奈何。」，「由悲觀轉成樂觀，不能改變現實也只好好自為之。」，「我選擇，我不選擇。」

Grace