電影天地 （一）

電影天地（一）

9/12/16

每次回台就是我充電的時刻，怎麼說呢？ 在美國有固定生活作息，無法有效率的去規劃一週看一部或兩部電影。回鄉一趟，在離開國界的天空中就能看個七、八部電影，回來時已經看了四個影片。在機艙內一向無法成眠，回程再混個七八小時也可以看個三兩部影片吧？

來到地球的另一端，落地之後又看了兩部新片。相信回到美國總收穫會達二位數字。下面列擧的是這趟看的影片，多半是這一兩年的出品，並非我的推薦片。

回臺北的機程中看了："The Mustang", 2016 年土耳其影片講述五個姊妹身處她們所在的郷城，反抗保守力量加諸她們身上的諸種壓迫，爭取身體和精神的自由。「暗色天堂」"Heaven In the Dark" 2016年港片，改編自香港得獎舞台劇「法吻」，是個類似羅生門（男女兩造對同一事件各説各話，撲朔迷離真相）的劇本。新進導演袁劍偉説："電影劇本只是一個藍本，現場變數很多，寫作的方法本身就不同。" 但他仍舊保持很多舞台劇的元素。「逆光少女」"Blanka"，2015 年菲律賓電影和  "Brand New Testament ",   2015/2016 法國片，影壇長青樹 Catherine Deneuve 客串主演。 

在台北華山光點電影院看的兩部影片：「比海還深」(After the Storm ), 2016日本片，是枝裕和導演又一部親情佳片。講的是一個失職離婚後的父親，盼望修補與前妻及兒子的關係，在意外來臨的颱風之夜一段感人的家庭時光悄悄展開.....。另一部電影「明天別再來敲門」 (A Man Called Ove) 為 2015 瑞典片，導演Hannes Holm 瑞典𣈱銷小說改編，幽默感人的劇情片。

有興趣的朋友請自己上網査詢細節。

Grace

Crazy Rich Asians II

Crazy Rich Asians II

9/13/2018

As most critics among Asian viewers agree, the film

merits greatly the overall perspective change for Asian filmmakers as well as film workers 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 which might not be the cup of tea most people like to sip from.

 

Grace

Crazy Rich Asians

Film chat 

《 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

我的電影因緣

《我的電影因緣》

（originally written in 2003*）

記憶中最早接觸到電影時我才五、六歲，那是五十年代初期。童年時家住其中南昌街，距位於和平西路口的明星戲院不遠。當年的明星戲院相當風光，專門放映國語劇情片。一晚爸媽攜姊弟們去明星看戲，不知為何獨獨沒帶我。媽媽給了我四毛錢作為補償，銀光閃閃的角子共兩枚，在稚嫩的孩童眼中然然很寶貴，我用毛圍巾裹了一層又一層深怕弄丟了。錢收藏妥了心中仍悶悶不樂，女傭便偷偷帶我出門逛街。南昌街二段尾的明星戲院門前車水 "人" 龍，攤販食舖一家接著一家，爭做戲迷的生意。

我最中意其中一家賣的熱包子，肉餡汁多皮鬆軟，蒸籠蓋一掀開，熱氣騰騰而升，白胖可愛的熱包子一個緊挨著一個，叫人直滴口水！那晚吃了包子沒有已沒印象，到了戲院我們直接登堂入室，電影已經放了好一陣子，好像也不必付錢。看了下半場影片，似乎是李麗華或那位大明星主演片子，其餘在記憶中皆留白。

台北市植物園旁．電影攝影棚的前身，當年大概是台製片廠吧？五十年代中常在此地放映露天電影。還清清楚楚地記得在那兒看過" 單車失竊記 "，義大利新寫實派大師狄西嘉編導的傑作，還得了美國當年的奧斯卡金像奬最佳外國影片奬，這自然是日後才知道的。其中有一幕影像經常在我腦中映現：故事中的父與子為追尋失竊的單車四處奔走，兒子在街邊尋個空檔撒泡尿，父親隨後趕來，在兒子背後大吼一聲，驚得孩子跳了起來。就這麼一個頗具喜劇意味的鏡頭，儘管整部影片颇為淒苦，我卻將這無關緊要的情景深植記憶的網膜。三十年後重觀此片，觀感自然不同了，多了半輩子的人生閱歷，螢幕上我看到的是升斗小民與命運的掙扎，對社會大環境的無奈。然而由非專業演員演出父與子的感情是那麼自然清新感人，或多或少沖淡了全片沈重的氛圍。

若說我啟蒙早，尚未入學就有幸目睹世界級大師的作品，也不算過分。小學二年級，我由女師附小轉學至升學率高的西門國小入學。西門町是當年的電影街，美都麗、大世界和萬國戲院僅呎尺之距。當年自然無看電影的閒錢和閑暇，然而每當上下學路過戲院時，總不免向那五色繽紛的看板瞄上數眼，瞭解一下目前上映些什麼電影。美都麗離國小最近，但多半放映國片，當年的我是比較前進的，不太愛看國產影片。大世界和萬國則專演西片，生意興隆觀眾經常得排長龍買票。有一位同學，父親是萬國戲院老闆，經常隨意出入戲院，偶而亦夾帶一兩位友人同去觀影，從來也不買票，門口收票小姐總是笑容有加對我們十分和靄友善。就在這家戲院，我陸陸續續看了七遍當年名片，瑪麗蓮夢露初露頭角時主演的 "大江東去" 。我們總是在課後才抵達影院，電影都已演至半途，前前後後看了那麼多回，就想把前情後事連串起來。成功與否已不記得，然而那首膾炙人口的主題旋律 "The River of No Return" 已深印腦中歷久彌新！

退休之後的若干年經常往來兩岸三地，接觸到華語片的機會大增。況且隨著年齡遞增，尋根及回歸本土的慾望愈發強烈。喜愛電影的我，很自然的開始搜求優良國片，包括中國大陸、香港及台灣三地出產的影片，閒來無事時也嘗試寫些不成熟的影評。我沒有專業訓練，完全憑觀影時的即興印象，拉雜寫來實非嚴格的影評，充其量只能稱為感言、觀後感等等。

* 本文寫於居港時期，曾發表在北一女《綠緣》2003 年年刊

Appendix 

《那山，那人，那狗》*
霍建起導演     1999年      中國

      一個單純平凡的故事：一個父親退休了，一個兒子繼承老父衣缽，背起了郵差父親用過多年的郵包，和一隻追隨父親多年 (郵)狗老二，在父親的伴同下，一同走進山中送信。

      導演的敘述鋪陳雖然相當傳統，卻出奇的圓熟老練。全片拍攝流暢自然，攝影畫面更是美得炫目。很多中遠景定點鏡頭的運用，更突出山裡生活的平靜和絕少變化。平實無花巧的正敍與倒敍穿插而行，卻也信手拈來不少生動溫馨的畫面。

      比如說方開始時老狗不肯隨兒子上路，只因長久以來習慣伴隨老郵差，迫得父親仍得再一次伴兒子一同送信。在另一景中，兒子到了村裡，不見人來取信很是失望。卻沒料到轉個彎，外邊已經聚集了全村父老姑娘媳婦和孩童，爭著要瞧這位年輕的郵差！同時也為這位帶給全村希望與歡樂的老郵差致意和送行。影片中有意無意之間，似在宣掦默默耕耘不為人知的美德，同時由年輕的兒子和另一青年所代表的新世代，道出不同的心聲和價值觀。對話簡潔有力，攝影畫面尤其美，一種靜態的、永恆的美。

*《那山、那人、那狗》（英译：Postmen in the Mountains），是潇湘电影制片厂和北京电影制片厂于1998年联合制作，发行于1999年的大陆电影。改编自彭见明的短篇小说《那山 那人 那狗》，导演霍建起，主演滕汝骏、刘烨（饰演儿子）。^[1]

     

《 榴槤飄飄》*

陳果導演   2001 年  香港

這張片子，由於個人的疏忽，我先看第二張VCD，再倒回去看前一張碟子。  雖說是次序顛倒，弄了半天才搞清楚故事來龍去脈，卻也因此留意到導演的精心布局和敘述手法鋪陳，由前至後彼此呼應，並由一只榴槤帶出兩個女子的心酸史。

這兩個女孩，除了同為香港過客之外並無共通處。一位年方二十一來自東北，到香港三個月期間做應召女郎掙快錢。另一位女孩才十四歲，隨母和弟妹從深圳非法偷渡，前來香港依附在港討生活的父親，竟日𥖁在砵籣街（紅燈區）的巷子𥚃為人洗碗。一個偶發事件，大女孩的同伴（馬伕）在巷中遭人丟榴槤傷了頭部。由於雙方都想躱開警方的介入，只有私底下解決這個傷人事件，讓兩個素不相識的異鄉人結為朋友。

三個月後，大女孩居留期滿回到東北老家，重建新生活，無證的小女孩也被港警遣返深圳。兩人遭遇不一，其無奈則是一致的。

香港導演陳果一向喜用非職業演員，全片看起來有如記錄片。片段影像，像在巷中的數景，似用手提影機拍攝，有即興的感覺。許多妓女日常作息的細節（如在茶餐廳等候應召，沖浴次數頻繁等）充滿了底層社會的生活氣息。題材方面，選的雖是妓女和非法移民的故事，全無道德包袱和說教意味。

後半段大女孩回到東北老家，一日收到郵局通知，去領一個包裹。郵局管理員說：「擺久了沒來拿，都出了味道。」回家拆開一看，赫然是一只似曾相識的榴槤。小女孩特地從深圳寄來給她的賀年禮物。女郎將榴槤破開，分饗諸親友，竟無人肯吃一口。下個鏡頭：女郎獨自靜坐，咀嚼這南洋果王的滋味，同時也回味自己的人生吧！
在雪花飄飄的東北，和在溫暖如春的南方，兩個女孩之間有一根細細的線將他們牽在一起，或者那就是榴槤的滋味吧！

榴梿飘飘 Durian Durian
基本资料
导演	陈果
监制	杨紫明
编剧	陈果
主演	秦海璐 麦惠芬 [1] 麦雪雯 杨美金
配乐	林华全、朱庆祥
摄影	林华全
剪辑	田十八
制片商	出品及摄制： Nicetop Independent Ltd Studio Canal France 其他制作： Wild Punch 出品 DES Films 出品 Golden Network Limited 摄制
片长	118 分钟
产地	香港
语言	粤语、普通话
上映及发行
上映日期	香港： 2000年11月16日  台湾：2001年12月22日
发行商	高先电影
票房	香港：HK$523,015.00[2][3]

*《榴梿飘飘》（英语：Durian Durian）是一部2000年上映的香港电影，由陈果执导兼编剧。此电影为《细路祥》的外传，亦为《妓女三部曲》的第一部作品。在2005年，获香港电影金像奖协会票选为“最佳华语片一百部”之一^{[4] - 維基百科}

Grace

The Red Turtle

“The Red Turtle" ( 2016 ) is an animated feature produced by Studio Ghibli and directed by Michael Duda de Wit ( who was awarded an Oscar animated short " Father and Daughter " earlier in 2000 ), a meeting of East and West talents and minds indeed.

It was a sublime experience watching this wordless film.  Unlike most animated titles, this one has only a simple story which tells about a shipwrecked man stranding on a deserted island.  What is not simple is the creation of a fantastical world so magical yet as realistic as can be in its beautiful depiction of the landscapes we saw on the screen.  

The colors of the beach scene changes from hour to hour.  At times it can be a splash of rainbow colors, sometimes different shades of grey, other times complete golden, most of the time it is simply the white and beige sand of the extending beach connected to green to turquoise blue sea water as it reaches to a streak of lighted horizon with dark clouds hovering above in the sky.  It is at once transcendental and mesmerizing.  Just let yourself soak in the viewing and enjoy the sight and soundless atmosphere.

The tranquility of the landscape belied the caprice of the sea which could turn wild at short notice.   When tsunami hit, the bamboo forest was completely depleted and pieces of broken woods littered all over the sandy beach now rested in devastation.  The same sea could also be where the young boy riding high on top of a wave or swimming in it with his friends the turtles. 

This is a film beautifully rendered about the unspoiled nature like many of Ghibli's animated titles such as: "Spirited Away", "My Neighbor Totoro", "Princess Mononoke" to name just a few.  The man in the beginning simply wanted to get away from the island and tried all his might making rafts to escape. During his solitude he began to look at his surroundings somewhat differently.  Befriending  four tiny scuttle crabs was a good start.  Then he crossed path with the Red Turtle and the course of his life was completely altered since.

It is also a film meditating on men's relationship with nature.  In an island amidst the boundless sea, a friend be it another human or creature, a companion nonetheless is what he wanted and needed the most.  The wordless story says a lot more than words can tell us.

Grace Liu