2011年11月27日 星期日

[豆瓣] I'll see you when you get there.






以後有些沒什麼營養的東西,但又想為賦新辭強說愁,或治療身為藝術電影 fanboy 對於美感鑑賞之倒錯,就都放在這裡吧哈!至於過去苦心經營的電影檢視 清單,也都會在這裡找到出口。以後精緻 截圖 放這裡。



我的豆瓣

我的電影標籤



延伸閱讀:

傳統禮教藏不住時髦與俏皮









2011年11月14日 星期一

[金馬] [凱文] Lynne Ramsay: since We Need to Talk About Kevin...



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加百列鮑伊感十足!(as her response to Cate Balanchett's Bob Dylan?)

Tilda Swinton Bowie personified (!!!) for Vogue Italia
by Craig McDean, February 2003


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「看完被半路搶劫的【可愛骨頭】除了咒罵彼得傑克森是個無恥胖蛋,並事後諸葛與緬懷如果原來給 Lynne Ramsay 改編原著將會多美妙,等了九年,我們三生有幸等到這部電影,我們必須談談凱文。」

—美國獨立製片華文導覽《女神殿》五顆心滿分推薦 ♥♥♥♥♥


還記得 Tilda Swinton 在義大利文藝復興當代經典【我愛故我在】(I Am Love, 2009) 穿著天藍色襯衫佐亮橘色長褲,赴約泡芙塔原生愛人幽會,讓女神殿指數爆表到久久不能自己的亭玉鶴然高雅體態嗎?這回請跟隨 Tilda Swinton 進入生番茄祭典的幽暗世界,及十頭身 Tilda Swinton 和頭幾乎是兩倍大的江西萊里 (John C. Reilly) 所建構出超現實空間感。廢話不多說,以下是英國優良讀物《獨立報》The Independent 之深度訪談:




Making yourself scarce is one way to enhance your reputation as a film-maker.

讓影迷望穿秋水是導演建立美譽的方法之一。

It worked for Terrence Malick, and in Britain it's worked for Lynne Ramsay. Not that Glasgow-born Ramsay, 41, would have chosen to be so elusive, but her new film We Need to Talk About Kevin has been hailed as a triumphant return for a director too long lost in action. Ramsay debuted with the acclaimed Ratcatcher (1999), followed by Morvern Callar in 2002, then spent four years planning an abortive adaptation of The Lovely Bones – only to find Alice Sebold's book becoming a bestseller and the project spiralling out of control (it was eventually filmed by Peter Jackson).

泰倫斯馬力克如此,在英國琳恩倫賽案例也適用。倒不是說格拉斯哥出身的蘭西,四十一歲,刻意選擇當個陶淵明,但她的新作【凱文怎麼了?】確實被盛讚為這位潛龍勿用已久導演的凱旋歸來。蘭西以處女電影【捕鼠者】(金馬譯:漂浮氣球) 驚艷四座,接著零二年【莫文卡勒】,然後花費四年籌措夭折早逝《蘇西的世界》改編計畫—愛麗絲瑟柏繳交暢銷作品,改編電影完全失控。(最後被當時最火紅的【魔戒】大導演偷走)

按:彼得傑克森你這個雜碎!
一部令所有馬力克迷尷尬不已的電影

We Need to Talk About Kevin saw Ramsay getting back on track the hard way, with a gruelling 30-day shoot in Connecticut. The film is adapted from Lionel Shriver's novel about a woman, Eva (Tilda Swinton), whose unusually difficult son Kevin grows up to perpetrate a high school massacre. (John C Reilly plays Eva's husband, Franklin, and Kevin is played as a toddler by Rock Duer, as a boy by Jasper Newell and as an adolescent by Ezra Miller.)

蘭西以【凱文怎麼了?】捲土重來,康乃狄克三十天如膠似漆。電影改編自里昂薛佛小說,關於高校屠殺執行長之母親,伊娃,的故事。

But Ramsay stresses that her film isn't about a Colombine-style slaughter. "The high school killings are, for want of a better word, a smokescreen for what's really going on." The real subject, she says, is the mother-son relationship, and Eva's agonisingly equivocal feelings towards her boy.

蘭西強調她的電影重點不在科倫拜市校園殺人事件簿。「高校屠殺出自對更美好世界的渴望,遮掩你我不願面對真相的煙霧彈。」核心主題乃其母子關係,以及伊娃對兒子日益發潰,曖昧不明的情感。

Ramsay says she recognised parallels in families she knew: "Older mothers, friends of mine who don't feel totally at ease with a baby, not feeling that instinctive connect that you're meant to feel. There have been films like Rosemary's Baby and The Omen, but they're fantasy, so you can sleep at night. This terrifies people more."

蘭西訴說她所認識的家庭類比案例:「朋友裡較年長的母親,對於小孩子並未感到完全地自在,在這裡不是指理所當然的本能聯繫。恐怖小孩電影如【失嬰記】與【天魔】,但正是因為那只是篇篇瑰麗幻想,所以人們晚上才敢上床睡覺。這才是更深層的恐懼吞噬心靈。」After her enforced absence, Ramsay plans to stay busy behind the camera: she has several feature ideas, and she may also make an Olympics short about wild swimming – depending how the weather holds up this autumn.

被迫讓影迷望穿秋水後,蘭西計劃繼續在攝影機後保持忙碌:她有許多構想,也可能為奧運拍攝野外游泳短片—端視天公作不作美。

Kevin, she says, "was almost a military operation – it'd be nice to do something more free form, as a palate- cleanser".

凱文,蘭西說,「幾乎是個軍事行動—挺適合以更自由形式呈現,一幅調色盤與一瓶清潔劑。」




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Five Key Scenes: The view from the director's chair

1. Eva sees red at a tomato festival
一、伊娃於蕃茄祭典見紅


"I was looking for a very visceral opening that felt euphoric but also dangerous – that takes Eva back to her days before Kevin, but also has this element of threat or dream. It was like, 'How do I get across that she travels, but in a way that has other psychological meanings as well?'. The tomatina festival happens in Buñol, in Spain – it started because they had a glut of tomatoes. We went out there with a documentary-sized crew, and it was quite a risky thing to shoot – this was 40,000 people in a tiny street. You can see it's completely mental. I don't know if any other actress would have done that, it was sort of dangerous. Me and the cameraman got slammed against the wall. I got tomatoes all over me. It was touch and go; we had 15 minutes, and Tilda [Swinton] dived in. It stank – it was urine and booze, testosterone. I had to literally shove people out of the way. I thought, 'Something bad's going to happen here,' but Tilda was so up for it."

「我想來個直指五臟六腑的開場,歡樂卻又危險—時間追溯到凱文出生前,但也俱備威脅或大衛林區元素。就像是『該如何使觀眾理解伊娃當時正在旅遊,同時乃某種心馳神往?』該場蕃茄節慶發生在西班牙巴倫西亞 (Valencia) 布尼奧爾 (Buñol)—緣起於蕃茄們供過於求。大伙以紀錄片陣仗前往取景,那是件相當危險的任務—四萬多人次擠在一條小小巷弄。可見史雲頓精神力量之強大。我不知道其他女演員有沒有那個種,十分危險。我和攝影師被打趴在牆上。蕃茄遍佈我全身。一觸即發;我們只有十五分鐘,然後蒂妲 (史雲頓) 奮不顧身地闖入紅河谷。氣味很難嗅—滿是尿液,酒精與雄性激素。我非得賞路人拐子開路。我心想『明知大難即將臨頭』,但是蒂妲毫不畏懼。」

Tomatina
按:所以蕃茄祭典是來真的,不是彩排場景 (choreography)!


2. Eva and the teenage Kevin square off
二、伊娃與青少年凱文準備開幹


"That's a real restaurant: it looks like a set, but it's not. All those places round there [in Connecticut] look like sets. This was a really interesting scene to shoot – Tilda and Ezra [Miller] had worked up to it by then. We shot chronologically as much as possible, and they hated each other at this point. Even when you see the two of them together in the first photographs, there's a dislike – it's partly their characters. It wasn't that they weren't getting on, but Ezra had studied Jasper (Newell, Kevin aged seven) and taken on his movements, so there was a creepiness, an awkwardness. I always liked the fact that Eva and Kevin mirrored each other slightly. I wanted him to look like her, and her to see that monster within herself. It's that moment every parent recognises with teenagers – she says, 'How's school going?' and he says, 'Do you want a course schedule?' He takes her to task – 'Don't give me the mummy-son conversation now'. I've seen that kind of thing between mother and son, but he takes it to an extreme. They were kind of mirroring each other, they were watching each other, getting into the whole thing. It totally was a face-off, it was real 'Fuck you' from him."

「那是個真的餐廳:看起來像假的,實則不然。(在康乃狄可) 所有的場所看起來都像樣品屋。實在太有趣了—蒂妲與伊薩 (米勒) 準備就緒。我們盡可能按時間順序拍攝,兩人在當下仇恨彼此。即使你在首景看到兩人在一起,厭惡浮現—僅止於角色。不是說他們不夠投入,但伊薩研究了賈斯伯 (紐威爾,七歲凱文),並且學習他的動作,所以有種毛骨悚然,古怪詭異感。我總是喜歡伊娃和凱文彼此鏡映。我希望她看起來像他,而她看見心內那頭怪物。這是個每位父母都能認同青少年的時刻—她問起『學校還好嗎?』他回道『妳要不要順便跟我拿課程表?』他反將她一軍—『不要現在給我來個母子連心。』我看過類似場景,但凱文把氣氛搞到極度難堪。母子兩人相互輝映,他們看著彼此,融入事情全貌。基本上是齣變臉,等於凱文罵聲「操你媽」。」



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3. Eva and Franklin – 'a real couple'
三、伊娃與卡蘭克林—一對真實情侶


"John [C Reilly] phoned me up because he wanted to work with me. I think he'd made a list of directors he wanted to work with, so that was quite an honour. John and Tilda got on really well: both their kids are in Steiner schools, they have a lot of similarities – and his kids were actually doing archery lessons, like Kevin in the film, because he didn't want them to use guns. John would come round every night during the shoot and I'd make him dinner – it was a good chill-out after intense days. He was very in awe of Tilda – very: 'She's a goddess!' I think he found her really attractive; there was a vibe. I wanted a more real couple. That's what I like about Don't Look Now you've got Julie Christie, who's really gorgeous, and Donald Sutherland, who's a bit runny-nosed. John added a bit of humour – I loved working with him."

「約翰 (西萊里) 打電話給我因為他想和我共事。我猜他手上應該有一票導演想合作,所以煞是榮幸。約翰和蒂妲相處愉快:他們的小孩都就讀同間學校,他們分享許多相似之處—而且約翰的小孩是真的正修習射箭課程,猶如電影裡的凱文,因為他們不希望小孩接觸槍枝。約翰拍戲期間每晚都來串門子,我會做晚餐給他吃—情緒緊繃的日子需要輕鬆一下。他超級崇拜蒂妲—超級:『她是一枚女神!』女神魅力十足;有股情愫正流動,我要來對真正的情侶。所以我喜歡【威尼斯痴魂】—妳有超級正點的茱莉克莉絲蒂,以及唐諾蘇德蘭,一枚鼻涕哥。約翰添增幾許幽默—我樂於和他工作。」

Julie Christie
Don't Look Now

4. Kevin and the nappy
四、凱文與尿布


"Rocky Duer (Kevin as a toddler) was amazing, but he did have a freak-out when we were doing this scene – he said, 'I'm much too big to be wearing a nappy.' Luckily, Ezra was there for the whole shoot because he wanted to study Jasper and Rocky and their mannerisms. He saved the day – he took Rocky outside and got Santa Claus to call him or something, and he stopped crying. We didn't have a lot of time to shoot – and when you're working with kids and you only have 10 minutes .... Rocky is very small, he looks bigger in the picture than he is. Directing a three-and-a-half-year-old is quite hard. He came in, climbed on the chair. I said, 'Can you say "Mommy"?' He said (sulky voice), 'No.' But he did exactly what I said – then got up and walked out of the room, completely silent. He took direction like I've never seen. This is the rolling-the-ball scene (where little Kevin refuses to co-operate with his mother). I couldn't believe I was getting that – it was like CGI or something."

「洛基杜爾 (蹣跚學步的凱文) 太神奇了,但他也有起肖時刻—他說『我才不要穿小嬰兒在穿的尿布。』幸好,伊薩全程參與,因為他想學習蹣跚學步凱文,與男孩時期凱文的言行舉止。他拯救了大家—他把洛基引導至外頭,來個聖誕老公公降臨之類的,然後洛基就不哭了。我們沒有太多時間—尤其你和小孩只能有十分鐘……洛基很小隻,照片看起來比較大。導演伊個三歲半的小孩是件苦事。他進來,爬上椅子。我說『你會說「媽咪」嗎?』他說 (機歪貌) 『鼻要。』他完全照著我的指示演戲—然後起身走出房間,安安靜靜。我沒看過這麼配合的小孩。這是滾球遊戲場景 (小凱文根本不屌媽媽)。我不敢相信就這樣拍好了—又不是電腦動畫或什麼的。」

按:小凱文真的超級機歪的。

5. The McMansions of Connecticut
五、康乃狄克豪宅


"We shot the film in Connecticut. All those McMansions there, they're like sets inside – it's a real location but it looks like a set. Everything's a façade within Eva's family, and those places do look kind of cold. When I think about American films by Europeans, I think of Wim Wenders – Paris,Texas Americana. But actually it's a super-bland place – especially if you're outside the big cities and you drive from one mall to another. The houses are 'mock', big, rich houses, but there's something slightly tacky about them. Connecticut is a hugely rich area, and a beautiful area, but I wanted the feeling that Eva is the boho one in the couple, so ending up in the 'burbs like that was like death for her. It might seem cartoonish in the film, but it was surprising how much it was really like that."

「我們在康乃狄克拍片。這些豪宅就像戲棚搭景—是真的房子但看起來像擺設的。伊娃家裡的每樣東西看起來都假假的,有骨寒意。每次想到歐洲人拍美國電影,我想到溫德斯—美國巴黎德州。但實際上那裡是個超級無趣的地方—當你在大城市外頭,從某個購物中心開到另外一個購物中心。這些房子都是『模擬』碩大豪宅,又有點俗氣。康乃尼克是富裕之地,也是個美麗的地方,但我希望伊娃是凱文父母間波希米亞的那位,所以淪落到近郊對她來說形同地獄。這或許在電影裡或許有點道格拉斯瑟克,但令人訝異的是,還真的就是如此。」

按:難怪伊娃要對凱文說,你出生之前媽咪都很快樂,現在應該要在法國消遙喔!並於牆上貼滿被凱文嫌棄並揮毫的世界地圖。




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凱文怎麼了?We Need to Talk About Kevin
112 min.  2011

Tilda Swinton ...  Eva
John C. Reilly ...  Franklin
Ezra Miller ...  Kevin [凱文]
Ursula Parker ...  Lucy
Jasper Newell ...  Kevin - Childhood [小凱文]
Rock Duer ...  Kevin - Toddler [小小凱文]

最後是我的壞朋友荷荷貝瑞觀賞前程似錦明日之星 Ezra Miller 主演之【下課後遺症】關穎心得。

延伸閱讀:
[學院系列] Afterschoo (2008) by halleberry







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Ezra Miller in Afterschoo (2008)

請大家端詳完現代版養子不教誰之過【凱文怎麼了?】Ezra Miller 鮮嫩蠻腰後,到電影院收看【壁花男孩】並讚嘆凱文現實生活中面對自我真實的勇氣,然後發明時光機器回到去年高雄電影節欣賞【下課後遺症】(Afterschoo, 2008),十五歲的凱文首次演電影即展現無以名狀強大演技,一個恐怖小孩誕生就這樣誕生了。







2011年10月23日 星期日

[金馬] 就是故意 ignore 夏布洛 2011/11/03~11/26 新增:影史十大謎團 & 甘斯柏語錄






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introducing... Lola Créton!!! [瞧那藍色格子包覆背後的呼之欲出]





粗體字型代表不看會 (至少試圖) 自殘。

灰色字體表未成功劃位。



是的,身為一位長期忍受資本主義各式樣人寰慘絕的中產階級文藝青年,筆者把年假全用在影展期間某一個禮拜,還正試圖為了貝拉塔爾 all day all night 再請一天假 (順利成功)。這才是真正的文藝青年,一個能夠經世濟民 不當廢人不拿單眼,又能保有學生時代初衷的文藝青年。



嚴重降低標準與開放週間的結果就是未湊票正好三十二張。十五 張加 八張 倒過來永劫回歸。本次片單雖然沒有筆者軍旅生涯該屆影人專題如卡薩維蒂般入裡,或經典重映如高達般神威,但也尚稱精采俱全,唯一美中不足乃建議官方 redo 女神降臨 未獲正面回應





1.

2011/11/05

10:20

國賓影城@微風廣場 2 廳



親愛的別怕 Don’t Be Afraid

蒙索阿曼達斯

西班牙│2011│DCP│彩色│90 分│輔導級



手氣電影,單純看劇照與簡介順眼就劃了位。上一部手氣電影係 Denis Villeneuve 執導之【蒙特婁校園屠殺事件簿】(Polytechnique, 2009) 相當值回票價。



2.

2011/11/05

13:20

新光影城 1 廳



再見,吾愛 Goodbye First Love

米亞韓桑露芙

法國, 德國│2011│DCP│彩色│110 分│輔導級



處女作【全都可以原諒】(Tout est pardonné, 2007) 與另一位驚豔四座妮子【愛上壞女孩】(Naissance des pieuvres, 2007) by Céline Sciamma 同獲尚呂克獎最佳首部電影殊榮,她們當時都未滿三十歲;sophmore 電影【我孩子們的爸爸】(Le Père de mes enfants, 2009) 接續拿下坎城影展一種注目單元評審團特別獎。或許我仍舊愛 Mia Hansen-Løve 身為演員大於這位當代法國最璀璨耀眼的女性導演。



un-amour-de-jeunesse-2011-21240-878259451



關穎心得:Mia Hansen-Løve 或許沒有 Claire Denis 或 Lynne Ramsay 般驚天地泣鬼神才氣縱橫,但她說故事的技巧日益精進,於本片已成大器。少女可以藉由初戀悲慟綻放成熟時刻醇美,然而面對原生愛人回頭草羈絆,苦澀是條永遠吃不膩的巧克力。



卡蜜 by Lola Créton,Mia Hansen-Løve 選女主角眼光一向高超!!!
[務必使用全型驚嘆號] 拾起當初和蘇利文揮霍青春的帽子,當它被風吹到大河上,她知道要穿著鞋保護自己,勇敢踏著石菁追逐真愛。此時帽子在陽光普照波光粼粼上漂動,筆者心想:「就讓結局休止於這瑰麗長鏡頭吧!」And that's how Mia did it.



3.

2011/11/05

18:10

新光影城 3 廳



夢紋身的女孩 The Other Side of Sleep

蕾貝卡達利

愛爾蘭, 荷蘭, 匈牙利│2011│35mm│彩色│88 分│輔導級



1.



[反正會上院線]

4.

2011/11/05

20:00

國賓影城@微風廣場 2 廳



末日情緣 Perfect Sense

大衛麥肯錫

英國, 瑞典, 丹麥│2010│35mm│彩色│92 分│輔導級



David Mackenzie 與奶油犬伊旺首次合作之【烈火亞當】(Young Adam, 2003) 劇中男主角和海大咪 Emily Mortimer 佐以砸擲布丁的性愛場景至今仍教筆者臉紅心跳,伊旺麥奎格則很後悔拍了該場床戲,因為他認為那對其子女來說是很不健康的魚水交歡。



[反正我也沒那麼喜歡葛斯范桑]

5.

2011/11/06

10:40

國賓影城@微風廣場 1 廳



最後一次初戀 Restless

葛斯范桑

美國│2011│DCP│彩色│91 分│普遍級



葛斯范桑連續拍了四部貝拉塔爾電影,回歸主流之【牛奶】證明葛氏已經俱備悠遊於商業與藝術之高超駕馭,第六感生死戀小情小愛電影即使佳評未如潮,仍是葛氏從實驗電影淡出良好解藥。歷經【痞子逛沙漠】試探與追尋【大象】自省與淨化【超脫末日】救贖與昇華,筆者實在覺得【迷幻公園】乃多餘動作,即使她仍然很精美。



客觀來說【大象】就像一杯從濁水溪舀起,再放到貴夫人濾水器過濾所有雜質的水,其純粹已達聖潔境界,絕對是死亡四部曲藝術成就顛峰泰鼎,惟【超脫末日】光是麥克彼特倒在地上裝死,電視播放九零經典男子美聲團體「大人小孩雙拍檔」音樂錄影帶 "On Bended Knee" 即足以挑起筆者難以言喻情感波動。



6.

2011/11/06

13:00

國賓影城@微風廣場 1 廳



B 級教父 Corman's World: Exploits of a Hollywood Rebel

艾莉克絲史泰波頓

美國│2011│DCP│彩色│87 分│輔導級



7.

2011/11/06

14:30

國賓影城@微風廣場 2 廳


裝扮遊戲  Tomboy

瑟琳席安瑪

法國│2011││彩色│82 分│普遍級



Céline Sciamma 處女作【愛上壞女孩】(Naissance des pieuvres, 2007) 曾在台灣進行院線放映,本片作為 sophmore 電影勇奪柏林影展泰迪熊評審團獎,與 Mia Hansen-Løve 最新作品於本次影展再次同台,殷切期待兩位妮子瑜亮關係可為當代法國影業注入久旱後之活水。餘,詳 2.





936full-elizabeth-olsen



[不看會自殘]

8.

2011/11/06

17:00

新光影城 1 廳


迷懵夢寐 Martha Marcy May Marlene

尚德金

美國│2011│35mm│彩色│101 分│限制級



今年若只允許挑一片必看,就是這部日舞邪教電影哩!



延伸閱讀:

The Other Sundance It Girl of 2011





關穎心得:本片和【犬齒之家】【狗日子】或其他刻意以平實鏡頭描繪瘋狂事件的電影有著相同問題,避免主觀道德論述,捨棄炫技不渲染激情過後,就是空洞與搔不到癢處。大衛芬奇已經用【索命黃道帶】奠定反高潮典範,除了冷眼旁觀或節制收歛,我們還能夠轉換什麼樣的觀點直視人性扭曲荒謬面向?



片名記憶理解:女主角本名 Martha,生龍不生鳳的至尊教主認為她更適合叫 Marcy May,加入集體農場接電話便得自稱 Marlene。 「我交了一個男朋友,他騙了我,言盡於此,我不想多提。」Olsen 小妹如此迴避 (quibble) 那段無關乎 forgive & forget 的過往。



毫無疑問地高度期待下本片令筆者大失所望,派對變奏後,若可再嘗試推進那麼一丁點,絕對比先故弄玄虛後開放結局來得有力道。不過 Elizabeth Olsen 小妹妹精湛演技與渾然天成的ㄉㄨㄢㄉㄨㄢ仍舊成功力挽狂瀾,使電影整體來說依然不枉日舞佳導美譽,本屆 Sundance It Girl 名不虛傳!!!





photo_2692e0ea90ca5a8323f078309d1170da



[衝堂] [即使這片不看會心碎但總比上面那部不看會自殘好]

2011/11/06

17:30

國賓影城@微風廣場 2 廳



在人海中遇見你 Medianeras

古斯塔沃塔瑞托

阿根廷, 西班牙, 德國│2011│35mm│彩色│95 分│普遍級



相信大家都曾經被零七年金馬影展手冊封面電影【尋找希薇亞】(En la ciudad de Sylvia, 2007) 伊比利半島俏佳人 Pilar López de Ayala 魂牽夢縈個繞樑三日不絕於耳,只可惜今年有歐森家族英雄 Elizabeth Olsen 主演之【瑪莎瑪西梅瑪琳】衝堂,只能忍痛割愛。



9.

2011/11/06

19:20

國賓影城@微風廣場 1 廳



黑馬馬力夯 Dark Horse

陶德索倫茲

美國│2011│DCP│彩色│84 分│普遍級



陶德索倫茲上一部金馬電影已顯黔驢技窮醜態,希望找回 Selma Blair 的成果是止跌回升。標準典藏連【心靈戰火】都可以出 CC,總不能無魚蝦也好呀!



關穎心得:陶德索倫茲繼【少女心事】(Palindromes, 2004) 再次施展泡泡糖流行歌魅力,沒有戀童癖等陶式議題出乎意料地還是 (更) 令人噴飯。Selma Blair 已經快四十!但還是好正,好想一親芳澤喔 ♥♥♥ "I wanna pump her, pump, pump, pump, till she screams bloody murder."



延伸閱讀:

Storytelling (2001)



[不看會自殘]

10.

2011/11/06

22:20

國賓影城@微風廣場 2 廳



浴室春情 Deep End

史考利莫斯基

德國, 美國│1970│DCP│彩色│88 分│輔導級




關穎心得:保羅麥卡尼你這個幸運的雜碎!



11.

2011/11/07

21:10

新光影城 3 廳



黑色維納斯 Black Venus

阿布戴柯西胥

法國│2010│35mm│彩色│154 分│限制級



12.

2011/11/08

10:00

新光影城 3 廳



撒旦的探戈(上)  Satan's Tango Part I

貝拉塔爾

匈牙利│1994│35mm│黑白│148 分│普遍級



13.

2011/11/08

13:00

新光影城 3 廳



撒旦的探戈(中)  Satan's Tango Part II

貝拉塔爾

匈牙利│1994│35mm│黑白│148 分│輔導級



14.

撒旦的探戈(下)  Satan's Tango Part III

貝拉塔爾

匈牙利│1994│35mm│黑白│148 分│輔導級



2011/11/08

16:00

新光影城 3 廳



15.

2011/11/08

18:30

新光影城 1 廳

★ 影人出席 



都靈之馬 The Turin Horse

貝拉塔爾

匈牙利, 法國, 德國, 瑞士│2011│35mm│黑白│146 分│普遍級



傳說中的影痴友人 森重寬 a.k.a. 山姆極大值 (SAMMAX) 與筆者對話如下:



「我看過痞子逛沙漠還蠻好看的,星期二連看四場貝拉塔爾應該不會入睡吧!」(筆者)

「可是那片有麥特戴蒙,貝拉塔爾都是黑白片,匈牙利人留大鬍子,古裝。」(山姆極大值)

「什麼叫古裝?是星際大戰難民造型還是怎樣?」

「就是裡面的人都穿那種……布做的衣服……」




關穎心得:
幹我就是不知道吃馬鈴薯有什麼好看啦!






029438_CA_0507_kaye3_bw_web-2 Adrien+Brody+Tony+Kaye+Premiere+Detachment+OvpApwfA3Jal

Tony Kaye before & now



16.

2011/11/09

19:10

新光影城 3 廳



人間師格 Detachment

東尼凱亞

美國│2011│HD│彩色│100 分│限制級



Tony Kaye 拍完愛德華諾頓粉絲入門必備【美國X檔案】後隱姓埋名多年,nothing but 拭目以待。



關穎心得:過了十年 Tony Kaye 還是故技重施,問題就像房間裡有隻大象,深沉對白與詩意攝影渲染了鏡頭。或許在這刻意強調麻木不仁的世代,東尼凱這種渲染反而是種反常古典,雖然他不是很懂得節制,但至少那煽情乃真情留露不矯柔造作。



色塊和構圖很美。Adrien Brody 帥到掉渣。【廣告狂人】【落日車神】
Christina Hendricks 除了不可思議五零復古葫蘆身材,還有張 can't take your eye of her 的天使面孔和紅頭髮。



[反正我也沒喜歡過達頓兄弟]

2011/11/09

19:00

國賓影城@微風廣場 2 廳


騎單車的男孩 The Kid With A Bike

達頓兄弟

法國, 比利時, 義大利│2011│35mm│彩色│87 分│普遍級



EMILY-BROWNING-SLEEPING-BEAUTY



[不看會稍微有點想自殘]

17.

2011/11/10

22:00

國賓影城@微風廣場 1 廳



陪睡美人 Sleeping Beauty

茱莉亞李

澳洲│2011│DCP│彩色│101 分│限制級



黑名單 (Black List) 熱門劇本,女性導演,洋娃娃。



關穎心得:Emily Browning 還真的是被下毒昏迷才演出本片。筆者試著理解導演想說什麼。[幾乎無劇情洩漏] 如果老人一號粉身碎骨故事是個隱喻,再加上影藏攝影機概念,令人恐懼者乃那些沒發生與看不見的勾當,或者,那些 "假裝" 沒發生與 "當作" 看不見的勾當。(wtf...) 被引玉的朋友們請加入討論串。



本片令人想起艾騰伊格言【色情酒店】(Exotica, 1994) 知識份子的故弄玄虛。不過為什麼艾騰伊格言可以享譽國際,本片就備受惡評,大概是影評們不忍心看到 Emily Browning 被如此蹂躪吧!筆者單純為了艾比柯妮許與
珍妮馬龍 觀賞【殺客同萌】這部幾乎讓 Zack Snyder 無法繼續執導超人電影的洋娃娃領銜作品,煞是有病哈。



延伸閱讀:

The Dangerous Lives of Altar Boys (2002)

Belle de Jour (1967)

Belle de Jour (1967) part2



18.

2011/11/12

14:20

國賓影城@長春廣場 4 廳



媽的毀滅吧 Damnation

貝拉塔爾

匈牙利│1988│35mm│黑白│122 分│輔導級



antichrist_ver4



19.

2011/11/13

13:10

國賓影城@長春廣場 4 廳



撒旦之外 Outside Satan

布魯諾杜蒙

法國│2011│35mm│彩色│110 分│限制級



【人之子】勇奪尚維果獎與坎城金攝影機特別提及【人性本色】【野獸邏輯】兩度拿下坎城評審團大獎的布魯諾杜蒙,就是很典型的實質內容只有六十分,卻要拍得好像有一百二十分,故意要把電影拍得很藝術,其實也沒什麼深度可言的做作導演。然後第一天票就被劃光,可能是大家把本片片名與【撒旦的探戈】混淆吧!筆者今年春節佳期為了自虐,於是一口氣觀賞了全數五部杜蒙作品,還真他媽的不是普通難看。



延伸閱讀:

[法式軟調] 情色沙漠 Twentynine Palms



關穎心得:杜蒙,不只是杜蒙,杜蒙,再次超越杜蒙!



影史十大謎團:

1.

為什麼柯波拉用【現代啟示錄】如此恐怖的傑作在七零年代最後一年為七零年代劃下完滿句點,隨即以令人瞠目結舌的陡峭退化曲線一蹶不振?

2.

為什麼有人願意出錢給杜蒙拍電影?



山姆極大值:「杜蒙想拍一部【復活】(Ordet, 1955) 可是根本很失敗。我對杜蒙再也沒有任何期待,我對杜蒙再也沒有任何眷戀,我再也不要一邊說杜蒙拍的片很難看,又一邊默默把杜蒙的片全看完了。」



59_Nightporter



25.

2011/11/13

17:50

國賓影城@長春廣場 4 廳



夏綠蒂蘭普琳自畫像 The Look

安潔琳娜馬卡洪

法國│2011│35mm│彩色│94 分│限制級



關穎心得:筆者差點忘記 Ludivine Sagnier 於【池畔謀殺案】即示範流利英語會話程度。保羅奧斯特好帥,難怪女兒 (Sophie Auster in The Inner Life of Martin Frost, 2007) 正翻天。可以看到珍藏妥貼之歡樂小魔登電影【喬琪姑娘 】令筆者暗自竊喜許久,夏綠蒂對演技之神狄鮑嘉的信任,乃接演曾被紐約客影評譴責其身為演員 (而非該角色) 侮蔑女性的爭議電影【夜間守門人】(aka 魂斷多瑙河) 關鍵因素。



延伸閱讀:

The Knack ...and How to Get It (1965)









20.

2011/11/13

21:00

國賓影城@長春廣場 A 廳



計程車司機 Taxi Driver

馬丁史柯西斯

美國│1976│DCP│彩色│113 分│輔導級



關穎心得:一直以為重看 (since 大一) 會讓筆者比較喜歡這片,只能說美國七零年代人物突然起肖之卡通化意識型態,已經不再為筆者所愛,勞勃狄尼洛活脫是個 (雖然霹靂無敵有型) 搞笑諧星兼科學怪人。這次重點放在雛菊時期相當 leggy 的茱蒂佛斯特,但 Cybill Shepherd 仍舊銷魂如 Bernard Herrmann 運匠主題曲呀!



延伸閱讀:

崔維斯在最後一幕到底看到什麼



21.

2011/11/14

11:00

國賓影城@長春廣場 4 廳



鯨魚馬戲團 Werckmeister Harmonies

貝拉塔爾

匈牙利│2000│35mm│黑白│145 分│輔導級



22.

2011/11/14

16:30

新光影城 1 廳



安那托利亞故事 Once Upon a Time in Anatolia

努瑞貝其錫蘭

土耳其│2011│35mm│彩色│157 分│普遍級



[不看會自殘]

23.

2011/11/14

21:30

國賓影城@長春廣場 A 廳



凱文怎麼了? We Need to Talk About Kevin

琳恩倫賽

英國│2011│35mm│彩色│112 分│輔導級



筆者心目中僅次於 Claire Denis 的女性導演,Lynne Ramsay 第一部作品【捕鼠者】(Ratcatcher, 1999) 儼然是苦澀童年最甜美寫照,片頭慢動作捕捉孩子旋轉身體,用窗簾將自己緊緊包圍的經典鏡頭,便讓其他試圖以 slow motion 製造貧乏藝術視覺之前衛電影們自慚形穢,青年版本的《異鄉人》【莫文卡勒】(Morvern Callar, 2002) 再度證明蘭西是個懂得拿捏取捨之優秀電影工作者。



看完被半路搶劫的【可愛骨頭】除了咒罵彼得傑克森是個無恥的胖蛋,並事後諸葛與緬懷如果原來給 Lynne Ramsay 改編原著將會多美妙,等了九年,我們三生有幸等到這部電影,我們必須談談凱文。 



延伸閱讀:

"This terrifies people more."



[since i can't undo the past and redo the past...]

[since i can't undo the past and redo the past...]

[since i can't undo the past and redo the past...]

[since i can't undo the past and redo the past...]

[since i can't undo the past and redo the past...]

24.

2011/11/15

17:30

新光影城 3 廳



生命的光音 Komeda - A Soundtrack for a Life

帕斯卡佛內

德國, 波蘭│2010│Digital Betacam│彩色+黑白│52 分│普遍級



[反正我也沒喜歡過阿莫多瓦]

26.

2011/11/15

21:30

國賓影城@長春廣場 A 廳



切膚慾謀 The Skin I Live in

阿莫多瓦

西班牙│2011│35mm│彩色│120 分│限制級



untitled_Lou Doillon


stop calling me 人妖!!!



27.

2011/11/16

11:00

新光影城 1 廳



守護天使波麗士 Poliss

麥雯勒貝斯柯

法國│2011│35mm│彩色│128 分│保護級



關穎心得:片頭小妹妹是【裝扮遊戲】(Tomboy, 2011) 超級可愛的 Malonn Lévana!!!Maïwenn (one word like Madonna) 太強大了!媲美勞勃阿特曼班掌握 ensemble cast 的扎實劇本與導演功力,沒有一個角色扁平無味,麥雯飾攝影師這個相當俱備後設概念之角色與黑人火爆哥在舞廳互動令人動容。「妳以為戴眼鏡,穿得像阿媽就會讓我們覺得你很專業嗎?」黑人火爆哥其實是個女性解放實踐者 in disguise!



找來 Lou Doillon 充當麥雯姊姊/妹妹簡直神來一筆,根本就長好像 (人妖)。小帥哥 Nicolas Duvauchelle 演警察很明顯故意壓低聲線,緊抿嘴唇,竟然有幾分【獨行殺手】亞蘭德倫感。




結論:法國名導老婆 (嫩妻) 拍片都很強大,而且還可以電爆積弱已久的老公。




cn_image_size_cuar01_gainsbourg0711



28.

2011/11/16

13:30

新光影城 3 廳



賽吉甘斯柏:愛女人的男人 Gainsbourg and His Girls

帕斯卡佛內

法國│2010│Digital Betacam│彩色+黑白│105 分│輔導級



我愛妳,我也不愛妳,我愛妳……[摘花瓣] Je t'aime, moi non plus,Serge Gainsbourg 是人類史上最偉大的男性。



關穎心得:

1.

甘甘保留原來要發行的碧姬芭杜版本 "Je t'aime, moi non plus" C大調,珍寶金以高八度詮釋,出自嫉妒接下英國金榜史上第一首冠軍外語單曲,甘甘覺得效果不錯,就用其他勁歌填滿了一張專輯。

2.

甘甘:「如果 "Je t'aime, moi non plus" 是在床上錄的話,那長度就不只是一張單曲了。」

3.

甘甘承認與夏綠蒂領銜之【檸檬亂倫】(Charlotte for Ever, 1986) 選角失敗,甘甘不應該扮演父親的。

4.

甘甘:「如果本人長得更帥的話,那我不就累死了。」珍寶金曾經和帥哥亞蘭德倫於【滿池春色】(La piscine, 1969) 合作,當時甘甘緊張了一回。 

5.

甘甘形塑了法國女歌星,藉此超越對愛情的絕望,並展現女性特質。

6.

[為什麼只為女人寫歌?] 甘甘:「因為比較爽。」碧姬芭杜給了前所未有的信心,最醜的男人愛上了最美的女人。

7.

甘甘:「我表現得很玩世不恭,這面具拿不下來了。」

8.

珍寶寶:「我不在意甘甘陰陽怪氣,就像我養了一隻會亂咬人的狗,但他在我旁邊就很乖巧順從,這感覺挺好。」

9.

「逃離愛情,怕留不住。」甘甘製作珍寶寶分手專輯同時,也製作了艾珍妮專輯。

10.

甘甘除了對青少年宣導反毒觀念,還是個詹森派的道德家!君不見 "Je t'aime, moi non plus" 唱著「肉體的愛沒有出路。」

11.

甘甘:「我色得有品,而且很有格調。」

12.

甘甘:「我很重視子女的教育,在家很嚴格地要求禮節和紀律。」

13.

甘甘:「我是小路路一號。」(回歸俄羅斯原生血統起源)

14.

甘甘:「很多人一定覺得我跟珍 (寶金) 的生活很淫亂,其實我們只是很相愛的一對夫妻而已。」

15.

甘甘:「我ㄧ挑釁,別人口袋裡的金錢和身分證就會掉出來。」




本片讓筆者想起 前屆 金馬影展收錄之【海夫納的兔女郎王國】(Hugh Hefner: Playboy, Activist and Rebel, 2010),兩位惡名昭彰的 dirty old boy 其實都有著不為人知 (刻意被媒體忽略) 的光明聖潔面貌呀!



Serge Gainsbourg 是人類史上最偉大的男性。(比高達更屌!!!)



29.

2011/11/16

19:00

新光影城 1 廳



奧邁耶的癡夢 Almayer’s Folly

香妲艾克曼

比利時, 法國│2011│35mm│彩色│127 分│普遍級



[反正會上院線] [反正歐諾黑是當代法國最廢的導演]

2011/11/16

21:00

國賓影城@長春廣場 A 廳


最愛小情歌 Beloved

克里斯多福歐諾黑

法國, 英國, 捷克│2011│DCP│彩色│145 分│輔導級




30.

2011/11/17

22:10

新光影城 3 廳



從前有顆發條橘子…… Once Upon A Time… A Clockwork Orange

安東德古迪馬

法國│2011│HD│彩色│52 分│輔導級



Malcolm McDowell :「你覺得這場戲怎樣?」

Stanley Kubrick:「我又不是
RADA (Royal Academy of Dramatic Art) [with members like starlet Gemma Arterton。」

Malcolm McDowell :「我知道你為什麼喜歡彼得榭勒了,因為他會一次做四十種表情,讓你慢慢選。」

Stanley Kubrick:「孺子可教也。」



31.

2011/11/20

13:00

新光影城 1 廳



梅里葉魔幻電影音樂會 Ciné Concert Georges Méliès

喬治梅里葉

法國│1906│35mm│黑白│100 分│普遍級




32.

2011/11/21

19:00

新光影城 1 廳



天堂的小孩 The Children of Paradise

馬賽卡內

法國│1945│DCP│黑白│190 分│普遍級
















[永遠瀕臨崩潰邊緣的女人] Isabelle Adjani - Pull Marine by Serge Gainsbourg















José González - Teardrop











Massive Attack - Teardrop


















2011年10月7日 星期五

<font color="#ff0000">[贈票] 台北光點 2011/10/22 (六) 2030 </font>媽媽與妓女 La maman et la putain (1973)


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意免費觀賞本片者,請速洽 craiggah@hotmail.com,謝謝![不好意思,本次活動已選出其他人選,感謝您的來信,並請到電影院購票觀賞這部七零年代最 (yes, not one of) 偉大的作品,謝謝。]



1.

媽媽與妓女

The Mother and The Whore / La Maman et la Putain 



Jean Eustache│France│1973│Color│French 

35mm│217 min



話說香港電影評論學會會長為了即將於金馬影展上映的【天堂的小孩】特地訂機票來台灣觀賞,我認為他更應該為了連 DVD 都沒有出品的【媽媽與妓女】光臨本島。若有死前必 (於光點) 看 (膠捲) 電影這種東西,第一名就是看過的人都說宇宙無敵好看,可是根本就很少人看過的 【媽媽與妓女】哩!!!















母親與娼妓 La maman et la putain

210 min. 1973



Bernadette Lafont ...  Marie

Jean-Pierre Léaud ...  Alexandre

Françoise Lebrun ...  Veronika

Isabelle Weingarten ...  Gilberte

Jacques Renard ...  Alexandre's Friend 









PDVD_000 

【烏賊與鯨】安娜派昆向杰西艾森堡問起這部電影,都會青春困頓醜男大概沒聽過教授老爸評語,無法賣弄,只能說很經典。白蓮蓬吉姆賈木許在【破碎之花】片頭即表明,該片乃向尚尤斯塔奇致敬。





高達助理起家,參與【週末】主要演出,三十五歲的尚尤斯塔奇 (Jean Eustache) 根據與女主角 Françoise Lebrun 關係寫劇本,以【母親與娼妓】拿下坎城評審團大獎與費比西獎,日後拍了幾部評價不太好的電影,八零年代初期自殺,得年四十三。



本片真是相當吉光片羽,即使已成影迷口耳相傳經典,IMDb 八點二分建立在區區一千張票數上,因為版權糾紛,目前只有日本 DVD 問世,錄影帶 畫質,非數位轉移。Criterion 快給我砸錢塞住尚氏家屬嘴巴呀!









你們這些愛講話的,通通給我記壞寶寶一點!(單週累積三點就寫聯絡簿)



假設有個以喋喋不休劇本為標籤的光譜,最左邊十分是知識份子,最右邊一分是粗鄙下流,伍迪艾倫與 凱文史密斯 各佔據十分和一分的扭曲極端值。昆汀塔倫提諾三分,理查林克雷特 綜合歷年作品五分,惠特史提曼 七分,侯麥八點五分





She looked at me, or I wouldn't have noticed her.

I'm only interested if she's already interested, even if it's only shown in a glance.

The same way I can't love a woman who doesn't love me.



Abortionist are the new Robin Hoods, the new chivalrous knights. 

They no longer defend windows and orphans, they saved women from the disgrace in their bellies. 

The scalpel replaces the sword, the probe replaced the sabre. 

Women always belong to their rescuers.



尚尤斯塔奇我不知道該歸類在哪邊。三個小時半尚氏對話屬於你會躲在椅子後面偷聽,且不時有衝動脫口而出:「不好意思我正好聽到你們的對話,可以加入你們嗎?我覺得…… 」









亞力山卓沒有工作,在服飾店老闆娘瑪莉家白吃白住。和前馬姬蓓分手後,決定愛上下一個遇見的女孩,薇若妮卡,姬蓓複製人。尚氏重現垂死新浪潮精神,一九六八五月學運年後,三個靈魂認為自己社會或性愛上應該是獨立自主的,但他們不知該往哪走,所做努力也未讓自己更快樂。



新浪潮一哥安端再度展示男孩魅力 (charming boy routine),論帥氣是德倫,論瀟灑是貝蒙,若藝術成就非安端一哥莫屬。Bernadette Lafont 拾起俏皮,散發三十而立成熟韻味。Françoise Lebrun 外表一點也不符合母親與娼妓的娼妓特質,演藝生涯比 Claude Jade 更低調,最新作品是【潛水鐘與蝴蝶】!









尚導說他的電影是「對事件正常進程的描述,省去戲劇化剪接」(description of a normal course of events without the shortcuts of dramatization),並形容安端角色乃「其蹉跎光陰珍貴時刻的採集者」(a collector of "rare moments" that occupy his otherwise idle time)。



尚導說觀眾將無法分辨誰是母親誰是娼妓,我想瑪莉除了無條件撫養安端,嫉妒個性也讓象徵擁有的母親特質浮現;薇若妮卡為什麼是母親?護士照顧病人嗎?









天真爛漫如安端很愛補充別人的話,例如:



You never finish your sentence: "You had to leave, so we'd meet again."



I wish you would say: "To drink, to buy clothes, to be beautiful, because you see, my dear, I'm in love..." (接著這位小妞回應自己常常身處戀愛中,今天相愛明天失憶,是誰不重要見好就收,最多維持三個月)





最後是我的好友捷ㄙ敏的劇情介紹與精闢解析。



延伸閱讀:

[電影] 關於《母親與娼妓》的流水帳

Maman et la putain, La (1973) pt2



法國小妞短片集錦







































安端喜歡撫摸前馬 Gilberte 的脖子和柔膚。























































千嬌百媚的 Lafont 表情很多。





























安端之自我寫照,唯一的存在證明。































































Veronika 是那種可以微笑著,靜靜聽男人天花亂墜的女人,此刻的她美極了。(其實是好奇眼前的嘴砲男人可以蠢到什麼程度)





















Veronika 看到安端獨門 "撲" 床絕技,笑了。













我是人盡可夫的娼妓,嗚嗚~





















被兩個相處得來的馬子化妝的安端。







































tampax-leaks1



小護士 Veronika 代言的衛生棉條品牌 Tampax,如果被安端外力入侵,就得勞駕婦產科醫生。









JeanPierreLeaudJeanneMoreauBernadet 



右起為尚導、新浪潮風騷女僕、M女、安端於一九七三年坎城影展合影,快猜M女糾竟是誰?

答案請點 這裡

















Mireille Darc in Week End (1967) 





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