影之女 "玉屏Blog"

"玉屏" 之意: 1) 白燕, 原名陳玉屏 2) 金燕玲, 在影片 [地下情] 的名字, 叫廖玉屏 個人影評集: www.geocities.com/arsuearsue/ Since 28 Feb 2005

Wednesday, February 02, 2011

爭妍鬥麗 -- 最佳外語片2010年名單

各位影友/面書友:

2010年已完結,也是時候對過去一年在戲院上畫的電影作一回顧。本人雖不是每套電影也看過,但在過去十多年的觀影記錄以來,感覺上,2010年優秀的外語片數量*乃最多的一年,這確是(香港)觀眾的福氣。以下的名單#,由於觀影數目有限 (例如還未看【90後.少女.性起義】、【給弟弟的安眠曲】等片),當然不盡完滿,還望各位見諒。最重要是 – 希望大家多看/多想/多談/多寫 – 繼續令香港觀影氣候良好地發展。

(*只把戲院正式上畫的影片計算在內)
(# 排名分先後)

1) 【影子滅殺令】(The Ghost Writer) (2010) (法國/德國/英國) (dir.: Roman Polanski)

影片沒有重心的主題可言,但這正是它最難能可貴之處。基於本身架構,所有issues (e.g. 政治的運作模式/與其跟其他parties千絲萬縷的闗係、「影子」在不同professions的作用等等),都subordinate在storyline之下 (所以毫無必要把每樣issue無限詮釋及大書特書);反其道而行的話,exploitation乃必然的事。波蘭斯基於全片內「放下身段」(這跟年紀及名氣沒有必然關係),本人是致以萬二分的敬意。

【影】片處理suspense固然是另闢蹊徑及跳躍至更高層次 -- 每段情節內最「sell得」及具gimmick的元素也事先張揚,「高潮」永遠followed by之後發生的「平凡」情節,甚至隨後 (及之前) 的整個段落 -- 但它最大的成就,乃處理每段情節的嚴謹度:由起首渡輪introductory段落 (那種簡潔及凝聚的濃度,已成為筆者眼中的經典教材/場面),至Ewan McGregor面試,及至他在前度槍手的房內「翻箱倒篋」,及至跟Olivia Williams共晉晚餐,再至她在memoirs發佈會被Ewan揭破真相後那組鏡頭,最後至end credit的title sequence (實在太多不能盡錄)……導演對那種細緻精巧的呈現,既費煞思量且苦心經營,已超出了本年度其他卓越電影的水平。在千禧年後有限的觀影經驗內, 【The Ghost Writer】足與【偷拍】(Caché) (2005, dir. Michael Haneke) 媲美,成為筆者眼中廿一世紀頭十年最佳電影的雙壁。

2) 【援「膠」女郎】(空気人形) (2009) (日本) (dir.: 是枝裕和/これえだ ひろかず)
3) 【先知】(Un prophète) (2009) (法國/意大利) (dir.: Jacques Audiard)
4) 【下女】(하녀) (2010) (南韓) (dir.: 林常樹/임상수)


一部完全呼應時代的作品。新版只取舊版【下女】(1960) 的基本角色和故事梗概,實則訴說另一個故事。話雖如此,由於翻拍關係,story無可避免touch到原版的主題:1) 女性身份;2) 階級角力;以及新版中現代社會 3) 對物質/資源的浪費/過剩 的問題。導演林常樹把以上三個issues“not to be conveyed”地去蕪存菁:

i) 斬釘截鐵的起首立/結論回應pt. 3 (opening也是唯一一段用實況手提拍攝) -- 別拿上流社會諷刺其浪費物質/資源,片首一幕每一個現代的平民百姓也過著這種生活 (包括勞動者及消費者)。

ii) 過場的點綴,以回應pt. 1 -- 當女主人在這種環境生活,西蒙.波娃的 <<第二性>> 也只能跟其他興趣一樣作陪襯品,當女僕人在這種環境下工作,一切起居作息也感覺理所當然 (被革職後第一句便說手提電話被沒收了)。

iii) 牢固的背景設定,以回應pt. 2 – 誠如導演在訪問中所言,以前統治社會是政治家,現在則是有錢人。新時代自然有新做法。六十年代的韓國尚待開發,一切正在起飛中,階級角力在火紅時代自可理解及make sense (尤其只是初萌芽的脆弱中[下]產階級)。今時今日,一切已成熟及成形,嘗試討論及分析這議題,未免來得多餘。林常樹早已心裡有數,把背景設成牢不可破之地,甚至連鏡頭運用也配合這意圖 -- 穩妥的流動及構圖,跟舊作那義無反顧「話之你死」的放任推鏡,可謂南轅北轍,actually with different purpose。

由是故,影片對上層社會的「劣行」只作standard的呈現,它其實只作為一個平台。真正「開刀」的對象,是尹汝貞這角色 (代表我們這群在現代社會生活已久的平民百姓) -- 受了人家恩惠之餘,大條道理在工作中對主人顯出不屑的樣子,當自尊心受損之時即拿起擋箭牌,醉酒朝天痛罵他人「卑鄙無恥」;而女主角流產乃尹一手造成 (至少是始作俑者),全度妍在病床康復的最後關頭,尹也不肯放下保護自已的防線及說出真正原因,取而代之脫口而出「胎兒命數早已註定」-- 尹其後流淚說自己「沒得救」,乃人性最真實流露的一刻,那種無地自容的羞愧及悔疚 (還要只埋藏在心裡!),我們當中有那些人經歷過?

4) 【私情狂】(Io sono l'amore) (2009) (意大利) (dir.: Luca Guadagnino)

既感性又性感的作品。影片拍出對多種感覺的回味,無論是精神上抑或感官上,既誘惑又甜蜜……

的確,它是說有關「新」與「舊」的問題; 【私】片內舊有的傳統,分別被個人 (精神/日常生活) 及社會 (經濟) 兩面夾擊,最後弄至體無完膚,分崩離析,導演認為這是必然的結果,一種不可抵抗的自然定律。難怪片首出credit時瀰漫著classical的書寫方法,到最後完場時淡淡地透出modern的casting list了。

任何類型的價值也沒被批判,concern的反而是角色在不同價值觀的環境下所面對的問題;安排Edoardo Jr. 發生意外的悲劇,自有其寓意:一個善良的人,能分享親人的「秘密」,再加上他fair-play及欣賞quality的性格,正常劇情的處理他會是第一個detached的角色;然而,Edoardo Jr. 被家庭影響太深,無何避免成為「悲劇」代言人 (令我想起【The Godfather】的Don Michael Corleone)。

影片另一有趣的地方,是Edoardo Jr. 及Antonio的想像/推論 (兩個都是男性),而兩個「出軌」鏡頭是同一個shot: 1) 象徵他們那合拍/心意相通的默契;2) 風格上,鏡頭 (應再結合那組快速剪接/zoom-in的鏡頭一起閱讀) 直接、乾脆、赤裸……再對比Emma (女性) 想像「出軌」的那個shot, 盡是溫柔、含蓄的味道……一般男女的特質就這樣順暢而不著痕跡地表達出來。

結尾女主角出走時面對女兒的一組鏡頭,煞是精彩。鏡頭調度再加上剪接,變成像照鏡子一樣:妳看見的我,是妳自己,母女在那時刻才真正「血脈相連」。緊接Eva用手摸肚的鏡頭,echo之前Emma的相同動作,暗示Eva 那transformation的契機嗎? 而其他家庭成員竟問Betta在看什麼!淺白,但直接及震撼。這段結尾為出色的【私】片錦上添花。

4) 【社交網絡】(The Social Network) (2010) (美國) (dir.: David Fincher)

影片並非觀察及分析Facebook如何改變人類溝通的方法。導演告訴我們 -- 無論世界發生任何事,管它是驚天地、泣鬼神的發明,人類 (特別是都市人) 身處其中,也沒有兩樣 -- 同樣追求別人的肯定、個人的虛榮/自尊、性愛的渴求、人與人親密的接觸……這是我們的天性/本質,註定沒法擺脫……即使如Mark Zuckerberg這藝術家,除了I.T.,對其它事情也沒興趣,最後還不是想step out,做回一個普通人。

Welcome back大衛.芬查!雖然【社】片跟傑作【七宗罪】(Se7en, 1995)、【搏擊會】(Fight Club, 1999) 【殺謎藏】(Zodiac, 2007) 還有少許距離,但已是不可多得的佳作。實際上,我們從影片內可找到不少導演前作的「標誌」及「特徵」:諸如室內/外暗光的運用 ( 【七宗罪】、【搏擊會】【房不勝防】[Panic Room, 2002] )、幽默的對白/筆觸 ( 【搏擊會】 )、以及角色的執迷性格 ( 【殺謎藏】 ) ……恰當地靈活運用之餘又沒有破壞電影統一的風格。私以為大衛.芬查這躺第一次走向人文精神的領域探索,而他成功了。誰說 DF只懂拍強烈風格及議題行先的作品?

7) 【不赦島】(Shutter Island) (2010) (美國) (dir.: Martin Scorsese)
7) 【叛逆諜戰】(Green Zone) (2010) (美國/法國/西班牙/英國) (dir.: Paul Greengrass)
9) 【忘情使者】(The Messenger) (2009) (美國) (dir.: Oren Moverman)
10)【告白】(告白/こくはく) (2010) (日本) (dir.: 中島哲也/なかしま てつや)
11)【白色恐懼】(Das weisse Band - Eine deutsche Kindergeschichte) (2009) (德國/奧地利/法國/意大利) (dir.: Michael Haneke)
12)【拆彈雄心】(The Hurt Locker) (2008) (美國) (dir.: Kathryn Bigelow)
13)【迷情追兇】(El secreto de sus ojos) (2009) (阿根廷/西班牙) (dir.: Juan José Campanella)

最後,祝各位在2011年看到更多好電影,以及身體健康、生活愉快、新年快樂。

2011年1月30日

17 Comments:

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    wow welcome back, 要不是想來查查你談朱石麟的文字, 也不會回來看到這篇新稿呢

     
  • At 3:38 AM, Blogger Ar Dream said…

    多謝你的名單~我必定會找新版《下女》看看~

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