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Films that were made based of novels

 
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yesasia
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PostPosted: Wed Apr 10, 2013 12:29 am    Post subject: Films that were made based of novels Reply with quote

香港文藝小說改編電影
作者︰電影雙周刊 (香港)



From: http://www.yesasia.com

由2006年底至2007年年間,曾兩奪威尼斯影展金獅獎最高殊榮金獅獎的兩位華人導演—張藝謀和李安的大作《滿城盡帶黃金甲》和《色,戒》,吸引了大量華人觀眾的注目,引起談論之餘又特別賣座。不約而同地,兩片均是改編自近代文壇和劇壇小說之作,前者為曹禺話劇【雷雨】,後者為張愛玲短篇小說【惘然記】。反觀近年來一落千丈的香港電影業,80年代至今文藝片寥寥可數,文藝片已經不是商業片種,更何況由文藝小說改編的文藝片!

香港金像獎—最佳編劇

大家有否發覺香港金像獎,跟奧斯卡金像獎或台灣的金馬獎,有一個很大的不同。就是香港金像獎只有最佳劇本獎,而沒有劃分最佳「原創」劇本或最佳「改編」劇本。劇本可以改編自小說、漫畫、舞台劇及廣播劇,它們跟「原創」的劇本一併競逐當然存在不公平的問題,不過這是為勢所迫,因為「改編」劇本根本不足而不可另闢一獎,否則提名的幾乎都會百分之百勝出。撇開武俠小說,單是文藝小說,由80年代至今,只有極少數是搬過上銀幕。

李碧華
香港作家、編劇

小說改編成電影上映︰胭脂扣(1988)、潘金蓮之前世今生(1989)、秦俑、川島芳子(1989)、霸王別姬(1993)、青蛇 (1993)、誘僧 (1993)、餃子(2004)等

在這小小改編風潮中,李碧華是個重要人物。她的作品不但被改編得最多,更有趣的是改編者同樣是她本人。這是由於她自己曾做過編劇有相關經驗及技巧。另一方面,張愛玲人都已不在了,亦舒一向低調,賣了版權後自然將改編的責任易手他人。曾與李碧華合作拍片的導演羅卓瑤說過︰「李碧華是很執著的人,不過你跟她談,仍然可以說服她改動某些東西。」,不過看過由李碧華小說改編而成的電影,都會發覺多部小說的精神——人的命運都是悲劇,仍然延續到電影世界去。

以當中最叫好叫座的《胭脂扣》為例,如花的悲,是因為作為塘西妓女,她懂得煙視媚行令客人乖乖奉上金銀,是誰玩弄誰一目暸然。可惜對十二少愛得瘋狂的她,在跟他約定共死之時,卻被人狠狠出賣。因為有原著在前,對比全新的電影,大家都會對演出者議論紛紛,生怕他們會破壞了原著的角色。不說不知,導演關錦鵬就曾猶疑應該找鄭少秋,還是周潤發去演﹖結果最後十二少變成了張國榮,而如花一角卻由始至終只考慮過梅艷芳一人。

《潘金蓮之前世今生》可以說是「雙重改編」。因為潘金蓮早就存在於【金瓶梅】及【水滸傳】中,而李碧華就改動了她的性格及際遇,先寫成劇本,再寫成小說,然後主動找羅卓瑤拍成電影,這是其他小說電影中罕見的。羅卓瑤找來王祖賢來演,她向來給人柔弱的感覺,羅想藉她顛覆潘金蓮淫蕩、狠毒的形象,可是縱然潘金蓮真是這樣又如何﹖起碼她愛得坦然,不似現在的她含屈地說一切都是男人所迫。

《霸王別姬》最為人稱頌的是陳凱歌比作者李碧華更了解主角程蝶衣。他加重了蝶衣、小樓童年相濡而沫的往事,更令人明白蝶衣對小樓的癡,明白為何他要像京劇裡的虞姬般,在舞台上為小樓自刎,而戲中亦加進了陳凱歌對文革的個人體會。這教我們知道導演亦是一個「作者」,就算以小說為依歸,導演可以對故事有再創造的能力。

《誘僧》亦是另一明證,因為原著只是一個短篇故事,拍成電影可能只得一場戲,所以羅卓瑤將自己的政治情懷放進電影。輿論只集中於僧人被色誘一幕,其實羅卓瑤亦想表達男主角遁世,因為人們只記得貞觀之治,而忘卻當初李世民策動玄武門之變流血事件的兇殘。

亦舒
香港小說及散文作家

小說改編成電影上映︰玫瑰的故事 (1986)、朝花夕拾(1987)、喜寶(1988)、 流金歲月 (1988)

亦舒可以說是香港最多產的女作家,不過改編成電影的小說只有四部,而《朝花夕拾》及《喜寶》上映時根本並沒引起注意,值得談論的只有《玫瑰的故事》及《流金歲月》。一陣子導演楊凡更找人替兩片再配音及配樂,重新發行。原來其中舒琪是第一個有意將【玫瑰的故事】拍電影的人,他更敲定鍾楚紅做女主角,不過後來計劃告吹。

之後執導的楊凡很聰明,他只選了玫瑰由少女至28歲的故事,並找周潤發一人分飾玫瑰英年早逝的哥哥及家明,令玫瑰家明之戀更多了難解的情意結。楊凡一向崇尚唯美的風格,所以原著中玫瑰受情愛折磨,去了紐約渾噩地生活,楊凡就將它改為浪漫的法國。而他多用靜止的遠鏡頭,少用分鏡及影機運動,所以電影像是一褔沙龍照。而《流金歲月》最大的功勞不單將亦舒筆下的朱鎖鎖、蔣南蓀化成影像,亦將演繹者鍾楚紅及張曼玉當年的美拍成影像,成為永恆。相比之下,飾演家明 (亦舒大部份男主角都叫家明)的日本演員見辰吾就演不出亦舒小說的氣質。

張愛玲
中國現代著名作家
(1920年-1995年),曾創作不少小說、散文、電影劇本以及文學論著等文學作品。
小說改編成電影上映︰傾城之戀(1984)、紅玫瑰與白玫瑰(1994)、半生緣(1997)、怨女、色,戒 (2007)

對比李碧華及亦舒,張愛玲已經不算是近代作者。在三部改編自她的小說的電影當中,許鞍華就執導了兩部。《傾城之戀》及《半生緣》有不少負面評論。

許鞍華在回顧往昔的作品的時候曾說過︰「我承認《傾城之戀》太跟原著了,張愛玲的成功是靠語言描繪複雜心理,我將他們照樣放進電影去,戲院有觀眾聽到對白笑,我就知大件事!到了《半生緣》我就逐步去改善。我覺得拍張愛玲的小說其實是個陷阱,因為大家一定會將它跟原著比,不過我覺得是值得去做的。只是我拍得不好,難保將來會有人拍得好!」

在《半生戀》擔戲的男主角黎明亦提到︰「我不是演戲,而係在那個特定空間 (張愛玲、許鞍華築構的世界)去生活。」值得一提的是原來【半生戀】曾被改編成40集的電視劇,不過已是麗的電視時代的事,當年演沈世鈞及顧曼楨是陳振華及李影。

至於為什麼香港缺乏文藝片﹖許鞍華表示︰「在外國,改編小說成電影,根本不是特別的事。大陸亦然,張藝謀的電影很多都是改自小說。(《大紅燈籠高高掛》改自【妻妾成群】,而《一個都不能少》改自施祥生【天上有個太陽】),其實香港不是少改編文藝小說,而是根本連文藝片也少。

我覺得香港的小說市場少,電影市場也差,所以假如有改編自小說的電影出現,兩者組合會引起迴響。拍過的小說電影當中,我最欣賞《胭脂扣》,因為它將小說的描寫化作一場場戲。而我現在未有想拍的小說,反而就傾過想改編日本漫畫,不過可能是香港人拍的關係,他們比較嚴謹很多東西都不讓我們修改。」

而張愛玲另一本小說【紅玫瑰白玫瑰】,最特別的地方是關錦鵬在電影中加插了寫上張愛玲小說精句的鏡頭,以及找形象完全「紅玫瑰」(風情萬種)的葉玉卿來演「白玫瑰」(賢良淑德)。

電影小說

曾於九十年代為經典的《金枝玉葉(1& 2)》及《仙樂飄飄》擔當編劇的阮世生表示,文藝片已經不是商業片種,更何況由文藝小說改編的文藝片!

「小說有幾暢銷都好,睇書的人不一定覺得演員組合吸引而去睇戲。女性化題材亦會影響賣埠。而且很多流行小說富生活感,講愛情的糾纏,不過其實內容很保守,如果要拍成電影要在美學上做很多的加工,外國的小說譬如【未來報告】就絕對不同(小說已提供視覺效果)。而張愛玲的小說更多一個問題,它並非時裝劇,製作費會很高。」

「我自己亦曾參與《胭脂扣》的劇本,知道改編小說還有一難度,就是原作者會看得很緊,不想你改她的東西。例如少了一句對白,李碧華都會過來問個明白。而且對於誰來飾演那角色,她會有自己的心頭好。 」

說到底,有野心的電影人才會將小說改編成電影的!

「在那些小說電影中,我最欣賞《胭脂扣》,它拍出小說的味道。而《霸王別姬》就呈現出豐富的感情。而《半生緣》不是搬字過紙,導演都有好好地將小說消化,不過觀眾看得有無共鳴又是另一回事。」 「現在有人的做法是倒轉來,先出劇本,拍成電影才出小說。不過電影不收得就沒話可說了。就算有人為宣傳提議這樣做,要知道電影是靠視覺,小說是靠細膩的文字,出小說其實要將劇本重寫過。」

香港電台製作【小說家族】

1987年香港電台推出了第一輯【小說家族】,是香港首次大規模地將文學作品拍成劇集。港台希望這樣做能推廣讀書風氣,及在電視這普及媒界為觀眾帶來文化氣息。他們選取的小說都是香港作者撰寫及以香港為背景。原來羅卓瑤改編小說拍成《誘僧》之前,就曾在這節目熱身,改編了西西的【像我這樣的一個女子】。其他改編的作品還有施潔玲導演,鍾玲玲原著的【我的燦爛】。當中很多作品是保留了小說的文藝腔、內心獨白及意識流,但亦同時有導演的個人風格。

還記得見王家衛的《花樣年華》最後出字幕時鳴謝劉以鬯的【對倒】嗎﹖其實《花樣年華》片並非改編【對倒】,只是該小說對王家衛創作上有某些啟發。真真正正改編【對倒】的是【小說家族】其中一位導演張志成(《戀性世代》導演、《播種情人》編劇)

「我初做編劇時,曾為香港電台的電視節目【小說家族】,將辛其氏的【真相】及劉以鬯的【對倒】拍成劇集。前者幾忠於原著,而後者就在內容及風格上有所改動,不過難得的是原作者劉以鬯明白影像媒體的獨特性而毫不介懷。

張志成表示,改編小說的問題很多。有些作家不肯賣出版權,而一些大陸小說在國內被禁,版權的事根本談不攏,加上電影公司很擔心市場不會理想。就算改得成,編劇也可能太愛原著而跳不出內裡的框框,又或者因為改編的是名著而有壓力。

《棋王》

不過,講到最有野心的必然是《棋王》,因為它是改編自兩部風格完全不同的小說,一部是鍾阿城,另一部是張系國所寫。它們除了書名均是【棋王】外,只有一個共通點︰以下棋來隱喻人生。 鍾阿城的【棋王】是講述1960年,在毛主席鼓吹下,男主角被下放去勞動。而張系國的【棋王】則是講下棋神童在台灣參加電視節目競賽。1992年導演嚴浩、徐克要加多一個廣告人的角色,他既目睹新「棋王」參加比賽,亦同時是昔日被下放的「棋王」的舊友來串連故事。

改編日本小說

順帶一提,香港有兩套電影是改編自日本,而非本港的小說,包括改編自谷崎潤一郎的【南京的基督】 (1995/區丁平執導)及吉本芭娜娜的【我愛廚房】 (1996/嚴浩執導)。不過前者背景發生在南京、後者的地理環境改在香港,所以電影沒有很重的日本味道。吊詭的是兩者卻找來日本演員富田靖子扮演中國人及香港人。

這兩套電影最大的意義是讓我們知道,香港的電影也可以不止局限在本地小說找素材,就如最近的《藍宇》就是改編自網上小說【北京故事】。

要成功改編小說,除了要解決創作的問題外,還要出盡辦法令投資者點頭。因為香港的電影拍攝期大多都很短,要說服電影老闆先付出高昂版權費,繼而讓編劇慢慢消化小說,再寫成劇本,最後仍不要期望電影有票房保證,難度之高可想而知。但在外國卻全然不同,很多電影公司都樂意購下暢銷小說的版權,拍成電影,因為事實證明電影的收益遠超過版權費。而更有傳聞話由第一屆奧斯卡開始,超過3/4的最佳電影是頒給改編自小說的電影,果真是又叫好又叫座。

原文/直子 (2002);編輯/嘉頓



年份 片名 原作者 編劇 導演 演員
1984 傾城之戀 張愛玲 蓬草 許鞍華 周潤發、繆騫人
1986 玫瑰的故事 亦舒 楊凡 楊凡 張曼玉、周潤發
1987 朝花夕拾 亦舒 胡珊 胡珊 夏文汐、方中信
1988 胭脂扣 原作者 李碧華 關錦鵬 梅艷芳、張國榮
1988 喜寶 亦舒 一正 李欣頤 黎燕珊、方中信
1988 流金歲月 亦舒 楊凡 楊凡 張曼玉、鍾楚紅
1989 潘金蓮之前世今生 李碧華 李碧華 羅卓瑤 王祖賢、林俊賢
年份 片名 原作者 編劇 導演 演員
1989 川島芳子 李碧華 李碧華 方令正 梅艷芳、劉德華
1991 雙鐲 陸昭環 梁淑華 王玉珊 劉小慧、陳德容
1992 棋王 鍾阿城/張系國 嚴浩、梁家輝 嚴浩、徐克 梁家輝、岑建勳
1993 霸王別姬 李碧華 李碧華、蘆葦 陳凱歌 張國榮、張豐毅
1993 誘僧 李碧華 李碧華、方令正 羅卓瑤 吳興國、陳沖
1993 青蛇 李碧華 李碧華、徐克 徐克 張曼玉、王祖賢
1994 昨夜長風 梁鳳儀 黃百鳴 林德祿 袁詠儀、劉青雲
1994 罌粟 蘇童 何東 何藩 岳紅、陳松勇
1994 片名 原作者 編劇 導演 演員
1994 紅玫瑰白玫瑰 張愛玲 林奕華 關錦鵬 陳沖、葉玉卿
1995 南京的基督 谷崎潤一郎 陳韻文 區丁平 梁家輝、富田靖子
1995 我要活下去 梁鳳儀 黃百鳴、張艾嘉 李惠民 袁詠儀、張艾嘉
1996 人約黃昏 徐訏 吳思遠 陳逸飛 梁家輝、張錦秋
1996 我愛廚房 吉本芭娜娜 嚴浩 嚴浩 富田靖子、陳小春
1996 抱擁朝陽 梁鳳儀 黃百鳴 譚朗昌 袁詠儀、林子祥
1997 半生緣 張愛玲 陳健忠 許鞍華 黎明、吳倩蓮
2001 藍宇 網上小說 魏紹恩 關錦鵬 劉燁、胡軍
2004 餃子 李碧華 李碧華 陳果 楊千嬅、梁家輝
2005 長恨歌 王安憶 楊智深 關錦鵬 鄭秀文、梁家輝
2007 女人.本色 梁鳳儀 梁鳳儀、黃真真 黃真真 梁詠琪、薛凱琪
2007 色,戒 張愛玲 王蕙玲、James Schamus 李安 梁朝偉、湯唯

(由香港公司注資,導演或演員為香港人,又改編自文藝小說的電影。)

香港文藝小說電影輸了票房,贏了獎﹖

香港電影金像獎

第4屆 《傾城之戀》 ── 最佳音樂
第8屆 《胭脂扣》 ── 最佳電影、最佳導演(關錦鵬)、最佳劇本、 最佳女主角(梅艷芳)、最佳剪接、最佳電影配樂、最住電影歌曲
第11屆 《雙鐲》 ── 最佳電影歌曲
第13屆 《誘僧》 ── 最佳新演員(吳興國)、最佳電影配樂
第17屆 《半生緣》 ── 最佳女配角(梅艷芳)
第24屆 《餃子》 ──最佳女配角(白靈)

台灣電影金馬獎

第24屆 《胭脂扣》 ── 最佳劇情片、最佳女主角(梅艷芳)、最佳改編劇本、最佳攝影、最佳美術設計
第24屆 《傾城之戀》 ── 最佳服裝設計
第27屆 《川島芳子》 ── 最佳造型設計
第30屆 《誘僧》 ── 最佳電影音樂
第31屆 《紅玫瑰白玫瑰》── 最佳女主角(陳沖)、最佳改編劇本、最佳美術設計、最佳造型設計、最佳電影音樂
第32屆 《人約黃昏》──最佳造型設計
第34屆 《半生緣》 ──最佳造型設計、最佳電影歌曲
第38屆 《藍宇》 ──最佳導演、最佳男主角(劉燁)、最佳改編劇本、最佳剪輯、觀眾票選最佳影片
第41屆 《餃子》 ──最佳女配角(白靈)

刊登於 2007年12月7日
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PostPosted: Wed Apr 10, 2013 12:32 am    Post subject: Reply with quote

张叔平 - 没有他,会有怎样的香港电影?
作者: 电影双周刊 (香港)

(艺术)不应仅仅展现一些创意而已,更重要的是要紧扣生命--那就是人物的性格和心理状态。它的宗旨不应仅限于一句对白或一场表演的意义,它的功能应该是以戏剧的实在,以及艺术影像的美与深度来打动观众--而非以突兀手法铺衬其意。
~塔可夫斯基《雕刻时光.缘起》

张叔平(章叔屏)爸爸是无锡人,妈妈是苏州人,故而他带著江南的雅致和灵性,1967年,年少的他因为米克.尼高斯(Mike Nichols)的电影《毕业生》(The Graduate)而爱上了电影,为了圆自己的电影梦,赴加拿大学习电影,回到香港却没有找到发挥自己才能的机会,直到和「香港电影新浪潮」干将之一的谭家明合作,在影片《烈火青春》担任美术指导一举成名,在香港新浪潮时期的末期以唯美主义的构图,以色调渲染气氛的自觉,开创了香港电影新的表现手法,对今後香港艺术电影的大旗王家卫也起著影响。

当下谈及香港艺术电影总是言必的导演风格、杜可风的摄影造诣,而独独忽视了美术指导的前辈张叔平,他比家卫入行要早,以他敏锐的视角捕捉色彩和镜像造型的关系,利用视觉元素营造氛围。当他加入了王家卫的团队,他的作用起了质的飞跃,他以自己的才华为「王家卫风格」的确立起了至关重要的作用。

我们知道导演的构思在没有变成胶片前他最直观的形、声、光的感觉就是美指的案头设计和氛围图,他对导演起著及其重要的辅佐作用,甚至为未来的摄影垫下了扎实的基础。况且,美指的个人风格将影响影片的基调,色调的选用直接影响到了叙事手法,比如在《东邪西毒》中大漠的枯黄及黄色衣服的映衬所带给人的苍凉和孤绝的感受,还有鸟笼所营造出的光影效果,一种流逝和阴柔之美。

烈火青春 (1982)
在《烈火青春》里,作为美指的张叔平用色调了展示人物性格和他的内心世界,比如哥哥张国荣饰演的路易的白色和深色墙壁的对应,日本风格的摆设呈现的典雅,墙上的大卫.宝儿(David Bowie)点出的时代特性,反叛和火热,Kathy(夏文汐)的火红的吊带衫、路易(哥哥)深色的T恤和Tomato的白色衣服都是他们内心的写照的外延,而小道具的运用,让人更是理解著他们的内心,帆船代表的理想主义,在哥哥和叶童旅舍长谈的戏里,一本《上帝死了》的小册子就对青年们画龙点睛指正了他们的无依和迷茫。

而整部影片里张叔平对当年流行元素的敏锐感觉,让影片经过多年的世事轮转依旧有著强烈的视觉冲击力。

在Tomato和哥哥相遇的一幕戏里,张叔平用了窗格的阴影投射来营造气氛,这种手法到了《东邪西毒》里的鸟笼光影的运用成为了极致,旋转的鸟笼在人面上产生斑驳、迷离光韵,营造出一种幻象的感觉。

在双层巴士一场戏里,车箱的灯火通明再黑暗的夜色里冲击著人的视觉,而著红衣的Kathy冷艳美丽的吊带衫热情似火。一种狂放不羁的青春热情。

哥哥一行在大屿山的明丽山水间的镜头有著脱俗的美丽,这一切和美术指导的眼界是不可分的。虽然,整部片子有著刻意雕凿的故意,但是,对待初出茅庐的张叔平而言,我们不应苛求。

旺角卡门 (1988)
从1988年起,张叔平加入了王家卫的阵营,从此珠联璧合,形成了香港文艺电影冲向世界影坛的最重要的力量,他们首次合作的《旺角卡门》就获选1989年康城影展参展作品,让世界从此对华语电影的叙事手法和影像构成有了新的认识。

《旺角卡门》更加突出了视觉的效果,苍茫夜色里幽蓝的霓虹照耀著夜的游族,被宿命笼罩的他们在一片冷色的基调里等待命运的摆布,影像里弥散著一种凄迷的苦涩,人物衣服的颜色以深色来映衬无助的幽蓝。也使得在特写镜头中更能表达他们的表情,这是他们深陷绝望的颜色以及内心的无依。这些黑道底层人物的无助和无法回头的孤苦都用颜色表达出来了。

只有华哥(刘德华)和表妹(张曼玉)的戏分里导演才以暖色调来呈现那份没有结果但动人心魄的凄迷爱情。

在桌球赌局失手的戏里,球房的顶灯和桌面上的檯球在快速的平移镜头里造成了极强感官冲击,这种氛围的营造首先是美指的功劳。华哥报仇用了升格镜头和特写扩张了江湖恩仇的惨烈和人物复仇的决心。

而作为这部影片的剪辑,张叔平极好控制了动与静的关系,比如雨天,华哥在车站偶遇前女友的抒情段落,利用雨色增添了人物内心的凄苦和无奈。

影片为了完成杀手令,影片以慢速摄影的方式记录了黑道终究的运命和一份惨烈,手枪的特写和人物的应声倒地交叉出现所呈现的悲凉,直到华哥被人背後一枪,应声倒地的一瞬突然切入他和表妹热情相吻的镜头,虽然突然,但是加大了黑道人物的宿命,他们也想象寻常人一样生活,但是,当他们踏入的时候就再没有了可能。华哥圆睁双睛,望著蓝天而去死去,整个段落的悲剧意义得以完整呈现。在这部影片里还没有家卫的招牌招术旁白,完全以影像来说话,这很大程度上是作为美指、剪辑张叔平的功劳。

为了渲染气氛张叔平在色调中加入了情绪化的色彩,比如黑道场景中的蓝色偏光,比如华哥在夜总会和女友相遇在楼梯间时脸部的阴影,和最後枪击场景里猩红的胶布都外化了情绪,使得视觉的冲力让观众身临其境,这种手法,在其後的作品里更是一再运用。

阿飞正传 (1990)
从这部作品起,他们对电影语言的探索进入到了更高的层面,特别是《阿飞正传》里营造出来的六十年代的氛围流露出对时光的感怀和晦涩迴眸,里面的小道具比如屈臣士的汽水、旗袍的质地、发式、服饰无不流露怀旧和沧桑。

斑驳的楼道,偏蓝绿的冷色调平添一份愁肠,光线的运用让所有的人都镀上了岁月的暗色,浅平的景深使得整个空间弥散著一种陈旧岁月的苍凉的味道。让人在这样的格调里感知六十年代的事是人非。从这部影片开始王家卫打破了正常的叙事手法,他以内心独白的方式,以发散的时间和空间感,写出了作为漂泊者的上海移民旭仔(张国荣)在南洋寻找生母的历程,以绝望和疏离的色调带给我们陌生和寂冷的感觉。

作为道具的锺一再出现在画面里,与其讲是记忆时间,还不如讲是记录这份流逝,一种生命在此过程里的渴求和希望,灰暗和明亮之中的瞬间,而南洋的热带景色隐喻著影片的命题:无脚的鸟在时间的流行中的宿命,它只能以飞翔来记忆时间,当它停息的一瞬,时间凝滞为历史。这部关及上海题材的影片,无论音乐的慵懒并以此探询宿命和时间的关系,道具的精准(哪怕是一块沙发上的盖布),以及镜中所折射的人物内心都恰到好处。让我们见证了一种典雅情绪和上海情节。影片借助道具和陈设呈现著六十年代上海人在南洋的颓废和,在演员造型方面,潘迪华的粗俗扮相,记录了上海移民的落寞。

而在利用雨色和水光上,通过雨在地面的反光揭示人物内心的波动。这些光韵成为了叙事的延伸,一种外化的人物情绪。

东邪西毒 (1994)
在笔者心目中《东邪西毒》绝对不是一部武侠电影,他的本质在探讨人物的疏离和时间的沧桑,这是「王张」组合最重要的作品。

张叔平以大漠的苍黄对应于蓝天白云,之间是执剑的东邪伫立天地间,完成了中国道家天地人的一统,为人津津乐道称赞至今的鸟笼的运用以它在人物脸上的投影隐喻人的复杂情绪。昏黄的灯光下慕容嫣/慕容燕(林青霞)的凄苦和游移,灯光在草篾的缝隙中旋转散射和表述了人物性格的多面性,昏黄的灯光是暖色的这是带著尚存人情的暖意。在光线的耀斑里听人倾诉,有种梦神牵绕,若即若离的感怀。鸟笼也同时指代著人物内心的起落,成为这部影片最重要的意象。

所有的空镜头都体现了一种抽离现实的美丽,沙漠之中的湖泊显示著清丽和冷峻,而光影里水韵在桃花脸上的晃动是人物内心波澜的写照,水的反光更映衬著她心中的念求和渴望,脚的特写镜头更加增加著情色的暧昧,这是最撩人心魂的段落,在阳刚的影片里留下稍些阴柔的美艳。

当慕容嫣和欧阳峰(张国荣)在大漠上的对话,几棵孤零零的树加深了寥落和无依的情绪。而密云翻卷的大漠中唯一的树正是慕容嫣境遇的写照。当她绝望的时候她衣服的色调也随著成为独孤求败而转成缟素般的白,湖泊倒映著她的沧桑,更是印证了一颗孤绝的心,景色以它的绝美反照著人物的内心世界的痛苦,没有人欣赏的痛苦。

孤月,美人的梳妆,眼神迷离,红脣诱人,这样的造型必是张叔平的手笔,不需旁白以让人记得她绝尘的美丽。

白驼山的幻境像是仙境,水波在湖上轻轻散开,吞噬了小草,也吞噬了梦境和记忆。

残破的酒招在夕阳下扬起,布蓬在风中晃动增添了紧张的气氛。

人物造型上马贼的衣衫褴褛,玄色和被灰沙覆盖的衣服增加了大漠的浪迹之感,当廝杀结束,破裂的布蓬上的蓝天白云也映上了血光的颜色,正是这样的造型感让《东邪西毒》从别的武侠片里脱颖而出,广角镜的运用,构图的陡峭和冷峻刻意地将江湖的险恶放大,让人在这样的背景里更显得落寞和寂寥。

谁也无法忘记哥哥饰演的欧阳锋离开前对镜头的注视,身後是飘动的破旗传递著人物内心的不平静,无声胜有声。

片子以一张张女人清秀充满期待的脸和布满灰尘和杀气的男性脸做对比,将江湖上的血腥和他们的沦落与女性世界的安宁类比,更加深了江湖上无法迴首者的孤苦感觉。

张叔平以他的才华为我们创造了他心中的江湖构成,以昏黄的色调见证著英文片名《时间的灰烬》(Ashes of Time),在漫长的时间段里,存在不正是这样一种模糊不清的颜色吗?至于片中的驴子和骆驼,虽然和情节有关,当更多得是创作者的审美情趣所至,确实还原了古典绘画的情趣。也是张叔平美指生涯里创作的最令人赏心悦目的杰作。

花样年华 (2000)
当今天人们谈起《花样年华》的时候,必然提及张曼玉那几身光彩照人的旗袍,而这些正是张叔平个人的收藏,在广义上讲剪辑是把握影片节奏的功臣,而美指就是构筑整部影片审美基调的掌控者,他的个人审美情趣将影像影片的叙事模式和内在风格,身兼两职的张叔平将一部六十年代题材的影片烙上了他个人的印记,特别是潘迪华饰演的房东太太风姿卓越,具有老派上海女子的婉约和端庄,这个造型和《阿飞正传》比较就可以看出张叔平对六十年代不同层面和身份人物形象把握的准确度。也算张叔平为潘姐姐打造的一份亮丽,还了潘姐姐在《阿飞正传》里被恶俗化的人情。

镜头中,在《阿飞正传》就开始的以镜子对照人物心境的手法,在《花样年华》里变得更为娴熟和不露痕迹。镜像所产生的若即若离的效果将周慕云(梁朝伟)和苏丽珍(张曼玉)内心的波动、压抑以及深藏期间怅惘完整表现,我们都知道在电影界,法斯宾德的镜子的运用是独到的,而张叔平在把握镜子的功效里一点不比老法逊色。

造型和道具上,搬家一场里的家具盖布,周慕云增光瓦亮的发式、苏丽珍手提的饭盒,饭店的墙纸、群众演员的服饰都呈现著那个年代的真实,这种精于雕凿的创作态度是值得所有电影人学习的。

在影片里艳红的家居色调和夜色里的雨色的幽蓝对应,而张曼玉身上色彩各异的旗袍印证著角色当时的心境,从一开始大胆、亮丽的颜色到纪念後暗恋时过境迁後故地重游的深蓝旗袍,和最後一幕里叁秋树图案的稳重,将一个人的心路历程通过旗袍款式和颜色的渐变指正了时间的流逝和人物心绪的惘然。

而周苏的压抑,影片以栅栏表达了他们无法摆脱的人脸和面子,正如何俊辉指出的:「《花样年华》有数场周先生与陈太太在夜无一人的街道上边散步边倾谈的戏,其摄影构图的含蓄、优美足以媲美《阿飞正传》里刘德华与张曼玉在深夜时份跟随著电车轨道行走的镜头」。确实,在夜幕的戏分里,张叔平以墙壁的厚重,雨後街衢的反射光来表达克制和禁止之美,让空间弥漫著岁月的沧桑感。

钟,再一次在王氏影片里成为时间记忆的象徵,锺的周而复始是时间的表述,也是没有结局的暗示。

影片最後吴哥窟的场景,那份苍凉、斑驳的岁月积存正是《花样年华》题意的反照,花样年华在历史的侵蚀中终将成为吴哥窟般的古旧,只有回忆和叹息了。

刀 (1995)
1995年张叔平在徐克向前辈张彻影片《独臂刀》致敬的影片《刀》中担任美指,他的人物造型和发式不拘泥传统古装片的形式,淡化事年代,发挥自己的想象,将各方民俗揉捏在一起,组成一个意念里的「江湖」。

比如祭刀场面构成刀铺徒弟们的白裤,裸露上身的健美体魄,沾血的白手巾,烛火的红和法器组成了一个庄严而阳刚的场景。

雨景造成的压抑和斗刀场面的凶狠将暴力美学达致顶端,而雨水里血流成河的惨烈、电光雷鸣投射在人物脸上的阴影都为揭示人物性格和情节的发展打下了基础。升格拍摄的雨景将雨丝变得象剑一样充满凌厉的动感,使人产生焦虑不安的情绪。在影片的构图上荒野枯树、戈壁黄沙将江湖的惨烈通过视觉语言呈现,MV的拍摄方式使每一格的画面变得张力十足。整部影片豪放不羁,狂野不驯,弥散著恩恩怨怨到了极限的歇斯底里情绪,这是张叔平造就的氛围,这是一部能够给人强烈视觉冲击的另类武侠影片。

暗恋桃花源 (1992)
《暗恋桃花源》是张叔平和台湾导演赖声川的一次成功合作。因为掌镜的依旧是杜可风,所以一点没有削弱张叔平的美学特点,反而将一处实验性质的电影发挥到了极致,影片以两处戏剧《暗恋》、《桃花源》在一个舞臺上的排练过程交叉展现,导演在舞臺上不断通过演员幕後的工作人员进行对话,起了「戏梦人生」的作用,而舞臺的虚拟性又让影片产生异样的戏剧效果,如划桨的虚拟感,如老陶初到桃花源时,以景片的桃林向後移动和演员原地行走的相对性表述人物的进入。这些戏剧的手法通过美指的装置极好完成了导演的布莱西特式的立场。桃源的落英缤纷和黄浦江的夜色构成了明暗的对立,预示了幻觉的美轮美奂终究抵不过人间的失落和冷清。这部充满隐喻、象徵的表现主义作品里,舞臺的虚拟性让张叔平极好的发挥了自己的作用。

蓝宇 (2001)
《蓝宇》是张叔平和关锦鹏的合作,因为描绘的是同志的题材,所以灯光总是透著捉摸不定的幽怨悱恻的情绪。

张叔平喜欢的镜像效应在这部影片中起到了及其重要的作用,捍东和蓝宇的居所都有镜子,一方面这暗示了同志在大陆的隐蔽性和遮掩性,另一方面镜中的同性爱显示著他们无法看清自己和直面现实的苦衷,他们的激情也在镜子的折射中变得虚化。在捍东和蓝宇戏分里蓝光总是笼罩著他们的关系,这种忧郁的颜色也正是他们只能在夜色里存在的写照,一种与主流价值的必然隔漠,在所有的场景中,如夜色中车海,每一辆车的车头灯都象一双空洞的眼睛,都市夜幕里的孤独、疏离。影片在同性爱视为禁忌的北京,镜子的特质正是反证了这份微秒关系的脆弱和虚幻。

人物造型上,也充分看到张叔平的一丝不苟,如为了表明时间跨度,他刻意地将捍东的头发弄秃了一些,沧桑和时间感就在这样的细微里传递了。关导讲过:「开镜前阿叔(张叔平)有帮助找取景地点,人物造型均是由他亲自负责」。正是这样的严谨态度,才使得成片流畅而无枝蔓。

春光乍泄 (1997)
有趣的是在另一部的同性题材《春光乍洩》里,改变了《蓝宇》里的忧郁之色,而以强烈的粗颗粒的黑白,幽绿、昏黄、靛蓝来展示角色主观情绪和内心起伏,空镜头总是有著「望断天涯路」的宿命感,镜头伸向远方,直到地平线。

耀辉(梁朝伟)和宝荣(张国荣)居住在布宜诺斯艾利斯的拥挤街衢和大瀑布的宽广形成对话,人际空间的狭小和自然的辽远更是将绝望和冷感传递和扩大。

水雾造就的晃动感,影片有一个耀辉冲洗屠宰场血色的场景,他一次次想让血水化开,然而,水冲散又聚会,这是感情的写照,当情感如血水一样浓烈,我们一切的尝试将是怎样的徒劳。影片大量关及水的镜头,印证了流逝和憔悴的情缘,耀辉只能看著这样的惨蓝,让心情沈入海涛而去。

张叔平的剪辑并不是随意的,黑白和偏光的彩色的跳切剧情息息相关,增大了人物情绪的剧烈和起伏,而台湾男孩站在地球最南端的灯塔边那个快速的旋转镜头体现了情感稍纵即逝的本质。汹涌的波涛将故事带走,幽静的蓝色,只在天涯海角出现,台北街头的排挡将只有人面的昏黄,情感的纯净在现实里不堪一击,活著,就会是颜色的混和,天之涯的白色浪花,在梦里,在张叔平带给我们的视觉里,这是人的生存状态决定的。张叔平可以以他的美学观念为观众建立起一个乌托邦,但是,真实的日子便像台北街头的嘈杂,霓虹照耀中飞驶的车水马龙里,何处是我们的家园。

张叔平的成功在于他自觉疏离于真实的世界,在理念和幻觉的世界里为我们容下了我们内心珍贵的记忆,这是庄周蝶梦的感受:我们却在俗世里沉沦,但是,我们的魂魄可以瞬间到达那座灯塔,至少,在一点亮中。

我们种下了希望的亮色,感谢张叔平给我们营造的世界。

至少,他让我们还留存著桃花源式的梦想。

文/卡夫卡

Biography
张叔平1953年生。中学毕业後曾做布料设计工作,并修读香港大学的艺术校外课程,及後认识唐书璇参与副导演的工作。由于当时行内并未有美术指导的分工,张叔平便以副导演的身份兼任美指,从此开展了美术指导及美术顾问的生涯。

张叔平曾参与的美术工作多不胜数,由杂志的平面摄影、电影的美术设计到建筑设计等也是他的兴趣範围。张叔平是一个高度敏感的人,对自身的感觉、潮流的触觉及物件的直觉也远较一般人敏锐,因此他无需苦苦钻研,作品便自然地简洁动人。曾五度夺得香港电影金像奖最佳美术指导奖,四年前更获康城影展卓越技术大奖。

提名及得奖 (部分)

《烈火青春》—第二届香港电影金像奖∶最佳美术指导(提名)
《难兄难弟》—第二届香港电影金像奖∶最佳美术指导(联合提名)
《花城》—第叁届香港电影金像奖∶最佳美术指导(提名)
《新蜀山剑侠》—第二届香港电影金像奖∶最佳美术指导(提名)
《似水流年》—第四届香港电影金像奖∶最佳美术指导(获奖)
《1/2段情》—第五届香港电影金像奖∶最佳美术指导(提名)
《梦中人》—第六届香港电影金像奖∶最佳美术指导(提名)
《最爱》第六届香港电影金像奖-最佳美术指导(提名)
《旺角卡门》 —第八届香港电影金像奖∶最佳美术指导(获奖)
《阿飞正传》 —第十届香港电影金像奖∶最佳美术指导(获奖)
《倩女幽魂III道道道》—第11届香港电影金像奖∶最佳美术指导(联合提名)
《笑傲江湖II东方不败》—第12届香港电影金像奖∶最佳服装造型设计(联合获奖)
《东方不败之风云再起》—第13届香港电影金像奖∶最佳服装造型设计(联合提名)
《青蛇》—第13届香港电影金像奖∶最佳服装造型设计(联合提名)
《重庆森林》—第14届香港电影金像奖∶最佳剪接(联合获奖)、最佳美术指导(提名)
《东邪西毒》—第14届香港电影金像奖∶最佳美术指导(获奖)、最佳服装造型设计(获奖)
《梁祝》—第14届香港电影金像奖∶最佳美术指导(提名)、最佳服装造型设计(提名)
《夜半歌声》—第15届香港电影金像奖∶最佳服装造型设计(联合获奖)
《堕落天使》—第15届香港电影金像奖∶最佳美术指导(提名)、最佳服装造型设计(提名)、最佳剪接(联合获奖)
《刀》—第15届香港电影金像奖∶最佳服装造型设计(提名)
《春光乍洩》—第17届香港电影金像奖∶最佳美术指导(提名)、最佳服装造型设计(提名)、最佳剪接(联合提名)
《花样年华》—第20届香港电影金像奖∶最佳美术指导(获奖)、最佳服装造型设计(获奖)、最佳剪接(获奖)
《蓝宇》—第21届香港电影金像奖∶最佳美术指导(提名)、最佳服装造型设计(提名)、最佳剪接(提名)
《天下无双》—第22届香港电影金像奖∶最佳服装造型设计(提名)
《恋之风景》—第23届香港电影金像奖∶最佳服装造型设计(提名)
《2046》—第24届香港电影金像奖∶最佳美术指导(联合获奖)、最佳服装造型设计(获奖)、最佳剪接(提名)
《长恨歌》—第25届香港电影金像奖∶最佳美术指导(提名)、最佳服装造型设计(提名)
《情癫大圣》—第25届香港电影金像奖∶最佳服装造型设计(提名)

刊登于 2007年5月29日
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PostPosted: Wed Apr 10, 2013 12:34 am    Post subject: Reply with quote

群星薈萃《鹿鼎記》
作者︰Monjeh



http://www.yesasia.com/us/yumcha/%E7%BE%A4%E6%98%9F%E8%96%88%E8%90%83-%E9%B9%BF%E9%BC%8E%E8%A8%98/0-0-0-arid.89-zh_TW/featured-article.html

萬眾期待,TVB繼《神鵰俠侶》(1983)後,再次替其經典電視劇集推出配有中英文字幕的足本珍藏版DVD,讓全球愛看舊劇的電視迷及不懂中文的海外人士,也有機會欣賞到TVB的精彩劇集。這次被選中的,是另一套曾多次被改編成電視劇或電影的金庸名著-《鹿鼎記》。

金庸被喻為武俠小說作家中的「泰斗」,自1955年創作《書劍恩仇錄》開始,合共創作了十五部長、中、短篇小說,至1972年的《鹿鼎記》正式封筆。其作品內容豐富,情節跌宕起伏;有豪俠氣慨、有兒女柔腸、亦有奇招異法,凡此種種,引人入勝。《鹿鼎記》是金庸壓卷之作,亦是他本人最喜歡的作品;而刁鑽聰敏的韋小寶,亦是金庸在其眾多創作人物之中最喜愛的一位。

金庸小說自問世以來,一直是中、港、台製作人最喜歡改編的戲劇題材;這些年來,當中最不像武俠小說的《鹿鼎記》,亦曾多次被翻拍成電視劇及電影。曾經演過韋小寶這位金庸筆下最出彩人物的男星,包括有最早期的汪禹、緊接其後的梁朝偉、九十年代的周星馳及陳小春、較近期的張衛健及現正(2006年)在拍攝中的黃曉明。

綜觀各個版本,1984年由TVB製作、兩大紅人梁朝偉及劉德華主演的版本,被公認為最深入民心,最忠於原著的版本。梁朝偉更被金庸稱讚為多年來最傳神的韋小寶;而在很多視迷心目中,他的韋小寶形象是沒有人可以超越的。

1984年版的《鹿鼎記》
這套1984年版的《鹿鼎記》,如今看來可說是群星薈萃。有份演出的全是現今獨當一面的天王巨星。兩位影帝級主角梁朝偉及劉德華當然不在話下;飾演韋小寶七個老婆的七位女星也各具風範,包括影后級人馬劉嘉玲、吳君如及毛舜筠,現在還活躍於電視圈的商天娥,已息影的周秀蘭、景黛音及黃愷欣。一眾實力非凡的甘草演員如關海山、曾江、呂有慧及陳有后等,亦令此劇生色不少。

當然,不得不提的是超強的幕後製作班底。此劇由TVB金牌製作人李添勝監製,現今在電影圈享負盛名的程小東擔任武術指導。而那首十分配合此劇輕鬆生鬼題材的主題曲-「始終會行運」,亦邀得天王巨星張國榮主唱,達到錦上添花之效。這樣的班底、這樣的陣容,恐怕已不能再在現在任何一套劇集裡找到。

獨具慧眼的李添勝
此劇的監製李添勝一向獨具慧眼,他在1982年大膽起用初出茅廬的劉德華擔任重頭劇《獵鷹》(1982)的男主角;及至1983年,TVB決定開拍金庸巨著《神鵰俠侶》,監製蕭笙正煩惱找那位男星擔演「神鵰大俠」楊過一角,亦是由李添勝一手向他推薦從未演過古裝劇的劉德華,令他一炮而紅。

這次開拍《鹿鼎記》,TVB亦為選角一事費煞思量,特別是應找誰來演這位金庸筆下最搶鏡的人物-韋小寶。TVB因此安排了多次試鏡活動,從而挑選出最合適的男星去演出這個刁鑽聰敏、風流而不下流的角色。多位有潛質的男藝人均是被邀之列,當中呼聲最高的,是TVB當時正力捧的「五虎」之一,剛在《神鵰俠侶》演罷楊過一角的劉德華。令人意想不到的是,經多番甄選,此角色最終落在一向予人溫馴乖巧印象的另一虎-梁朝偉身上。而劉德華則被派演另一吃重的角色-康熙。

梁朝偉-生鬼活潑的韋小寶
在此劇之前,沒有人想到長相乖巧、一向擅演乖乖仔角色的梁朝偉,可以如此活潑佻皮,演活了古靈精怪、油腔滑調、好色好賭的韋小寶。他的脫胎換骨演出,為觀眾帶來無限驚喜;他的精湛演技及極高的可索性,亦讓一眾製作人對他刮目相看;使他在演畢此劇後,成為TVB內最搶手的男主角。

《鹿鼎記》可說是梁朝偉在電視圈的一個重要里程碑,就是因為他演出了韋小寶這個角色,令他跳出了「乖乖仔」的框框,擴闊了他的演藝空間,為他璀璨的銀色旅途揭開了美麗的序幕。

自此梁朝偉的演出機會不斷,同年,他獲派演出時裝重頭劇《新紮師兄》(1984),擔演正派警員張偉杰一角,是他在TVB劇集中另一個經典角色,將他的事業推向另一高峰。

接下來的劇集,如《家有嬌妻》(1984)、《絕代雙驕》(1988)、《 俠客行 》(1989)等,梁朝偉也是擔演生鬼活潑的角色;直至八十年代末投身電影圈發展,他才開始轉走憂鬱型格小生路線,演技備受進一步的肯定。在此之前,又有誰會想到,梁朝偉可以由最初的乖乖仔形象,轉走跳脫倜儻的路線,再憑演出國際知名導演王家衛文藝片裡的憂鬱深沉角色,攀上康城影帝的寶座。在他二十多年的演藝生涯裡,遇到的伯樂可真不少。

劉德華-沉穩內斂的康熙
1984年,「五虎」中最年輕、只有二十二歲的梁朝偉,因把精靈活潑的韋小寶演得栩栩如生而一炮而紅。另一位男主角劉德華,當然亦不敢怠慢。雖然劉德華最初以為會被選中演出韋小寶一角,但最終此重任郤落在另一虎梁朝偉身上;年少氣盛的劉德華難免會感到失望,但性格樂天積極的他,很快便振作起來,加倍努力去揣摩如何演活這位一代年青君主康熙,不讓韋小寶專美。亦因為劉德華這份鬥心,激發他把康熙一角演得盡善盡美,他一有空檔便跑往圖書館借閱有關康熙的書籍,做足準備功夫;使兩位年青小伙子在相互影響之下,拼發出無限潛能,亦擦出無窮火花。

兩虎相遇-當小寶遇上康熙
雖然梁朝偉與劉德華兩人均是當時TVB力捧的「五虎」之一,但真正合作拍劇,《鹿鼎記》可說是第一次。

二人年紀相若,亦同期出身於TVB的藝員訓練班,因此在拍攝此劇時一見如故,成為相知相惜的好兄弟。這對現實中的好朋友,演起韋小寶與康熙這對肝膽相照的好兄弟,份外入木三分;在每一個眼神、每一個動作的交流,均流露出難得的默契。在相輔相成下,兩虎的演技發揮得淋漓盡致;一個意氣風發、一個察言觀色,相得益彰。兩位年青人鬧在一氣孩子氣般,正好符合了原著的神髓。往後多個版本的《鹿鼎記》,或許就是欠缺了這對活寶貝的默契而黯然失色。梁朝偉與劉德華這對金鑽組合,從此成了觀眾心目中最無可取代的小寶與康熙。

無間道的序幕
這次的合作,為兩虎日後在電影中的合作無間,奠定了穩固的基礎。觀眾若認為《無間道》(2002)是兩位影帝演技登峰造極之作,重溫他們二十年前首次攜手合作的經典作品,或許可窺探兩人在二十年前後的改變,見證兩虎最光輝的黃金年二十年。

沒有當天年青稚氣的小伙子,便不會有今天經歲月洗禮而變得成熟穩重的男子漢。要重溫兩位國際級影帝難得一見的古裝扮相及他們年青時的風采,這一套第一代電視版《鹿鼎記》,絕對是不容錯過的選擇。

小寶與七位嬌妻
除了兩位男主角,飾演韋小寶七位嬌妻的女演員,亦是此劇另一吸引之處。

當中,剛從同一屆藝員訓練班畢業的三位美女-劉嘉玲、吳君如及商天娥,甫畢業便獲賞識參與此重頭劇的演出。

當時還略帶稚氣、臉龐圓潤的劉嘉玲,首次有機會在大製作中擔演較吃重的角色。她飾演的方怡由一開始很討厭韋小寶,到後來漸漸愛上他,最終成為韋小寶的七個老婆其中之一。誰料到劇中的情節,後來卻真的發生在兩人身上。劉嘉玲回憶說,當年初出茅廬的她,跟紅得發紫的梁朝偉演起對手戲,緊張得連說話時也發抖。現在兩人已走在一起十多年,成為演藝圈其中一對模範情侶。

另一位飾演韋小寶老婆的女演員,是劉嘉玲在藝訓班的好朋友、現已貴為影后的吳君如。近年的她以搞笑見稱,沒想到在《鹿鼎記》中,她郤扮演了溫柔體貼的曾柔。看她一顰一笑,千嬌百媚,實在難以想像她就是今天的搞笑天后-吳君如。

劉嘉玲與吳君如在藝訓班的另一位女同學商天娥,在劇中被安排一人分飾兩角,分別飾演國色天香的陳圓圓與阿珂兩母女。對一位新演員來說,可謂難度十足,但她的演出亦甚具大將之風。現在的商天娥已榮升TVB的實力派女演員,或許美貌已不及當年,但演技卻已達爐火純青的境界。

而剛憑電影《早熟》(2005)奪得2006年香港電影金像獎最佳女配角的毛舜筠,在此劇飾演韋小寶另一位嬌妻沐劍屏。現在的她成熟老練,當年的她仍一臉稚氣,古裝扮相嬌俏可愛,讓人一見傾心。

另外幾位飾演韋小寶老婆的美女-周秀蘭、景黛音及黃凱欣,今天或許觀眾已對她們淡忘;但在當時,她們全都是TVB人氣極高的女藝員。

七位各具特色的美女,在劇中爭妍鬥麗,博取韋小寶的歡心;俊男美女的配搭,造就了這套最討人喜愛的《鹿鼎記》。

最美好回憶
二十多年後的今天,重看1984年版的《鹿鼎記》,懷念的不只是一本書、一個精彩的故事、一套經典的電視劇、多位令人難以忘懷的演員……而是那段逝去的黃金歲月,及伴隨我們成長的美好回憶。



歷年來有關《鹿鼎記》電影及電視劇作品

邵氏電影《鹿鼎記》/華山執導/韋小寶︰汪禹/康熙︰劉家輝
1984年 TVB電視劇《鹿鼎記》(共40集)/李添勝監製/韋小寶︰梁朝偉/康熙︰劉德華
1992年電影《鹿鼎記》/王晶執導/韋小寶︰周星馳/康熙︰溫兆倫
1992年電影《鹿鼎記2神龍教》/王晶執導/韋小寶︰周星馳/康熙︰溫兆倫
1998年 TVB電視劇《鹿鼎記》(共45集)/李添勝監製/韋小寶︰陳小春/康熙︰馬浚偉
2000年 TVB電視劇《小寶與康熙》/李添勝監製/韋小寶︰張衛健/康熙︰譚耀文
2006年 中國內地電視劇《鹿鼎記》(拍攝中)/韋小寶︰黃曉明

刊登於 2006年9月19日
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PostPosted: Wed Apr 10, 2013 12:35 am    Post subject: Reply with quote

八十年代的电视传奇-TVB五虎将
作者: Monjeh (香港)



http://www.yesasia.com/us/yumcha/%E5%85%AB%E5%8D%81%E5%B9%B4%E4%BB%A3%E7%9A%84%E7%94%B5%E8%A7%86%E4%BC%A0%E5%A5%87-tvb%E4%BA%94%E8%99%8E%E5%B0%86/0-0-0-arid.26-zh_CN/featured-article.html

「十七岁那日不要脸 参加了挑战 明星也有训练班 短短一年太新鲜
记得四哥发哥 都已见过面 後来荣升主角太突然……」 (辑录自刘德华主唱「十七岁」歌词)

刘德华这首亲自填词的自传式歌曲,相信除写出其心声外,亦道尽另外四位与他同期出身于TVB艺员训练班的五虎成员-梁朝伟、黄日华、苗侨伟及汤镇业的心声。参加艺员训练班,改变了他们的一生。

五虎的诞生
TVB艺员训练班一向被视为明日之星的摇篮,多年来培育无数演艺精英,包括周润发、周星驰、刘青云、吴镇宇等;更曾于不同年代将有潜质的新人组合并加以力捧,当中最成功的例子莫过于在八十年代初,把五个初出茅庐的小子组合成「五虎」,并将他们一一捧为独当一面的艺坛巨星。

五虎于短短几年间,由寂寂无名的路人甲、乙、丙,摇身一变成为红极一时的男主角。由他们主演的电视剧不计其数,时装剧当然不在话下;加上他们宜古宜今的外型,固由他们担纲演出的古装武侠剧亦为数不少。

五虎的黄金时代
《杨家将》(1985)
五虎第一次、亦是唯一一次一同演出的剧集,是1985年的台庆剧-《杨家将》。此剧可谓香港电视史上的神话,虽然只有短短五集,但阵容却前无古人、後无来者。当时为了赶拍这套金装台庆剧,其他剧集均须暂停拍摄以作迁就,所动用之人力物力可见一斑。

《杨家将》网罗了全台精英,幕後班底包括金牌监制李添胜及其後在电影圈大展拳脚的名导演杜琪峰;演员阵容更是空前强劲,除了当红的五虎外,还有当时正力捧的花旦曾华倩、刘嘉玲、商天娥、戚美珍、杨盼盼、周海媚、毛舜筠、龚慈恩及庄静而等;更有天王巨星周润发、汪明荃、郑裕玲、万梓良、赵雅芝及廿多位最有份量的甘草演员。单看卡士已可知此剧的吸引力,再加上精湛的武打场面,将这个千古传诵的烈士传奇活现眼前,是极具重温价值的作品。

金庸群侠
TVB于八十年代开拍了金庸所有的长篇武侠小说,而五虎亦于此时被受力捧,顺理成章成为大部份金庸剧集的男主角。

《天龙八部之六脉神剑》及《天龙八部之虚竹传奇》(1982)
第一部由五虎成员主演的金庸名著是《《天龙八部》》(1982)。五虎中的黄日华及汤镇业,分别饰演虚竹和段誉,加上梁家仁的乔峰、黄杏秀的阿朱、陈玉莲的王语嫣及石修的慕容复,演来俱入木叁分,被喻为选角最出色的《天龙八部》。

《天龙八部》是一部气势磅礴的作品,剧情曲折多变,高潮迭起;加上创新的武打招式及精彩的特技效果,使其更引人入胜。当然不得不提其经典主题曲-「两忘烟水里」,旋律优美,歌词更将整个故事透彻地描写出来-「女儿意、英雄痴、吐尽恩义情深几许...」,是众多「煇黄」(顾嘉煇及黄沾)的作品中最令人难以忘怀的。

《射雕英雄传之铁血丹心》、《射雕英雄传之东邪西毒》及《射雕英雄传之华山论剑》(1983)
翌年推出的八叁年版《射雕英雄传》(1983),至今仍被认定为最无法超越的版本。此剧找来五虎的黄日华扮演敦厚善良的郭靖,及苗侨伟扮演奸得来风流倜傥、情深款款的杨康;两人演出之好令观众拍案叫绝。女主角黄蓉的人选曾是此剧最伤脑筋的一环,开拍前曾公开徵求「理想黄蓉」人选,最後此重任落在新扎花旦翁美玲身上,当时曾引起一阵哄动。结果翁美玲不负众望,凭其娇俏的外型及落力的演出,演活娇俏可人、冰雪聪明但刁蛮任性的黄蓉;更与黄日华成为新一代萤幕情侣。

他们的精湛演技连金庸本人也赞叹不已,加上此剧其他演员如杨盼盼、刘丹及曾江的倾力演出,令这套结合惊世武功与侠骨柔情的金庸经典生色不少。曾有人说,纵然翁美玲已死,娇俏的「蓉儿」不会死;纵然黄日华已老,憨直的「靖哥哥」不会老。黄、翁版的《射雕英雄传》,永远也是观众心中的经典。

《神雕侠侣》(1983)
「问世间情为何物,直教生死相许!」
1983年,TVB开拍另一套金庸经典-《神雕侠侣》(1983)。此剧找来五虎中充满干劲和朝气、同时亦带点叛逆气质的刘德华饰演杨过;配搭清丽脱俗、充满古典美的陈玉莲,扮演不食人间烟火的小龙女,实属不二之选。这个英雄配美人的组合,深得观众喜爱,更创下历史性的90%收视纪录;直至二十二年後的今天,仍令人难以忘怀。令人难以忘怀的,其实还有此剧的主题曲「何日再相见」及插曲「情义两心坚」,经典程度不逊于剧集本身。

《神雕侠侣》绝对是刘德华演艺事业的重要里程碑,其入木叁分的演出令观众刮目相看,可说是其电视生涯的代表作。「过儿」与「姑姑」的盪气迴肠爱情故事,亦长留观众心中。

《鹿鼎记》(1984)
1984年暑假,TVB首次把金庸压卷之作《鹿鼎记》(1984)搬上萤幕。监制李添胜挑选了梁朝伟和刘德华两虎,分别饰演韦小宝与康熙这对肝胆相照的好兄弟。

此剧是金庸作品中最生动活泼之作。首次担正的梁朝伟,把韦小宝这个生性风流、生鬼有趣的角色演绎得栩栩如生,连金庸也称赞他是最传神的韦小宝。在此剧前,没有人想到一向演惯乖乖仔角色的梁朝伟,可以演得如此鬼马。刘德华则继杨过一角後,再次演绎金庸笔下人物,其演出亦极具大将之风。两虎于每一个眼神与动作间,均流露出难得的默契;在相辅相成下,二人的演技皆发挥得淋漓尽致,更为两虎日後在电影中的合作打稳基础。

两位影帝的金钻组合,加上饰演韦小宝七个老婆的女演员-刘嘉玲、吴君如、商天娥、毛舜筠、景黛音、周秀兰及黄凯欣;造就了这套最讨人喜爱的《鹿鼎记》。

《倚天屠龙记》(1986)
《倚天屠龙记》(1986)是TVB第一部重拍的金庸巨著。当时大家都很关注由谁来演张无忌这角色,结果此重任落在五虎中最年幼的梁朝伟身上。当时梁朝伟已红透半边天,TVB于是打算选几位刚出道的新人担任女主角,望以此剧力捧她们上位。结果经过多番易角,最後决定由叁位刚毕业于同届艺员训练班的新人-黎美娴、邓萃雯及邵美琪,分别饰演赵敏、周芷若及小昭叁位女主角。此剧更邀得一众好戏之人-郑裕玲、任达华及曾江等,带领年青的新一辈演出,拼发出无穷火花。

梁朝伟演绎张无忌这个优柔寡断、处理感情事拖泥带水的角色亦恰到好处,其演出大获好评。除了演员的精湛演出,此剧的成功,与程小东精心设计的武打场面不无关系,更将金庸武侠剧推上一个顶峰。

《侠客行》(1989)
五虎于八十年代主演的最後一套金庸剧集,要算是《侠客行》(1989)。此剧由五虎中当时仍活跃于TVB的梁朝伟领衔演出。经过差不多十年的磨练,梁朝伟的演技已达炉火纯青的境界,即使一人分饰顽皮任性的石中玉及沉默敦厚的石破天两位失散多年的孪生兄弟,亦绝对挥洒自如。他于此剧再次与近期凭《金枝欲孽》(2004)而人气急升的邓萃雯合作,并周旋于她与其他叁女之间,展开错综复杂的多角恋。

《侠客行》的剧情曲折有趣,武打场面亦设计新颖,充满动感;加上这是梁朝伟离巢之作,实属一套不容错过的好戏。

金庸以外的经典
除了金庸剧集,五虎亦曾于八十年代主演过不少其他经典古装武侠剧。

《决战玄武门》(1984)
1984年,TVB以唐朝玄武门之变的历史故事为骨干,配以《射雕英雄传》的原班人马,拍摄了一套阵容鼎盛的大型历史武侠剧-《决战玄武门》(1984)。此剧的卡士一时无两,由TVB五虎中的叁虎-黄日华、苗侨伟及汤镇业,配搭当时得令的翁美玲,可谓无懈可击的古装组合,亦是五虎全盛期的代表作。

《天师执位》(1984)
接著,TVB继续安排与五虎合作无间的翁美玲跟苗侨伟搭档,主演极受欢迎的古装剧-《天师执位》(1984)。此剧轻松惹笑,但同时带点荒诞离奇;两人经过重重波折,终由斗气怨家演变成恩爱夫妻;结局安排更是出人意表,带给观众无限惊喜。苗侨伟和翁美玲的倾情演出固然精彩,刘丹及石坚两位老戏骨的演出亦令人赞叹不已;配上那首经典的主题曲-「谁可改变」,更有锦上添花之妙。歌词精简地道出全剧剧情,每当听到此曲,总不期然浮现出剧中画面,是现今剧集主题曲所无法比拟的。

《楚留香之蝙蝠传奇》(1984)
正因为《天师执位》大获好评,TVB立即于同年再次以「苗、翁」配担纲演出《楚留香之蝙蝠传奇》(1984)。他们一个高大威猛、一个娇小玲珑,是当年观众最受落的萤幕情侣。1984年,彷佛就成了这对金童玉女的天下。玉树临风的苗侨伟,演起古龙笔下的传奇人物楚留香,可谓形神俱似。翁美玲饰演对楚香帅一往情深的公主,既聪明伶俐又活泼可爱,简直是她本人的化身。另外两位小生任达华及惠天赐,亦演活了中原一点红及蝙蝠公子两个角色。各人的精彩演出,使此剧成为一套至今仍令人难以忘怀的经典武侠剧。

《皇上保重》(1985)
翌年,另外一虎刘德华亦继《鹿鼎记》後再展皇者风範,于《皇上保重》(1985)饰演乾隆皇帝,与跟他相爱但被棒打鸳鸯的刘嘉玲及反清义士刘青云,合演这套揭露清宫权力斗争、民间义士的满腔热诚,及相爱但不能爱的无奈爱情故事的剧集。各人演来也丝丝入扣,令观众看得咬牙切齿。不得不提的是刚从艺员训练班跑出来的邵美琪;她的戏份不算重,但其美艳可爱的古装扮相,绝对是惊为天人。此剧虽然不属大制作,但几位现今影坛独当一面的巨星早年的精彩演出,绝对值得一再重温。

八十年代是TVB历史上拍摄最多古装剧的时期,而五虎亦于此时红透半边天;他们主演的古装剧,当然不只上述数部;当中还包括《十叁妹》(1983)、《宝芝林》(1984)、《碧血剑》(1985)、《薛丁山征西》(1986)、《真命天子》(1986)、《天狼劫》(1987)、《天龙神剑》(1987)及《绝代双骄》(1988)等。这些由五虎主演的经典古装武侠剧,除了蕴藏著观众对古装剧黄金时代的记忆,更唤起了视迷们对五虎的思念。

集体回忆五虎的辉煌时代
五虎如今已分道扬镳,各有发展。刘德华继续他红足廿年的歌、影事业;梁朝伟已跃升为屡获殊荣的国际级影帝;黄日华再次重投电视台的怀抱;苗侨伟转型成为眼镜集团主席;汤镇业则主力在内地营商。要重温五虎全盛时期的精彩演出,相信只有靠重看这些把五虎最辉煌时刻定格的经典剧集。

刊登于 2005年4月8日
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PostPosted: Wed Apr 10, 2013 12:37 am    Post subject: Reply with quote

In the Mood for Wong Kar Wai: Why His Films Are as Difficult to Explain as Love
Written by Kathy Leung
http://www.yesasia.com/us/yumcha/in-the-mood-for-wong-kar-wai-why-his-films-are-as-difficult-to-explain/0-0-0-arid.20-en/featured-article.html

After watching a Wong Kar Wai film, you get the feeling you don't quite know what you've watched but you do know it's something you haven't seen before. Love him or hate him, his style is definitely his own and as a result, he has and continues to influence and impress the international film community much to the delight of both his loyal fans and those new to his films.

Wong graduated from the Hong Kong Polytechnic school in 1980 and his directorial debut came in 1988 with As Tears Go By which screened at Cannes the following year. He continued to make his mark in the festival with his films Happy Together (1997), winning him a Best Director Award, and In the Mood for Love (2000) for which leading man Tony Leung Chui Wai won Best Actor. This year, his most recent film 2046, (a follow-up to In the Mood for Love) was initially a favourite to win the prestigious Palme d'Or (think Best Picture in Oscar terms) but he failed to have it edited in time for his originally scheduled screening.

A chaotic yet organic approach to filmmaking is demonstrative of just one of Wong's characteristics that identifies him as an auteur. Western and European audiences have embraced his films partly because they differ from the ones they usually see. Isolation is a major theme in his films and many times they don't take action to help themselves (unlike a typical Hollywood hero). We then also feel that unease and loneliness. Also, rather than relying on cultural stereotypes, Wong allows for strikingly natural interaction between cultures through his use of music and geographic placement of characters.

No Happy Endings
It's been said that Hollywood films reassure while independent ones unsettle. Following Wong's main characters' through their self-alienated journey until the very end does this. Wong sets up his consistent themes of alienation and isolation with Days of Being Wild (1991). Self-absorbed York (Leslie Cheung) can't find love or redemption even when they're right in front of his nose. The feisty Leong Tong Yong (Carina Lau) and Lai Chun (Maggie Cheung) both are compelled to love him, but his choice doesn't allow either of them to win and he is the sole cause of his self-destruction.

In In the Mood for Love Mrs. Chan (Maggie Cheung) and Mr. Chow (Tony Leung), deny their love for each other as they go through their mundane lives. They are all about self-denial. They know they've been betrayed by their spouses early on in the film and form a friendship centred on all those good things a relationship is supposed to be based on yet deny their love for each other. Mr. Chow doesn't 'get' the girl in the end. Instead, in another act of self-denial, he tells his desire secretly into a hole in Angkor Wat hoping that his secret stays safe.

Mrs. Chan and Mr. Chow act self-destructively but earnestly much like the characters in Happy Together. Ho Po-Wing (Leslie Cheung) and Lai Yui Fai (Tony Leung) travel to Buenos Ares to see the Iguazu Falls. After reaching a breaking point, they go their separate ways but find themselves together again in a painful, yet familiar co-dependent relationship. Lai Yui Fai, the more responsible of the two, understands that he's better off without Ho Po-Wing but is consistently drawn to him and caters to him even though it is at the cost of his own self-respect. Happy Together doesn't allow for a happy ending for the couple but Lai Yui Fai, alone, sees the falls fulfilling a certain destiny he has made for himself.

In Chungking Express, two police officers are scorned by their lovers and are obsessed with them, refusing to move on until it is too painful not to. Love, in life and in Wong's films isn't easy to attain despite desperate and sincere need. Even though these films don't have a familiar happy ending, Wong instills a sense of hope, albeit a heartbreaking hope, not unlike the last of the world's evil that fled from Pandora's Box. We don't have to be told that everything will be all right because we know that sometimes things don't always work out, but we, along with his characters, can hope that they just might despite our human flaws.

Trans-nationalism
Music plays a large role in setting the tone of Wong's films, and it varies in style and culture. He will use an American song in a South American setting while the characters are Chinese. The soundtrack for In the Mood for Love includes Mike Galasso, Nat King Cole, Chinese music and the Umebayashi Sheger string motif constantly repeated through the film to enhance the mundane routine of Mrs. Chan's life. The juxtaposition of Western music in a Chinese setting as with the title track of Happy Together and California Dreamin' in Chungking Express at first is an oddity as we are attuned to expecting the music to fit the setting.

He also places his characters in situations where they deal with other cultures. Lai Yui Fai and Ho Po-Wing live and interact with Argentinians. The 'Woman in the Blonde Wig' conspires with Indians. He doesn't limit himself to cultural classification of music. He uses a variety of music from diverse backgrounds and allows for a natural and refreshing portrayal of culture, unlike Hollywood films which play upon the familiarity of stereotypes.

Unclassified Information
Wong's work is not only unclassified in musical type but also in genre; his films don't easily fall into categories found in your local video store. Unlike other Hong Kong police dramas, the cops in Chungking Express don't exert much bravado or machismo, in fact, they do quite the opposite. Also, there is an absurdity to the film that makes it a comedy as well. In the Mood for Love might be classified as a tragic love story but lacks the physical and sexual presence found in many Western romantic comedies. As Tears Go By, with its violence and typical gangster storyline, is unlike the many Hong Kong triad films. Invariably, when the end credits roll on a Wong Kar Wai film, we are often left with the question, "What is it that we just watched?"

We'll Never Know
There's no easy answer. Not for us and not for his characters as we witness their flawed existence and obsessive patterns. If you are looking for a linear storyline and predictable objectives for your characters, look somewhere else. But if you want real moments that satisfy in a stylishly different way, Wong's films will win you over. There's no simple conclusion that wraps up everything into a simple answer. But that is reminiscent of our lives and that is why his films are able to transcend cultures and rightfully succeed in the international marketplace.

Wong Kar Wai Films
1987 As Tears Go By
1993 Days of Being Wild
1994 Ashes of Time
1995 Chungking Express
1996 Fallen Angels
1997 Happy Together
2000 In the Mood for Love
2004 2046

Published July 23, 2004

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http://en.wikipedia.org/wiki/Wong_Kar-wai

Feature films
Year Title Chinese Title
1988 As Tears Go By 《旺角卡門》
1990 Days of Being Wild 《阿飛正傳》
1994 Chungking Express 《重慶森林》
Ashes of Time 《東邪西毒》
1995 Fallen Angels 《墮落天使》
1997 Happy Together 《春光乍洩》
2000 In the Mood for Love 《花樣年華》
2004 2046 《2046》
2007 My Blueberry Nights 《藍莓之夜》
2012 The Grandmaster 《一代宗師》

----------------------------------------------------------------
http://www.imdb.com/name/nm0939182/

Filmography
Writer (31 titles)
Director (18 titles)
Producer (17 titles)
Actor (3 titles)
Miscellaneous Crew (1 title)
Second Unit Director or Assistant Director (1 title)
Self (16 titles)
Archive Footage (5 titles)
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PostPosted: Wed Apr 10, 2013 12:39 am    Post subject: Reply with quote

Zhang Yimou - From Arthouse To Full House
Written by Alison Jobling
http://www.yesasia.com/us/yumcha/zhang-yimou-from-arthouse-to-full-house/0-0-0-arid.6-en/featured-article.html

Zhang Yimou makes exceptional films in genres to suit almost any taste. Like historical tragedy? There's not much better than Zhang's lush film Raise The Red Lantern. Enjoy a gentle romance from a rural Chinese village? Zhang's The Road Home is guaranteed to make even the hardest heart melt. Like martial arts and wuxia? Then you must see Hero and House Of Flying Daggers. You can't escape Zhang's films, not if you like watching the best.

Zhang Yimou is one of mainland China's most highly-esteemed directors. He has a reputation for producing work of the highest quality, whether the film is historical arthouse, such as the lush Raise The Red Lantern, modern rural drama, such as the touching Not One Less, or wuxia (martial arts) fantasy, as in the hugely popular Hero. He has also been very astute in casting, and discovered both the sensual and talented Gong Li and the recent favourite Zhang Ziyi.

Zhang graduated from the Beijing Film Academy in 1982. His class formed the core of what would be called the "Fifth Generation" of film-makers, whose work was to bring Chinese cinema world renown. He worked as cameraman on fellow Fifth Generation director Chen Kaige's drama Yellow Earth (1984), and took the lead role in The Terracotta Warrior (1987), shortly before directing his first film, Red Sorghum (1987), which won the Golden Bear at the prestigious Berlin Film Festival. This was the first of several of Zhang's films to star the sumptuously beautiful, and highly talented, Gong Li.

Zhang followed this success with another, Ju Dou (1990), again starring Gong Li. This tragic story of desperate illicit love is set in a world of rich colour and sensual texture, of rippling silk, raging fire, and velvet skin. Zhangs work was already showing the gift for visual beauty and powerful emotion that make his films compelling.

His historical arthouse film Raise The Red Lantern (1991) won the Silver Lion at the Venice Film Festival. This film also stars Gong Li, who portrays the new Fourth Wife Song Lian with icy disdain covering insecurity and unhappiness. The film is beautifully shot, with rich colours and costumes, while the story traces a Byzantine existence of wives and servants conniving for position within the household.

Both Ju Dou and Raise The Red Lantern were initially banned in China, for reasons of sex or politics. Zhang then changed direction, making a contemporary drama called The Story Of Qiu Ju, again starring Gong Li. It became clear that his talent was not restricted to historical tragedy when his drama To Live (1994), won the coveted Grand Prix at the Cannes Film Festival. His film noir, Shanghai Triad (1995), shows triad life through the eyes of a child, a perspective not often seen in this genre.

Zhang had already won the respect of the arthouse crowd with these films, but now he began to win over a new, more mainstream audience in the West. He began to make a number of films set in contemporary rural China, once again demonstrating his deft touch.

The Road Home is a lovely, gentle film about a city man who returns to the village of his birth when his father dies. There he learns about his parents' early lives, and the story of their innocent romance is deeply touching. The role of his mother as a young girl is played by Zhang Ziyi, who invests her character with a shy charm that is irresistable.

This film won the Silver Bear at Berlin Film Festival, and the Golden Lion at the Venice Film Festival, and also achieved screen time in some mainstream cinemas in the West. Western viewers were astonished that such a simple story could be so moving. It also brought the young Zhang Ziyi to the attention of other film-makers, which resulted in her gaining international renown as the headstrong heroine of Ang Lee's Crouching Tiger, Hidden Dragon.

Zhang continued his run with Not One Less, a similarly moving film about a young girl sent as a teacher to a small village. When one of her charges runs away to the big city, she has no choice but to follow him and try to bring him back. Zhang cast this film completely with non-professional actors, and they perform astonishingly well. The raw emotion is heartfelt and searing, and the simple story brought the lives of rural Chinese to the hearts of audiences worldwide.

But it is in the wuxia/martial arts arena that Zhang has made his biggest splash so far. His film Hero, a historical epic full of brilliant colour and packed with stars, was nominated for an Oscar for best foreign film, and was the biggest foreign film opening in the US.

The cinematography is breathtaking, since Zhang secured the services of the highly sought-after Christopher Doyle, whose work with acclaimed Hong Kong director Wong Kar Wai includes such classics as Fallen Angels, Happy Together, and In The Mood For Love. The martial action is graceful and soaring, owing much to the talents of two cast members. Jet Li, a martial artist turned actor most famous for his roles in Tsui Hark's definitive Once Upon A Time In China series, has the grace of a cat and the speed of a tiger, while Donnie Yen, martial artist, action choreographer, and actor, star of films such as Iron Monkey, uses his smaller role to provide an unforgettable duel scene with Li.

But the stars don't stop there: this martial epic also stars Maggie Cheung Man Yuk and Tong Leung Chiu Wai, who starred together in Wong Kar Wai's In The Mood For Love, winner of the Grand Prix at Cannes. Both are highly respected actors, and their performances add a tragic gravity to this imposing film, which also features Zhang Ziyi.

Although appearing after Crouching Tiger, Hidden Dragon, Hero was conceived some years before. Zhang had spent some time writing and re-writing the script, and the resulting film is a tribute to both the art and the craft of Zhang. Soaring martial arts, brilliant colours and breathtaking scenery, costumes evoking all the mystery of the exotic Orient, all support a classic film made by some of the world's finest film-makers.

Zhang has continued in the wuxia tradition with his latest release, the eagerly-awaited House of Flying Daggers. For months, Asian film afficionados have been scouring the internet for tidbits about this lavish work, and it was released in 2004 to great acclaim, screening at major film festivals Cannes and Toronto.

Once again, Zhang has used his eye for colour and detail to craft a film that combines visual splendour with a tale of epic drama, containing all the elements that have seduced viewers of both wuxia films and Zhang Yimou. And once again, Zhang has secured the services of a stellar cast, to aid him in his portrayal of Chinese history and legend.

Andy Lau Tak Wah must have been hard to catch, being one of the hardest working men in a hard-working industry. Lau's most recent work includes Andrew Lau's superb cops and triads drama Infernal Affairs, and Johnnie To's masterful thriller Running Out Of Time, which earned Lau the Best Actor award from the Hong Kong Film Awards. Lau is no stranger to wuxia films, having performed in such films as Moon Warriors, Handsome Siblings, and The Duel.

The film also stars Japanese heart-throb Takeshi Kaneshiro, whose work in the Wong Kar Wai films Fallen Angels and Chungking Express brought him to the attention of arthouse cinema-goers. And once again, Zhang makes use of the acting talents of Zhang Ziyi, whose imperious air and flashing eyes in Crouching Tiger, Hidden Dragon were worlds removed from the gentle village girl in The Road Home.

It is clear that Zhang is a director who is not content to rest on his laurels. He has successfully attempted most of the major film genres, with spectacular results, and is constantly striving to achieve. One of his non-cinematic achievements was the staging of Turandot at the Forbidden City in 1998. A forbidding task, to stage a major operatic work in the most famous of China's ancient marvels, but Zhang was equal to it. The resulting production, involving over 1000 people and eight performances, was flawless and impressive, making one wonder what he would turn his hand to next.

In fact, the next non-cinematic spectacle has recently been decided. A preview at the closing of the Athens 2004 Olympic Games revealed that Zhang has been selected to stage the Opening and Closing Ceremonies for the Beijing Olympic Games in 2008. There is no doubt that Zhang will devote to that effort all the care, attention, and talent that he has already displayed in his many films, making a spectacle that will be hard to beat.

Published October 18, 2004

----------------------------------------
http://www.imdb.com/name/nm0955443/

Filmography
Director (24 titles)
Producer (7 titles)
Actor (5 titles)
Writer (6 titles)
Cinematographer (4 titles)
Miscellaneous Crew (2 titles)
Camera and Electrical Department (1 title)
Self (16 titles)
Archive Footage (4 titles)

----------------------------------------
http://en.wikipedia.org/wiki/Zhang_Yimou

As director
Year English title Chinese title Notes
1987 Red Sorghum 红高粱 Golden Bear
1988 Codename Cougar 代号美洲豹 (co-director)
1990 Ju Dou 菊豆
1991 Raise the Red Lantern 大红灯笼高高挂 Silver Bear
1992 The Story of Qiu Ju 秋菊打官司 Golden Lion
1994 To Live 活着 Grand Prix du Jury
1995 Shanghai Triad 摇啊摇,摇到外婆桥
1995 Zhang Yimou Segment of the anthology, Lumiθre and Company
1997 Keep Cool 有話好好說
1999 Not One Less 一个都不能少 Golden Lion
1999 The Road Home 我的父亲母亲 Jury Grand Prix
2000 Happy Times 幸福時光
2002 Hero 英雄
2004 House of Flying Daggers 十面埋伏
2005 Riding Alone for Thousands of Miles 千里走单骑
2006 Curse of the Golden Flower 满城尽带黄金甲
2007 Movie Night Segment of the anthology, To Each His Cinema
2009 A Simple Noodle Story[41] 三枪拍案惊奇
2010 The Love of the Hawthorn Tree 山楂树之恋
2011 The Flowers of War 金陵十三钗
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PostPosted: Wed Apr 10, 2013 12:40 am    Post subject: Reply with quote

Hong Kong Cinema and The Moment
Written by Sean M. Tierney
http://www.yesasia.com/us/yumcha/hong-kong-cinema-and-the-moment/0-0-0-arid.42-en/featured-article.html

Someone once asked me what I liked so much about Hong Kong cinema. What, they wondered, could possibly be so great about it that I bought them by the hundreds? I thought about it for a moment, and then I told them: There's always The Moment.

In just about every Hong Kong movie I've ever seen, there is at least one moment that propels me out of my seat, sometimes literally. It can often be as subtle as a remark made by an actor (any Stephen Chow Sing Chi movie), an unexpected camera movement (Big Bullet), an especially visceral stunt (Full Alert's motorcycle "landing"), or a blown stunt that looks so good (read: painful) that it is left in the film, occasionally shown more than once (Tiger on Beat, Prince of Temple Street, Tragic Fantasy).

Sometimes it is something so out of the ordinary for my American orientation that I react instinctively. In Hollywood, children are never in harm's way. But in Hong Kong films like All of a Sudden, The Untold Story, Run and Kill and others (even non-Category III), children are not safe at all. In one of the Conman movies, a small child in leg braces is pushed down an escalator. I have seen children in Hong Kong movies be threatened, injured, tortured, killed, and, in Run and Kill, worse (trust me).

Hong Kong cinema's portrayal of people of African descent is equally hit or miss. In some of the most jarring moments of Hong Kong cinema, seemingly random incidences of blatantly stereotypical portrayals rear their ugly head and are gone in an instant. Love Generation Hong Kong's final romantic plot twist involves Leon Lai rushing to the airport to stop a woman whose love he (unknowingly) refused from going to America, to marry "a Negro." When he is told about this plan by the girl's brother, Leon asks how the brother can allow this and whether he is sick. Then he punches him. I don't enjoy these moments, but I certainly do notice them. They happen just often enough, and without any warning, that you may want to think twice about who you see them with. On the bright side, the global spread of hip-hop has helped change attitudes somewhat; in My Loving Trouble 7, Sandra Ng Kwun Yu is surprised to find that she is attractive even to Black men. I'm not saying that I find these things entertaining (though sometimes I do). I'm saying that they leave an impression on me by virtue of their portrayal, content, and delivery. They are Moments.

The moments are not always negative; often they are romantic. In A Chinese Ghost Story 3, Joey Wang watches a frightened Tony Leung Chiu Wai run through a dark forest, in fear for his life. She smiles, and the first time I saw it (and every time since), I felt as though it would be a wonderful thing to be the subject of that smile. If a woman ever smiled that way about me, my life would be a significant bit more complete. And I'd be immeasurably happy. In The Truth About Jane and Sam, the ending is the perfect close to a touching, yet admittedly saccharine film. The same can be said of Metade Fumaca; what ought to be a truly sad moment for Eric Tsang Chi Wai is instead a source of wistful happiness for both his character and the audience. Elvis Tsui Kam Kong's performance in Viva Erotica as a Category III actor struggling to support his family is a wonderfully subtle yet powerful portrayal; that it reflects perhaps too closely the actor's life only adds to the weight of it.

Wong Kar Wai's Fallen Angels features a moment both romantic and salacious enough to truly earn the label erotic; a lovelorn Michele Reis silently yet movingly expresses her unrequited love for Leon Lai through an unabashed display of physical yearning on his bed. It is both poignant and dirty, yet never less than equally so. A less libidinous, though equally transfixing moment comes in the final seconds of They Came to Rob Hong Kong; Kara Hui Ying Hung walks towards the camera, relaxed, lithe, and composed in the midst of chaos. Her expression, half beckoning and half contemptuous smirk, is virtually hypnotic. That the film ends by freezing this image only makes its impact that much more significant. Admittedly, as a man I am perhaps more prone to the female side of such portrayals; the image of Christy Chung in The Bride with White Hair 2, her first role, is indelibly fixed in my mind: she is sitting by a fire, a rough-hewn cigar dangling from those lips. That such a feat is possible in this film is extraordinary, because it stars Brigitte Lin Ching Hsia, the uncontested master of The Look. Her gaze, when it is fixed upon whatever object is lucky (or unlucky) enough to be its recipient, probably stops traffic outside the theatre. Even without any zoom or freeze, her gaze transfixes the screen. Many are those Moments, and all are divine.

I imagine a woman might say the same thing about any number of iconic moments of Hong Kong's male actors; I have been told, and can see, that Tony Leung Chiu Wai has an effect on women that is devastating. Many are the moments that his gaze, or even his visage, has reduced women to near hysteria. Which is all well and good, except that he didn't buy the dinner and the movie tickets; I did! But to follow (albeit at a safe distance) this line of reasoning, there are innumerable moments in Hong Kong films where even I can acknowledge that the hyperreality of cinema creates a universe where I shall never live (but I hope someone does). The entrance of Ekin Cheng and Louis Koo early on in For Bad Boys Only is trite, overblown, and brimming with hubris. At the same time, it forces me to acknowledge that I will never, ever be that handsome or cool. No one ever really will. But these guys come darn close. And that's before Shu Qi falls for one of them! I have compulsively chewed toothpicks all of my adult life; I will never look as cool as Chow Yun Fat does in Hard Boiled when, with the raise of an eyebrow and casual wave of a pistol, he tells his partner to leave it to him to finish the bad guy.

Cinema allows us a glimpse into a world where things are not real, and hence are often different, and better, than they are. In movies, conflict can be resolved directly, quickly, and without moral or legal repercussions. In Fruit Chan's The Longest Summer, Sam Lee Chan Sam makes short work of an obnoxious young girl in a novel and uniquely Hong Kong manner. It made me cheer out loud. In my own living room. And she deserved it. A popular theme in Hong Kong movies is friendship. The responsibilities engendered by being someone's heng dai (buddy) lead to some of the most violent, touching, and rewarding moments in Hong Kong cinema. In The Blood Rules, the final meeting between Lam Suet and Wong Tin Lam, driven as it is by vengeance, is one of the most satisfying (non-) surprises I've seen in a long time. The climax of A War Named Desire features a sacrifice made for friendship that is bloody, violent, and deeply touching. In Johnny Mak's Long Arm of the Law, a gang member is remembered by his friends not with the traditional Chinese offerings of fruit and incense, but with McDonald's food and cigarettes; such a simple statement, coming as it does from very simple characters, speaks volumes about the Hong Kong of the 1980s and how it affected those outside (and inside) it.

Other moments in Hong Kong film illustrate the often bittersweet nature of the consequences of friendship. In Full Throttle, Chin Kar Lok appears to have escaped a harrowing crash unscathed. That this is not the case is brought home to us through a moment both visually interesting and emotionally piercing. Similar to this is Chapman To Man Chat's fate in Infernal Affairs. But here, it is both leavened and made more poignant by yet another display of his character's good-natured simplicity. Occasionally, the intersection of love and violence result in moments that are as emotionally romantic as they are visually repugnant. In Bullets of Love, Asata Seko's climactic act of contrition is equal parts devotion and destruction; we are left with a highly conflicting set of motivations, actions, and consequences.

Some of Hong Kong's cinema's moments get their power from evoking or showing us a Hong Kong that is no more. Sandra Ng Kwun Yu's Golden Chicken gained much of its appeal for the local audience by reminding them (and the rest of us)of Hong Kong of the 70s, 80s and 90s. Some of the best moments are when we see a very young television actor named Chow Yun Fat; it is like watching Mean Streets and remembering how young Robert Deniro once was. The landscape of Hong Kong changes so fast that movies often capture things that are no longer there; the Yun Lai Teahouse of Hard Boiled fame is long gone; so too is Kai Tak airport. This airport, nestled none too comfortably in the middle of Kowloon, provided one of the most exciting landings in peacetime aviation. Just how close did Kowloon City encroach on the runway? Watch Running on Empty, The Iceman Cometh, or Love Generation Hong Kong and you will see.

Hong Kong cinema was, and still is, an expression of a people and a place that is like no other on earth. The depiction and delivery of those expressions is likewise unique. Like any cinema, Hong Kong has produced its share of films that, if missed, are no great loss. But even these films have, somewhere in them, a bright shining Moment that makes the other one hundred and twenty nine and a half minutes bearable. Hong Kong's better films are rife with Moments; their cumulative effect is to transport us to a place where magic is commonplace, love is perfect and justice is always done. In a city of incomprehensible complexity, movement and stimuli, Hong Kong's best films exceed the explosive profusion of their home city and take us into another universe where great Moments are just the way it is.

Published September 2, 2005
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PostPosted: Wed Apr 10, 2013 12:42 am    Post subject: Reply with quote

Milkyway: The Star of Hong Kong Cinema
Written by James Mudge
http://www.yesasia.com/us/yumcha/milkyway-the-star-of-hong-kong-cinema/0-0-0-arid.70-en/featured-article.html

Although the Hong Kong film industry has according to many critics been suffering from a crisis of creativity and quality for at least a decade, through these wilderness years one production house has remained a beacon of distinction, namely Johnnie To and Wai Ka Fai's Milkyway Image. From humble origins, the company has gone from strength to strength and has now become a recognized brand name which for many guarantees superior entertainment. This critical and commercial success has not only been at home but also abroad, and recent years have seen a number of Milkyway films enjoying praise at prestigious festivals such as Cannes and Venice. Whilst Milkyway made its name through dark, character-driven thrillers and crime stories, and indeed continues to rule the genre roost with recent hits such as the Election series, it is sometimes overlooked that it has in fact produced successful films of almost every type, from comedy through to romance. Certainly, one of its most recent releases, Mad Detective, directed by To himself is a decidedly eclectic and eccentric affair, being an off kilter psychological mystery featuring a protagonist with apparent psychic powers.

The Seeds of Innovation
Director Johnnie To and his frequent cinematic partner Wai Ka Fai formed Milkyway Image (HK) Ltd. in 1996 as a production company. At this time, To was known as a commercially successful director who had been working his way up through the ranks, having had hits with the likes of The Heroic Trio and All About Ah Long, for which he was nominated as Best Director at the 1989 Hong Kong Film Awards. Wai had then mostly been working on and writing television productions, as well as on a few cinematic outings such as the Chow Yun Fat vehicle Peace Hotel, which he also directed. The two, who had previously collaborated on the 1990 melodrama Story of My Son, decided to form the company as a means of efficiently producing good quality films and for fostering young cinematic talent. Perhaps more importantly, it was also seen as an opportunity for the two to win more control over their films and to be able to have more personal input into productions, something which they had both apparently suffered a lack of in the past.

Dark and Difficult Beginnings
The early years for Milkyway were undeniably rocky. Its first wave of productions, including Beyond Hypothermia, Final Justice, Too Many Ways To Be No. 1, and The Odd One Dies, all proved unpopular at the Hong Kong box office. This was likely due to their grim and pessimistic tone and the fact that instead of offering up crazed and senseless action, they were thoughtful works, well crafted and featuring genuine attempts to add a layer of depth to their characters and predicaments, combining a certain amount of soul searching and a marked distrust for authority along with the usual bullet battles and explosions.

Whilst most domestic audiences were not accustomed to such a mixture, genre fans were impressed, and the films did find themselves a certain following. The same was true of the 1998 films Expect the Unexpected and The Longest Nite, neither of which made much money, though the latter has since come to be hailed by many as one of the best Hong Kong crime dramas of all time. Interestingly, both of these films, along with The Odd One Dies, have long been the subject of speculation as to who actually helmed them. Although Patrick Yau is officially credited as their director, rumours have long persisted that it was To in the director's chair, something To has alluded to himself in interviews. The truth of this can perhaps also be seen in the fact that Yau received an odd "associate director" credit on the later jailbird drama Where a Good Man Goes, which featured Lau Ching Wan as a convict trying to find his way in Macau. Whatever the case, To finally stepped up to direct in a more official capacity with A Hero Never Dies, a Sergio Leone-influenced triad drama starring Leon Lai, which did manage to attract a little more attention, though true commercial success remained elusive.

The following year saw Milkyway lighten the tone of its productions somewhat with To's ensemble piece The Mission, which boasted the unbeatable cast of Francis Ng, Anthony Wong, Roy Cheung, Lam Suet, and Jackie Lui as triad hitmen. The film was decidedly more upbeat than previous films from the company, whilst still retaining the same level of stylishness and gritty underworld poetry. It proved a critical success, winning To and Milkyway their first Best Director prizes at both the Hong Kong Film Awards and the Golden Horse Film Festival. Interestingly, despite this acclaim The Mission managed to attract more attention overseas than it did back in Hong Kong, having since found its niche as a popular cult favourite in the West. The company also attempted to diversify somewhat with the modern love story Sealed with a Kiss by director Derek Chiu (who recently helmed the Five Tigers reunion piece Brothers) and starring Louis Koo, though this failed to make much of an impact.

Success and Andy Lau
Thankfully, the company finally had its first proper blockbuster hit with Running Out of Time in 1999. Directed by To, the film pitted frequent Milkyway performer Lau Ching Wan as a hostage negotiator against dying criminal Andy Lau in a deadly psychological game of cat and mouse. Although the film itself was a bit of a departure in that it featured very little in the way of action, relying mainly on tightly woven suspense, it was almost certainly the presence of superstar Lau that drove it to box office success. As such, it is unsurprising that the film proved to be a definite turning point for Milkyway, as the production house branched out and away from the crime genre into other areas. Many of the resulting efforts saw Lau reteam with To, such as the 2000 hit romantic comedy Needing You, which also featured actress and singer Sammi Cheng. The two stars proved to be a popular pairing, and they collaborated again in 2001 for the wacky fat suit comedy Love on a Diet, another profitable hit. Cheng and To also worked together on more comedies in the form of Lunar New Year offering Wu Yen, the supernaturally themed My Left Eye Sees Ghosts in 2002, and romantic comedy Love For All Seasons in 2003.

Given their irresistible commercial viability, the company understandably during this period tended to focus more on similarly light productions, usually featuring at least one popular star, such as the hospital set farce Help!!!, which starred Ekin Cheng and Cecilia Cheung, and the New Year gambling comedy Fat Choi Spirit, which brought together Andy Lau, Lau Ching Wan, Gigi Leung, and Louis Koo. These aside, there were also a few excursions into fare with a little more substance, such as the oddly titled teen drama Spacked Out and the slice-of-life youth film Gimme Gimme. Thankfully for fans of the studio's original line in innovative crime drama, Fulltime Killer came in 2001, teaming Andy Lau this time with Simon Yam and Japanese actor Takashi Sorimachi in an eccentric and wistful though grandiose slice of hitman action.

Still, many were unconvinced by Milkyway's new direction, disappointed that it now seemed to be placing box office success ahead of its previous dedication to pushing the envelope, bringing about the age old criticism of To and Wai having sold out. Whilst to an extent this may well have been the case, as To, whose career has always seen him display the ability to strike a balance between directing artistic and intellectual films with those intended more for mass audience consumption, once stated in an interview with Asia Pacific Arts, "It's probably too hard to survive in this field if we [directors] only make films that we like. I like to help my company make profits too, and create movies that are geared towards audience members. But when time allows it, I explore my own creativity."

A Return to Roots and a Coming of Age
2003 proved to be another milestone for the company, with To and Wai by this time feeling that it was established enough and had enjoyed enough financial success to branch out once more into more personal and challenging films, whilst at the same time still producing more accessible money earners. The first of these was To's tense thriller PTU, which featured Simon Yam, Lam Suet, and Maggie Siu in a complex and fractured tale of a special police unit revolving around a missing gun and the usual triad trouble. It was followed in the same year by his rather bizarre Running on Karma, a difficult to categorize thriller which saw Andy Lau don a muscle suit as a body building monk who becomes involved with a police investigation.

Both films saw Milkyway garnering considerable critical praise and a number of awards around the world, with To being in the interesting position of winning Best Director at the Hong Kong Film Awards for PTU, whilst also being nominated for the same award for Running on Karma. Interestingly, whilst the two films did to an extent hark back to the earlier Milkyway crime dramas in that they saw a focus on character and complex, tense storytelling, they were individualistic pieces which were arguably more ambitious, particularly in the case of the abstract Karma. These, and indeed many of To's later films, were also seen by many critics as sneaking in social commentary and political allegory. At the same time, the studio also produced the more commercially friendly comedy thriller Looking for Mister Perfect from director Ringo Lam, with Shu Qi and Simon Yam, and To's own offbeat romance Turn Left, Turn Right, which starred Takeshi Kaneshiro and Gigi Leung.

By now To was becoming admired as one of Hong Kong's leading filmmakers and was enjoying considerable international acclaim. 2004 was a great, not to mention busy, year for the director, with his media-savvy thriller Breaking News playing out of competition at Cannes and winning him Best Director at the Golden Horse Festival, and his highly personal Akira Kurosawa tribute, the judo film Throw Down, screening at Venice. In tune with the company's new ethos, he also directed the more lightweight Yesterday Once More, which reunited Andy Lau and Sammi Cheng for another popcorn-style romantic comedy caper.

From Election and Exiled to Mad Detective
2005 saw Milkyway continue to thrive critically and commercially with To's impressive and original triad drama Election, headlined by Simon Yam and Tony Leung Ka Fai as two gang leaders vying for power, backed up by a rich supporting cast which included Louis Koo, Nick Cheung, Eddie Cheung, Lam Suet, and Gordon Lam. Praised for its complex plot and political subtext, the film screened in competition at Cannes as well as enjoying a worldwide release, and saw a slew of awards, including another win at the Hong Kong Film Awards for To. It was quickly followed by a sequel in 2006, which was equally well received both at home and at festivals.

The year proved to be a red letter one with the release of To's long-awaited Exiled, his follow-up to The Mission, which brought back Simon Yam, Anthony Wong, Francis Ng, Roy Cheung, and Lam Suet as the same band of disparate yet personable killers. The film proved to be everything fans had come to expect from the new generation of Milkyway productions, being thoughtful and even philosophical whilst still managing to thrill, and it went down well both domestically and internationally, even managing a rare theatrical release in the West. The company kept up its policy of dividing its output between genres, producing the comedy 2 Become 1 from frequent To collaborator Law Wing Cheong. Although undeniably slight, the film, which starred Miriam Yeung and Richie Jen, did attempt something a little different and more substantial by tackling the uncomfortable subject of breast cancer, showing that Milkyway had lost none of its desire to challenge at the same time as entertain.

The company's seemingly never ending run of form continued unabated in 2007 with a series of excellent films including the police surveillance drama Eye in the Sky, which marked the directorial debut of Milkyway screenwriter Yau Nai Hoi and featured the familiar team of Simon Yam and Tony Leung Ka Fai, and Hooked on You from Law Wing Cheong, a socially minded comedy starring regular screen partners Miriam Yeung and Eason Chan. The year also saw the release of the much-touted Triangle, a fascinating thriller project that was directed jointly by To, Tsui Hark, and Ringo Lam, with each of the three taking on one segment of a continuing story. After Triangle came yet another sterling effort from the ever busy To in the form of Mad Detective, which follows Lau Ching Wan as the titular character, an investigator with weird psychic powers who the police call out of retirement to help them with a series of killings linked to a missing gun. The film sees the director doing what he and Milkyway do best, offering fans a unique twist on the usual crime formula, which succeeds in being both entertaining and confusing - albeit in the best possible fashion.

The company's latest release was To's romantic drama Linger, which stars Vic Chou and Li Bingbing and revolves around a troubled woman whose late boyfriend suddenly seems to reappear. A departure from his usual fare, the film did not fare so well either with critics or fans, mainly due to an overly familiar plot and little in the way of real or engaging drama. Of course, like almost anything from To, the film is not without value, and still manages a few effective tugs at the heartstrings.

The Future
So where now for the ever-versatile Milkyway Image? Needless to say, fans still have plenty to look forward to, first of all with To's pickpocket drama Sparrow, headlined again by Simon Yam. Apparently similar in tone to Throw Down rather than being an action piece, the film has already been enjoying success at European festivals, managing a Golden Bear nomination at Berlin, clearly signaling that it will be adding yet another feather to Milkyway's already dangerously over-burdened hat. From here, whatever Milkyway and To choose to try their hand at next, one thing viewers can be sure of is that given the calibre of both the production house and the director himself, it is a safe bet that it will be anything but ordinary.

Published March 17, 2008
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