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Movie Biweekly Magazines - Maggie Cheung

 
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PostPosted: Mon Apr 15, 2013 12:10 am    Post subject: Movie Biweekly Magazines - Maggie Cheung Reply with quote

最香港的東方玫瑰張曼玉
作者︰雲飛揚、宣謠 (輯錄自香港電影雙周刊)



張曼玉,無人不曉的名宇。張曼玉,算得上中國電影史上最為輝煌的演員,她包攬了柏林和康城兩大電影節的影后桂冠,還拿下了四座台灣金馬獎和六座香港金像獎,成就令人嘆為觀止。出身於選美,初入影壇便被定型接演花瓶類角色,張曼玉廿多年后卻以演技征服了世界影壇。在80年代,張曼玉曾以高產著稱,直到開始與王家衛導演的長期合作,她才完成了個人演藝生涯的轉型。

在第57屆康城國際電影節上,香港的驕傲張曼玉Maggie以高票獲得影后殊榮,這是她繼柏林影展之後的又一傑出成績,而她在香港電影金像獎和台灣金馬獎上則先後九次站在領獎臺上,毫無疑問,理想主義者張曼玉從最尋常的香港青春片和搞笑片中起步,以其卓越的演技和鉑金般的魅力征服了香港、征服了華人區、征服了世界,正如評委會主席昆丁.塔倫天奴 (Quentin Tarantino) 說:「她是世界上最偉大的女演員之一」,法國《電影筆記》(Cahiers du Cinema)也早就稱她作「香港公主」,個人的成長和在電影上的經歷足以代表最近這二十年來的電影。

1964年出生的張曼玉(Maggie),自幼在英倫長大,直到少女初長成才回到香港,然後以青春無敵的勇氣和虛榮參與香港小姐的選美比賽,從此進入演藝圈。張曼玉的美麗和智慧都超人一等,甚至於被稱為有如此之美麗不必有如此之智慧,反之亦然,這是一個演員所能獲得的最大榮譽。張曼玉是高貴的、自由的,她擁有一種孤獨和共用的魅力,我們既遠觀其靚麗,又可以近查其內涵。Maggie真是天賦以美的典型,同時她的電影又表達出一種最對味的香港/中國性格。

從導演方面看,對張曼玉的演藝事業起到最大促進事業的幾個導演(王家衛、徐克、關錦鵬、陳友、張婉婷、嚴浩、奧利華阿薩耶斯等)都是和張曼玉一樣是典型的雙城之子/女,他們對電影、文化、藝術、世界的感知都趨於多元化,基本上都在不同文化/傳統/生活方式/想像虛構中取捨自己的藝術個性,在這一點上,張曼玉正好是一個積極求索的鬼妹,成熟、浪漫、青澀、單純,她恰巧可以表達這些導演對於世界的敘述。回顧張曼玉的演藝生涯,至少以下電影在西方有一定影響。

看張曼玉的《新龍門客棧》,留在記憶的是那潑辣卻嫵媚的丰采,似乎是張狂似乎是寧靜,荒漠落日裡招牌而飄下的鏡頭是無法用語言表達的魅力,這印象竟然比甄子丹的白骨累累更加深刻,那份收放自如的北國之任性的浪漫足以摧毀許多人(尤其是內地觀眾和西方觀眾)的傳統掛念,自從不應再認為香港電影中沒有複雜人格的存在。後來我想,這個角色分明融合了俠客、十二月黨人的妻子/女友、草莽英雄的複合型電影人物。

之前,她是港姐出身,容貌秀麗,一口虎牙,於是搞笑鬼馬做花瓶,一路演來很是輕鬆愜意。直到在《過埠新娘》的泥漿裡她開始體會到應該怎樣對待自己的演繹生命,後來在出演《旺角卡門》時,她明白了自己的魅力在於收斂。《不脫襪的人》中,張曼玉以與角色相對統一的演藝體驗而演出,使我們相信在大時代中小人物也應該有自己的選擇,而這選擇往往是更人文的勝利。

在《阿飛正傳》中,就是那一分鐘的甜言蜜語就把蘇麗珍(Maggie飾演)的芳心打動了,掙扎對於自我成為一種限制性抒發。只是旭仔(張國榮飾演)是個無定數的男人,聽聽他的「無腳鳥」就知道了。愛情走了,追也追不回,不如自己慢慢療傷。只是有了愛的傷,即使有了另一份愛情來了,接受卻變得不容易。知道她想起來給那個曾經幫過她的小警員(劉德華飾演)打電話時,愛情已經隨著他跑船去了。

而在拍攝《阮玲玉》時就已經忘記了自己是張曼玉,她說那個時候自己就是阮玲玉了,關錦鵬刻意要求她在電影上再現阮玲玉的電影片斷,於是我們分不清誰是誰,感動的理由有一個就足夠,而我的就是這兩個中國電影史上最有成就的女子在那些瞬間重合為一人。接下來,這傳奇完全佔領了我們的視野。關錦鵬和張曼玉聯手塑造的《阮玲玉》是中國電影史上的顛峰之作,無論是立意、結構、敘事、主題和激情都是如深如淺,張曼玉以近乎重構、還原現場的三個層面的演出(演員/歷史人物、演員/歷史人物的生活與演出)令觀眾回到那個激進與保守同在、解放與宥困暗戰的三十年代,阮玲玉的死是中國特定時期的社會悲劇,我們必須知道這悲劇為什麼會上演而又無可挽回?如果你還不瞭解,那麼這部電影告訴了我們。因為阮玲玉和張曼玉都是大明星,所以這次詮釋就要求張曼玉有所放低和有所昇華。張曼玉在演出中多次有神來之筆,她似乎跨越了時間隧道,在重新演出阮玲玉當年的電影片段時,竟然無法讓我們分出哪裡是演員、哪裡是戲劇、戲內戲外高度得合一,張曼玉對阮玲玉的人格有最充分的體現。女性自我意識的覺醒和自我獨立,在電影上和電影下都有不同程度的宣洩、同情和批判。帶著懷舊的色彩,本片兼且討論女性和人的存在合理性,更重要的是雙重價值的生活(明星的瑣事/自我在哪裡)造成的深厚悲劇美。所有喜歡這部電影的人只是以為阮玲玉是對張達民和唐季琛動過真情,其實關錦鵬給了Maggie很大的空間,而且Maggie也覺察到了,那才應該是阮玲玉動了心的真情。就是那個被戲稱為粉紅色導演的蔡楚生(梁家輝飾演)。就在蔡楚生讓阮玲玉靜靜的好象農民一樣蹲下來,就在蔡楚生讓阮玲玉爆發可憐妓女的強烈的求生欲望的時候,Maggie讓高貴的阮玲玉幽雅的蹲在他的身邊,阮玲玉流著最委屈的眼淚卻最終被Maggie唱到了最苦澀的滋味。其實蔡楚生是阮玲玉最後的救命草,只是他連自己都不能救,於是她放下一句「人言可畏」遺恨人間。 最終張曼玉憑藉本片獲得柏林影后,她贏得當之無愧。

1995年, Maggie讓《甜蜜蜜》的李翹活在理智與情感當中。她一直都知道她要選擇的是黎小軍(黎明飾演),即使是幾次的分分合合,又是幾次的機緣巧合讓愛情擦身而過。可以她還是不能放下豹哥(曾志偉飾演)對她的恩情,她幾次選擇離開都只能讓她心甘情願的留下來。愛情萌發在除夕夜晚的那碗泡面,感動卻在佈滿青龍白虎刺青中間那只可愛的米老鼠。經過了十年的長跑,天涯海角之外,因著共同的(也是華人的)偶像鄧麗君的去世,她終於在紐約街頭再次相逢黎小軍。就在那一刻,張曼玉的眼中有淡然的悲戚,有落寞的餘波,有欣喜的歡悅,有種滄海過後的靜瀾,有些大戲落幕的平和,有對緣慳一面的從容,萬般感觸於那回眸,閃現出來的風情足以殺死寫字的你我。

古代,西毒的大嫂(《東邪西毒》)在蘆葦密佈的河邊看夕陽,站在異鄉的高崗上懷念故人,楊花三月本不該是離別的時刻。沒人會忘記那個病入膏肓的美麗女人倚窗的姿態,那可以是最幽雅的,可以是傷心的,可以是最動人的,可以是最難忘的。更不會忘記她趴在床塌上無聲哽咽的哭泣,愛情是那麼痛心,「一直以為那句話說出來才最重要」。於是,愛她的黃藥師(梁家輝飾演)給她愛的歐陽峰(張國榮飾演)帶去一壇酒,叫做「醉生夢死」。

神話,小青(《青蛇》)的細腰如水般扭動,顧盼生輝的笑容似漣漪般可掬,淩波蓮步踩在每個看客的心坎上,周身散發出迷死人不償命的誘惑。汪洋肆恣的音樂鼓舞著小青去引誘,最後許仙拜倒,連法海也無法自持,我才明白這原來是關於原罪和慾望的一場戲,因著張曼玉電影流動起來,象徵和隱喻才成為可能。帶著柏林影后桂冠的張曼玉重新放下了淑女本色,妖豔得讓每一個男人為之垂涎三尺,讓每一個女人痛不欲生。她本來以為她可以做一個女人了,不用再躲在潮濕陰暗的樹林山洞裡了。只是她發現她什麼都不懂,同樣是蛇妖的白素貞(王祖賢飾演)怎麼就可以愛上男人?愛是什麼?怎麼她可以流眼淚我卻沒有?她做到的我一定可以做到。於是她開始引誘本來是第一眼看上她到後來卻成了姐姐的男人許仙(吳興國飾演),她甚至連降妖除魔的法海(趙文卓飾演)都要引誘,一切都因為她還是妖精,即使是化做了曼妙的女人身體。仕途險惡,小青終於流出了人的眼淚,只是已經物是人非。

1960年代,蘇麗珍(王家衛以《阿飛正傳》、《花樣年華》、《2046》三部電影互文式處理,是與不是之間/似與不似之間是無窮盡的聯想空間)留在我記憶裡的最深刻的卻是詩意的旗袍、老式的電話、靜止的時鐘、錯落的花瓶、襦軟的吳語、離去的背影、默默的傾訴,她是那麼的古典,她在王家衛的世界已然是六十年代的一個符號,在不同的電影類型(經典的文藝片、驚竦片變形的文藝片、未來體裁的文藝片)裡進行自己的故事,無論她的對手是阿飛、編輯還是作家,她都以暗地裡妖嬈的性感和神秘來做為一個城市(香港)的代表,在外國觀眾(包括影評人)眼中更是如此。這個蘇麗珍(Maggie飾演)走過了青春迎來了芳華,所以她對同樣人到中年的周慕雲(梁朝偉飾演)說,「不知道他們是怎麼開始的」。其實就是這句話就開始了他們之間本不應該開始的一切。忍得太久了,蘇麗珍還是不能接受,「我們和他們不一樣」。可是那張船票她還是沒有跟他一起走,留下自己獨自傷悲。

1996年,一部叫做《女飛賊再現江湖》(Irma Vep)的法國電影在後來證明成就了Maggie,男主角是因為欣賞Maggie請她拍電影的法國新一代導演奧薩亞斯(Olivier Assayas)。之後Maggie淡入淺出,沉寂了很久才終於複出做了最樸素打扮唱起了《甜蜜蜜》。後來就跑去幫老友記王家衛拍《花樣年華》,一拍就是好幾年。電影拍完了,本來以為和諧的異國婚姻竟成了陌路。Maggie離婚了,依然帶著她因為獨特的美麗與哀愁而散發出來的幽雅,參加前夫阿薩耶斯在柏林電影節的參展新片的首映式。《女飛賊重現江湖》是Maggie介入國際影壇的第一步,即使這第一步走得並不是很好。這部電影其實並不能算是一部純粹的江湖電影,它實際上是一部重拍老法國電影中經常出現的「女飛賊」形象的實驗電影。但是Maggie就像片中飾演的自己一樣,很生活所以她很出色,其是她那一身凹凸有質的緊身「女飛賊」形象很出位。後來,張曼玉又主演了法國女導演安妮.芳婷 (Anne Fontanine)的電影《愛在異鄉的故事/功夫大王》(Augustin, King of Kung-fu),這是她她第一次飾演針灸師的角色。

在57屆康城影展中,已經是張曼玉前夫的奧薩亞斯推出了Maggie主演的《Clean》(錯過又如何),本片劇情非常簡單,講述在生活中人沒有選擇的時候,只能夠改變自己去適應的簡單人生哲學。艾米利是一個「墮落」的搖滾明星,因為這個原因,她的公公婆婆帶走了她的兒子,以免受到她的不良影響。她立志奪回遠離自己的兒子,為了達到這個目的,她必須「清潔」,離開毒品並開始一種新生活。據說張曼玉的扮相讓人吃驚,當是因為這些年來觀眾已經習慣了她的高貴氣質,在如此簡單和老套的劇情裡,張曼玉從一個很叛逆的想像轉變為一個健康的母親形象,康城選擇了她一定有她的道理。

張曼玉的表演細膩含蓄,無論方式還是細節都充滿東方色彩,她所獲得的成功不僅僅是個人演技水準所在,同時也是世界影壇對中國電影表演方式的一種肯定。從來沒有一個女演員有這麼多的面容,可以讓我們沉浸於這麼多的東方風情中,這朵華美的玫瑰絕不會隨著時光而被遺忘,魅力的傳奇將會繼續。

Filmography(部分獎項)

2004 Clean (錯過又如何)-康城影展「最佳女主角」(首位獲得此殊榮的香港女演員)
2002 英雄
2001 花樣年華-香港金像獎、台灣金馬獎「最佳女主角」
2000 一見鍾情、Bel hiver, Le
1999 愛在異鄉的故事/功夫大王(Augustin, King of Kung-fu)
1997 中國匣(Chinese Box)、宋家皇朝-香港金像獎「最佳女主角」
1996 甜蜜蜜香港電影金像獎、香港電影金紫荊獎、香港電影評論學會獎、台灣金馬獎「最佳女主角」
1994 東邪西毒、新同居時代
1993 青蛇、飛越謎情、武俠七公主、東方三俠、濟公、赤腳小子、廉政第一擊、射鵰英雄傳之東成西就、神經刀與飛天貓、現代豪俠傳、戰神傳說、追男仔
1992 真的愛妳、白玫瑰、警察故事3 : 超級警察、兩個女人,一個靚,一個唔靚、嘩! 英雄、家有喜事、千面天王、雙龍會、新龍門客棧、阮玲玉柏林影展最佳女主角銀熊獎、芝加哥影展最佳女主角雨果銀牌獎、香港金像獎、台灣金馬獎「最佳女主角獎」;柏林影展「最佳女演員」(首位獲得此殊榮的華人演員)
1991 黑雪、雙城故事、阿飛正傳、富貴吉祥、豪門夜宴、我要富貴、志在出位、三人做世界
1990 客途秋恨、紅場飛龍、愛在別鄉的季節、三人新世界、滾滾紅塵 台灣金馬獎「最佳女配角」
1989 求愛夜驚魂、急凍奇俠、少女心、再見王老五、小小小警察、人在紐約/三個女人的故事台灣金馬獎「最佳女主角獎」、不脫襪的人-香港金像獎「最佳女主角」
1988 流金歲月、警察故事續集、愛的逃兵、肥貓流浪記、過埠新娘、南北媽打、求愛敢死隊、雙肥臨門、旺角卡門、應召女郎1988、月亮星星太陽
1987 A計劃續集、用愛捉伊人(客串)、天賜良緣、精裝追女仔、黃色故事、心跳一百
1986 開心鬼撞鬼、原振俠與衛斯理、警察故事、玫瑰的故事
1985 摩登仙履奇緣、聖誕奇遇結良
1984 緣份、青蛙王子

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PostPosted: Mon Apr 15, 2013 12:12 am    Post subject: Maggie Cheung - Taking Chinese Modernity to the West Reply with quote

Maggie Cheung - Taking Chinese Modernity to the West
Written by Qiu Su-Ling



http://www.yesasia.com/us/yumcha/0-0-0-arid.4-en/featured-article.html

Maggie Cheung Man-Yuk has had a remarkably varied career. Born on 20th September 1964, Cheung moved to England with her family at the age of eight, only returning to Hong Kong after she completed secondary school. Since then, she has made some eighty films spanning most genres-from martial arts and action films to comedies and dramas. She has gone from being a model for the fast-food chain McDonald's (later playing a role as a McDonald's waitress in Peter Chan's Comrades, Almost a Love Story (1996)), to runner-up at the Miss Hong Kong beauty pageant at the age of nineteen, to taking on English and French-speaking roles in Irma Vep (1996) and Augustin, Roi du Kung Fu (1999). Maggie Cheung has matured into not only one of Hong Kong's most talented and popular actresses, but also one of its most versatile. She has done much to bring the visibility of Hong Kong cinema to the rest of the world through her universal appeal and cosmopolitan grace.

Maggie Cheung received her first big break in Jackie Chan's Police Story in 1985. She became an instant hit, replicating her role as Jackie Chan's petulant girlfriend May in the sequels Police Story 2 and Police Story 3. She starred in two films by Wong Kar-wai that saw her break out of the 'May' stereotype into more dramatic roles, receiving critical acclaim for her moving portrayals in As Tears Go By (1988) and Days of Being Wild (1990). Cheung returned to work again with Wong several times: in Ashes of Time (1994), In the Mood for Love and 2046 (2004). Her art house success was also cemented by her role in two Stanley Kwan films; Cheung attained a Best Actress award at Taipei's Golden Horse Festival for her role in Full Moon in New York and another Best Actress Award from the Berlin Film Festival for Center Stage (1992). These films firmly established her local reputation prior to her international cross over success in the French art house film Irma Vep.

Global Popularity
Maggie Cheung's role in Olivier Assayas's Irma Vep was her first outside Asia. Irma Vep is a film about the re-making of a film, Les Vampires, a French classic directed by Louis Feuillade in 1915. Maggie Cheung stars in this film as herself, having just arrived in France from the set of her latest film in Hong Kong. Nobody in the film knows why Maggie, a Chinese actress, has been chosen to star in a French cult classic but the director in the film, Rene Vidal, says that he chose Maggie after seeing her in The Heroic Trio (Johnny To, 1993). Cheung's role in Irma Vep plays on her earlier martial arts/comedic roles in The Heroic Trio (1992) and its sequel The Executioners (1993), both of which also star Michelle Yeoh and Anita Mui as a trio of fighting beauties. Maggie's character in The Heroic Trio is, ironically, called the 'Thief Catcher' - a vampish figure who dresses in leather hot pants and a bra top; in Irma Vep, Maggie Cheung plays a (jewel) thief who wears a latex catsuit. The presence of Maggie Cheung in Irma Vep (mirrored within the film by her casting in Les Vampires) marks the emergence of the global popularity of Hong Kong cinema, in particular through its martial arts tradition. This global popularity has also seen the cross over of other Hong Kong star talents like Jackie Chan, Chow Yun-fat and Michelle Yeoh.

Prior to her role in Irma Vep Cheung had received offers from other non-Asian directors although until Irma Vep she had not been interested in them, stating that they were the "Asian woman stereotype" roles (Shelly Kraicer, Review for the Toronto International Film Festival, 1996,) Interviewed in Sight and Sound magazine, Cheung says: "I really appreciate Olivier [Assayas], because he doesn't want me to pretend I am more Chinese than I really am. I am quite Westernised, since I have lived in England. I wondered if he had a more 'typical Chinese girl' in mind. And he told me, 'Don't ever do that. Just be you.'" (Berenice Reynaud, "I Can't Sell My Acting Like That," Sight and Sound 3, March 1997, 26). Cheung married Assayas in 1998, and although they divorced three years later, she returned to work with him on Clean (2004)-her latest film that won her the prestigious Best Actress Award at Cannes Film Festival this year. Cheung's versatility as an actress has meant that she can never be characterized by "Asian woman stereotypes," always choosing to take on new challenges in her film roles.

A Modern Day Film Star
Not only has Maggie Cheung established a global popularity for herself but she also represents a very modern film star (compared to an actress like Gong Li, for instance, who tends to play historical or traditional roles). Maggie Cheung is quite knowingly and self-consciously a modern day film star, and this is reflected in her film choices. Prior to her role in Irma Vep, Cheung played with the notion of her own star aura in Stanley Kwan's Center Stage. As in Irma Vep, in Center Stage Cheung appears in the present day as herself-an actress-recreating film scenes from an earlier filmic tradition. The film mixes documentary footage with a fictionalised narrative, re-creating the career of Ruan Lingyu, one of Shanghai's most prominent actresses of the 1920s and 1930s. At the beginning of the film, Stanley Kwan interviews Cheung on her own status as an actress, asking her whether she thinks she will be remembered just as Ruan was. Maggie replies, laughingly, "Isn't she an exact replica of myself?" Ironically, by playing icons from the past, Maggie Cheung establishes herself as a figure of modernity.

Immediately after her role in Irma Vep, Cheung starred in Asian-American director Wayne Wang's Chinese Box, which she also describes as "not a stereotypical Chinese role." (Alison Dakota Gee, "She's Not Just a Pretty Face," Los Angeles Times, 16 April 1998, 13). Chinese Box is a film about Hong Kong on the eve of its return to Chinese rule. The film stars Jeremy Irons as John Spencer, a British financial journalist who has lived in Hong Kong for the past fifteen years. John is in love with Vivian (Gong Li), although he later becomes fascinated with a street hustler named Jean (Maggie Cheung), whom he wants to interview. The film is framed by John's attempts to 'understand' these two women although as an 'outsider' such knowledge always eludes him. The film is constructed as a story within a story-there is at least one major love story between John and Vivian, and several other intertwined romances within the larger story of the hand-over of Hong Kong. In many of Cheung's later film roles, she establishes a confluence between the modernity of Hong Kong and a nostalgia for its lost past. This is represented most strikingly in the film In the Mood for Love (2000).

Hong Kong's Nostalgic Body
In the Mood for Love is set in Hong Kong in 1962. The two protagonists-newspaper journalist Chow Mo-wan (Tony Leung Chiu-wai) and shipping secretary Su Li-zhen (Maggie Cheung) move into adjacent rooms in a Hong Kong apartment building on the same day. They join other displaced Shanghainese who left the mainland after the communist takeover in 1949. Each night, the two descend the same staircase to buy noodles for dinner, barely acknowledging each other as they pass. Eventually, they discover that their spouses are having an affair and they resist having one of their own when they begin to fall in love.

Much has been made of Cheung's cheongsam (literally means long gown, it refers to a traditional Chinese dress that is long and tight-fitting, with a high neck and long slit on the side) in the film. Shelley Kraicer writes, "Cheung can use her body as an expressive instrument just as effectively as she uses her face. Her posture, the timing of her walk, the way she caresses a door frame all radiate a world of deeply felt, just barely suppressed feeling." (Kraicer, Time Blossoms, Time Fades.) In this film, as in Center Stage, the cheongsam represents the liberated Chinese woman, emerging as a sign of modern Chinese femininity and elegance in the 1920s and 30s.

In the films that I've mentioned, Cheung appears as a figure in the "present" recreating periods and films from the past. She functions as a site of nostalgia for the emergence of Hong Kong modernity across different eras. We can be assured, however, that whatever roles Cheung chooses to take on in the future, she has already established a dedicated audience for herself both locally and internationally.

Published September 18, 2004
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