2026/9/9

Kent A. Linc 影評《X戰警:未來昔日 X-Men: Days of Future Past》變種世代,今非昔比

在《X戰警:第一戰》(2011)製作與電影原創的《X戰警》電影開山鼻祖-布萊恩辛格歷經十年後,如今終於重新拾起了該系列導演筒,以曾經導入深切獨到的人本精神,繼續塑造1960年代美國種族異同、社會類似金庸筆下的武俠人物之於中國歷代發展史,《X戰警:未來昔日》編劇利用歷史感的重大事件做鏈接,讓變種人命運的與美國劃時代的事件交互聚合。


首先,將電影主旋律偷渡在「20世紀福斯電影公司片頭」音樂最後一節(20 century foX),想必群「千禧年代的X戰警影迷」此時便能立刻接收到配樂家兼剪接師–約翰奧特曼所交付的驚喜!他沿曾用替《X戰警2》(2003)譜寫的主題配樂,也保留作曲家亨利·傑克曼在《X戰警:第一戰》所創作的萬磁王樂章 Frankenstien’s Monster,利用熟悉的語音記憶重建幕前幕後新舊變種人馬歸隊集合(《X戰警:第一戰》片頭中,亨利·傑克曼完整保留故配樂大師麥可肯曼在《X戰警》首集的曲目 #1 Death Camp/ Poland,1944年)。


本片一開始回到《X戰警》(2000)後半段的戰役地點——紐約,也是今年X戰警團隊與變種人聯盟之間的第一次戰爭法的戰場,在一段以年老的X教授講述的簡明序言中,變種人的隊伍邁向徒步隧道裡,面臨種族集中式撲殺,肅殺下湧入了燈號下粉紅黨的象徵。


危險的亡命之徒流落到中國境內,鷹鴿兩派多次盡釋前嫌,消弭歧見,躲藏在古廟(長城?)拍賣,不僅此時心拉攏中國市場(也藉故在磚瓦建築裡,強大的磁王無法借用金屬材質展示破壞能力,引發金狼鋼狼不得不穿越過去、接近八卦時剛過的剛性) ,太佛計的X戰警標誌與萬磁王在《X戰警:第一戰裡》殺人硬幣上的國旗符號;雖藏匿之處外觀是中國傳統建築,但內部卻出現西洋花窗鑲嵌玻璃與教堂祭壇,如此中西合璧,暗示變種人觀念上的陰陽二派,兩神儀相調和相亞相見愚相識。


由於上一集導演馬修范恩已大幅贈送美國總統肯尼迪於古巴導彈危機時的紀錄片段,所以在本集下的歷史延伸本欲將萬磁王在1963年刺殺肯尼迪的策略情節中,然,導演布萊恩辛格為了徵召原系列的班底入陣,因此設法讓所有人物填入視線,必須捨他棄害的故事情節,由肯尼迪只遇害的故事情節X授口述「殺死甘迺迪的那枚會反彈的魔術(子彈詹姆斯麥艾維的《​​刺客聯盟》2008?)」帶過,點出萬磁王片首即進入且不穩定十年的原因(最推展至萬磁王發現原來總統肯尼迪也屬於變種人,最終被同性戀調查局長胡佛斯在代滅口之時期? 960)、《回》到未來》(1985)等片,向金獎導演詹姆斯·柯麥隆討教其縝密的時空理論,自圓承載了一部中所有變種人的亞名導演人物的可能性,並維護了X戰警:原道俠們堅持道X,初警們似乎所維護。


也得益於《X戰警:未來昔日》老中青三代變種人幾乎全員到齊,編導得套用跨越時空的模式,顧及各位演員皆大歡喜的露臉機會。但,也由此重蹈《全面啟動》(2010)多線平行剪輯的類似問題執行迫害的變種人在未來世界無力回天只得鋌而走險,一開始便欲以唐突即溶的情感提出尚未開始引發的情節,再將未來世界僅存的變種人不顧一切、絕望的片段切割碎片,適切安碼至鋼狼回到過去的時間劇。利用時間推演的交錯剪接,產生一切戲劇的情緒和節奏奇妙的平行對應。後段,因為過去年輕的電影萬磁王在的時空排列哨兵團即將到來,摧毀香蕉的同時,年邁的萬磁王然而在未來世界守護同袍,抵抗頑強的進化版哨兵團,曼息同步敘述發展揭示萬磁王耳會走上改惡向善的贖罪之路,然而,因為未來世界的劇情單極的不平衡,補充了過去時空感的不平衡。


本片有慶祝耐人味的微妙鏡頭和橋段,例如:老闆的女兒叫金鋼狼為 Jimmy(羅根在漫畫中真叫  James Howlett);U-LUCKY的車牌特色(其轎車文體圈上掛著美國1970年代最流行的幸運物——一截毛茸茸的雪白兔腳);當崔斯克目睹尼克森總統身旁三隻寵物狗時的滑稽反應;巴黎和平協定的場景中,名畫「領導民眾的自由女神(法國七月革命後,查理十世 King “Charles X" 被迫遜位)」與魔形女行刺的訴求以及《X戰警》首集最終在紐約自由女神像戰爭遙相呼應;當導演布萊恩辛格客串路人記者(配名導希區考克拍《少年》) 《無知》1937)當時,也客串一名站在法院外拿著迷你相機的記者)手持超級8攝影機時(導演戲裡戲外成為使變種人在銀/螢幕上曝光的第一人),像極了詹姆斯史都華在《後窗》(1954)偷窺鄰居兇研時手持遠鄰兇研居鏡頭;研究室播放布萊恩導演辛格最喜歡的科幻電影集《星海爭霸戰》,電視螢幕長時間停留第一代影集的柯克艦長(派崔克史都華爵士第二代艦長)及舵手蘇魯(已出喬治櫃武井)的畫面一說明時間河流的材料出處…等。


《X戰警》系列電影始終竭盡全力宣揚「蘇聯主義與種族進化論」相關的預期,本片反科學家崔斯克擁有仿黨魁希特勒的鬍髭、露凶光的側面以及短目身形,外觀亦如另一類的變種樣貌(缺陷?故嫉妒/羨慕/嚮往變種人的異族基因?其內心無法伸展,無法幫助)另外,年輕時期的萬磁王與X教授原地重複上一集言詞間的唇槍舌戰(《X戰警:第一戰》的十年後);未來的萬磁王卻在明確的狀態下與X教授握手言和(《X戰警:最後戰役》2006)的十年後),這一系列社會貫徹下的電影因此失去了更高的心理層面心理層面與社會社會的社會層面和更高的心理層面。


《X戰警:未來昔日》戲劇焦點為了全神聚光在佔有保證的金鋼狼及金獎影后魔形女,勢必將掉掉其他出場人物的故事比重,就連給予多剛出櫃明顯話題女星幻影貓的情節刪行很簡單(謝幕字依然卡)中,扮演幻影貓的佩姬居然被選中已排到戲中的排戲。從頭到尾,偉大的伊恩·麥克連爵士與帕特里克史都華爵士幾乎淪落只是本片助陣的神主牌。

Kent A. Linc 影評《哈比人:荒谷惡龍 The Hobbit: The Desolation of Smaug》

彼得傑克森向來承自「希區考克驚鴻一瞥」的幽默本色,這回《哈比人:荒谷惡龍》更是大辣辣直接於第一幕戲裡,親自粉墨登場,清脆又野蠻地大啃生胡蘿蔔,繼《魔戒首部曲:魔戒現身》,其「巨大」身影(高大的人類民族?向肥碩的希區考克致敬?)再度醉茫茫地遊走在布里街頭。


片首追溯到12個月前,藉由巫師甘道夫與矮人王子索林所謂「偶然相遇(a chance meeting)」的對談中,為電影扼要地增強「此趟任務需要一名飛賊的迫切性」,緊接鏡頭肥皂劇般地立刻切回比爾博的單人鏡頭,這場為後半電影埋入的重要伏筆,是最直白乾脆、卻也最沒能讓人留下深刻印象的系列片頭(唯獨記得導演客串從本集到《魔戒首部曲:魔戒現身》已吃了60年胡蘿蔔不變老的路人角色)。


由於《哈比人:意外旅程》結尾,遠征隊伍並未出現分崩離析的局面,本集片首一行矮人依然採取集體行動,使得無論故事還是鏡頭一開始跑起來仍舊笨重而單純。先以換皮人比翁的短暫搭救、甘道夫又一次丟下團隊本事,讓遠征隊伍自行前往幽暗密林,面對未知的威脅。巨型群蛛的活人生吃令人想起《金剛》(2005)裡屠殺不盡的龐大變種節肢生物。


導演為了凸顯比爾博受到魔戒荼毒,心靈逐漸變化的時刻,拍出法國新浪潮導演高達特有的演員凝視鏡頭,「比爾博重拾魔戒,睜眼盯著台下觀眾說 “Mine!"」運用衝破銀幕空間概念的技法,令觀眾背負被發現正在窺視的壓迫感,傳達的意義是「使觀眾認知魔戒的力量對於觀眾甚至也是全知全能」?亦或「暗暗幽了本集未出現的咕嚕一默」?


當女精靈陶烈兒在片中英氣風發,展現弓箭神技時,配樂大師霍華蕭爾明顯摘取《沉默的羔羊》(1991)片頭的前五顆音符,直接譜寫成這名女英雄的主題旋律。這是否有意指涉陶烈兒在精靈族中,有如《沉》片裡的實習女探員承受著聯邦調查局的男性威權,隱藏著生存環境中的性別/階級張力?而當長湖鎮的鎮長三度歡迎(thrice welcome)索林時,那有如跛腳彆扭版聖桑《動物狂歡節–獅子進行曲》的長湖鎮主題樂章,彷彿彰顯偽善領導者的惺惺作態。當比爾博潛入史矛革巢穴時,利用似東方古老鐘磬樂器(實為各類印尼傳統民族敲擊樂器 Gamelan),刻劃出千古惡龍的歷史地位,也營造出富麗寶庫裡金屬相互碰撞的共鳴聲響。


編導欲在片中透過矮人民族奔走於各國領土的不平待遇,有如猶太民族般地流亡在外,試圖加強電影本質的深層意涵。以眾國君主先後出場,盤算私心利益的各面嘴臉,對比索林稍後展現的人格特質,暗指「世人無聖者,凡事唯吾尊」的不變定律。而,一場長湖鎮群眾圍觀喧囂的橋段,導演多次有意將鏡頭推近到某幾名黑人,是否想藉此陳腔強調這大英神話世界理當屬於各方人種?


當死靈法師,以《神通鬼大》(1996)惡鬼穿梭爬行的方式,現身在甘道夫面前時,導演彼得傑克森採用希區考克與達利從前合作《意亂情迷》(1945)的夢境段落,魔眼銳利又清晰、好似噩夢一般再再衝撞觀者的意識,伴隨魔多戒靈和屍羅急促的高把位不和諧旋律,搭配蒼蠅高速振翅的音效,猶如發著炙熱火光的女性陰部驟然誕生出黑暗邪靈的超現實過程。又,正當魔眼粉碎甘道夫的法杖時,這著火的陰户被付予了閹割陽具的意象,令人連想到《新空房禁地》(1992)最後母親怪物張開下體吞噬男主角的特寫畫面。


最終,在眾人無法阻止史矛革前進肆虐山下村民,比爾博脫口喃喃 “What have we done?"之後,想必觀眾在戲院裡都要指著導演大喊 “What have YOU done?"



“Tell me, when did we allow evil to become stronger than us?" — The Hobbit: The Desolation of Smaug (2013)

Kent A. Linc 影評《金陵十三釵 The Flowers of War》張藝謀的文戲怎麼搞的?

張藝謀總愛在戲裡, 透過主角們的生活作息, 慣例來一場儀式性的大肆鋪張。經過三部武打電影的"洗煉", 曾幾何時, 老謀子的"文戲"開始彆扭起來, 是人物扁平? 是動機牽強? 本以為過去三部武打片中, 令人發噱的其一原因在於不中不西、空洞無神的國語對白, 然而, <金陵十三釵>即便使用過半的英語對白, 還是犯有同一毛病。老謀子的十三名金釵, 說白了只是稍稍建立起兩三個鮮明形象, 其他金釵似乎不配擁有任何性格, 更別提角色間能有什麼激盪張力。本片的母題動機情節轉折處處生硬唐突(包括約翰米勒捨身假扮神父、堅決留守南京的荒誕念頭、書娟詭譎的觀點鏡頭、學生與金釵的薄弱衝突、日軍的思鄉橋段粗糙地揭示全片的根本主題、浦生病危埋下荳蔻香蘭擁有浪漫而乏力的外出伏筆、玉墨與約翰的草率情愫倆相好、輕描淡寫地口述身世遭遇、金陵們的輕易承諾與犧牲、陳喬治一廂情願的自發獻身...)。


一段金釵們換上教會制服, 齊唱"秦淮景"的場面設計, 原本老謀子可以利用此一空間, 大搞他當家的儀式裝置, 然, 呈現這場的方式卻是: 女學生書娟坐在點滿白色蠟燭的神壇前(Why? 是很神聖崇高的意思嗎?), 幻想她們身穿旗袍, 大字排開, 扭腰擺臀, 風情萬種, 嫵媚動人, 如同群像一般走向攝影機... 這算是個什麼鏡頭? 是在表演<超級名模生死鬥>嗎? 是民初版本的<慾望城市>? 還是<八美圖>的謝幕大合唱? 到底這樣的鏡頭用意何在? 將畫面從左至右塞得又擠又滿, 美感究竟在哪裡? 雖然曲子唱得唔噥軟語, 但卻搭上這幕令人費解的畫面。我盤算著導演此刻用心, 快速點出金釵們的人數(顯然一點情調也沒有)! 正當陳喬治在計算總人數時, 我心底似乎料到接下來的發展... "No way! No kidding, right? You're gonna ruin this moment!" 果然, 第十三朵"(菊)花"就此產生... 令人哭笑不得的劇情走向, 使得精心鋪陳的動容勇氣和淒美情操, 在這一刻灰飛煙滅, 徹徹底底成了此片的另類"悲劇"。片尾, 蚊子上車前忽然的莫名反悔、父親急忙尋找書娟而遭立即處決, 再次凸顯腳本薄弱的功力。


P.S.當初看克里斯汀貝爾在<黑暗騎士>裡扮演白天黑夜雙重身分的布魯斯韋恩時, 聯想到他在<美國殺人魔>裡人格分裂的富豪角色。這回當他走進南京教會, 穿上黑袍時, 我又患了嚴重的場景錯置, 腦袋不停迴盪著他在<太陽帝國>上海龍華集中營哼唱的威爾斯搖籃曲 Suo Gân。

2026/1/19

The Reflection on Amazing Spiderman: No Way Home

 

In No Way Home, as the unstoppable chaos and wildness were in full swing, it was the spidey movie to witness how hard the three Peter Parkers (the Holy Trinity?) tried to "crawl" down the Via Dolorosa, the Path to the Cross, with the deep-down sense of responsibility, the inevitable regrets, and for their own different undone redemptions, considering the Iron Spider suit (as a gift given by the God/father/godfather figure Tony Stark), deliberately designed to showcase the intention that one literally had the big claws/cross to bear (which implicated the stiff back problem since the other two Spider-Men might also carry the burden of the cross in the swinging), and meanwhile the four tentacles Doc Ock possessed on his back, another huge and figurative cross unable to be laid down, visually embodying the spirit of the cross not only to bind and block Peter at the start, but to liberate him later on, to give him "a hand" on his way of sorrows, by forgoing the ones he cared for, then being forgiven and at last being forgotten.

The nostalgia and the fans' affections for the supervillains and for the original leading actors brought recurrent applause in the audience, rowdy and cheering to pay tribute to sublime Willem Dafoe, talented and unexpectedly amazing Andrew Garfield, admirable Tobey Maguire and such a solitary spidey boy whom PP was destined from his birth to be in the end. Yet, what got me deeply emotional was when marvelous Michael Giacchino briefly reprised the Spider-Man main theme composed by divine Danny Elfman at the moment Tobey's PP was faced with his old wound and duty, which at the same time recapped and reminded the spectators of my generation how high the bar the master storyteller Sam Raimi set for the original Spider-Man trilogy is, despite the following reboots, hence the excitement of upcoming Doctor Strange in the MoM.

TAT
TurnAroundTime
#TobeyAndrewTom

PS
1. The BT cinema seat was so comfy for a popcorn movie.
2. The US audience was so spontaneous in a movie, hooting and hollering for celebration as in a sports game.
3. For a 3D movie, some scenes were just way too dark to see anything at all.
4. The villains, again, like in the former spidey movie sequels, were rather too many to be properly re-introduced.

"[You're] struggling to have everything you want while the world tries to make you choose." -- GG, incarnated by NO

#SpiderManNoWayHome
#spiderman
#spiderverse
#ironspider
#marveluniverse
#marvelstudio
#sonypicturesentertainment

2012/12/17

Kent A. Linc 影評《哈比人: 意外旅程 The Hobbit: An Unexpected Journey》神奇魔戒的二度套用

《哈比人》電影本身彷彿一枚至尊魔戒,其劇本宿命一般輾轉交接,終究來到《魔戒》原始持有者–導演彼得傑克森的手中,甚至在臉書上宣布,延續《魔戒》三部曲的電影格局,再次打造中土世界60年前的魔幻史詩。

 仿效《魔戒現身》精靈女王凱蘭崔爾長達7分鐘的畫外獨白,講述至尊魔戒的來歷與第二紀元的戰役(當初電影公司有意砍了這段他們認為冗贅的說書開場),《哈比人:意外旅程》的序幕闡述者這回交棒給比爾博巴金斯,繼續以《魔戒》三部曲裡比爾博不斷執筆傳寫《There and Back Again》的方式,順而道出矮人民族的帝國興衰史。

 由於《魔戒》原是三本書集的文字篇幅,導演重新裁切修整,順理成為電影史詩三部曲。然,小說《哈比人歷險記》的故事性相對有限,電影切割單本原著擴展為近8小時的電影三部曲,想必書中的末微枝節、繁瑣細線,都得納入電影腳本,無論作者托爾金的歌謠曲詞、甚至原文本的對白用字也未受大幅度更動裁剪。托爾金在原著裡,透過大量富含文學性的幽默口吻和隱藏批判人性的文字寓意,述說哈比族的享樂天真與矮人族的忍辱負重。倘若電影依照如此文學筆法,完完整整地視覺影像化這些詩歌措辭背後的暗藏玄機,勢必會讓「10年來在戲院裡歷經《魔戒》三部曲的場面洗禮,從此視覺感受被慣壞的某些死忠影迷」大歎失望。

 《哈比人:意外旅程》沿用《魔戒首部曲:魔戒現身》相似的劇本結構,改裝成另一組人馬的遠征模式。對照兩段首部曲的整體規格和戲劇切點,即可明顯看出,例如片首的歷史陳述,以哈比屯的草原田野作為旅程起點,輕鬆詼諧的起程步調;褐袍巫師瑞達加斯特/精靈公主亞玟的中途搭救;以瑞文戴爾代表遠征隊伍的中繼站,於此的聖白會議/愛隆會議,強化各方人馬的信念和動機;再次出發時,在懸崖陡壁邊,遇上暴風冰雪(巨石人的襲擊/薩魯曼的攪局);哥布林隧道大逃亡/摩瑞亞礦坑大逃亡的運鏡調度;兩派敵軍的窮追不捨;灰袍甘道夫的神出鬼沒和求救伎倆…。

 原來的小說首部曲,編導一比一萃取書中精華,改造些微橋段,成就了完美流暢的《魔戒首部曲:魔戒現身》。與《魔戒》相比,原書《哈比人歷險記》的筆觸幽默輕快,故事規模也較為單純,編導卻仍舊移植了首部曲的戲劇骨架,膨脹單本小說的故事內容,沖泡成三部曲的電影容量,雖說如此即能一滴不漏地呈現小說情節,但稀釋過後,戲劇張力便很難再絕倫精采。

 導演彼得傑克森當年處理《魔戒首部曲:魔戒現身》時,大力發揮他當家的懸疑驚悚、詭譎陰森的黑色基調(以及巧妙迷人的招牌zolly shots),搭配些許稱職的甘草人物,使得電影峰迴路轉、緊湊精煉;《哈比人:意外旅程》無論主人翁比爾博、眾多的矮人跟班(雷同迪士尼《白雪公主》七矮人的橋段:礦坑尋寶、唱唱跳跳的性格、打呼時飛蟲/水滴在嘴邊進進出出、末尾逼退到懸崖邊緣的絕處逢生…)、褐袍巫師、咕嚕、食人妖、半獸人,甚至哥布林魔頭皆有著插科打渾的搞笑形象,故事性質也不夠嚴肅穩重,凸顯電影本身單薄輕浮的弱點。又《魔戒首部曲:魔戒現身》結尾遠征隊伍的分崩離析,不僅增強了爾後完成任務的困難度,也贏得了觀眾的揪心熱淚和其對於二部曲的高度期待性;但《哈比人:意外旅程》結尾卻出現一群所謂的「天外救星/解圍之神(deus ex machina)」,長征隊伍最終也未受致命摧殘…。且《魔戒現身》雖是未完待續,但結局仍具備故事告一段落的休止餘韻,令人感受到電影深吸慢吐的氣息;而《意外旅程》卻跌入商業巨片的廉價俗套,導演欲以吊足胃口的眼部特寫,栓住觀眾的最後目光(與忍無可忍的膀胱)。種種前述因素(以及影像技術上的革新問題?),似乎不斷約化影迷們對於又一次「中土世界三部曲」的熱切盼望…。

 唯有作曲家霍華蕭爾,除了譜出全新矮人民族的主題樂章和斷斷續續作曲者的早期作品,其餘例如哈比人的主旋變奏、瑞文戴爾、凱蘭崔爾和咕嚕的主題、戒靈、魔多黑門和至尊魔戒忽隱忽現的旋律,似乎都淪為長伴《魔戒》三部曲硬核觀眾的僅剩溫存。

 
“Home is now behind you; the world is ahead.” — The Hobbit: An Unexpected Journey (2012)

 

2012/12/13

The Reflection on The Curious Case of Benjamin Button

Even though The Curious Case of Benjamin Button in Chinese title is named “the fantastic journey of Benjamin Button,” the life of the hero is not fantastic at all. The only difference in his life from other people is he ages backwards with bizarre consequences. However, no matter what kind of life it is, aging forward or backward, the destinations of life are the same, dying. “You can be as mad as a mad dog at the way things went. You could swear, curse the fates, but when it comes to the end, you have to let go.” It is captain Mike’s dying words when he holding Benjamin Button’s hand on the ship. This quote could conclude everything in the film; it means striving hard when we live and without regret, and until the last time of our life, we have to take a brave heart to face death.
David Fincher, the director, always teaches his audience the meaning the life in his films, such as Se7en, the Game, Fight Club, and Zodiac. Those works talk about the same motif, which is “seize the day.”
This movie makes me recall Forest Gump. They are similar in the stories, which are the heroes pass by the every landmark in American history; however, the different part is Forest Gump uses his own point of view to see the world, but in CCBB, there are a number of people interpreting the meaning of life.
Even though from reviewer to the press have said CCBB is a masterpiece, I don’t like it at all. The story uses the sequences of the landmarks in the history to string every point in Benjamin Button’s life. It makes not merely the story to widen the field of the sight in CCBB intentionally but strengthen the color of Benjamin Button’s incredible legend as well; yet, Fincher, who is used to film music videos, makes the hero’s characteristics too simple, impersonal and tame but makes the story full of introspective and inspiring mottos. I cannot see those sayings have any relation to Benjamin Button in the movie, because he never changes his personality or thought after learning them from others. It seems that there is a huge gap between the mottos and Benjamin Button’s living style. Moreover, the fast tempo in CCBB causes Fincher cannot manage well the profound and meaningful plots the movie tries to present, and thus I only can see it remains a routine and day-to-day diary to read.
Additionally, the sequence of introducing the rest home by Brad Pitt’s voice-over makes me recall the sequence of introducing the support groups in Fight Club by Edward Norton’s voice-over. At last, I think David Fincher forsakes the sharp tone, the rebellious stroke, and the elaborate and pretentious long takes which are his favorite to present in past works, using the soft focus effect, filter and backlighting to film such tedious, old fashioned mystery.

The Reflection on What Lies Beneath

What Lies Beneath (2000) is a psychological thriller which is about a middle-age couple. It portrays that a couple who seem so happy together but, because of a sequence of unknown and weird things, the horrible truth is revealed.
Robert Zemeckis, the director, is good at film techniques, using the characteristics of the heroine from Rosemary's Baby and the classic plots from Rear Window, Psycho, and The Shining in What Lies Beneath. He tries to display such thriller genre with the elements in the time period of Alfred Hitchcock to the present audience. By a simple story he builds a mild, slow tempo at the first time, making it into an inflammable, drastic situation with Hitchcockian music composed by Alan Silvestri. He makes the cliché story, by tremendously stylistic camera movements, suspended.
Than saying Zemeckis mimics Hitchcock's gimmicks, I would rather say Hitchcock's tricks are exalted by him. In recent years, plenty of thrillers appeared, especially young American kinds; those are with incomplete composition, shallow characters, sanguinary scenes, and the intentional twist in the end, which have already became the common labels and the audience have got tired of them. Instead, What Lies Beneath used a few special effects and the ghost scenes to start a panic which can easily make audience heart attack.
Even though, in What Lies Beneath, the director still frightens his audience by using sudden sounds and formulaic scare in some parts, those are sturdy and basic equipments to maintain the pace in the film, like the presentation of the ghost in the beginning to make the audience awake when the movie portraying and foreshadowing the plot at first. With the slow progress, some branches of the story confusing the audience are gradually closured; then, the whole movie abruptly drives the plot towards the climax, raising the audience's curiosity on the road to the top tier. The last thirty minutes of the movie, which is the extreme climax, is brilliant, making me too flustered to barely even breathe until the satisfied ending.
What Lies Beneath is a successful entertaining work with high quality; from it, we can see the complete plot of a play, deep characterization, actress' hearty acting, the perfect harmony between shooting/composition and editing/pace, and the considerable and creative mirror scenes as the ways in Psycho. The director not merely arranges various kinds of brilliant film techniques in it to achieve the blockbuster but pay Hitchcock homage as well.

Kent A. Linc 影評《聖殤 Pieta》刻烙在閹割苦路上的血紅聖痕

《聖殤》藉由「高利貸暴力討債」的議題,探討韓國某部分中下階層的金錢價值觀,但導演骨子裡述說的故事,實為一段歹惡之徒對於極度渴望母愛的威權試煉旅程。



紅色,是導演鑲嵌在《聖殤》鏡頭裡的敘事符號。片首,多次特寫浴室地上的內臟雞血,之後主人翁絞斷欠債者手臂時流淌至地面的血攤,道出其心狠手辣的內在特質。當母親有如幽靈般出現在主人翁面前,她那蒼白面容上的紅唇與大衣底下的紅色裙擺,暗示這角色一出場的強烈意圖。主人翁欲以姦辱來試探母親時,鋪在床邊的紅色地毯,和母親望向窗外夜景裡的紅色十字架,強化她走在復仇之路上的堅定不移。母親針織的紅白毛衣和最後貨車拖行千里的鮮紅血跡,代表主人翁贖罪旅途上的真摯情感。

在希區考克大師的電影裡,主角永遠擺脫不了「母親」實質或抽象的存在性,每一段故事中,主角只能宿命一般地踏上屬於自己的伊底帕斯旅程。

《聖殤》裡的主人翁李康道,冷血殘暴,在被害人面前總是以「死神」形象現身,殊不知其實他深受「閹割恐懼」的威脅。那把利刃多次穿刺在標靶裸女圖上(憎恨女性?印證女工自願獻身給李康道,但他完全不領情,是因片頭出門前已自瀆過?還是對女人不感興趣?),意味著這把利刀如同他的陽具,能夠宰殺/淫威於任何次等動物,使其臣服於自己。每每這些行徑彷彿要自我催眠,尚有不被閹割的至上男權。

正當自稱母親的張美萱替他捉回失手的母雞時,她以「掠食動物交付被捕獵物給掌權者」的姿態,贏得第一次的信任。由於「母親」對於具有閹割焦慮的李康道來說,是高過自己威權的象徵,因此多次拒絕接受,他想用門夾斷母親那隻有如入侵地盤「干涉威權」的手,賞母親耳光使她威性掃地。而張美萱以「歸還刺刀」的行為,表明了「暫時交出象徵陽具的主導權」以獲得李康道的再次信任。

張美萱送上一條活鰻魚,是李康道踏上贖罪之途的起始,也是內在沙文主義退讓的第一步,他放棄「閹割」這條有如巨大陽具的次等動物,甚至延續其生命。李康道沒有宰殺作為抵押債款的兔子(溫馴?gay?),這是他第二波人性上的轉變。張美萱在電話一端哼唱搖籃曲,軟化了酒醉的李康道內心剛硬的陽具,以至於本想姦辱母親來證明自己威性地位仍然存在(卻也似乎渴望回歸母體裡),最終徒勞(因酒後陽痿?不喜女色?閹割成功?認同母親?)。

張美萱隔天一早,將李康道賦予鰻魚生命的巨大陽具閹割,象徵已完全獲得主導地位,李康道徹底交出自己的陽具威權給母親,他不捨地看向掏空的水族箱(最後的陽具依戀;第三波的人性轉變)。當李康道找上老婆懷有身孕的年輕欠債者時,欠債者彈著吉他哼著曲調,是《聖殤》電影首次的音樂響起,也是李康道性格上真正轉變的第一道歌頌。

早餐時,李康道將插在母親頭頂位置的牆上尖刀取下,陽具意象不斷在母親面前一次次萎陷。李康道出門前在門口凝視母親的身影代表他開始對母親產生了愛戀;下樓後站在巷弄間向上回望母親,李康道這時的水平視線從一開始的「往下鄙視(look down)」轉為「仰望/尊敬(look up)」的眼神,攝影機的架設位置(掌控權)也由原先李康道輕蔑眾生的觀看立場調換成母親站在窗前向下俯看他的視角;李康道買了條死魚暗示他已經不再噬血殺生;標靶上的母親照片印證母親在家中的主權地位;母親替熟睡的李康道手淫,她看著自己沾滿精液的手,意指慣於武裝自己的李康道終究得在母親面前徹底繳械,陽具威權蕩然無存。

母子二人在外用餐,相互餵食;李康道替母親動粗;殘疾歹徒將刀(陽具)架在母親頸上,母親心急用嘴緊咬歹徒握著菜刀的手(被迫口交?)李康道驚見敬愛的母親深受威脅,自己奉上陽具利刀為母親解圍;母親縫製毛衣,兩根針織棒好似尖銳武器(陽具?),在李康道面前來來去去,李康道腦海裡想的卻是生日禮物;兩人望著蛋糕同唱生日歌;李康道躲進母親懷裡共眠(卻被賞耳光),處處擺明李康道一步步「退化為男孩」(一幕「時鐘倒掛」的鏡頭,暗藏時光倒流的意象?)。母親要求李康道在河邊種植松樹,又是另一巨大的陽具意象,倒退為男孩的李康道不但照辦,還天天澆水養活它,實為母親種下了往後對自己造成極大威脅的另一位男性/兒子象徵…。

《聖殤》,如同希區考克《驚魂記》的麥加芬母題,引發一連串敘事推展的癥結動機並非世俗金錢,而是那帶有閹割威脅意象的「母親」。李康道打從認母到尋母的人性淬煉過程,實際上是走了一遭他生命中的伊底帕斯苦路。最終,母親站在廢墟高樓上,李康道成了「母親威權」的狂熱膜拜者,不僅奪回象徵認同兒子身分的毛衣,甚至走向請求母親寬恕的贖罪盡頭…。

「我做錯了什麼?」-《聖殤》


Kent A. Linc 影評《寒戰 Cold War》非常方法用在哪?

《寒戰》在電影技術層面擁有卓越不凡的表現,例如多次採用空拍取景的鏡頭調度、速度飛快的切換剪接、生動搶戲的電影音樂等,開創出與好萊塢齊驅的銀幕架式。


片首,先以「電腦系統輸入警界人馬確認身分」的方式,建立觀眾對於人物之間的基本概念,再以「轎車高速衝撞而駕駛人拒酒測遭逮捕」與「香港市區在颱風夜裡驚受炸彈攻擊」的兩起案件平行剪輯來交代故事動機,俐落交錯又短暫的開場節奏合理化了《寒戰》從頭至尾警方高度重視香港犯罪率的迫切性。接著,電影重心轉向兩大鷹派人物的互動關係。

由於行動組李sir激進跋扈的辦事風格,引起管理組劉sir的不以為然,因此雙方劍拔弩張的時刻,亦是本片端出兩大影帝飆戲的主菜賣點,是兩方首次也是唯一正面交鋒、言語衝突的情節,利用恰似「歌劇式對位唱法」展現兩人互不相讓的對峙關係,但是,這場眾所期待的衝撞氣氛似乎不夠緊繃拔高,甚至顯得詼諧逗趣。

郭富城被雕塑為一名正氣凜然的高層警官,典型的正派英挺角色,就連交付贖金的驚險動作戲碼,服裝髮型整齊依舊;梁家輝的角色動機不甚鮮明,看似老奸巨猾的人物性格與暴躁多話的台詞表現也不太相符,令觀眾觀影時對他的形象擺盪不定,也因此弱化了主角之間的對比張力。這一點嚴重影響觀眾對於「醫院裡梁家輝對郭富城是否貓哭耗子」以及「末尾梁家輝在總部外激勵郭富城的真誠性」等兩者間擦撞磨合後的單薄情誼產生了不確定感。而兩人分道揚鑣的畫面,鏡頭有意迴避梁家輝離去後的正/背面身影,導演並不打算給予觀眾任何對於梁家輝這角色有無後續計謀(續集)的可能線索…。

電影多次提及這起綁架警察的恐怖行動勢必造成香港市民的安危,故不斷提高戒備層級,意圖拉抬這起案件在劇本上的艱巨層次,但不知導演是否只想透過「人物對白」讓觀眾自己「揣摩想像」綁架案的棘手程度,因為電影絲毫沒有一次表現出造成香港市民恐慌的迫切時刻,頂多一開頭颱風夜的市區恐怖攻擊、幾場相當短暫虛驚的炸彈拆除畫面、以及劉德華的澄清記者會,至於視覺重頭戲的摩天大樓煙花爆炸場景壓根擺明香港似乎只是一座無人荒島,看不見強烈波及危害香港市民安全的橋段,除了贖回人質,無從理解警方高層極度緊張慌亂的原因。

此外,《寒戰》導演似乎不願多加著墨梁家輝的父子關係(父子戲在銀幕上刻意缺席暗示兩人之間的情感疏離?)導致片尾揭示父子間價值認知有差距的關鍵謎底疲軟無力,也因而造就觀眾對於彭于晏結尾突兀且過分賣力的表演斷層稍有錯覺。

電影後半,利用「郭富城遭受朋友背叛,爾後沮喪回家吃麵」,帶出看似可有可無的家庭情節,而,最終字卡之後的故事,方才揭開前面這段「家庭主題」的根本用意。《寒戰》從頭至尾飛快的運鏡剪輯,加上劇情高度牽扯香港警界部門的制度運作,產生如此過癮的節奏特性,但是,片尾字卡之後的劇情,彷彿替換了另一位電影創作者,無倫對白剪接明顯拖泥帶水,不甘不脆,如此冗贅懸念作結,觀眾興致盡失。《寒戰》這般續狗尾的片段讓人合理懷疑,莫非,這段是導演陸劍青和梁樂民電影完成之後的「補拍鏡頭」?若真是補拍,那麼本片為了交代「家人」成為郭富城條件交換的把柄,勢必電影前頭「郭富城回家吃麵、陪妻女」的伏筆橋段也是導演在完成電影之後所安插的「追加情節」,不然,郭富城在轎車裡昏睡時驚恐喊出他朋友的名字後,「神情失落疲憊,搭配漸漸淡出的畫面(代表一段劇幕的結束)」,理論上鏡頭不該再切換到「回家後陪伴妻女,神采奕奕,俏皮吃麵」的剪輯斷層。而這點也更加讓人確定,梁家輝離去時,鏡頭並不想交代這個角色的後續發展可能性,因為導演拍攝當下根本還沒有續集的計畫。

而針對「導演補拍結尾」的臆測理由是,製片(或金主?)考量,倘若《寒戰》票房出奇,就不必搞得像《無間道II》一樣,為了延續電影名氣的壽命,但又不知如何銜接首集故事,產生只好先拍前傳的局面。假使,上述推論並非屬實,那真就無從替這些多添蛇足的鏡頭做適切解釋了。

「所有戰爭,都是非必要戰爭。」-《寒戰》

 

Kent A. Linc 影評《消失的子彈 The Bullet Vanishes》消失的張力與節奏

一部精采的懸疑推理劇仰仗的是嚴密的推理與節奏。絕倫與否,不外乎謎底揭示一段邏輯上的自圓其說,最後再給觀者帶來認知上的因果取代;而劇情的節奏,取決於剪接的功夫。如果故事兩者皆無,至少推理負責推理的主人翁得要討個觀眾緣。

《消失的》開場,鏡頭從眾人做工的場面向天拉寬視野,鳥瞰五十兵工廠的遠景,由此可見電影迫不及待想說好一出故事的不凡野心。片頭廠內工人製造現在的階段過程,圍著如此日常的機械程序,若效法張藝謀前輩的途中,電影的每一場作息儀式之後,必將遭遇一場災難與破壞。

由「丁老闆在工廠內動用私刑,女工擎天震地的冤死事件」作為故事起頭,到底是有模有樣架式的情節鋪張,因為劉青雲出場的角色定位,立即使得電影開始呈現穩定當性不足的徵兆。導演深知謝霆鋒無法挑起靜態動作的重任,動作因此戲碼大抵由他承擔(幾乎快淪為側克)然而,此時劉青雲與謝霆鋒首次相會時,視力缺乏深刻的相互爭鋒,抑或試探彼此的外交的摩擦情節,雙方之間令人分不清就理的謙讓配合與唐突默契,劇中沒有著墨相對的對戲張力,這一點缺失嚴重影響到結局時劉青雲與謝霆鋒也無從發揮在情感衝突上的天人交戰。

再者,本片的剪接引發這樁推理劇的懸念性蕩然無存。剪接技巧直接影響電影的節奏節奏。當劉青雲與謝霆鋒一見面就無來由地擺成友好拍檔,搭配多次令人哭笑不得的視覺鏡頭大亮點,電影顯然決定喜劇基調時,故事鋪陳、發展、轉折,樣樣直截了當地坦率、急迫催逼,剪接不給予觀眾思考方案情、玩味邏輯的留白空間,故事筆直地衝得完美地繼續抑或有些人下一結局必然揭開如此套俗的逆轉變化,但又因此氣憤編劇何不花點功夫深度處理人物的刻劃。唯獨,劉青雲與女囚若有似無卻鴛鴦蝴蝶的情愫對話,以及謝霆鋒與女算命師詩情畫意又逆光攝影的柔美親熱,剪接這裡完全放慢動作,但這兩段感情戲卻也因此讓劇情發展了蓮花無情的陷入困境…… 。

或許導編仿效蓋瑞奇《福爾摩斯》的樞機風格、服裝造型、復古色調、幢幢詭影情節、爆破調度、甚至筆記本戲碼…以及好萊塢西部片的單挑對決,但是,既然片首利用鳥瞰鏡頭透視那股不用工廠的「視」覺氣勢”,其埋藏的伏筆必然是,影片尾部在此來上一段轟烈烈烈的大肆破壞,這樣龐大規格的可預期場景,導演不僅僅讓主角們在“封閉的閉城”的工廠走道上(非常)慢動作地倉皇奔逃的方式表現(過程充滿了幽默…… ),而爆破畫面的視效技術不足,卻用長達半分鐘的慢鏡頭呈現,豈不自曝其短?戲院不由自主地嘻嘻笑笑,簡直已經搞得搞得搞不清楚這是否為導演羅志良最初的預期效果……更別提電影莫名又不知所云的「最終鏡頭」,以「黃花田裡的火車大遠景」作結,這算什麼? !導演你到底想要表達什麼?是前面用剩餘的過場鏡頭捨不得丟嗎?還是發展續集的前期畫面?

最後,必須讚許《消失的子彈》造型團隊的髮型定型液,無論劉青雲和謝霆鋒在戲中如何追趕跑跳、左右翻滾打轉、撕毀強烈爆炸風暴的威力(甚至整個人已經陷入火球裡…… ),那頭靚發依然無缺、服服貼,這也難怪《馬怪》第49名馬獎的最佳造型!

「沒有最完美的犯人,只有變壞了的好人。」– 《消失的子彈》(2012 年)

 

Kent A. Linc 影評《007空降危機 Skyfall》孤兒探員之母M夫人

007電影等了50年,「M夫人」在《空降危機》裡,終於有望升格為歷任最偉大的「龐德女郎」! 編導大幅度為M夫人提升到MI6(探員們)的國母地位,甚至陰錯陽差賦予她一個不再是冰冷代號M的諧音名字Emma,使鐵面女上司的形象多添一份人性溫情。

一向處於007對立面的M夫人,這回兩人在鏡頭前難得站在同一線上,面對家鄉(Skyfall), 回顧過往,間接成了龐德對於已故父母的親情慰藉(《量子危機 Quantum of Solace》龐德與卡蜜兒在火坑中相擁,則是當初《皇家夜總會》龐德與摯愛薇絲朋在蓮蓬頭下相擁的慰藉)。

片首,以「類《不可能的任務》臥底名單外洩」為麥加芬母題展開劇情,但反派西法的犯案動機實為M夫人(M for Motive/MacGuffin)。在孤兒探員們心中扮演起嚴母角色(M for Mother),正如西法所謂"Mommy was very bad!" M夫人更被視為「希區考克向來塑造母親是罪犯心中不可抹去的典型陰影」的象徵(本片也大量沿用希區考克的鏡子戲法),導致反派西法深具戀母情結(gay?)/弒母情結(M for Matricide?)。

龐德在復職前的心理測試,當鑑測官問他:「M讓你想到什麼?」,龐德立即回答:「Bitch(母狗)」呼應了爾後新任的Moneypenny幫龐德剃鬍時說他是"Old dog. New tricks." (母狗的老小孩)印證了無論MI6總部如何瓦解崩壞, M夫人辦公桌上那尊醜陋的老狗瓷器都將永遠留存, 甚至成為轉交給龐德的遺物…(任務傳承?不死神話?)當鑑測官再問:「Bird讓你想到什麼?」龐德回答:「Sky」過去《誰與爭鋒》曾經透露James Bond的姓名源自一名鳥類學家, 而「所有00代號的探員們」似乎可被解讀為「一群童年受創、幼無雙親的鳥兒」, 而「鳥」令龐德聯想到「天空」,暗示著這片天空就是M夫人所領軍的MI6總部,亦是每位特務的窩巢老家(因此片首逍遙在外的龐德仍意圖歸隊回巢)。 也因為這窩鳥巢由M夫人代表當家,故英文片名《Skyfall》意味著掌管MI6這面「天空(sky)」的M夫人,正面臨殞落(fall)的危機…。

《空降危機》向過去龐德系列《最高機密》("Her eyes only!")、《黃金眼》(新任軍需官Q提到的爆炸筆 & 貝恩妮絲瑪羅/芬姬詹森的賭場冷豔造型)、《明日帝國》(片頭矮房屋頂上的機車highway追逐戲)、《縱橫天下》(MI6總部被炸)、《誰與爭鋒》(鳥的意象)致意,以及有著與《不可能的任務》(臥底資密硬碟外洩 & 高速列車頂上的打鬥與穿越隧道的戲碼)、《不可能的任務3》(上海摩天大樓取景 & 特務團隊合作)、《不可能的任務4》(澳門賭場橋段 & 土耳其伊斯坦堡/印度孟買的異國曲風)高度的雷同性。導演山姆曼德斯更不諱言《黑暗騎士》三部曲對於《空降危機》的深層影響。鏡頭裡處處隱藏《黑暗騎士》的印記,不但作曲家湯瑪斯紐曼借用(?)漢斯季默在《黑暗騎士》急促拉弦搭配電子節奏的相同旋律(原聲帶#7. Jellyfish & #26. She’s Mine),反派西法被囚禁時「類小丑」的詭譎鏡位(其實皆出自於《沉默的羔羊》 ;西法描述老鼠相殘時,發出"slurp slurp" 亦仿自漢尼拔萊克特)以及火海前的逆光剪影,甚至M夫人化身為「類管家阿福/警長高登」的幕後闡述者,利用畫音同步平行法,將龐德營救過程的聲音抽離,保留M夫人朗誦英國詩人丁尼生《尤里西斯》的念白,將龐德(《明日帝國》曾喻007為白色騎士White Knight)拉抬至「類蝙蝠俠」的悲劇刻劃,因此片末(Moneypenny所謂)龐德 “難得" 登上總部天台,俯視倫敦天際,內心拯救市民的英雄使命油然而生。

《空降危機》隱含豐富令人玩味的次文本巧思,雖注入了眾多新血(新任的可愛Q、新任的黑人Moneypenny以及新任M),然歡慶龐德50周年的《空降危機》,實際上所要紀念的卻是這位元老級的嚴母角色!正如艾黛兒同名主題曲唱到"For this is the end…"。
 
“There’s a storm coming!" — The Dark Knight Rises(2012)

“A storm is coming." – Skyfall(2012)

“It hurt my pride. I had bad shots." — M in Skyfall (2012)

2010/6/20

Journal

In The Cask of Amontillado, Allan Poe creates a character, Mostresor, using the narrator’s first-person point of view to shape the whole thriller. This is a story happening in a gloomy and clammy vault. The narrator designs a perfect and delicate murder with using the weakness of his friend, Fortunato, to revenge him. We could only enter the narrator’s psychological world, following his trick step by step and being trapped.
It began in a carnival season, people wearing amusing dresses and masks. However, beneath them, something evil has been planned. Fortunatos’ characteristic is shaped by the motely, innocent and straightforward. Such dress style is contrary to vindictive mind of Montresor’s own. The hilarious carnival season is opposite to the damp and eerie vault. There is and excellent point saying that the reader can interpret the coats of arms (human foot crushing serpent whose fangs are in heel) in different ways. He and his noble family are like the foot crushing a serpent that has bitten them, or on the other hand is he and family are actually like the serpent. Even though Allan Poe uses the narrator’s viewpoint to describe and judge the scenes he sees, in fact Allan Poe indicates the Montresor’s twisted mental, moral and emotional character in an indirect manner by his narration. It is clever that the writer actually stands behind the narrater’s words to judge the narrator secretly.
Besides, what makes me impressive is that even if we read Montresor’s mental world with his own point of view and perhaps the scenes we see cannot be trusted, we can still hear a series of sound effects vividly. There are only the sound effects in The Cask of Amontillado making readers believe it is objective from reality. I think in Allan Poe’s works, he is fond of murdering people by burying people. For instance, in The Black Cat, the narrator buries his wife’s body and one of black cats which is alive. Obviously, he really enjoyed it.

Journal

When I read the author’s name, Amy Tan, in the bookstore, I felt so familiar but I could not remember where I had heard about this name. After reading the short biography of her before the story Two Kinds, I finally recalled the title, the “Joy Luck Club.” I was surprised that the movie is based on Two Kinds. Therefore, I could hardly wait for reading it.
The narrator, in the first line of the first paragraph, directly points out the American dream in her mother’s mind, like most of people’s in the world. Besides, she quotes what her mother said to her in Pidgin English. We can determine that the narrator actually is influenced by her mother all the time. She could not banish her mother’s sayings from her thoughts; thus, she was almost controlled by her mother in the childhood. Not only manners and behaviors, but her own ideas were conducted as well. However, the thought she, of course, could do her best, she just did not want to be dominated by parents. The more her mother pushed her, the more she refused. Perhaps the narrator is a prodigy, and yet her mother always used the wrong way to demand her. We can perceive it from the narration in the story that her mother was so offensive, sudden, overbearing to make the narrator learn the good things. It is pathetic that even though these demands, without a doubt, were good for her, because of such rude way, her mother made them extremely unworthy; moreover, she made those good intentions become a serious malice between them. I think the problem is attributed to the narrator’s mother. First of all, it is quite obvious that her mother did not just want her to be what she should be innately; on the contrary, her mother wanted her to be what her mother had wanted to be when young but in vain. We always think what our parents look forward to is make their children become their own dreams which did never come true when they were young. So we usually feel we live in our parents’ dreams, or concretely, under their shadows. They never ask if we would like to be like this, and they just create, form, shape a blueprint of dream to demand us to accept it, follow it, fulfill it. It is interesting that perhaps our grandparents wanted them to make the dream come true and they refused it when young, but now they feel regretful so that they ask us to atone. Or perhaps our parents had wanted to do something which our grandparents didn’t allow, so that their dream could not come true. And now they demand us to help them to complete their dreams and refuse what we want to do. Both conditions are endless vicious circles from generation to generation. If people are always selfish to their parents and children, we will never find a good way to get along well with each other. There will be hostility and unforgiveness between parents and children. After our parents dying, some day we finally realize it is just a misunderstanding and we will hate ourselves, feel remorse, but it will be too late to compensate such poor relationship. We always complain that nobody understands us, including our own parents, but do we really understand ourselves? Or probably we just want to escape the pressure from them. We barely even know what we will do in the future, how it is important to learn some skills in our childhood. In fact, the most significant thing is that parents should know how to make their kids interested in learning skills. They have to use the clever method to communicate with kids to make them understand the meanings when training them instead of using the tough tone of voice or imposing them.
The narrator describes the relationship between her mother and her with first-person point of view, so that we can spy on the world in her mind. She uses the humorous tone to describe such relationship in the first half of story. We can see she is naughty, childish, determined and rebellious. The narrator takes everything as if she is reading fairy tales. But after she finds her mother gives up the hope when the conflict happens, she gets so startled and sensitive. The fact is that we keep escaping the pressure that we know it is worthy, and after shaking off the stress, we will suddenly feel empty, guilty and no one cares about us. We finally realize we are given up, feeling awful. I think the story is full of dualities, such as American culture and Chinese spirit, the mother and the daughter, the demonstration and rebellion, love and indifference, feelings and behaviors and so forth. Especially, when I read the part of the mirror scene, I believe the narrator wants to present the contrary between the surface and her mind. She perhaps doesn’t really want to rebel in her mind, but what she does is very extreme. She has a conflict, which is the dilemma between piety and resistance, in her mind. Nevertheless, after growing up, she finally realizes that the two sides of opposition can be in harmony as “Pleading Child” and “Perfectly Contented,” which are two halves of the same music she play when young and innocent.

Journal

This week I read a short novel called The Story of an Hour. The narrator reveals that Mrs. Mallard, the leading character in it, was afflicted with a heart trouble, so that the narrator has already hinted the orientation of this story cautiously. In the first paragraph, the narrator pointed out the fact of Mr. Mallard’s death. And then in the second paragraph, the narrator introduces the other main characters, Josephine and Richards, to make their identities and the reasons why they come on stage clear. After these two paragraphs, the narrator concentrates only upon Louise Mallard deliberately.
The narrator describes that Mrs. Mallard did not hear the story as many women have heard the same. On the contrary, she has an intense response, weeping at once, with sudden, wild abandonment. It seems that she has been strangled to death, and now someone’s hands loosen the neck to make her breathe fluently. She feels so relieved and delighted that she breaks into tears. However, Josephine and Richards in front of her don’t know what she is thinking; rather, they believe Mrs. Mallard is too grieved to put herself together. Mrs. Mallard, perhaps, wants to enjoy this rare moment alone, in secrete, so that she goes away to her room. Then, she begins to face her own consciousness. This part is the major idea of the story which the narrator tells. The narrator uses plenty of symbols to correspond with her feelings. For instance, the trees before the house were aquiver with the new spring life. The symbolic technique the narrator expressed Mrs. Mallard’s feelings with is brilliant, mordacious and felicitous. In this story, I think “air” and “window” are the motifs. Mrs. Mallard has had a suffocative life. She could not breathe the scent of freedom when living with her husband. Mrs. Mallard needs the air! She longs for the delicious breath of rain in the air as she was the leaf in the spring. She finally gets through the tedious and dreary winter. Before that she thought she was living in a confining chamber, like a jail without a window. But now, even though she becomes a widow, she gets a window to make her breathe and see the outside world. Mrs. Mallard, like a newborn baby, cannot wait for looking forward to the future filled with surprises and joys. Such vicissitude probably is her dream she has been waiting for her whole life to meet. She couldn’t keep pretending she is sorrowful anymore; thus, she unintentionally shows the bittersweet feelings on her face. Unfortunately, the happiness is like a zephyr. She cannot believe it’s a downright fraud that Mr. Mallard is totally safe and sound. The entire incident, obviously, is too much to her. Mrs. Mallard cannot stand it. It’s just like there are so many airs of joy and freedom coming to her, and suddenly all of them are brutally drawn off. If God takes the happiness, hope and blessing away from us, how can we live still? Such prank betrays Mrs. Mallard to her death.
The story is narrated by omniscient point of view, so the readers interpret Mrs. Mallard’s death is because of the attack of Mr. Mallard’s coming back to ruin her dream. But other characters in the story think that she is too joyful about her husband’s coming back to face the fact. It is tricky that the doctors said the joy that kill her. We know the fact is that her husband stops her joy so that she dies. And those characters believe that Mr. Mallard brings the joy to her but she couldn’t take it from previous miserable moment so that she dies. The author is wise to make the end ambiguous.
I like such sudden, unexpected and neat way to bring to a closure. It makes me recall the films in French New Wave. The filmmakers in that period preferred greater uses of symbolism and abstraction and dealt with themes of social alienation, psychology and sexual love. They loved to make a sudden climax and end the story, and they would leave an open ending to the audience to make them define it, continue it, or conclude it. Therefore, if Mrs. Mallard should live and tell her husband the truth, or she should live, keeping pretending she is fine like she did before. In my opinion, nothing is cleverer than the original one. If the author changed the end and kept writing the story, it would create an absurd anticlimax. It would ruin the whole story the author designs elaborately. Such French writing style could make readers taste again and again.If there would be anyone in Hollywood being considered for the role of Mrs. Louise Mallard. I think, based on Mrs. Mallard’s characteristics. Elizabeth Taylor in “Cat on a Hot Tin Roof” and Vivien Leigh in “Gone with the Wind” could be considered for this dramatic queen. If so, that would be fabulous!

Journal

Entering a café near my house, I found a seat in front of the counter, which could make me observe people, including clerks and the customers. I ordered a cup of Tazo, spending my whole afternoon on completing the people watching assignment.
There were 5 customers when I came here. Two of them seemed a couple, sitting in an interior recess of this café, under the romantic light, holding each other’s hands beneath the coffee table. The young guy kept talking to his girl, and the girl listened, nodding with an attractive smile.
Beside my right hand, there was a very charming female talking to her fancy red cell phone; however, she didn’t look delighted. She seemed to be complaining something, rolling her straight long hair with her fingers. One minute she shrugged her shoulders; the next minute she shook the head to emphasize her disagreement and anger.
Before this fancy lady, a young and handsome foreigner typed his laptop, drinking a glass of Frappuccino coffee. His brown hair under the soft light turned blond, and the rows of eyelashes were dense and long like a pretty doll’s, and they almost covered his blue eyeballs when he looked down on the screen. His tall and straight nose made a triangular shadow by the low-key light on his left cheek. The two fleshy lips pat lightly with each other when he murmuring the contents on the screen. He looked afar, thinking about something, and then he kept typing again. Suddenly, he raised the head, glaring at the fancy lady, who was talking loudly to her cell phone in front of him. The lady’s behavior obviously interrupted this young foreigner’s train of thought; then he stood up, walking toward her table and bent the body to express himself. The young foreigner put his right forefinger on lips gently and made his left palm downward to gesture the meaning of low voice. The lady immediately shrank her shoulders and bowed the head down, feeling embarrassed. She waved her palm lightly to show the motion that she apologized. Then, the foreigner went back to his table, drawing Frappuccino a little bit, sitting down and continued his work; unforeseeably, he stared here. I was stunned so that I diverted my attention, pretending I was focusing on the outside behind him; he, however, was still staring. I stole a glance and found that he was smiling at me. I felt awkward, giving him an ambiguous smile as a feedback, and then we both scratched our head at the same time, smiling again.
The wind bells hung on the glass door ringing, an old man wearing a dirty yellow shirt and a sordid pair of slippers entered, carrying a huge backpack and taking amount of plastic sacks in hands. He seemed like a homeless man. He hobbled toward a counterman and saying something I couldn’t hear. The counterman politely pointed his finger at me. After that, the old man walked haltingly. I astounded the destination he tempted to go to, because he was on the way to me. The young foreigner saw my odd countenance so that he turned his head to find out what was going on. He at once stood up a little, starring at the old man with wide eyes. Wondering what if this old man would say something to me, I took off my headphone, standing up as well with panic, and I holding my breath in order to his stink. In a moment, he passed by my right side and went into the bathroom behind me. I felt uncomfortable so that I got out of the café right away.

Journal

“Sigh no more, ladies, sigh no more.” the poem which is composed by the greatest English poet—William Shakespeare is pretty easy to literally understand. Sigh no more ladies, sigh no more,Men were deceivers ever,One foot in sea and one on shore,To one thing constant never.Then sigh not so, but let them go,And be you blithe and bonny,Converting all your sounds of woeInto hey nonny, nonny, nonny.Sing no more ditties, sing no moreOf dumps so dull and heavy,The fraud of men was ever so,Since summer first was leafy.Then sigh not so, but let them go,And be you blithe and bonny,Converting all your sounds of woeInto hey nonny, nonny, nonny.Then sigh not so, but let them go,And be you blithe and bonny,Converting all your sounds of woeInto hey nonny, nonny, nonny.
At first, after reading, I thought the poem was quite adorable and naughty, but I was sure I took it as a simple work. It’s not just as superficial as I thought at all. I was afraid that I barely even understand it. I have to realize the master’s work or I would never read it well. Even though the poem seems easy literally, I don’t know what kind of situation it was when dear Shakespeare composed it. I thought it is important that I need to know the background, the story behind this poem back or the moment of making it; thus, I may entirely appreciate it. It is just like when we appreciate a painting or some work of art, if we know the life experiences or trivia of the author, and we will understand his work better. Otherwise, it will be just a personal, subjective and narrow statement. This way might make people have different kinds of thoughts. What we do is not appreciate. What we do is but makes a wild guess, talk about our own feelings or misconstrue the work. Because we don’t know the fact behind the master’s work, we always judge it by its one-sided cover. It is a little bit shallow to me. On the other hand, people say we can appreciate the art to make it show the different reflections of various viewers, because art itself is like a mirror. People have plenty of types of life experiences, personal feelings and tastes so that the work of art is an object. Like some filmmakers and directors say that there is no determined and conclusive idea in one good cinema, it is always in the audiences’ minds. Therefore, I think I should do the both ways, knowing the background of the poem and presenting our feelings and thoughts cautiously. Appreciating a poem takes time. Perhaps we can express ourselves right away after reading it at first time, but I think it will be too hasty and risky. It is like when we taste a glass of wine, a cup of coffee or a drop of perfume, we need some time to feel them. And probably we will have completely different thoughts of them in the next morning, in the next year or in the last period of our life. I think there is an ironic tone in Sigh No More. I like the smell and the style in Shakespeare’s works. I don’t know if I twist his works. Because I think Shakespeare likes to write the plays and compose the poems with females’ standpoint. He always reproaches the males in his plays to stand out in contrast the females’ elegance, wisdom and charisma. I usually feel Shakespeare might think females are qualified as men to lead the society. He is fond of extolling women in his works. Moreover, he loves to make his women in his plays pretend to be males. Even, those women, who pretend to be males, could allure and attract other men and women. They are the beautiful young boys. I, sometimes, think William Shakespeare had at least bisexual orientation after reading his plays, such as The Two Gentlemen of Verona, Cymbeline, Macbeth, Twelfth Night, Romeo and Juliet and so on. He often puts some plots about cross-dressing or sex disorder in plays, or maybe I think too much after seeing the movie called “Shakespeare in Love.” No matter which one is true, I believe his works are avant-garde in that period. Perhaps, he just wanted to please the ladies whom he had loved. That’s all.

2010/6/14

Journal

I couldn't be absorbed in listening test this morning, being nonstop distracted by music of Carrie, Child's Play, Paper House, the Bride of Frankenstein, Baxter, and Nosferatu, stuck into my brain one after another. I closed eyes, trying to pull myself together, avoiding getting carried away, and then in coma... darn, I shouldn't spend 2 hours on music while waiting for the test to start. Thus, I think I blew it.

2010/6/10

Journal

In In House, there was another dapper waiter called 小鈞, Gloria's fave. He was the most civil and diligent server there. Funnily, he gave us the check and said "不好意思," but when he saw we were checking the original book I just bought, he sunnily said "sorry" with an impressive accent right away. After we made the whole table cloth become our own graffiti board, a slim, tall waitress showed us the counter. When she stretched her right arm to point at it, sweeping off a wine glass held in another waitress' hand. Everyone could hear the sharp and loud smash beside our toes. Obviously, we indirectly created a completely unnecessary chaos in In House last night...

Journal

For alcohol's sake, I went to In House again... with my friend, Gloria. And now, I have to tell those who fancy the waiter, described so fancily by my another friend, Amy Lin, on her Facebook, the fact. She didn't keep her eye on him precisely at first sight. Last time we saw him wearing a long face so that he seemed neat, seductive to Amy. Yet, this time Gloria and I found that if you guys see him wearing a drama queen's smile, I believe you'd change your mind ASAP even though he's wearing indelible Kenzo cologne(90% sure) when passing by. Still, I unwittingly drew a rough sketch of his right face on the table cloth when chatting with Gloria and he noticed that.

2010/5/31

RIP Dennis Hopper

No way... Another '50s Hollywood star I love fell.
Dennis Hopper died Saturday in Venice, California of prostate cancer..."He appeared in two of James Dean's three films; as one of the goons, troubling Dean's Jim Stark in 1955's Rebel Without a Cause, then as Jordan Benedict III in Giant. Hopper became friends with Dean..., who died in a car accident in September of 1955, as his star was on the rise..." (IMDb) May you rest in peace, Dennis Hopper(1936 -2010). I'll always miss you, and Jimmy, and Sal, and Monty, and Paul, and Brando, and those making the golden age of Hollywood of the '50s and '60s flaming and splendid... farewell.