movies &mdash; Exist, wander around. https://hernameislaura.writeas.com/tag:movies “I'd say the most important thing for me is to understand.” Sun, 24 May 2026 22:21:03 +0000 https://i.snap.as/L9wxcX45.png movies &mdash; Exist, wander around. https://hernameislaura.writeas.com/tag:movies "The Shawshank Redemption" (1994) | 《月黑高飛》 https://hernameislaura.writeas.com/the-shawshank-redemption-1994-yue-hei-gao-fei?pk_campaign=rss-feed <![CDATA[9\.4.2022 - #Movies Directed and Written by Frank Darabont Based on Rita Hayworth and Shawshank Redemption by Stephen King 當強權壓倒生命中的一切，誰不渴望有天降的英雄挺身抵禦將之擊潰。 渴望目睹奇蹟出現，日復日的期盼直至視茫髮蒼，幻想變成了自我催眠的搖籃曲。 ——如果自己就是奇蹟，施展奇蹟的條件是什麼？  - !--more-- 「希望」 Andy（Tim Robbins飾）入獄前後的種種遭遇稱得上是極度不幸吧，可是電影並沒有將之盡然展露，也沒有深入剖白Andy當中的感受，由始至終以他人的視角來描繪Andy，而且永遠保持距離，使人摸不清Andy的想法。 這種留有餘地的手法，反倒令人更有想像空間去置身他們的環境，細思下比「什麼都拍出來」的視覺衝擊要大太多了。感覺自己融入了Andy身處的地方，和他僅僅幾張飯桌之遙。在這個位置，我可以慢慢感受：在歲月流淌下，他與那群囚友之間——尤其是Red(Morgan Freeman飾)——的友誼，和他心中那被光陰虛掩的希望。 正因為導演給觀眾（我）安排了這個角度（尤其多番被Red的旁述誘導），我才會不經不覺地被說服：啊，處境終歸絕望，Andy是走不出去的，他還可以怎樣走出去呢？一路以來，Andy創下了不少經典場口令人眼眶沾濕、內心翻起洶湧的感動，但都未及最終，他成功實現計劃帶給眾人的那種逆轉的激昂。 無形的信念，不輕易宣之於口，不經他人肯定、滋養，全憑內心：正宗Stand on his own，自行發光，照亮他人。 嗰種光芒，我而家諗返起都覺得好powerful。當你一路睇一路睇，見證Andy逐步以行動將對囚友而言是虛渺的希望化為可見的實物，又目睹Andy的冤獄真相如何在重見天日之前被監獄長因私慾而掩埋，「希望」彷彿build up完再break down——直至結尾嗰朝早，經已消失嘅Andy以一張巨型性感女郎海報將大家心中長年累月地認為嘅「不可能」喺一瞬間變為「可能」。觀眾（我）內心喺幾秒之間trace back戲中多年來嘅種種——由一開始，Andy就已經plan好哂。佢將呢份信念隱藏咗接近三十年，足足堅持咗三十年！期間更唔係縮埋一角以求安穩，而係多番企出嚟爭取權利、締造機會、幫助他人——擴散希望。 最後佢更成為Red嘅救贖，避免佢出獄後走上因自由而受困嘅絕路。功德無量。 有人會駁故話Andy呢條橋work係因為巧合（有咩劇情唔係「劇本需要(巧合)」？），但Andy呢種人就係，無論遇上咩situation，只要佢想，佢都可以make it through. 呢套戲有好多好多深刻一幕。其中一幕，Andy因犯事（廣播黑膠碟）被鎖入黑房兩個星期後出嚟，囚友問：「咁做值咩？入面簡直渡日如年。」Andy答：「我有Mozart陪住我，時間好易過。」囚友以為獄卒畀咗部player佢，點知Andy指住自己個頭。「呢樣野係佢地永遠都攞唔走嘅。」 似曾相識吧？無論歷史、音樂、文學、電影，都不乏這樣的信念。他們都會感染。 故事係虛構嘅，信念係真嘅。呢142分鐘內全部嘢都精心為之，留下餘韻極深，單是回想都lift my spirit. “Fear can hold you prisoner. Hope can set you free.” PS 又係Frank Darabont x Stephen King!]]> 9.4.2022 – #Movies

Directed and Written by Frank Darabont

Based on Rita Hayworth and Shawshank Redemption by Stephen King

當強權壓倒生命中的一切，誰不渴望有天降的英雄挺身抵禦將之擊潰。

渴望目睹奇蹟出現，日復日的期盼直至視茫髮蒼，幻想變成了自我催眠的搖籃曲。

——如果自己就是奇蹟，施展奇蹟的條件是什麼？

 -

「希望」

Andy（Tim Robbins飾）入獄前後的種種遭遇稱得上是極度不幸吧，可是電影並沒有將之盡然展露，也沒有深入剖白Andy當中的感受，由始至終以他人的視角來描繪Andy，而且永遠保持距離，使人摸不清Andy的想法。

這種留有餘地的手法，反倒令人更有想像空間去置身他們的環境，細思下比「什麼都拍出來」的視覺衝擊要大太多了。感覺自己融入了Andy身處的地方，和他僅僅幾張飯桌之遙。在這個位置，我可以慢慢感受：在歲月流淌下，他與那群囚友之間——尤其是Red(Morgan Freeman飾)——的友誼，和他心中那被光陰虛掩的希望。

正因為導演給觀眾（我）安排了這個角度（尤其多番被Red的旁述誘導），我才會不經不覺地被說服：啊，處境終歸絕望，Andy是走不出去的，他還可以怎樣走出去呢？一路以來，Andy創下了不少經典場口令人眼眶沾濕、內心翻起洶湧的感動，但都未及最終，他成功實現計劃帶給眾人的那種逆轉的激昂。

無形的信念，不輕易宣之於口，不經他人肯定、滋養，全憑內心：正宗Stand on his own，自行發光，照亮他人。

嗰種光芒，我而家諗返起都覺得好powerful。當你一路睇一路睇，見證Andy逐步以行動將對囚友而言是虛渺的希望化為可見的實物，又目睹Andy的冤獄真相如何在重見天日之前被監獄長因私慾而掩埋，「希望」彷彿build up完再break down——直至結尾嗰朝早，經已消失嘅Andy以一張巨型性感女郎海報將大家心中長年累月地認為嘅「不可能」喺一瞬間變為「可能」。觀眾（我）內心喺幾秒之間trace back戲中多年來嘅種種——由一開始，Andy就已經plan好哂。佢將呢份信念隱藏咗接近三十年，足足堅持咗三十年！期間更唔係縮埋一角以求安穩，而係多番企出嚟爭取權利、締造機會、幫助他人——擴散希望。

最後佢更成為Red嘅救贖，避免佢出獄後走上因自由而受困嘅絕路。功德無量。

有人會駁故話Andy呢條橋work係因為巧合（有咩劇情唔係「劇本需要(巧合)」？），但Andy呢種人就係，無論遇上咩situation，只要佢想，佢都可以make it through.

呢套戲有好多好多深刻一幕。其中一幕，Andy因犯事（廣播黑膠碟）被鎖入黑房兩個星期後出嚟，囚友問：「咁做值咩？入面簡直渡日如年。」Andy答：「我有Mozart陪住我，時間好易過。」囚友以為獄卒畀咗部player佢，點知Andy指住自己個頭。「呢樣野係佢地永遠都攞唔走嘅。」

似曾相識吧？無論歷史、音樂、文學、電影，都不乏這樣的信念。他們都會感染。

故事係虛構嘅，信念係真嘅。呢142分鐘內全部嘢都精心為之，留下餘韻極深，單是回想都lift my spirit.

“Fear can hold you prisoner. Hope can set you free.”

PS 又係Frank Darabont x Stephen King!

]]> https://hernameislaura.writeas.com/the-shawshank-redemption-1994-yue-hei-gao-fei Wed, 24 Jul 2024 14:01:04 +0000 "Boyhood" (2014) |《我們都是這樣長大的》 https://hernameislaura.writeas.com/boyhood-2014?pk_campaign=rss-feed <![CDATA[1\.6.2022 - #Movies Directed & Written by Richard Linklater Last scene. Nicole, “You know how everyone’s always saying, ‘Seize the moment’? I don’t know, I’m kinda thinkin’ it’s the other way around. You know, like, the moement seizes us.” Mason, “Yeah, I know. It’s constant, the moments, it’s just… it’s like always right now, you know.” "Moments" 時間作為客觀的存在一直在流動，我們在時間之中也一直在流動。時間未曾為我們停留，我們也未曾抓住過時間。只有當萬千個片刻凝鍊成記憶裡的電流，那憶起的一瞬間才為我們所擁有。 結局，兩位大學新鮮人在德州的西部，遙望遼闊的荒野，感受踏在未來之始的興奮。我們大概都經歷過這種時刻，像是處於無限未來的入口，面前是一切的可能性在等著我們跳進去。 但終究，我們不過是依附在時間的短暫客觀存在物。漫長的一生實則只是曇花一現。如此短促，在時間拋棄我們之前，我們該如何——才能不枉此生？ PS 主角Mason的愛好是攝影，實在很適合電影的格調。 // !--more-- 一生當中最寶貴的十二年青春，濃縮在這兩小時四十五分鐘的電影裡。電影斷斷續續地拍攝了十二年，觀眾真正地見證著角色和演員於戲內外中成長。 縱然故事圍繞的是美國家庭，環境、文化和教育與香港皆不一樣，但大家的經歷異中有同，尤其看見那些在過往風靡一時的新興產品：牛龜咁大部電腦、他媽哥池、Gameboy、Wii Sports、手提電話……那時代的投入感就隨之而來，加上電影捕捉到孩子於每個成長階段的心態，種種似曾相識形成了我和美國小孩之間奇異的共鳴。（電影開首奏起Coldplay的"Yellow"也是令我激動起來） 而相較於孩子的成長，離異的父母各自的處境對比更令我印象深刻。一方用盡力拼命追求一個家庭應有的模樣，亦為之而獻身，卻換來一次又一次的失敗婚姻，最終落得孤身一人；另一方似是流浪不羈了十載去追求自己，遊歷到盡頭還是要上岸，變得腳踏實地，終於達到孩子母親當初的要求，可惜他決定停泊的，是另一位女子的口岸。 主線是Mason的成長，同時又呈現他的姐姐和父母的人生，一個家庭內大家的故事彼此交錯。很喜歡這種感覺。 「《Boyhood》集合人生多個零碎的時刻，但就是這些點滴構成了Mason。結局讓我最喜歡的，是能看到那個小男孩走了多遠路才來到今天。平常只有文學能有那種格局去表達這種重量，但這次Boyhood也成功做到了，那微小、日積月累的變化。」——Ethan Hawke（飾演父親，出自https://www.thenewslens.com/article/11617）]]> 1.6.2022 – #Movies

Directed & Written by Richard Linklater

Last scene.

Nicole, “You know how everyone’s always saying, ‘Seize the moment’? I don’t know, I’m kinda thinkin’ it’s the other way around. You know, like, the moement seizes us.”

Mason, “Yeah, I know. It’s constant, the moments, it’s just… it’s like always right now, you know.”

“Moments”

時間作為客觀的存在一直在流動，我們在時間之中也一直在流動。時間未曾為我們停留，我們也未曾抓住過時間。只有當萬千個片刻凝鍊成記憶裡的電流，那憶起的一瞬間才為我們所擁有。

結局，兩位大學新鮮人在德州的西部，遙望遼闊的荒野，感受踏在未來之始的興奮。我們大概都經歷過這種時刻，像是處於無限未來的入口，面前是一切的可能性在等著我們跳進去。

但終究，我們不過是依附在時間的短暫客觀存在物。漫長的一生實則只是曇花一現。如此短促，在時間拋棄我們之前，我們該如何——才能不枉此生？

PS 主角Mason的愛好是攝影，實在很適合電影的格調。

//

一生當中最寶貴的十二年青春，濃縮在這兩小時四十五分鐘的電影裡。電影斷斷續續地拍攝了十二年，觀眾真正地見證著角色和演員於戲內外中成長。

縱然故事圍繞的是美國家庭，環境、文化和教育與香港皆不一樣，但大家的經歷異中有同，尤其看見那些在過往風靡一時的新興產品：牛龜咁大部電腦、他媽哥池、Gameboy、Wii Sports、手提電話……那時代的投入感就隨之而來，加上電影捕捉到孩子於每個成長階段的心態，種種似曾相識形成了我和美國小孩之間奇異的共鳴。（電影開首奏起Coldplay的”Yellow”也是令我激動起來）

而相較於孩子的成長，離異的父母各自的處境對比更令我印象深刻。一方用盡力拼命追求一個家庭應有的模樣，亦為之而獻身，卻換來一次又一次的失敗婚姻，最終落得孤身一人；另一方似是流浪不羈了十載去追求自己，遊歷到盡頭還是要上岸，變得腳踏實地，終於達到孩子母親當初的要求，可惜他決定停泊的，是另一位女子的口岸。

主線是Mason的成長，同時又呈現他的姐姐和父母的人生，一個家庭內大家的故事彼此交錯。很喜歡這種感覺。

「《Boyhood》集合人生多個零碎的時刻，但就是這些點滴構成了Mason。結局讓我最喜歡的，是能看到那個小男孩走了多遠路才來到今天。平常只有文學能有那種格局去表達這種重量，但這次Boyhood也成功做到了，那微小、日積月累的變化。」——Ethan Hawke（飾演父親，出自https://www.thenewslens.com/article/11617）

]]> https://hernameislaura.writeas.com/boyhood-2014 Mon, 04 Jul 2022 10:16:35 +0000 "It's Kind of a Funny Story" (2010) https://hernameislaura.writeas.com/its-kind-of-a-funny-story-2010?pk_campaign=rss-feed <![CDATA[10\.5.2022 - #Movies Directed by Anna Boden & Ryan Fleck Written by Anna Boden & Ryan Fleck (screenplay), Ned Vizzini (novel) 電影改編自同名小說，內容取材自作者的個人經歷。主角是高中生Craig，因抑鬱和有自殺念頭而主動求醫，機緣巧合之下被安排住進成人精神科病房，展開五天彷若宿舍般的團體生活。 像是一個從朋友聽來的故事，輕鬆而親切。除了funny，也是fantasy，結局很美好，乜人生會咁順利咩？不過我鍾意。睇到最後心情真係幾歡快，有股蠢蠢欲動嘅力量去continue my life. 雖然話Craig抑鬱，但故事唔deep亦唔dark. 每個人都有佢自己嘅難關要過，而每個人都可以搵到佢嘅解決方法。最重要係佢願意，兼夾身邊有人支持。 “If you're not busy being born, you're busy dying.” --Bob Dylan !--more-- 戲裡面有個位描繪得幾好：當個精神科醫生問Craig有咩問題、叫佢解釋吓時，Craig內心浮起各種情境（顯示佢嘅壓力來源），然而佢自己都清楚，呢啲問題如果講咗出嚟就唔再係問題，因為喺事實層面而言的確係好少事，旁人可能以為佢只係多愁善感。所以佢嘅回答係：「好難解釋。」 平時同人傾偈，可能都曾經試過否定或者輕視他人嘅問題，久而久之人哋就唔會再想多講，寧願收埋。設身處地去諗，一旦講咗出嚟，別人不當是一回事，僅輕描淡寫安慰幾句作敷衍，或者建議「唔好諗咁多」，羞恥之情就湧現，比唔講更難受。 唔知係咪因為咁，Craig唔將問題講出口，但佢從不會否定自己嘅struggle同感受，而且好清楚知道自己唔掂、需要幫助。 但世界上唔係人人都好似Craig咁識得主動求助，又有咁supportive嘅家人，咁啱遇到樂於助人嘅幽默肥仔Bobby同埋純情靚女Noelle，可以喺五日之間得到力量去作出改變。 而原著小說作者Ned Vizzini，喺小說出版七年後跳樓自殺，時齡三十二。]]> 10.5.2022 – #Movies

Directed by Anna Boden & Ryan Fleck

Written by Anna Boden & Ryan Fleck (screenplay), Ned Vizzini (novel)

電影改編自同名小說，內容取材自作者的個人經歷。主角是高中生Craig，因抑鬱和有自殺念頭而主動求醫，機緣巧合之下被安排住進成人精神科病房，展開五天彷若宿舍般的團體生活。

像是一個從朋友聽來的故事，輕鬆而親切。除了funny，也是fantasy，結局很美好，乜人生會咁順利咩？不過我鍾意。睇到最後心情真係幾歡快，有股蠢蠢欲動嘅力量去continue my life.

雖然話Craig抑鬱，但故事唔deep亦唔dark. 每個人都有佢自己嘅難關要過，而每個人都可以搵到佢嘅解決方法。最重要係佢願意，兼夾身邊有人支持。

“If you're not busy being born, you're busy dying.” —Bob Dylan

戲裡面有個位描繪得幾好：當個精神科醫生問Craig有咩問題、叫佢解釋吓時，Craig內心浮起各種情境（顯示佢嘅壓力來源），然而佢自己都清楚，呢啲問題如果講咗出嚟就唔再係問題，因為喺事實層面而言的確係好少事，旁人可能以為佢只係多愁善感。所以佢嘅回答係：「好難解釋。」

平時同人傾偈，可能都曾經試過否定或者輕視他人嘅問題，久而久之人哋就唔會再想多講，寧願收埋。設身處地去諗，一旦講咗出嚟，別人不當是一回事，僅輕描淡寫安慰幾句作敷衍，或者建議「唔好諗咁多」，羞恥之情就湧現，比唔講更難受。

唔知係咪因為咁，Craig唔將問題講出口，但佢從不會否定自己嘅struggle同感受，而且好清楚知道自己唔掂、需要幫助。

但世界上唔係人人都好似Craig咁識得主動求助，又有咁supportive嘅家人，咁啱遇到樂於助人嘅幽默肥仔Bobby同埋純情靚女Noelle，可以喺五日之間得到力量去作出改變。

而原著小說作者Ned Vizzini，喺小說出版七年後跳樓自殺，時齡三十二。

]]> https://hernameislaura.writeas.com/its-kind-of-a-funny-story-2010 Sat, 28 May 2022 12:05:17 +0000 "The Power of the Dog" (2021) |《犬山記》 https://hernameislaura.writeas.com/the-power-of-the-dog-2021?pk_campaign=rss-feed <![CDATA[6\.4.2022 - #Movies Directed by Jane Campion Written by Jane Campion, Thomas Savage (based on the novel by) 呢套戲無得喺戲院睇係可惜。佢嘅嗰種收埋枱底緩慢而至嘅暗湧、蠢蠢欲動、吊住吊住嘅感覺喺幽靜嘅空間內會放大好多，始終屋企裡面太多其他訊息會令人分心，就算幾刻意專注都會被cut技咁。 西部牛仔，開頭無耐見到Phil已經有斷背feel，尤其見佢外表兇狠，但眼神流露出柔性同軟弱。BC功力深厚。咁強烈嘅男性地帶，只要埋藏住禁忌一般嘅秘密，成套戲嘅感覺就會好沉重壓抑。 久違的以影像表達深沉意境的電影。 --- // 個人筆記 // !--more-- 電影主要角色有四：Phil和George兄弟倆，Rose和Peter兩母子。 魅力之處是它不透露太多訊息，有關人物內心亦多是側面描繪。他們的想法和動機掩藏在螢幕之外，觀眾就靠著一些蛛絲馬跡去估計、猜度，這些疑惑於是勾勒出觀眾的不安與忐忑。隨住George和Rose結婚，Rose搬入大宅，在城市讀書的兒子Peter放假回來，蘊釀著的一切開始散發味道。 對Phil和Peter的人物掌握逐漸增多，頓時他倆之間那種關係的地位高低就有了變化。初期Phil的強悍是毋容置疑的，然而那只是經刻意粉飾的外表，用來隱藏和保護他真實的內心。這份心，從他對死去摯友的思念和斂跡於森林的愛慕可察一二。而Peter看上來陰柔怪氣，內裡城府卻不淺。在開首，他讀白："When my father passed, I wanted nothing more than my mother's happiness. For what kind of man would I be if I did not help my mother? If I did not save her?" 可見作為立志要保護母親Rose的他，眼見Rose被Phil欺負，定必會有所作為。這是否他靠近Phil的目的？他倆日漸相處趨良，尤其當Phil的身邊只有Peter能看穿那座犬山後，隱於大眾目光底下的犬山就不再是只屬於Phil和他摯友的秘密…… 攪動觀眾（我）內心得最劇烈的一幕定必是兩人夜裡在馬廄內相會的時刻。說攪動，那是沉底的，沒有聲音和水花，但有著吞噬之力；說劇烈，也不是那種乾柴烈火燒得噼啪作響的交流。想想看之前Peter在Phil面前將一隻受傷的兔子給個痛快。那夜，Peter是Peter，Phil就是那隻受傷的兔子。BC將Phil演得惹人生憐，那滲透著無盡情感的眼神，如泣如訴的凝視，流露出百般滋味，看得我異常痛心。加上第二日朝，他臨走前都記掛住要將漏夜織好的繩子交給Peter……到之後的葬禮，醫生猜測的那個死因，結合之前的點點鋪敘，嗚啊。 結尾，Peter唸起聖經："Deliver my soul from the sword, my darling from the power of the dog." (book of Psalms, chapter 22) 然後戴住手套（頂！）將條繩放落床下底，望住窗外嘅Rose同George纏綿，嘴角泛起奇異的微笑……比起Phil，Peter的自我似乎藏得更深。到底他眼中的犬山曾否與Phil心中的犬山同步過？ 睇完當晚不斷諗住Phil（´д\`）。]]> 6.4.2022 – #Movies

Directed by Jane Campion

Written by Jane Campion, Thomas Savage (based on the novel by)

呢套戲無得喺戲院睇係可惜。佢嘅嗰種收埋枱底緩慢而至嘅暗湧、蠢蠢欲動、吊住吊住嘅感覺喺幽靜嘅空間內會放大好多，始終屋企裡面太多其他訊息會令人分心，就算幾刻意專注都會被cut技咁。

西部牛仔，開頭無耐見到Phil已經有斷背feel，尤其見佢外表兇狠，但眼神流露出柔性同軟弱。BC功力深厚。咁強烈嘅男性地帶，只要埋藏住禁忌一般嘅秘密，成套戲嘅感覺就會好沉重壓抑。

久違的以影像表達深沉意境的電影。

// 個人筆記 //

電影主要角色有四：Phil和George兄弟倆，Rose和Peter兩母子。

魅力之處是它不透露太多訊息，有關人物內心亦多是側面描繪。他們的想法和動機掩藏在螢幕之外，觀眾就靠著一些蛛絲馬跡去估計、猜度，這些疑惑於是勾勒出觀眾的不安與忐忑。隨住George和Rose結婚，Rose搬入大宅，在城市讀書的兒子Peter放假回來，蘊釀著的一切開始散發味道。

對Phil和Peter的人物掌握逐漸增多，頓時他倆之間那種關係的地位高低就有了變化。初期Phil的強悍是毋容置疑的，然而那只是經刻意粉飾的外表，用來隱藏和保護他真實的內心。這份心，從他對死去摯友的思念和斂跡於森林的愛慕可察一二。而Peter看上來陰柔怪氣，內裡城府卻不淺。在開首，他讀白：”When my father passed, I wanted nothing more than my mother's happiness. For what kind of man would I be if I did not help my mother? If I did not save her?” 可見作為立志要保護母親Rose的他，眼見Rose被Phil欺負，定必會有所作為。這是否他靠近Phil的目的？他倆日漸相處趨良，尤其當Phil的身邊只有Peter能看穿那座犬山後，隱於大眾目光底下的犬山就不再是只屬於Phil和他摯友的秘密……

攪動觀眾（我）內心得最劇烈的一幕定必是兩人夜裡在馬廄內相會的時刻。說攪動，那是沉底的，沒有聲音和水花，但有著吞噬之力；說劇烈，也不是那種乾柴烈火燒得噼啪作響的交流。想想看之前Peter在Phil面前將一隻受傷的兔子給個痛快。那夜，Peter是Peter，Phil就是那隻受傷的兔子。BC將Phil演得惹人生憐，那滲透著無盡情感的眼神，如泣如訴的凝視，流露出百般滋味，看得我異常痛心。加上第二日朝，他臨走前都記掛住要將漏夜織好的繩子交給Peter……到之後的葬禮，醫生猜測的那個死因，結合之前的點點鋪敘，嗚啊。

結尾，Peter唸起聖經：”Deliver my soul from the sword, my darling from the power of the dog.” (book of Psalms, chapter 22) 然後戴住手套（頂！）將條繩放落床下底，望住窗外嘅Rose同George纏綿，嘴角泛起奇異的微笑……比起Phil，Peter的自我似乎藏得更深。到底他眼中的犬山曾否與Phil心中的犬山同步過？

睇完當晚不斷諗住Phil（´д`）。

]]> https://hernameislaura.writeas.com/the-power-of-the-dog-2021 Sat, 28 May 2022 12:04:13 +0000 "The Green Mile" (1999) | 《綠里奇蹟》 https://hernameislaura.writeas.com/the-green-mile-1999?pk_campaign=rss-feed <![CDATA[27\.3.2022 - #Movies Directed by Frank Darabont Written by Stephen King (novel), Frank Darabont (screenplay) 三小時的電影，感覺剛剛好。人物建立和情節選取非常出色，一步步將人的情緒帶入局。縱然講述的是獄警和死囚的相處，氣氛並非預想般嚴肅，反而充滿人性，亦不失幽默。有討人厭的無能獄警和異常癲喪的壞囚犯作為反派襯托，使監房內接連翻起小風波，情感由是投入。隨住劇情推進，一個個囚犯坐上電椅，我們無從得知他們的過去與罪行，只知道前來觀刑的人都願他們受地獄之火折磨。因為不知道，所以無法做什麼道德判斷（亦非重點），我們看見的只是他們人生中最後一段時間的面貌。生命可以分成許多個片刻，人一生也可以有不同形態。 !--more-- 整體而言這是個悲傷的故事，John Coffey太惹人生憐了，最後他拒絕獄警阿頭提出協助他逃走的建議，並稱他經已受夠了人世間的醜惡所帶來的痛苦和一路以來無人作伴的孤寂。這段告白使人非常心痛，瞬間他多年來遭受的白眼和攻擊、所面對的邪惡和身處當中的無力彷彿都頓現眼前。即使受盡誤解，滿身傷痕的他仍能保持善良的心，利用上帝賜予的力量幫助人，以自身承受所有痛楚為方法去解救別人。及後走到生命盡頭，他依然承受住別人的怨恨痛苦地死去。慨嘆：「祈求不再出現來自天國嘅使節。」 至於主角的歲月亦相當唏噓，是很特別的結局。慶幸在Netflix將其下架前睇咗。 PS 飾演John Coffey嘅演員Michael Clarke Duncan喺2012年經已過身。]]> 27.3.2022 – #Movies

Directed by Frank Darabont

Written by Stephen King (novel), Frank Darabont (screenplay)

三小時的電影，感覺剛剛好。人物建立和情節選取非常出色，一步步將人的情緒帶入局。縱然講述的是獄警和死囚的相處，氣氛並非預想般嚴肅，反而充滿人性，亦不失幽默。有討人厭的無能獄警和異常癲喪的壞囚犯作為反派襯托，使監房內接連翻起小風波，情感由是投入。隨住劇情推進，一個個囚犯坐上電椅，我們無從得知他們的過去與罪行，只知道前來觀刑的人都願他們受地獄之火折磨。因為不知道，所以無法做什麼道德判斷（亦非重點），我們看見的只是他們人生中最後一段時間的面貌。生命可以分成許多個片刻，人一生也可以有不同形態。

整體而言這是個悲傷的故事，John Coffey太惹人生憐了，最後他拒絕獄警阿頭提出協助他逃走的建議，並稱他經已受夠了人世間的醜惡所帶來的痛苦和一路以來無人作伴的孤寂。這段告白使人非常心痛，瞬間他多年來遭受的白眼和攻擊、所面對的邪惡和身處當中的無力彷彿都頓現眼前。即使受盡誤解，滿身傷痕的他仍能保持善良的心，利用上帝賜予的力量幫助人，以自身承受所有痛楚為方法去解救別人。及後走到生命盡頭，他依然承受住別人的怨恨痛苦地死去。慨嘆：「祈求不再出現來自天國嘅使節。」

至於主角的歲月亦相當唏噓，是很特別的結局。慶幸在Netflix將其下架前睇咗。

PS 飾演John Coffey嘅演員Michael Clarke Duncan喺2012年經已過身。

]]> https://hernameislaura.writeas.com/the-green-mile-1999 Sat, 28 May 2022 12:03:17 +0000 《三島由紀夫vs東大全共闘〜50年目の真実〜》(2020) | 《三島由紀夫：最後思辯》 https://hernameislaura.writeas.com/san-dao-you-ji-fu-vsdong-da-quan-gong-dou-50nian-mu-nozhen-shi-2020?pk_campaign=rss-feed <![CDATA[13\.5.2022 - #Movies Directed by 豐島圭介 三島由紀夫真的充滿魅力。 在那場辯論上，面對理念不同的學生的鋒利言詞，三島仍能保持幽默，溫柔地分享他的想法，滿腔熱情地解說他的理念。他隻身接受學生的挑戰，在四面敵意的目光下從容不迫地展現他的睿智與風度，最後嬴得敬意而離開。 !--more-- 即使可以把對方反駁得毫無餘地，在口舌之爭中得勝，也不代表現實情況可以如他所願。那，辯論的意義是什麼？是要擊倒對方的信念、將其徹底折服，還是各為砥礪，在不同的角度下更加辯清大家的觀點，從而互為得益？正因為三島是個貫徹信念的行動派，更具有武士道精神，他的榮譽不在於建立理論，而在於義無反顧地實踐自己和為著自己相信的事物而戰鬥。他根本不是懷著「來一決高下」的心態赴約。假若能夠影響繼而改變他人的觀念是很好，但也無需因此竭力地鞭撻別人的想法，「反正到最後，我要做的事情不會變。」……我是這樣猜測的。 說我完全明暸他們爭論的內容是假的，不對當時日本的狀況有一定了解的話根本跟不上他們的思辨。但我享受他們的言辭交鋒，並深深感受到富有思想的人傾注在語言之中的力量。那時候，不是人人皆可公開發言和出版文字。而如今，網絡平台賦予眾人的話皆得被傾聽的權利。信念的傳遞理應是更容易，可是相反地被誤解和被攻擊也更方便。現今的語言仍是有著改變社會的力量，分別在於其乘載的思想好像沒那麼濃烈了。 三島由紀夫是個修文習武之人，以前聽說過他的文學成就，可是沒想到原來他也是民兵組織楯之會的成立人。他擁護天皇，對傳統日本有著情意結。在與東大學生辯論後一年，即1970年，「11月25日同其他四名楯之會成員於東京的市谷駐屯地劫持了日本陸上自衛隊東部總監部（今東部方面隊）的總監。於露臺發表政變演說，但完全沒有獲得自衛官們的支持，三島立即選擇了切腹自殺。這一事件對日本造成了巨大的衝擊，對日本的文學界和政治運動產生了諸如日本的新右派的建立等強烈的影響。」(from wiki) \*資料說介錯時無法一次成功，所以說三島是在強烈的痛苦中死去…… 像他這樣行動和精神相輔相成，走出自己的道之人，在任何時代看來都是相當耀眼。 --- 紀錄片的最後，一名全共闢成員有著以下寄語：（大概） 「運動必有完結，無論成功或失敗」 「參與其中的人總要繼續過活」 「思考之後要做什麼吧」 歷史上，每個時代的人都是這樣走過來的。 PS 上年睇完戲好有衝動想追哂三島啲作品，但望住屋企連張床都係書，都係努力清哂啲舊書先……]]> 13.5.2022 – #Movies

Directed by 豐島圭介

三島由紀夫真的充滿魅力。

在那場辯論上，面對理念不同的學生的鋒利言詞，三島仍能保持幽默，溫柔地分享他的想法，滿腔熱情地解說他的理念。他隻身接受學生的挑戰，在四面敵意的目光下從容不迫地展現他的睿智與風度，最後嬴得敬意而離開。

即使可以把對方反駁得毫無餘地，在口舌之爭中得勝，也不代表現實情況可以如他所願。那，辯論的意義是什麼？是要擊倒對方的信念、將其徹底折服，還是各為砥礪，在不同的角度下更加辯清大家的觀點，從而互為得益？正因為三島是個貫徹信念的行動派，更具有武士道精神，他的榮譽不在於建立理論，而在於義無反顧地實踐自己和為著自己相信的事物而戰鬥。他根本不是懷著「來一決高下」的心態赴約。假若能夠影響繼而改變他人的觀念是很好，但也無需因此竭力地鞭撻別人的想法，「反正到最後，我要做的事情不會變。」……我是這樣猜測的。

說我完全明暸他們爭論的內容是假的，不對當時日本的狀況有一定了解的話根本跟不上他們的思辨。但我享受他們的言辭交鋒，並深深感受到富有思想的人傾注在語言之中的力量。那時候，不是人人皆可公開發言和出版文字。而如今，網絡平台賦予眾人的話皆得被傾聽的權利。信念的傳遞理應是更容易，可是相反地被誤解和被攻擊也更方便。現今的語言仍是有著改變社會的力量，分別在於其乘載的思想好像沒那麼濃烈了。

三島由紀夫是個修文習武之人，以前聽說過他的文學成就，可是沒想到原來他也是民兵組織楯之會的成立人。他擁護天皇，對傳統日本有著情意結。在與東大學生辯論後一年，即1970年，「11月25日同其他四名楯之會成員於東京的市谷駐屯地劫持了日本陸上自衛隊東部總監部（今東部方面隊）的總監。於露臺發表政變演說，但完全沒有獲得自衛官們的支持，三島立即選擇了切腹自殺。這一事件對日本造成了巨大的衝擊，對日本的文學界和政治運動產生了諸如日本的新右派的建立等強烈的影響。」(from wiki) *資料說介錯時無法一次成功，所以說三島是在強烈的痛苦中死去……

像他這樣行動和精神相輔相成，走出自己的道之人，在任何時代看來都是相當耀眼。

紀錄片的最後，一名全共闢成員有著以下寄語：（大概） 「運動必有完結，無論成功或失敗」 「參與其中的人總要繼續過活」 「思考之後要做什麼吧」

歷史上，每個時代的人都是這樣走過來的。

PS 上年睇完戲好有衝動想追哂三島啲作品，但望住屋企連張床都係書，都係努力清哂啲舊書先……

]]> https://hernameislaura.writeas.com/san-dao-you-ji-fu-vsdong-da-quan-gong-dou-50nian-mu-nozhen-shi-2020 Sat, 28 May 2022 12:02:34 +0000 "Drive my car" (2021) https://hernameislaura.writeas.com/drive-my-car-2021?pk_campaign=rss-feed <![CDATA[12\.4.2022 - #Movies Directed by 濱口竜介 Written by 濱口竜介 & 大江崇允 (screenplay), 村上春樹 (novel) 紅色的('87) Saab 900 Turbo，承載著兩顆受傷的心。 無法表露的心事，透過逝者的聲音與文本連結。 喜歡那狹小而寧靜的車廂所隱藏的感情。 喜歡透過座位前後傳遞的思緒變化。 喜歡彷若與世隔絕的公路奔馳，長途夜車的自我療癒。 電影改編自村上春樹《沒有女人的男人們》，抽取了〈Drive My Car〉、〈雪哈拉莎德〉和〈木野〉的內容，另加契訶夫"Uncle Vanya"一劇。使人折服的編劇能力！導演濱口一如既往的深入人們內心的情感交錯，如用顯微鏡窺見他們人生的截片，而正是這局部的細微，奠定了他們人生的調子。 --- // 個人筆記 // !--more-- 面對妻子出軌，家福因為害怕而將情感掩埋，最終永遠地錯過了與妻子內心相交的機會。妻子做愛後講的故事後續，竟從他人口中得知。 那個人說，如果要看清別人，就要深深地筆直凝視自己的內心。 寡言的司機渡里也是個有心事的人。她正好與家福那早逝的女兒同齡。一次次車程，微妙的關係逐步在幽閉的空間裡建立。兩人點起煙，一吸一呼，手拎著煙擱在天窗，微弱的火光若隱若現，兩人不語，一同融入黑夜的靜謐。此謂無聲勝有聲。 及後，兩人坦然面對自己的內心，解開了各自的心結。在一片雪白下，他們相擁，承諾要好好活下去。 家福終可真實地回應文本。那最後一幕的劇中劇，用手語傳遞的感情如此濃厚，信念如此強烈。撼動內心的演出。 驚喜的是，時日過去，我們看見渡里身處異地，瀟灑地獨自購物後，回到那熟悉的紅色車上，車牌換上了一串異國文字。（還有會使冷漠的她流露感情的狗） 說明家福經已不再需要這個空間保護。兩人皆已前進，今後也會好好地活下去。 --- 點煙一幕→https://yewtu.be/watch?v=A-fF5uPFVB8 好喜歡戲中戲，演員們都做得超棒，尤愛這幕： https://yewtu.be/watch?v=y77FELZaE6c "What can we do? We must live our lives. Yes, we shall live, Uncle Vanya. We shall live through the long procession of days before us, and through the long evenings; we shall patiently bear the trials that fate imposes on us; we shall work for others without rest, both now and when we are old; and when our last hour comes we shall meet it humbly, and there, beyond the grave, we shall say that we have suffered and wept, that our life was bitter, and God will have pity on us. Ah, then dear, dear Uncle, we shall see that bright and beautiful life; we shall rejoice and look back upon our sorrow here; a tender smile -and -we shall rest. I have faith, Uncle, fervent, passionate faith. We shall rest. We shall rest."]]> 12.4.2022 – #Movies

Directed by 濱口竜介

Written by 濱口竜介 & 大江崇允 (screenplay), 村上春樹 (novel)

紅色的('87) Saab 900 Turbo，承載著兩顆受傷的心。 無法表露的心事，透過逝者的聲音與文本連結。

喜歡那狹小而寧靜的車廂所隱藏的感情。 喜歡透過座位前後傳遞的思緒變化。 喜歡彷若與世隔絕的公路奔馳，長途夜車的自我療癒。

電影改編自村上春樹《沒有女人的男人們》，抽取了〈Drive My Car〉、〈雪哈拉莎德〉和〈木野〉的內容，另加契訶夫”Uncle Vanya”一劇。使人折服的編劇能力！導演濱口一如既往的深入人們內心的情感交錯，如用顯微鏡窺見他們人生的截片，而正是這局部的細微，奠定了他們人生的調子。

// 個人筆記 //

面對妻子出軌，家福因為害怕而將情感掩埋，最終永遠地錯過了與妻子內心相交的機會。妻子做愛後講的故事後續，竟從他人口中得知。 那個人說，如果要看清別人，就要深深地筆直凝視自己的內心。

寡言的司機渡里也是個有心事的人。她正好與家福那早逝的女兒同齡。一次次車程，微妙的關係逐步在幽閉的空間裡建立。兩人點起煙，一吸一呼，手拎著煙擱在天窗，微弱的火光若隱若現，兩人不語，一同融入黑夜的靜謐。此謂無聲勝有聲。

及後，兩人坦然面對自己的內心，解開了各自的心結。在一片雪白下，他們相擁，承諾要好好活下去。

家福終可真實地回應文本。那最後一幕的劇中劇，用手語傳遞的感情如此濃厚，信念如此強烈。撼動內心的演出。

驚喜的是，時日過去，我們看見渡里身處異地，瀟灑地獨自購物後，回到那熟悉的紅色車上，車牌換上了一串異國文字。（還有會使冷漠的她流露感情的狗）

說明家福經已不再需要這個空間保護。兩人皆已前進，今後也會好好地活下去。

點煙一幕→https://yewtu.be/watch?v=A-fF5uPFVB8

好喜歡戲中戲，演員們都做得超棒，尤愛這幕： https://yewtu.be/watch?v=y77FELZaE6c

“What can we do? We must live our lives. Yes, we shall live, Uncle Vanya. We shall live through the long procession of days before us, and through the long evenings; we shall patiently bear the trials that fate imposes on us; we shall work for others without rest, both now and when we are old; and when our last hour comes we shall meet it humbly, and there, beyond the grave, we shall say that we have suffered and wept, that our life was bitter, and God will have pity on us. Ah, then dear, dear Uncle, we shall see that bright and beautiful life; we shall rejoice and look back upon our sorrow here; a tender smile -and -we shall rest. I have faith, Uncle, fervent, passionate faith. We shall rest. We shall rest.”

]]> https://hernameislaura.writeas.com/drive-my-car-2021 Sat, 28 May 2022 12:00:49 +0000 "PERFECT BLUE" (1997) |《藍色恐懼》 https://hernameislaura.writeas.com/perfect-blue-1997?pk_campaign=rss-feed <![CDATA[30\.3.2022 - #Movies Directed by 今敏 Written by 村井さだゆき (screenplay), 竹内義和 (novel) 在電影中心看過《今敏：造夢大師》後，方知道今敏這個對業界影響深遠的動畫導演＆漫畫家。 "PERFECT BLUE"，今敏先生的首部動畫長篇作品（改編自竹內義和的同名小說），以日本偶像文化作題材，透過夢與現實的交錯鋪排、懸疑式的故事表達，探討真實與自我——「你到底是誰？」一再重複的劇中劇台詞，是對主角未麻和觀眾的叩問。 畫面流暢地游走於虛實之間，巧妙的鋪排使我不經不覺代入了未麻的混亂精神狀態當中，感受她從偶像蛻變成演員的過程中對於自我的質疑和變化所帶來的痛苦。這種夢與真實的手法運用得極為純熟，劇中劇的情節與劇中現實呼應，刻意模糊那真幻的界線，引起不同聯想。 !--more-- 真的是太好睇了，睇完四個多月後的現在我單是回想也覺得興奮（？）。尤其當我想到動畫是由「一無所有」中建構出來，所有！都是從今敏的腦袋中生成再繪畫出來，與實境拍攝截然不同，所有畫面中的內容都是有意為之的。入場前知道今敏的分鏡是神，沒錯，是超越語言所能表達的厲害。如果我層次再高一點，我想光是思考今敏為何會這樣畫經已趣味性十足。 這是一套二十多年前的作品，但即使擺在今天我仍然覺得他是站在遙遠的先鋒位置。 P.S.1 YouTube上有今敏關於PERFECT BLUE的講座(共三夜)，解釋他的創作和作品細節。 英文字幕→"Lecture Series with Satoshi Kon | Perfect Blue (1997) - Special Feature" 文字版的話有台灣人整理了重點→https://home.gamer.com.tw/artwork.php?sn=5387068 P.S.2 百老匯電影中心喺上年11月開始陸續上映今敏先生嘅四部作品：《藍色恐懼》、《千年女優》、《東京教父》和《妄想代理人》。多謝百老匯令我有機會認識呢位大師同喺大銀幕睇到數碼修復版TAT（《盜夢偵探》喺Netflix有，仲未睇，唉！） 另外，不得不提插曲「愛の天使」真係好好聽同好洗腦（其他歌都好高質，如果有出碟就好），聽住輕快嘅節奏同咁正面嘅歌詞又點會想像到個故事會係咁？我又諗起CD機擺喺𨋢中間嗰幕了～ P.S.3 電影名都有意思，識日文嘅會知，利申唔識 // 2024\.1.13 電影中心上4K版，再睇一次，仍然讚嘆不已。因為記得劇情，所以更能留意別出心裁的鋪排，但看過上面本人的親自解讀，我的察覺還是不夠全面。大師！ "今敏認為人生就是這樣，破壞自己的價值觀、嚐過種種痛苦的時刻，再從中醒悟然後成長，不斷重複這樣的循環。" 今次對呢句特別有共鳴。再多一個角度了。 // —個人筆記— 歡快的偶像歌舞，小混混在台下鬧事，樣子噁心的粉絲+保安切入。 決定單飛，放下偶像包袱，邁向演員之路。人前開朗，人後憂鬱，火車的窗反射，房間裡恐嚇的傳真。 拍攝現場，爆炸的信件。未麻的房間，跟蹤狂的形象浮現。 撕心裂肺的強姦戲份，內心感受和現實的不協調。生活被陌生者入侵的壓力，質疑自己的真實性，情緒崩潰。 游走在幻與真之間，多少次從夢中抑或是現實中醒來？觀眾一同代入了未麻的心境，所視為幻象還是實相，已分不清。 去到最後結尾（大概十五分鐘），精彩的揭幕，疑惑層層剝落……未麻成為了成功的演員，最後在車裡望著倒後鏡說：「我就是真的未麻！」(?) `]]> 30.3.2022 – #Movies

Directed by 今敏

Written by 村井さだゆき (screenplay), 竹内義和 (novel)

在電影中心看過《今敏：造夢大師》後，方知道今敏這個對業界影響深遠的動畫導演＆漫畫家。

“PERFECT BLUE”，今敏先生的首部動畫長篇作品（改編自竹內義和的同名小說），以日本偶像文化作題材，透過夢與現實的交錯鋪排、懸疑式的故事表達，探討真實與自我——「你到底是誰？」一再重複的劇中劇台詞，是對主角未麻和觀眾的叩問。

畫面流暢地游走於虛實之間，巧妙的鋪排使我不經不覺代入了未麻的混亂精神狀態當中，感受她從偶像蛻變成演員的過程中對於自我的質疑和變化所帶來的痛苦。這種夢與真實的手法運用得極為純熟，劇中劇的情節與劇中現實呼應，刻意模糊那真幻的界線，引起不同聯想。

真的是太好睇了，睇完四個多月後的現在我單是回想也覺得興奮（？）。尤其當我想到動畫是由「一無所有」中建構出來，所有！都是從今敏的腦袋中生成再繪畫出來，與實境拍攝截然不同，所有畫面中的內容都是有意為之的。入場前知道今敏的分鏡是神，沒錯，是超越語言所能表達的厲害。如果我層次再高一點，我想光是思考今敏為何會這樣畫經已趣味性十足。

這是一套二十多年前的作品，但即使擺在今天我仍然覺得他是站在遙遠的先鋒位置。

P.S.1 YouTube上有今敏關於PERFECT BLUE的講座(共三夜)，解釋他的創作和作品細節。 英文字幕→”Lecture Series with Satoshi Kon | Perfect Blue (1997) – Special Feature” 文字版的話有台灣人整理了重點→https://home.gamer.com.tw/artwork.php?sn=5387068

P.S.2 百老匯電影中心喺上年11月開始陸續上映今敏先生嘅四部作品：《藍色恐懼》、《千年女優》、《東京教父》和《妄想代理人》。多謝百老匯令我有機會認識呢位大師同喺大銀幕睇到數碼修復版TAT（《盜夢偵探》喺Netflix有，仲未睇，唉！）

另外，不得不提插曲「愛の天使」真係好好聽同好洗腦（其他歌都好高質，如果有出碟就好），聽住輕快嘅節奏同咁正面嘅歌詞又點會想像到個故事會係咁？我又諗起CD機擺喺𨋢中間嗰幕了～

P.S.3 電影名都有意思，識日文嘅會知，利申唔識

//

2024.1.13

電影中心上4K版，再睇一次，仍然讚嘆不已。因為記得劇情，所以更能留意別出心裁的鋪排，但看過上面本人的親自解讀，我的察覺還是不夠全面。大師！

“今敏認為人生就是這樣，破壞自己的價值觀、嚐過種種痛苦的時刻，再從中醒悟然後成長，不斷重複這樣的循環。” 今次對呢句特別有共鳴。再多一個角度了。

//

—個人筆記—

歡快的偶像歌舞，小混混在台下鬧事，樣子噁心的粉絲+保安切入。

決定單飛，放下偶像包袱，邁向演員之路。人前開朗，人後憂鬱，火車的窗反射，房間裡恐嚇的傳真。

拍攝現場，爆炸的信件。未麻的房間，跟蹤狂的形象浮現。

撕心裂肺的強姦戲份，內心感受和現實的不協調。生活被陌生者入侵的壓力，質疑自己的真實性，情緒崩潰。

游走在幻與真之間，多少次從夢中抑或是現實中醒來？觀眾一同代入了未麻的心境，所視為幻象還是實相，已分不清。

去到最後結尾（大概十五分鐘），精彩的揭幕，疑惑層層剝落……未麻成為了成功的演員，最後在車裡望著倒後鏡說：「我就是真的未麻！」(?)
]]> https://hernameislaura.writeas.com/perfect-blue-1997 Sat, 28 May 2022 11:59:37 +0000 "Collateral" (2004) | 《同行殺機》 https://hernameislaura.writeas.com/collateral-2004?pk_campaign=rss-feed <![CDATA[25\.3.2022 - #Movies Directed by Michael Mann Written by Stuart Beattie .jpg%2F220px-Collateral(Movie).jpg&f=1&nofb=1) Tom Cruise飾演的職業殺手Vincent，太有魅力，使人對他的過去經歷充滿好奇。每次殺一人，他和Jamie Foxx飾演的的士司機Max都會有一番對話。應該說，由Vincent上車一刻開始就經已耐人尋味。兩套信念系統的相撞，每次Max質疑完Vincent後彷彿都被他反駁得無言以對，抑或是無法理解。兩個立體的角色互相對比，Max懷著壯志十二年，覺得自己正努力謹慎前進，但終究他與夢想保持住一段安全距離。對其他人如是，他不敢完全實現自己，他會有所保留。Vincent則截然不同，冷靜、自信、俐落，充滿處世經驗，有自己獨特見解，nice to everyone，可以在解決目標前與他促膝詳談而旁人渾然不覺，口談盧旺達、宇宙人類渺小論、達爾文、易經，宛若看透世事。如此對立的關係理所當然地牽連到兩人生與死的結局，最後的場面亦呼應了Vincent初始的一席話。 乍看是一套講述殺手的驚悚電影，而情節的確緊張，之餘亦有點超乎想像。戲寫得好，拍得好，演得好。 --- —對話欣賞— !--more-- 第一次殺人後： VINCENT Now. We have to make the best of it. Improvise. Adapt to the environment. Darwin. "Shit happens." The I Ching...whatever. Roll with it... MAX I Ching? You threw a man out a window! VINCENT I didn't throw him, he fell. MAX What'd he do to you? VINCENT Nothing. I only met him one time. MAX Then how can you kill him like that? VINCENT I should only kill people after I get to know 'em? Six billion people on the planet and you get bent out of shape 'cause of one fat guy? MAX Who, who was he? VINCENT What do you care? Ever hear of Rwanda? MAX Rwanda. Yeah. VINCENT Tens of thousands killed before sundown. Nobody's killed people that fast since Hiroshima and Nagasaki. Did you bat an eye, Max? Did you join Amnesty International, Oxfam or something? No. (off Max's silence) … MAX I don't know Rwandans. VINCENT You don't know the guy in the trunk, either. (beat) If it makes you feel any better, he was a criminal involved in a Continuing Criminal Enterprise. MAX Oh, that makes it okay, then. 'Cause all you're doing is taking out the garbage... VINCENT Something like that... (distracted) What you need to remember is that nobody gets out of this alive. Even if we quit smoking. Cut out red meat. Everybody dies... 一齊探完Max老母之後： VINCENT Limos, huh? MAX Don't start. Vincent enters text into a cell phone/pager. VINCENT Hey, I'm not the one lying to my mother. MAX She hears what she wants to hear. I don't disillusion her. VINCENT Yeah, right. Maybe she hears what you tell her. MAX Whatever I tell her's never good enough. It's always been that way... My three older brothers...their wives made 'em move outta town. VINCENT They project onto you their flaws, what they don't like about themselves, their lives, whatever. And then they rank on you, instead... MAX How do you know? VINCENT I had a father like that. MAX Mothers are worse. VINCENT Mine died when I was one. MAX What happened? VINCENT He hated whatever I did. Got drunk. Beat me up all the time. MAX Then what? VINCENT (intimate) I killed him. I was 12. He was the first. (off Max's look) I'm kidding. He died of liver cancer. MAX I'm sorry. VINCENT No you're not. (beat) So driving this cab "temporarily" is all bullshit...? MAX It's not bullshit. VINCENT Twelve years is not temporary. MAX You gotta get cash together. Insurance, bond, maintenance, tires. Staff-up. Client lists. It's not get the car, put asses on seats. VINCENT Why not? MAX 'Cause Island Limos will be more than a ride...like a club experience, a cool groove you don't want to end. Like that. So it's gotta be perfect. Perfect. VINCENT Uh-huh. MAX Plus I got bills. She's been dying of the disease since I was in high school... 關於影響結局的女人： VINCENT Would you have called her? MAX Who? VINCENT Your lady friend. The one who gave you her business card. (Max is silent) Or was she just being polite? MAX I don't know. VINCENT Why hold back? Why not act off your impulse? Pick up the phone? MAX All I owe a fare is a ride, Vincent. VINCENT It's not what you owe me. Time is fleeting. Life is short. Time is luck. One day it's gone... (beat) You make it out of this alive, you should call her. That's what I think...anyway... 殺咗想救Max出來的差佬後： MAX Why'd you have to do that? You couldn't wound him? The guy had a family, maybe parents, kids who gotta grow up without a dad, he was a good guy, and he believed me... VINCENT I shoulda saved him 'cause he believed you...? MAX No, not just that. VINCENT Yeah, that... MAX Yeah, so, what's wrong with that? VINCENT It's what I do for a living... MAX Some living. VINCENT Head downtown... MAX What's downtown? VINCENT How are you at math? I was hired for five hits. I did four. MAX (grim) One more. VINCENT There you go...! MAX Whyn't you kill me and find another cab. VINCENT 'Cause you're good. (shrugs) We're in this together. You know...fates intertwined. Cosmic coincidence. All that crap... MAX You're full of shit. VINCENT I'm full of shit? (beat) You're a monument of it. You even bullshitted yourself, all I am is taking out the garbage. Bad guys killing bad guys... MAX 'Cause that's what you said... VINCENT And you believe me...? MAX What'd they do? VINCENT How do I know? (beat) But, they all got that "witness for the prosecution" look to me. It's probably some major federal indictment against somebody who majorly does not want to get indicted... I dunno. MAX That's the reason? VINCENT That's the "why." There is no reason. (beat) No good reason; no bad reason. To live or to die. MAX Then what are you? VINCENT (looks up) ...indifferent. Get with it. Get over it. ...millions of galaxies of hundreds of millions of stars and a speck on one in a blink...that's us. Lost in space. The universe don't care (about you). (beat) The cop, you, me? Who notices? MAX What's with you...? VINCENT As in...? MAX Man, if someone had a gun to your head and said: "You gotta tell me what's goin' on with that person across the street, there, what they think, who they are, how they feel, or I will kill you"...they'd have to kill you...wouldn't they...? (beat) 'Cause you don't have a clue...about...anyone. (struggling for the words) ...I don't think you, you have a clue, period. Did anyone "do" for you in your life...? Ever? When you draw breath in the morning? Open your eyes in the a.m.? You anticipate...anything? Want anything? Expect anything? I don't think so... (beat) 'Cause you are low, my brother, way low... and some standard parts that are supposed to be there?...with you, aren't. So what happened to you, man? What happened to you? VINCENT ...all the cabbies in LA, I get Max, Sigmund Freud meets Dr. Ruth... MAX Answer the question. VINCENT Look in the mirror. ...with your paper towels...a bottle of 409...a limo company someday. How much you got saved? MAX None of your business. VINCENT Your business "plan?" Someday? "Someday my dream'll come..."? (beat) And one night you'll wake up and discover it all flipped on you. Suddenly you're old. And it didn't happen. And it never will. 'Cause you were never going to do it, anyway. The dream on the horizon became yesterday and got lost. Then you'll bullshit yourself, it could never have been, anyway. And you'll recede it into memory...and zone out in a Barcalounger with daytime TV on for the rest of your life... (beat) Don't talk to me about killing. You're do-in' yourself. In this yellow-and-orange prison. Bit by bit. Every day. All it ever took was a down payment on a Lincoln Town Car. What the hell are you still doing in a cab? MAX 'Cause I never straightened-up and looked at it, you know...? VINCENT Slow down. MAX (ignoring him) ...myself, I should have. My brothers did... (beat) Tried to gamble my way out from under. (That was) Another born-to-lose deal! Then, "it's gotta be perfect to go!" You know? Risk all torqued-down. MAX (CONT'D) But you know what? It doesn't matter. What's it matter, anyway? 'Cause we are...insignificant out here in this big-ass nowhere. Twilight Zone shit. Says the badass sociopath in my backseat. So that's one thing I got to thank you for, bro... Until now, I never saw it that way... The cab goes blasting through an intersection on a red light. A LOS ANGELES TIMES DELIVERY TRUCK SLAM ON ITS BRAKES as Max swerves, barely avoiding a collision. VINCENT That was a red light! Max glances in the rearview. MAX ...not until now. So what's it all matter? It don't. Fuck it. Fix it. Nothing to lose. Right? Vincent's H+K's aimed at Max's head. Max almost laughs. VINCENT Slow the hell down! MAX Why? What are you gonna do? Pull the trigger? Kill us? Go ahead, man! Shoot...my ass. VINCENT Slow down! MAX Vincent? Their eyes meet in the rearview mirror. Vincent is arrested by a look in Max that he's not seen before. It's the even, confrontational look of a man with nothing to lose. MAX (CONT'D) Go fuck yourself.]]> 25.3.2022 – #Movies

Directed by Michael Mann

Written by Stuart Beattie

Tom Cruise飾演的職業殺手Vincent，太有魅力，使人對他的過去經歷充滿好奇。每次殺一人，他和Jamie Foxx飾演的的士司機Max都會有一番對話。應該說，由Vincent上車一刻開始就經已耐人尋味。兩套信念系統的相撞，每次Max質疑完Vincent後彷彿都被他反駁得無言以對，抑或是無法理解。兩個立體的角色互相對比，Max懷著壯志十二年，覺得自己正努力謹慎前進，但終究他與夢想保持住一段安全距離。對其他人如是，他不敢完全實現自己，他會有所保留。Vincent則截然不同，冷靜、自信、俐落，充滿處世經驗，有自己獨特見解，nice to everyone，可以在解決目標前與他促膝詳談而旁人渾然不覺，口談盧旺達、宇宙人類渺小論、達爾文、易經，宛若看透世事。如此對立的關係理所當然地牽連到兩人生與死的結局，最後的場面亦呼應了Vincent初始的一席話。

乍看是一套講述殺手的驚悚電影，而情節的確緊張，之餘亦有點超乎想像。戲寫得好，拍得好，演得好。

—對話欣賞—

第一次殺人後：

VINCENT Now. We have to make the best of it. Improvise. Adapt to the environment. Darwin. “Shit happens.” The I Ching...whatever. Roll with it... MAX I Ching? You threw a man out a window! VINCENT I didn't throw him, he fell. MAX What'd he do to you? VINCENT Nothing. I only met him one time. MAX Then how can you kill him like that? VINCENT I should only kill people after I get to know 'em? Six billion people on the planet and you get bent out of shape 'cause of one fat guy? MAX Who, who was he? VINCENT What do you care? Ever hear of Rwanda? MAX Rwanda. Yeah. VINCENT Tens of thousands killed before sundown. Nobody's killed people that fast since Hiroshima and Nagasaki. Did you bat an eye, Max? Did you join Amnesty International, Oxfam or something? No. (off Max's silence) … MAX I don't know Rwandans. VINCENT You don't know the guy in the trunk, either. (beat) If it makes you feel any better, he was a criminal involved in a Continuing Criminal Enterprise. MAX Oh, that makes it okay, then. 'Cause all you're doing is taking out the garbage... VINCENT Something like that... (distracted) What you need to remember is that nobody gets out of this alive. Even if we quit smoking. Cut out red meat. Everybody dies...

一齊探完Max老母之後：

VINCENT Limos, huh? MAX Don't start. Vincent enters text into a cell phone/pager. VINCENT Hey, I'm not the one lying to my mother. MAX She hears what she wants to hear. I don't disillusion her. VINCENT Yeah, right. Maybe she hears what you tell her. MAX Whatever I tell her's never good enough. It's always been that way... My three older brothers...their wives made 'em move outta town. VINCENT They project onto you their flaws, what they don't like about themselves, their lives, whatever. And then they rank on you, instead... MAX How do you know? VINCENT I had a father like that. MAX Mothers are worse. VINCENT Mine died when I was one. MAX What happened? VINCENT He hated whatever I did. Got drunk. Beat me up all the time. MAX Then what? VINCENT (intimate) I killed him. I was 12. He was the first. (off Max's look) I'm kidding. He died of liver cancer. MAX I'm sorry. VINCENT No you're not. (beat) So driving this cab “temporarily” is all bullshit...? MAX It's not bullshit. VINCENT Twelve years is not temporary. MAX You gotta get cash together. Insurance, bond, maintenance, tires. Staff-up. Client lists. It's not get the car, put asses on seats. VINCENT Why not? MAX 'Cause Island Limos will be more than a ride...like a club experience, a cool groove you don't want to end. Like that. So it's gotta be perfect. Perfect. VINCENT Uh-huh. MAX Plus I got bills. She's been dying of the disease since I was in high school...

關於影響結局的女人：

VINCENT Would you have called her? MAX Who? VINCENT Your lady friend. The one who gave you her business card. (Max is silent) Or was she just being polite? MAX I don't know. VINCENT Why hold back? Why not act off your impulse? Pick up the phone? MAX All I owe a fare is a ride, Vincent. VINCENT It's not what you owe me. Time is fleeting. Life is short. Time is luck. One day it's gone... (beat) You make it out of this alive, you should call her. That's what I think...anyway...

殺咗想救Max出來的差佬後：

MAX Why'd you have to do that? You couldn't wound him? The guy had a family, maybe parents, kids who gotta grow up without a dad, he was a good guy, and he believed me... VINCENT I shoulda saved him 'cause he believed you...? MAX No, not just that. VINCENT Yeah, that... MAX Yeah, so, what's wrong with that? VINCENT It's what I do for a living... MAX Some living. VINCENT Head downtown... MAX What's downtown? VINCENT How are you at math? I was hired for five hits. I did four. MAX (grim) One more. VINCENT There you go...! MAX Whyn't you kill me and find another cab. VINCENT 'Cause you're good. (shrugs) We're in this together. You know...fates intertwined. Cosmic coincidence. All that crap... MAX You're full of shit. VINCENT I'm full of shit? (beat) You're a monument of it. You even bullshitted yourself, all I am is taking out the garbage. Bad guys killing bad guys... MAX 'Cause that's what you said... VINCENT And you believe me...? MAX What'd they do? VINCENT How do I know? (beat) But, they all got that “witness for the prosecution” look to me. It's probably some major federal indictment against somebody who majorly does not want to get indicted... I dunno. MAX That's the reason? VINCENT That's the “why.” There is no reason. (beat) No good reason; no bad reason. To live or to die. MAX Then what are you? VINCENT (looks up) ...indifferent. Get with it. Get over it. ...millions of galaxies of hundreds of millions of stars and a speck on one in a blink...that's us. Lost in space. The universe don't care (about you). (beat) The cop, you, me? Who notices? MAX What's with you...? VINCENT As in...? MAX Man, if someone had a gun to your head and said: “You gotta tell me what's goin' on with that person across the street, there, what they think, who they are, how they feel, or I will kill you”...they'd have to kill you...wouldn't they...? (beat) 'Cause you don't have a clue...about...anyone. (struggling for the words) ...I don't think you, you have a clue, period. Did anyone “do” for you in your life...? Ever? When you draw breath in the morning? Open your eyes in the a.m.? You anticipate...anything? Want anything? Expect anything? I don't think so... (beat) 'Cause you are low, my brother, way low... and some standard parts that are supposed to be there?...with you, aren't. So what happened to you, man? What happened to you? VINCENT ...all the cabbies in LA, I get Max, Sigmund Freud meets Dr. Ruth... MAX Answer the question. VINCENT Look in the mirror. ...with your paper towels...a bottle of 409...a limo company someday. How much you got saved? MAX None of your business. VINCENT Your business “plan?” Someday? “Someday my dream'll come...”? (beat) And one night you'll wake up and discover it all flipped on you. Suddenly you're old. And it didn't happen. And it never will. 'Cause you were never going to do it, anyway. The dream on the horizon became yesterday and got lost. Then you'll bullshit yourself, it could never have been, anyway. And you'll recede it into memory...and zone out in a Barcalounger with daytime TV on for the rest of your life... (beat) Don't talk to me about killing. You're do-in' yourself. In this yellow-and-orange prison. Bit by bit. Every day. All it ever took was a down payment on a Lincoln Town Car. What the hell are you still doing in a cab? MAX 'Cause I never straightened-up and looked at it, you know...? VINCENT Slow down. MAX (ignoring him) ...myself, I should have. My brothers did... (beat) Tried to gamble my way out from under. (That was) Another born-to-lose deal! Then, “it's gotta be perfect to go!” You know? Risk all torqued-down. MAX (CONT'D) But you know what? It doesn't matter. What's it matter, anyway? 'Cause we are...insignificant out here in this big-ass nowhere. Twilight Zone shit. Says the badass sociopath in my backseat. So that's one thing I got to thank you for, bro... Until now, I never saw it that way... The cab goes blasting through an intersection on a red light. A LOS ANGELES TIMES DELIVERY TRUCK SLAM ON ITS BRAKES as Max swerves, barely avoiding a collision. VINCENT That was a red light! Max glances in the rearview. MAX ...not until now. So what's it all matter? It don't. Fuck it. Fix it. Nothing to lose. Right? Vincent's H+K's aimed at Max's head. Max almost laughs. VINCENT Slow the hell down! MAX Why? What are you gonna do? Pull the trigger? Kill us? Go ahead, man! Shoot...my ass. VINCENT Slow down! MAX Vincent? Their eyes meet in the rearview mirror. Vincent is arrested by a look in Max that he's not seen before. It's the even, confrontational look of a man with nothing to lose. MAX (CONT'D) Go fuck yourself.

]]> https://hernameislaura.writeas.com/collateral-2004 Fri, 25 Mar 2022 09:06:36 +0000 "The French Dispatch" (2021) | 《法蘭西諸事週報》 https://hernameislaura.writeas.com/the-french-dispatch-2021?pk_campaign=rss-feed <![CDATA[6\.6.2022 - #Movies Directed by Wes Anderson Written by Wes Anderson (screenplay by), Roman Coppola & Hugo Guinness (story by) 像觀賞一幅絞盡腦汁編排的畫作，處處細節心機，目不暇給。 難以言表的後感。走出戲院，就像是在藝術館逛了一圈後有種迴腸盪氣的感覺。 以報刊作主題，然後visualize當中的三篇文章，idea太正。初次接觸Wes Anderson，入場前知其以風格突出和畫面佈局聞名，一看果然名不虛傳。 PS1 連主題曲"Aline"都有極精彩嘅動畫MV，真係痴筋，要睇幾多次先得？ https://yewtu.be/watch?v=8NWcHjBjKq8 PS2 見到有人話開場個shot喺以前一套戲"Mon Oncle"(1958)用過 https://yewtu.be/watch?v=6mtluyHcOnk]]> 6.6.2022 – #Movies

Directed by Wes Anderson

Written by Wes Anderson (screenplay by), Roman Coppola & Hugo Guinness (story by)

像觀賞一幅絞盡腦汁編排的畫作，處處細節心機，目不暇給。

難以言表的後感。走出戲院，就像是在藝術館逛了一圈後有種迴腸盪氣的感覺。

以報刊作主題，然後visualize當中的三篇文章，idea太正。初次接觸Wes Anderson，入場前知其以風格突出和畫面佈局聞名，一看果然名不虛傳。

PS1 連主題曲”Aline”都有極精彩嘅動畫MV，真係痴筋，要睇幾多次先得？

https://yewtu.be/watch?v=8NWcHjBjKq8

PS2 見到有人話開場個shot喺以前一套戲”Mon Oncle”(1958)用過

https://yewtu.be/watch?v=6mtluyHcOnk

]]> https://hernameislaura.writeas.com/the-french-dispatch-2021 Mon, 27 Dec 2021 09:12:02 +0000