一切從音樂再開始(有少量劇透)

人生每一個階段都有不同的渴求、重視的原則。人與人之間的互動,往往因為各自的主次之分而出現矛盾、衝突。如何求同存異?『一切從音樂再開始』嘗試以不同角度檢視這些問題。作為一齣拍得浪漫而不落俗套的商業電影,處理得很得體。

Dan 係一個過氣唱片公司高層,因為老婆Miriam出軌而失婚,事業亦走下坡。在夜店買醉之時遇上與歌星男友Dave鬧翻、被朋友慫恿下上台唱歌的唱作人Gretta 。Dan被Gretta的才華吸引,進而遊說為她出唱片。事情發展下去,慢慢影響兩人在人生路上的方向。

導演John Carney(前作:『一奏傾情』)再以音樂人的故事為題材。兩齣戲相比,『一奏傾情』有點「無奈的結局」,而『一切從音樂再開始』則重於人們為保住關係而嘗試妥協,同時以Gretta為中心互相影響。故事主線以Dan和Gretta加上一群音樂人在紐約街頭巷尾錄製音樂為主,同時側寫各人物關係,原則和渴望。又因為女主角係唱作人而不忘借題發揮,暗諷唱片業對歌手的不公平對待。

選角方面,起用近期以『變形俠醫』『復仇者聯盟』電影大收的麥克雷法路飾演落泊星探,頗為入格。姫拉麗莉的Gretta由最初感情失敗到最後堅強獨立,一幕比一幕迷人。飾演的Maroon V主音亞當列維做返自己已經可以,發揮尚算自然。在『宇宙生還戰』中飾演主角胞姊的希莉施丹菲今次擔任情竇初開的主角女兒,亦是隨劇情推進而越見可人,更客串在其中一首歌中bass solo一番。另外,在『唱Opera的保羅』擔正的占士高登(飾演Gretta的好友)、飾演Miriam的嘉芙蓮堅娜,演出都恰如其分。

作為一齣音樂電影,Begin Again的音樂自然重要,亦頗有驚喜。全片音樂以人物分別,Gretta的歌充滿singer/songwriter的清新、歌詞發自人物內心。Dave的歌曲則流行曲味濃厚,反映他投向大眾皃走向,與Gretta風格大相逕庭。姫拉麗莉初次主唱,聲底明顯不足,但表現出奇地好,補足有餘。雖然只有四首歌,但已足夠令我離場後即上iTunes Store購買原聲大碟。(謎之聲:説好了的專輯呢??我:你肯補足其他歌,一定買!)個人心水:Like A Fool (歌詞直接到point,旋律簡單上腦),Tell Me If You Wanna Go Home屋頂版(有Dan同Violet父女對jam)。

無論你是否音樂愛好者,『一切從音樂再開始』都係一齣睇得開心、聽得開心的好戲,誠意推薦。

Everyone had priorities in their path down the stream of life. And people get together for various reasons. Different priorities can cause friction between people; how to resolve the differences? From my view, Begin Again is a pleasant yet poignant way in dealing with the messy reality of differing priorities.How to make a record

How to make an album

Dan (Mark Ruffalo) was a struggling record company executive that had his glory. Divorced and hardly productive, he walked in to a bar for a couple of drinks, where he saw a reluctant Gretta (Keira Knightley) performing on stage, singing a lonely song about hopeless people contemplating life. Somehow Dan saw talent in Gretta, strike up a conversation with her, and offered to produce an album with her music and the sounds of New York. Things went for an unexpected turn, which change both of their lives.

Director John Carney took up again a theme about music lovers, after his award-winning film “Once”. I found “Once” being more of “separate lives”. “Begin Again” was different, more about people stick together and tried to make compromises.

The plot was straight forward, and the director didn’t deviate from his way of handling love affairs of main characters (you would know after watching “Once”). As the main theme is Gretta’s record, a lot of scenes are dealing with the actual recording, which they do on the streets and parks of New York, and beautifully filmed. The interaction between Dan and his family, as well as Gretta with Dave, were decently presented, crossover through Gretta as the centerpiece, and provide contrast in terms of how the characters deal with betrayal and different priorities. And having Gretta being an independent singer/songwriter, the plot also took a jab at the recording industry, and Dan went along with the album project being independent.

Casting was wonderful. Ruffalo as the depressed and out of work A&R man was spot on, while Knightley was becoming more and more attractive as the story progresses, and she shined brilliantly all the way the end. Levine got the rock star look just right, as he was just being himself. Hailee Steinfeld (True Grit, Ender’s Game) played well and adorable as Dan’s daughter, Violet, who yearned for her old man’s attention while they lead different lives. James Corden (lead actor in this year’s “One Chance”) as Gretta’s best friend, as well as Catherine Keener (Being John Malkovich, Capote) as Dan’s ex-wife, were also cast well.

And there’s the music. They were well written and produced by seasoned musicians, while the director and Glen Hansard (musician and lead actor of “Once”) pitched in for two songs. The lyrics were particularly good, with very strong emotion and storytelling elements, reflected the singer/songwriter genre that was dominant in the plot. Surprisingly, even though Knightley proclaimed her almost total lack of music training, her singing was pretty good. I found myself picking up the soundtrack from iTunes immediately after the end, and the playlist is now a regular on my phone, the music is that good. My favorite: “Like a Fool”, for the frankness in the lyrics, and “Tell Me If You Wanna Go Home”, the roof top version, for the jam by Dan and Violet. It might sound greedy, but if we can get the whole album produced, with the songs in the movie plus some more, I would not doubt snap it up the moment it were released!

As a music lover, I recommend this delightful, elegant movie to you, whether you like catchy music or not.

There’s a grief that can’t be spoken, there’s a pain goes on and on – 評《孤星淚》 / Review of Les Misérables

Earlier this year, we heard the great news that Les Misérables is going to the silver screen this Christmas. As an avid fan, I can’t wait to see the up-to-date incarnation of this masterpiece, until…

We heard the casting. Okay, Hugh Jackman had been performing musicals and snag a Tony’s with his performance as a gay performer, so not to worry. Ditto to Amanda Seyfried, who was on the cast of Mama Mia’s movie, they both should handle the singing well. But Anne Hathaway as Fantine? Russell Crowe as Javert? And “who-the-hell-is-that-guy” as Marius? To say I am worried was an understatement the size of an Airbus 380.

But the teasers turned out okay. Hathaway came through well through her singing part presented, so was the rest of the cast. And the trailer in late November seemed even better. So, I went into the movie house last week with part trepidation, part excitement and still a little bit of worry, and watch the movie in its full glory. And glory it is.

Cosette
Cosette (Photo credit: Wikipedia)

A faithful revisit
The story of Les Misérables probably need no more introduction to musicals aficionados, but here it is anyway: Jean Valjean, an ex-convict fugitive guilty of stealing bread, reformed businessman and Mayor, attempted to save Fantine, an ex-worker in his factory forced in to prostitution from destitute. While Fantine didn’t survive the ordeal, her daughter, Corsette, was saved. On the other hand, lawman Javert was hot on Valjean’s tail to bring him to justice. In the eve of the Paris Uprising of 1832, young revolutionist Marius fell irretrievably in love with Cosette, while Valjean contemplate exile to avoid capture from Javert…

The movie is essentially a movie edition of the fabled musical, which is fabulous in setting the mood for us to enjoy the acting and singing. Paris in its glory and filth, Valjean’s factory, the barricades, all beautifully rendered. The fighting scenes are well produced to give you the sense of being in the action. All songs are included, and while there are some changes to the lyrics and some are being shuffled within the scenes, the libretto is essentially the same as the musical. One new song was added, right after Valjean picked up Cosette from the Thénardiers. Acting-wise, the cast performed well, as what you can expect from a big budget history movie. The story line was basically the same as the musical, no surprises there. And then, there’s the singing…

A pleasant surprise
And the cast surprised me, their overall performance were very good. That the cast sang their part on set, instead of pre-recorded in a sound studio then played on set, required them to immerse fully into the song’s mood. It makes for a genuine performance, and the effect shows on most of the main characters’ signature songs, very emotional numbers that highlight the struggle they face.

One of the biggest highlight came from Hathaway. While her role as Fantine was important yet short, her singing was exceptionally well, especially on “I Dreamed A Dream”, which she sang the song in one take with so much emotions, it brought tears to eyes and sniffles to the audience. Hathaway had transformed in recent years, and her performance earlier this year in “One Day”, “The Dark Knight Rises”, and now “Les Misérables”, gave me a lot more confidence in her acting.

Hugh Jackman did not disappoint. While his voice is lower in tone from the musical actors, he still performed well. His performance of “Bring Him Home” was as good as the stage performances of the musical I heard so far. On the other hand, Russell Crowe fall short. While he got the stronger beat songs of Javert well enough, but his character’s show piece tunes like “Stars” and “Javert’s Suicide” was not up to similar pieces for the other main characters.

Sasha Cohen and Helena Bonham Carter as Thénardiers were hilarious, nasty and disgusting, as they should be. Their singing/acting are top notch, and since they had worked before in “Sweeney Todd”, the synergy was there.

Of the younger cast, Seyfried as Cosette and Eddie Redmayne as Marius were suitable combination of the lovebirds. I especially like Seyfried, as beautiful as she was as Fantine’s daughter and sang like an angel. Redmayne’s performance of “Empty Chairs and Empty Tables” moved a lot of the audience to tears. Their duet of “A Heart Full of Love” was like a breeze of fresh air, breaking the tension of revolution, if only for just a moment.

Aaron Tveit as Enjolras was very good too, not too exaggerated in uplifting songs like “Do You Hear the People Sing”, “Red and Black” or “One Day More”, unlike some of the actors playing the same role in the musical. Samantha Barks played Eponine in the Les Misérables 25th Anniversary Concert, and was reprising the role in her first movie role here. Her singing was very well, and she gave us a feisty Eponine with a bit more feminine touch than the usual tomboy look.

Even the smaller roles were well cast. Daniel Huttlestone, who was in the London cast, reprise his role as Gavorche and put up a well-liked performance, often chiming in when the revolutionaries sang. Colm Wilkinson, the original Valjean in the first London cast, had a cameo as the Bishop of Digne, the man who turn Valjean’s bitterness to the world into struggle for good and charity. He was wonderful as usual.

In short, the movie was a beautifully sung rendition of Les Misérables.

For the wretched on the earth, there is a flame that never dies
Les Misérables always hold a special spot in me. Maybe it was because of the Paris Uprising resembling so much of the 1989 Chinese Democratic movement. Some of us still remember our sense of belonging in the social movement back then, and the tragic crackdown, which effects made the China we have now.

So, it was with mix feelings that I came out of the theatre. I enjoyed the movie much. I contemplate the fact that after the Paris Uprising, it took 16 years until the second French Revolution, which overthrown the Orleans Monarchy of Louis Philippe and created the Second Republic of France. How long will China had its own second movement, after twenty three years? Maybe more? I have no answer.

Next Tuesday, Hong Kong people will take to the streets once again to oppose a lying government that is indifference to poverty and hardship. Are we marching to change, or are we stepping into our graves?

Will you join in our crusade?
Who will be strong and stand with me?
Somewhere beyond the barricade
Is there a world you long to see?

—————————–

年初收到《孤星淚》將會登上大銀幕。作為多年粉絲,當然十分雀躍,但演員名單確定時,心情當下冷了半截…

Hugh Jackman (曉治積曼)一直有音樂劇的表演,亦因為他曾以飾演音樂劇 The Boy From Oz 中Peter Allen一角面而贏得東尼獎最佳男主角,可以放心。Amanda Seyfried(雅曼達施菲)亦曾演出音樂劇改編的歌舞片Mamma Mia,相信問題不大。但Anne Hathaway(安妮夏菲維)?Russell Crowe(羅素高爾)?「阿Marius你係邊位?」(演Marius的是誰呀?)實在令人十分擔心。

可幸,預告片感覺尚好,一眾影星的歌唱部份都十分討好。話雖如此,但踏進電影院時感覺還是有點保留的。結果…

等待是值得的,收穫亦十分豐富。

忠實演繹
《孤星淚》的主角Jean Valjean(曉治積曼飾)因偷竊麵包以救濟姪兒而入獄十九年,假釋後隱姓埋名,搖身一變成為老闆、市長。他的前員工Fantine(安妮夏菲維飾)淪落風塵,Valjean知道她距死不遠,主動承諾照顧她的女兒Cosette,代價是警察Javert(羅素高爾飾)識穿Valjean的過去,開始一個追、兩個逃的逃亡旅程。九年後在巴黎,已長大成人的Cosette(雅曼達施菲飾)與年輕革命份子Marius(Eddie Redmayne飾)一見鐘情,私定終身。在巴黎市民即將再發動革命的前夕,Javert終於與Valjean再度碰頭…前途未明,大家的命運會如何發展?

音樂劇改編其實不容易。要如何保持音樂劇原本的脈絡,而把電影感帶進劇情中,本來已經不容易。要找到可以演譯歌曲而不失原作風味更難。而目標是《孤星淚》就更難。監製Cameron Mackintosh、導演Tom Hardy把上述的一一做到了。從場景重現一八三二年起義前的巴黎、貧民窟、革命最前線,每方面的製作十分認真。正因如此,需要關心的只是歌唱部份。

有驚有喜
其實,一如上文所言,雖然一眾演員在預告的表現不俗,但他們始終不是全職音樂劇演員,所以唱功與原版、現役演員比較自然有距離。但製作群有一個決定,令這方面的短處有所減輕,甚至出現超水準表現。

導演選擇以現場收音錄製歌唱部份,而非時前錄製再在現場播音配合演員演出,免去演員即場配嘴形的需要,令他們盡量投入演出。同時,因為編導似乎有意識地修改了部份場口的唱法,令一些歌曲的情感表達力加強不少。

這效果的最佳例子,非安妮夏菲維飾演的Fantine所唱的《I Dream A Dream》莫屬。那一幕一個鏡頭直落,她由疲憊、身心受辱,情感崩潰,再進一步對現況感到憤怒,最後感到絕望。夏菲維唱到中途更一度近乎泣不成聲,但全曲情感表現洽到好處,甚至比原版Fantine(Patti LuPone)更到位。其他主要角色亦有同類表現,如Eddie Redmayne的《Empty Chairs and Empty Tables》、飾演Eponine的Samantha Barks唱的《On My Own》,以至曉治積曼多首交代Valjean内心交戰的歌曲等。要知道,演苦情戲時哭泣,不是最難;唱歌,亦然。哭泣時演戲、唱歌,而能同時兼顧,要求實在極高。這次嘗試,成功了。

相比之下,羅素高爾的表現則最不合格。Javert比較強勢的場口,他的表現還可以,但到角色的主要心理戲,如《Stars》和《Javert’s Suicide》,他便明顯應付不了唱功的要求,實在令我想先行去死。(笑) 相比之下,Sasha Cohen和Helena Bonham Carter演的Thénardiers比原版含蓄,但滑稽不減。

其他年輕演員的表現則比較平均地好,雖然整體而言有「唔夠氣」的情況。Eddie Redmayer本業是莎劇演員,他和雅曼達施菲合唱的《A Heart Full of Love》對比原版最少有七成。Aaron Tveit演的Enjorlas比其他版本收斂,在激昂的大合唱如《Red and Black》、《Do You Hear The People Sing?》中,感覺不搶鏡,很好。

For the wretched on the earth, there is a flame that never dies
《孤星淚》於我而言,從來與六四劃上等號。相似的地方太多。

所以,離開戲院之時,心情複雜。貫穿故事的巴黎起義被鎮壓之後,要歷經十六年才再有第二次法國革命,推翻由拿破侖的復辟。我們的變天呢,要等到多少年?

遠的不說,明天我們要去反抗一個騙子政權。我們會開創新的未來,還是一路走進墳墓呢?

Will you join in our crusade?
Who will be strong and stand with me?
Somewhere beyond the barricade
Is there a world you long to see?

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Podsafe音樂特區 #216 – 復活、改革

闊別五個月,終於回來。不辭而別,十分抱歉。

今集把考慮良久的改革實行,希望大家多多指教。

歌曲列表:
Hillary Reynolds Band – Good As New
Margo Rey – Get Back
Eric Doney – Sandbox
Matthew Ebel – State Of The Union (http://www.matthewebel.com)

電影足跡:評「狼的孩子雨和雪」
Audio Blog: 公僕的角色

在此下載本集節目
在此訂閱
除另外申明,所有歌曲由Music Alley提供
Jingle由Apple GarageBand提供
共享創意署名-非商業性-相同方式共享 3.0 香港 授權條款釋出。超出此條款範圍外的授權可於Mevio MusicAlleyAriel Publicity查閱。

One Day – 人生本無奈

人生從來都是離離合合。如果在二十年間,不斷地與喜歡的人擦出火花,雖然叫人難耐,但亦是人生的常態吧。

我是在戲院看到預告片時才留意到One Day(港譯「情約一天」)這齣戲的。預告所能帶出的故事有限,吸引我的反而是女主角Anne Hathaway的造型。雖然一直並非她的影迷,她在這戲中的形象實在太合我心意,所以等不到和戲腳一起,就已經自己去看了。一向喜歡看愛情片,想必是受人生的愛別離牽動吧。這戲亦不例外。

Emma和Dexter在大學畢業禮後認識,酒後幾乎發生一夜情。清醒過後,兩人決定保持聯絡。出身平凡的Emma向夢想中的作家路發展,而家境富裕的Dexter則向娛樂圈進軍。一年又一年,Emma事業漸見起色,亦與笑匠Callum同居,但Dexter卻因為母親過身而日漸消沉,由小名星、暗星,到最後變為「冇星」,奉子成婚,成為平凡父親一個。事情當然不會如此下去…

故事以主角們每年的其中一日為主,第一印象可能會覺得散,但整體而言比想像中清晰,特別是Dexter喪母后,Emma的成長明顯了,而Dexter則停滯至身為人父之後。情節平凡而有點意料之內,但結局則出人意表。離離合合的情節營造不俗,看著他們倆總是有一方不在戀愛的心情時,不禁叫人「肉緊」不已。片中不乏精彩對白,Emma的一句”I love you, but I just don’t like you anymore”,入心入肺。

演員方面,兩位主角的表現洽如其份,演Dexter的Jim Sturgess的戲較少在香港上映,可能會較陌生。在初段他的少年輕狂、與父母的關係等,都有點外露,反而後段角色成熟,表現含蓄,感覺更佳。而Anne Hathaway的表現自然,由青年到中年的轉變流暢,造型亦討好。演Cullum的Tom Mison表現古怪而不失其有趣一面,片末與Dexter的對話於我而言印象不錯。Dexter的第一任妻子由在香港出生的Romola Garai飾演,戲份較少。

片中的愛丁堡只在戲的一部份出現,但拍得很美。

危機解密 – 科幻為副,人生為先

八月四日更新:鳴謝網友指出,主角是駐阿富汗美軍,而非伊拉克,特此更正。

作為科幻片,Source Code(港譯:危機解密)在人生處世上的著墨很多,故事又不落俗套,著實令作為觀眾的我一新耳目。

劇情是如此開展的:主角Colter Stevens上尉是一位在伊拉克阿富汗前線執行任務的直升機師。他忽然在前往芝加哥的列車上醒來,面對著素未謀面的Christina Warrens以及完全陌生的環境。當Colter在無所適從之下跑進洗手間時,竟然發現鏡中的並非自己,而是另一個男子的臉。未幾,火車發生爆炸。滿以為主角慘死,然後倒序之前的事,但觀眾會發現Colter再次醒來,場景變成有如太空艙的環境。

外面,Colleen Goodwin上尉正與在艙內的Colter通話。Colter由Colleen口中得知自己已經不在伊拉克前線,而是為一個叫Source Code的系統進行任務,需要利用人的短暫記憶(每次只有八分鐘),讓Colter以火車上的其中一位乘客Sean Fentress(剛好是Christina的同伴)的身份嘗試找出爆炸的真兇,從而阻止兇手再發動進一步的恐怖襲擊。在一次又一次回到爆炸前的火車上,Colter不但解開爆炸的真相,亦同意醒覺自身的情況,對自己的生命重新定位。

在劇情上,不難用偷天情緣以及東方快車謀殺案做比較,因為橋段上有相似之處(Time Loop/Whodunit)。但共通點亦只有這些而已。Colleen和她的上司Dr. Rutledge不斷催促Colter,最初亦不提供資料,令觀眾與Colter一般不知所措。每次八分鐘的段落重覆使用下,慢慢的讓主角理解事情的來龍去脈。雖然每次進入場景的起步點都相同,但拍攝手法上有小許分別,而每次Colter的著眼點和行動都不同,所以只有五個場景(火車、火車站、控制室、實驗艙、芝加哥Millennium Park),但感覺每次都新鮮。

因為每次只有八分鐘,而在現實時序中炸彈魔的下一個襲擊亦步步逼近,在氣氛上形成壓力。導演做到九十分鐘全無冷場,值得一讚。另外,主角不斷回到火車上,從乘客的言行,以及對自身情況的逐步理解,領悟到生命中重要的事情。這在Colter致電老父表白思念之情一幕,特別明顯。同時,導演把這一個分支,與故事中的愛情線相互配合,令Colter對Christina發生興趣,再每次加深瞭解,亦加深Christina原本已存在對Sean的好感,處理手法相當討好。

從世界觀而言,劇本的設定並非全無破綻,但整體上並沒有show stopper,亦能以平衡宇宙的理論自圓其說,合格有餘。由於文戲居多,特技只能有限制地使用,並未影響故事流向。故事到最後留下一條很小的伏線,可能會有續集(雖然個人意願並不希望如此)。

角色方面,Jake Gyllenhaal表現出色,最少三分一場次是他的獨腳戲。作為悲劇英雄,他表現出的悲涼,以及在無可再差的形勢下盡力,演活了影片的tag line:Make every minute count。Vera Farmiga由公事公辦到同情主角,個人認為演得比女主角Michelle Monaghan的love interest角色更好。Jeffrey Wright的瘋狂科學家角色是劇情必須,但並不討好。

個人評分:90/100

2010香港國際電影節觀影 (其之一) – 國際短片競賽節目(二)/京都太秦物語

今年只是買了五場的票,明顯比往年少。年紀漸大,已没有精力應付一日三場的戲。又因為事忙的關係,買了票卻錯過了米高堅的Harry Brown,有點可惜。總觀只能看四場。

反之,由美國總領事館和藝術中心合辦的AFI Project 20/20,我卻已經留了三場的位子。難不成是因為免費的關係?

無論如何,前天看了兩場:國際短片競賽節目(二)京都太秦物語

國際短片競賽節目(二)

看這一齣的動機很簡單:我是為了看同場加映《香港四重奏》之一,邱禮濤的《生炒糯米飯》而來。結果並沒有令我失望,拍出香港風味,亦能帶出吾等七十後對街邊小食的懷念。畫面穿插當年香港六七暴動、保釣運動的剪影,導演在之後的問答環節時說只為帶出時代背景(但大家可以自行想像 – 這是我加的)。故事的街景在永利街拍攝,導演指拍攝時已知有同業在同一地點取景,但並不知道是羅啟銳歲月神偷

抱著只看加映作品的心態,入場前對其他短片自然未有多大的注意,可是其中有驚喜,亦有看得一頭霧水的。《Mr Sakurai at the Ticket Counter》和《Mira》,我實在看不懂。《Beast》所提及的家庭暴力,以至小主角對父親暴虐的反抗,令人心寒,因為同樣的事,天天都在發生。《Paradise Later》以印尼的一條「垃圾河」為背景,對盲目發展提出控訴,訊息強而有力。

個人最喜歡Thomas Lo的《Cocktail Definition》和Eric Gross的《The Fortune Writer》。《Cocktail Definition》中的髮型師和酒保,一起尋找能形容不同女性特質的雞尾酒,爆笑而言之有物。順帶一提,因為片子在香港拍攝,導演找來的女性扮演不同雞尾酒形容的女性特質。這群女角,比起Bijin Tokei香港版找來的女性們,漂亮多了~

《The Fortune Writer》所探討的是fortune cookie(幸運簽語餅)的問題。有些人會說,簽語餅的內文是很直接地和你身邊的事、人有關係。有沒有想過這是為什麼?這片子為你帶來其中一個可能性。很喜歡廚房員工Kirby的細心,以及面對心上人的勇氣。

京都太秦物語

京都太秦物語 》原本叫《京都太秦戀物語》。我覺得後者都不錯,雖然老土了一點。顧名思義,故事以京都市郊的太秦為舞台。故事講述在立命館大學任職圖書管理員的東出京子,她的男友、初哥棟篤笑藝人梁瀬康太,大學客座教授榎大地,以至太秦大映通り商店街的街坊們的日常故事。

一眾街坊由真人扮回自己,連主角角色的父母亦是真人上陣。另外,除了骨幹的工作人員以外,其餘人員均為導演之一的山田洋次的學生,所以除了是一齣商業電影之外,亦是一眾學生們參與商業製作的黄金機會,加上太秦的市民們,完全是一個集體創作的實驗。亦因為有學生們參與訪問商店街的商户,得來不少細節,如兩位主角的家庭其實都有子女各一,亦面對和主角所面對有關前途、繼承家業與否的決擇問題。

雖然導演阿部勉明言另一位導演山田洋次的角色是指導為主,但不難發現戲中滲入了一些寅太郎式的幻想/狂想,如:教授對京子學生時代的(性)幻想、康太的Michael Jackson上身一人tap dance等,都很「搞笑」。

由於是比較輕鬆的愛情喜劇,看得蠻開心的。教授的分支比較沉重,因為他比較冒失而對事物太想當然,變得很衝動。他對京子的一見鐘情亦是十分地突兀,和整體故事有點不搭配。但回心一想,教授的衝動,和康太的「唔嗲唔吊」1 成了強烈對比,亦能解釋京子的決定的基礎。

太秦我沒有去過,只是在往返嵐山的路上經過幾次。以前的太秦是電影王國,今非昔比,現在最為人熟悉的只是太秦影畫村。但太秦的市街,和日本一般小鎮一樣,有點說不出的鄉土味,很舒服。下次去京都時,一定要去太秦一次。

如果不是昨天看了《蟹工船》,可能《京都太秦物語》會是今年電影節最喜歡的戲。晚點再談。

  1. 即吊兒郎當 []