我今天去了百老匯電影中心看一個關於法國新浪潮的展覽
。照片雖然是珍貴的歷史印記, 不過展覽規模就真是比較小! 不過, 在電影中心下層有幾間值得看看的店舖, 包括Kubrick書店和餐廳, 喜歡看文史哲書籍的朋友都應該會感興趣。 我之前只去過電影中心一次-是在多年前看’閃靈’的重映!
by Ed Law
26/11/2017
Film Analysis
Sunday 26 November 2017
Sunday 19 November 2017
儀式
最近, 香港重映了日本導演大島渚的作品’儀式’ (1971)。此片是大島對自己的世代作最深的批判的作品, 電影風格十分像小林正樹的’切腹’和寇比力克的’亂世兒女’(Barry Lyndon), 可見英雄所見略同! 電影借主角憶述其家族在三十多年間舉行的幾個儀式,
揭露人性背後的腐朽, 印證’金玉其外,敗絮其中’的殘酷現實, 和年輕世代對於改變現狀的無力感。像’亂世兒女’一樣, 大島在’儀式’中採用了極強的形式主義, 和強調對稱性構圖,
是以表現制度和儀式的機械性和死板, 以及它們對人們自由和創見的束縛。
大島渚在電影中探索的問題是:
為何我們的世界需要儀式的存在? 是促進文明理性, 見證人們是萬物之靈? 是為了飲水思源,
以維繫優良的傳統? 還是如凡夫俗子所道 – ‘一年點都要坐低食餐飯啦!’? 大島認為,
儀式並非如擁有權勢者所給予的所謂’理由’ 。 人們創造儀式這種工具, 是要用來掩飾他們無法理順的情形和難題,
那當然包括了人性中與生俱來的黑暗面。尤其對於有權有勢之人, 當他們沒法合理化自己掌握的權力時, 為了鞏固自己所得的甜頭, 就必須創立一大堆的規條, 以及儀式化他們掌握的人與物。 當權者會拋出一大堆濫情的口號,
甚至會斷章取義, 去邊緣化那些對他們有所質疑的人。沒有了儀式, 便會出現很多不穩定的因素, 對他們的權力引發動盪。 當權者需要有既定的劇本, 才能演活他們的那場大龍鳳!
在片中的大家族, 已經到達風燭殘年的境地。 長老為了鞏固自己僅有的權力和虛名, 才會堅持那些古舊的儀式繼續存在。儀式看似莊重, 但其實只是為了掩飾家族成員背後的心理陰暗: 表面看似重視格律, 內裏卻是滿腹的淫亂; 對外看似宣揚’我哋仲未死得’, 內心卻飽受死亡毁滅的煎熬。 執行了儀式, 就好像’做咗啲嘢’,
登時自我感覺良好 (在網絡年代又可在 Facebook呃吓like) 。這個論點, 與’切腹’和’亂世兒女’背後的意義確實是異曲同工的。
沒有新娘的婚禮
片中最為著名的一幕, 就是主角進行婚禮時, 其祖父為了顧全家族的面子, 縱使新娘不在,
竟然堅持婚禮儀式繼續進行, 使得可憐的主角得到一個没有新娘的婚禮。 為了挽回家族那苟延殘存的虛榮, 大家對主角的內心感受也是不屑一顧。 這一幕就像大島前作’絞死刑’的最後一幕, 出現了一個沒有死囚的絞刑架一樣。 大島除了受到戲劇大師Brecht影響外, 亦往往會用荒謬主義風格去表述故事, 諷刺人類行為的無理。當觀眾體會到制度背後的問題時, 亦不禁會發出一陣冷笑,
詰問: ‘咁都得?!’ 長老偏執地堅持儀式繼續機械地進行下去,
倒讓新娘的親戚廣傳他那既迂腐又鎖國的宣言: ‘我們的新娘沒有受到外來文化的荼毒, 那就是最純正最好的!’ 或許, 他們就是差了做亢奮的跳高三次那一個動作!
犬儒的聽風者
在’儀式’中, 大島賦予他的主角發聲的權力,
讓主角這位年輕一輩的代言人憶述家族諸多儀式對他一生的影響。他發現了自己那所謂的名門望族的陰暗一面,
以及這些事對他的負面影響。 觀眾應該會感受到主角的世代對改變現狀的無力感。事實上, 主角一生中不少的經歷, 是因為家族為了捍衛其守舊的傳統而間接造成的。 縱然有人有膽量在絕境叱喝, 亦會為安於現狀的力量所淹沒。 尼采早就預視到, 即使真正的強者出現, 也會為大量抱有犬儒心態的弱者所擊敗。 因為如果人不肯作出根本的改變,
而甘於受控的話, 任何曙光亦會為之幻滅。當人們無力或者無膽量去求變, 為了在既有的制度下尋到一線存活的縫隙, 就會變得犬儒, 變成自身時代的玩偶。
你, 又有膽量去構想在儀式框架外的天空嗎?
by Ed Law
19/11/2017
以戲服人 Film
Analysis
Monday 6 November 2017
Harakiri, Part 1
It is easy to boast what you believe in, yet at what cost
are you willing to commit to that? If the consequence of doing this will lead
to your own destruction, will you still stick to any of these beliefs? With a
solitary existence, do you have the courage to stand up to the waves of
corruption, and the army of hypocrisy that are so inherent in the world you
exist in? These are the questions that are addressed in ‘Seppuku’ (also known
as ‘Harakiri’, 1962), the absolutely wonderful film by the Japanese director
Masaki Kobayashi!
‘Harakiri’ is a timeless classic, and I can say its power
can be considered on equal terms with any of the greatest Kurosawa classics.
The film won the Special Jury Prize in the Cannes festival, and it has inspired a number
of subsequent directors. Famed for its extreme dramatic intensity, ‘Harakiri’
concerns the final day of the elder ronin Hanshiro Tsugumo’s life, and his
attempt to regain the honor of his family at a corrupt clan known as the House
of Iyi. The melancholy in the story is almost comparable to any Shakespearean
or Greek tragedies, and its universal relevance to our existence makes it one
of the most wonderful human dramas in world cinema. Through a memorable
performance by the smashing actor Tatsuya Nakadai as Hanshiro, the film has
inspired us to have the courage to fight against injustice and to stand firm on
what we believe in, no matter what the cost may be, or how insignificant the
power of a individual is. Since I first watched ‘Harakiri’ in my teenage years,
it has always been a moving film to me, and it has the honor to be my favourite
non-Kurosawa (!!) Asian film of all time. I have always reminded myself that,
if I will be writing about cinema one day, I will definitely write about
‘Harakiri’. I suppose this is a ‘matter of honor’ issue here!
Before we look into the film, I suppose I need to say a few
words about the 2 traditional concepts – ‘Bushido’ and ‘Seppuku / Harakiri’.
While many of the films in the 1960s tend to be critical about the traditional
Bushido code (‘The Way of the Warrior’), I personally do not find to be harsh
towards Bushido. Indeed, I feel that many of the codes in Bushido are still
highly applicable ( I have often wondered if a bushido for writing is
possible?!), and they can really help us to improve ourselves, and become a
greater guy. Yet, just like any rules, we have to understand the context these
codes are based on, and the reason why these codes exist in first place. I
suppose Kobayashi-san’s intention in ‘Harakiri’ is to show the dark side of
bushido, the other side of the story. Even if you find yourselves more inclined
to this revisionist stance, it does not mean that one has to discredit, for
example, Kurosawa’s ‘Seven Samurai’. Only by understanding both the good and
the bad sides of the code, one will really be able to have a holistic view of
the whole issue.
Seppuku (or Harakiri), on the other hand, is something more
hard to appreciate. Harakiri literally means stomach disembowelment, and this
practice is seen as a honorable suicide by the samurai class, a way to redeem
one’s honor. The act is often done in a ceremonial manner, and it starts by the
samurai doing the hara-kiri, and then it is followed by the decapitation
administered by a second member, which is known as . This is done as to give
the a quick kill. Now, viewing it from a modern perspective, this act seems a
bit unthinkable (or even silly). As a fan of B-movies, I can quote a few
examples that can put things into context. Take Rocky III – if Mr. T has
defeated Rocky at the first match, does that mean Rocky has to stroll back to
little Italy
and kill himself? No, as David Sloane from Kickboxer 4 told his nasty nemesis
Tong Po, ‘you just have to beat me in a match and regain your honor’, to avoid
further shame. It is the ‘I’ll be back’ logic that governs all these macho b-s,
or sugar-coated in a way, the ‘matter of honor’ thing. To regain honor, you
need to do is to defeat your opponent in a rematch, as simple as that. Why
would the samurai prefer death rather than dishonor? I feel it is rather tough
to access to this ancient mind-set, though we can have some insights when we
try to link up all these ideas in the next article. Anyway, the easy way out is
to appreciate that, in Kobayashi’s film, the very act of Harakiri is an acid
test to see one is honorable or not.
Through their differing attitudes towards the act of Harakiri, we can
easily see the ones who can truly commit to their own beliefs, in a situation
where almost everyone apparently states that these codes and beliefs are
‘important’ to their own samurai existences.
Hanshiro Tsugumo (Tatsuya Nakadai), an elder ronin, arrived
at the House of Iyi, a samurai clan, in a particular afternoon in 1630. There,
he requested for a place to commit a honorable suicide. The elder clansman,
Saito, invited him for a brief chat. Saito asked whether Hanshiro knew a
younger ronin, known as Motome Chijiwa, as they both seemed to serve at the
same clan years ago. Hanshiro seemed to have no idea who this Chijiwa was.
Saito, stating this was of minor importance, continued with a story about this
young ronin.
Chijiwa, like Hanshiro, actually came to Iyi some time ago,
and also begged fior a place to commit hara-kiri. The clansmen in Iyi discussed
the issue, and some of them believed that Chijiwa’s true intention was to bluff
them, and asked for money in return, or even a position in the samurai clan.
Hikokuro Omodaka (Tetsuro Tamba), a senior retainer, suggested that they should
force Chijiwa to commit Harakiri, so as to serve as an example to those who
might have these intentions in the future. Chijiwa, with no clear idea what his
action might lead himself to, was absolutely surprised when they allowed and
insisted him to commit hara-kiri on spot, and it was all too late for him to
step off. Before the hara-kiri ceremony, the clansmen in Iyi were thrilled to
discover Chijiwa did not even have a real samurai sword – all he had was a
sword made from bamboo. The members of Iyi asked Chijiwa to commit hara-kiri
anyway, by using his bamboo sword. Since the bamboo sword was pretty blunt, it
made the whole experience far more slow and painful, and Chijiwa died with
ultimate dis-honor.
After telling the story, Saito asked Hanshiro if he had any
second thoughts. Hanshiro insisted he would do it, and urged the members in the
house to prepare for the ceremony. He even stated that he would not change into
the light-colored hara-kiri clothing, stating that his dark attire suited the
situation appropriately. Before the ceremony started, Hanshiro had to nominate
for a second who would do the for him. Hanshiro suggested 3 names, yet
interestingly, they were all absent. Hanshiro insisted he would like to have
either one of these members to do , so men were asked to fetch them. In order
to pass time, Hanshiro decided to tell the House of Iyi his life story,
because, ‘What befalls others today, may be your own fate tomorrow.’.
To everyone’s surprise, Hanshiro did have slight acquirancce
with Motome Chijiwa. Motome was actually Hanshiro’s son in law, and he was the
son of Hanshiro’s close friend. Motome married Hanshiro’s daughter, Miho, and
they had a child together. However, after the dissolution of their clan,
Hanshiro and Motome could not find any jobs in the harsh world. It was a time
of peace, and many samurai clans were abolished and the samurais could not find
many opportunities. Hanshiro and Motome could earn for a meager living, yet
when Miho and the child were sick, things went like a downward spiral. With no
money to buy medicine, Motome had to go as far to pawn his real samurai sword
in exchange for money. It was then he went to the House of Iyi to look for
opportunities, but this sowed the seeds for his demise. When the corpse of
Motome was delivered back to Hanshiro and Miho, he was more than horrified to
see the bamboo sword, and felt truly dis-honored by such an act. Soon after,
Miho and succumbed to their illness and passed away. How, Hanshiro was alone,
and he realized the Bushido code would never be able to provide any justice to
the vulnerable one...
Hanshiro blamed Saito and the clansmen for the decision to
kill Motome in such a manner, yet Saito insisted that they have done nothing
wrong and denied any responsibilities. Knowing that he would not be able to
change their opinions, Hanshiro announced that he was ready to join his family
in another world. Before that, he decided to show them ‘one last thing’. They
were the headknots of the 3 absent samurais!
Now, Hanshiro told the clansmen that, he has already taken
action. He stalked down the first two samurais and challenged them to duel. Of
course, Hanshiro defeated both of them easily.
Hikokuro, knowing about Hanshiro’s ordeal, came to his house
and challenged him to a duel. Though Hikokuro was a skillful swordmen, he had
no real war experience like Hanshiro. As Hanshiro commented, ‘Swordsmanship
untested in battle is like the art of swimming mastered on land.’ Eventually,
Hanshiro defeated Hikokuro.
Hanshiro insinuated that, while the House of Iyi claimed
that they followed Bushido, their 3 skillful retainers were so coward to even
come back when they have lost the duel. Consumed with shame, Saito could only
wipe out Hanshiro for good. He ordered the clansmen to kill Hanshiro, and a
wonderful showdown started, which could only been described in images.
After turning Iyi upside down, Hanshiro committed an
anti-establishment act (that’s movie in the 60s) – he threw the samurai statue on
the floor. And, as he has promised, Hanshiro committed hara-kiri.
However, to avoid further shame, gunmen were sent in and Hanshiro was gunned
down as a result. After a messy afternoon, the House of Iyi has taken action
to set things right. They ordered the 3 clansmen to commit hara-kiri, and then
they cleaned up the house, and re-erected the samurai statue. For the record,
they fabricated the whole story as an honorable suicide, and of course skipped
out the shameful part. After that, it seemed nothing has happened at all, and
the House of Iyi was still standing. The clansmen might try hard to forget
Hanshiro, yet, for the audience, we will always remember how a courageous and
wonderful man he was.
(1/2)
by Ed Law
6/11/2017
Film Analysis
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