Sunday, 30 April 2023

納粹狂魔 (The Damned)

 


 

天地不仁,人們在現實的急流中,每每感覺無助。儘管一個人的力量難以締造歷史,又或者是改變自己所處於的時代; 但是如果只為一口稀飯,舐嘗利益的甜頭,而選擇去成為強權的幫凶,那跟邪惡狂魔又有何分別?今次我談意大利導演盧奇諾.維斯康堤(Luchino Visconti)的電影'納粹狂魔'(The Damned, 1969),希望給予大家一個反思的空間! 

 

維斯康堤可算是電影史最有貴氣的藝術家。他出生自意大利一個貴族家庭。但維斯康堤可不是離地的名門’戇’族,他在家族的培養下,自幼己經有接觸古典音樂和藝術訓練。在青年時代,維斯康堤在Coco Chanel 的引薦下認識了法國導演尚雷諾瓦(Jean Renoir) , 成為了他的助理。在累積了不少電影製作的經驗後,維斯康堤在四十年代拍攝了第一部.作品 - ‘Ossessione’. 此片是意大利當時盛行的新寫實主義(Italian Neorealism)的代表作品。這個發源自意大利的電影運動強調電影的寫實感,影響了後來如法國新浪潮等運動。不過在往後的二十餘年,維斯康堤漸漸摸索到自己的獨特風格,偏離了寫實主義的軌跡。這種發展其實亦與羅索里尼(Roberto Rossellini)和費里尼(Federico Fellini)很相似。’納粹狂魔’(The Damned)是在其電影風格成熟之時所拍攝,其扣人心弦的故事亦令維斯康堤獲得了金像獎原創劇本的提名。此片含有不少的性愛和暴力場面,亦有探索當年頗具爭議的同性戀問題,當時在美國電檢被判為X級(即美國的三級片),可以算是維斯康堤最為暗黑的電影!   

 

 

注意:本片部份內容頗具冒犯性,亦有兒童不宜的情節! 

 

 

有一些人甘於與壞人同流合污,總是會說自己是被逼的。不過如果沒有自身心理陰暗的推波助瀾,試問又怎會這樣容易成事?’納粹狂魔’的Essenbeck Family ,本來就是一個成功的大企業。當納粹黨在三十年代開始崛起時,家族內的分歧漸漸浮現。維斯康堤繪形繪聲地述說了這個大家族如何變成了擁護希魔狂徒的黑心企業。除了狂魔政權的步步進逼外,人性道德的淪亡亦伴隨着家族的沒落。當中的表表者要數家族領導Baron Essenbeck的兒子Martin, 是一個無道德和帶有性變態傾向的混蛋。他不但用其僻好去傷害其他人外,更不擇手段地在家族中企圖奪位。或許因為與納粹份子沆瀣一氣 ,Martin暗中得到這些歷史罪人的資助,在企業中得勢上位。儘管觀眾都知道納粹黨最後的下場,但在此片來說,結局是悲劇: Martin把家族生意交給納粹黨,使得叱咤一時的企業變成遺臭萬年。 

 

隨着其電影思想成熟,維斯康堤在其後期作品漸趨風格化。他經常使用對比和象徵等手法,去探索外在環境與內在心理的互動。在’納粹狂魔’中,可以看到維斯康堤一貫的奢華場景,但在酒池肉林的背後,只剩下人們內心的虛無。這種金玉其外,敗絮其中的情境,與寇比力克的’亂世兒女’(Barry Lyndon)和貝托魯奇的’同流者’(The Conformist)有異曲之同工之妙。維斯康堤其實和Orson Welles一樣,喜歡以個人或者是族群的淪落作為其電影的主題。Welles的依作品往往描述角色因為自己的性格缺陷以至在道德上的墮落,至維斯康堤偏於社會階層的淪亡, 縱使在’納粹狂魔’他亦都有深刻地探索人性的黑暗。在企業處於危機時, 家族成員沒有團結一致,只顧自身利益和互相勾心鬥角,如何美麗的外表也不能掩飾他們即將潰敗滅亡的現實。維斯康堤用這個故事借喻歐洲的歷史,慨嘆歷史的不斷重演。 

 

 

那麼這些有權勢的名門望族,又為何要向強權低頭呢?不要再聽那些'唯美'的藉口,一切可不又是為了自身利益而去趨炎附勢!口中擁護這個那個意識形態,彈出彈入去刷存在感。 這種有如打卡般的’報到文化’只令人覺得他們是為了一頓飯去盲目支持,而非真的相信。從前的人, 為了擁護一個意識形態去犧牲自己,現在這一種人除了只懂靜悄悄地為自己找後路外,連作出一些損害自身私利的犧牲也沒有膽量。偉大的電影大師,便是可以洞察到恒常的人性行為, 相信連維斯康堤也預視不到自己電影的劃時代性。 

 

 

'納粹狂魔'最具爭議的地方,是電影中對性和暴力有極強烈的描述。縱使此片的背景是在三十年代的歐洲,此片在上映的1969年,正值美國和歐洲盛行sexual revolution的高潮,鼓勵高談闊論性問題和接納多元的性觀念。加上電檢制度的放寬,這個年代亦有不少’踩界’的電影問世。其實歐洲藝術電影向來對性有頗為大膽的描述,很多電影大師在此都是頭號嫌疑犯!貝托魯奇,柏索里尼,艾慕杜華等藝術片導演,都會以性作為電影的主題,但他們是淫而不賤,並不是為了吸引觀眾的眼球。他們是要探索性這種原始慾望,從而引申至較為宏觀的問題,例如道德,權力,政治以至社會制度。後面的大問題才是這些大師關注的事!這種風格在’同流者’和’巴黎的最後探戈’(Last Tango In Paris)中亦可以觀察到。不是說角色不可以人格分裂,在處理房事和家國大事採取不同的態度,不過電影大師們喜歡用這種象徵的手法去勾勒人物內心最赤裸的控制慾望。正如一位著名電影評論人說過,最pornographic的事,或許就是腐朽制度和利慾薰心對無辜的人的殘害。維斯康堤就是用了大膽的影像,去批判這些害群之馬。 

 

Martin von Essenbeck是一個令人難忘的角色,因為這人的內心陰暗,籠罩着維斯康堤的震撼史詩。Martin是一個無道德(amoral)的人,因為他毫無道德枷鎖,所以可以為所欲為,幹得很放。而且此君的情趣亦頗為重口味,是一個性變態又喜好易服癖的哥兒。他不但私下狎童外,更和自己母親亂倫,可謂大小通吃!而母親亦都是’痴母系’代表,對於此倫理不容的關係欣然接受。瘋兒對痴母,看不見如希羅史詩的悲情;只是感受到對人性腐朽的唏噓。Martin能夠在這個病態之境存活,是因為他那強烈的控制慾,在利用他人和傷害他人時,就像自己滿足了自己的性慾般得到了快感。維斯康堤利用這些極端的行為去襯托Essenbeck企業的末路。每一個成員最壞的一面都顯現了出來,還有一些能力和正義感的就被陷害和插贓嫁禍。眾人沉淪於權力鬥爭,就連納粹的黨內派系也出現了狗咬狗的情況 。新派派人潛入了舊派舉行性愛派對的會所,用機槍瘋狂掃射,把屬於舊派的黨員殺個血肉横飛。這一個暴力場面拍得相當寫實,像同年上映的’流寇誌’一樣頗受爭議。 

 

維斯康堤運用了如此踩界的風格,是因為他想達到警世的效果。現實往住是,這些視道德倫理為無物的蛋散,可以肆忌無忌憚的奪取權位,因為他們都對其他人的福祉置若罔聞。Martin這個娘娘腔,最終不但安排與自己母親結婚,還成功地登上企業的最高位,在片尾對納粹政權作出效忠的手勢。Martin的故事, 或許就是整個Essenbeck企業的縮影: 黑暗操控自身,令自己處於自毀的狀態,使得最後在道德和名譽上都全然淪落。維斯康堤是電影大師,是因為他有寬宏的遠見, 冒着被人誤解的風險也要向世界宣揚現實發出的警號。從前的電影都是如此好看,除了它們會令人一看難忘外,它們會為充滿睿智的觀眾帶來無限的想像空間。 

 

不過維斯康堤終究也是一個崇尚道德主義的人,希望在自己的作品探索人生處世之道。縱使其電影中的角色往往都是自己時代的人生勝利組,但也只是因為他們幸運地出生於貴族的家庭。他們的階層是會被進取主義掛帥的群眾所取代。維斯康堤針對的,是兩種不對的態度 :第一種是安於現狀,處於被動的狀態; 而第二種當然就像本片一樣,爭相討好不義強權,阿諛奉承為求換取一息的苟延殘喘。這些人只求享樂,過得一天便一天。他們忽視了自己被重現並不是因為過人的實力(除了擦鞋外),而是他們還有些少利用價值,充當一時的跳樑小丑。或者, 這是維斯康堤對自身經歷的反思。即使自己’好命’出身於貴族,也只是後世歷史名册上一個微不足道的名字;只有利用自己的實力去作出一些實際的成就時,後世人才會不斷重提維斯康堤這個名字! 只有堅持心中的理想和正義感,才可以在任何時代幹一場令自己驕傲的好戲! 

 

結語 

 

湯馬斯曼(Thomas Mann)是小說’魂斷威尼斯’的作者,維斯康堤亦曾將此小說改编成一齣好看的電影。  湯馬斯曼曾經說過:  

 

‘Speech is civilization itself. The word, even the most contradictory word, preserves contact it is silence which isolates.’ 

 

一個人不能夠控制自己生於什麼年代,但他有能力找到自己應處於的位置。當聽着Don Luchino的故事時,請不要’錯重點’:我們不是因為欣賞他有錢有權勢,而是敬仰他才那難能可貴的藝術才華! 

 

 

by Ed Law  

以戲服人 Film Analysis   


Thursday, 27 April 2023

末代皇帝

 


意大利電影大師貝托魯奇(Bernardo Bertolucci)的代表作-末代皇帝溥儀-將在香港重映,以紀念坂本龍一先生。這部勇奪九項金像獎的佳作,能夠在敍述宏大的歷史氛圍和細膩的人物情感之間作出微妙的平衡,以致建構出一部偉大的現代史詩。想感受一下歐洲藝術電影的風采,就一定要去看看這經典電影了!!

by Ed Law

Film Analysis


Saturday, 31 July 2021

喋血雙雄

槍林彈雨下的惺惺相惜, 善惡共存世界裡動人的情感, 炎涼世態中一絲對人的關懷。 在吳宇森導演和周潤發先生的忘我演繹下, 造就了香港電影中一章叫人難忘的篇章- '喋血雙雄'!

真.男人的浪漫

'喋血雙雄'可算是吳宇森和周潤發最為著名的作品之一。或許此片不像'英雄本色'般具開創性;不像'喋血街頭'般史詩感強; 沒有'辣手神探'的動感和'縱横四海'的戲謔; 不過'喋血雙雄'不但令全世界的電影愛好者認識到吳宇森的獨特風格, 此片也是他藝術成就的巔峰。 白鵨亂飛的教堂配以混亂的槍戰, 一句句令人振奮的對白, 以至周潤發和李修賢富感染力的演繹: 縱使我已經看過此片不下數十次, 但每一次都仍然被動人的故事情節所感動。  我對吳宇森和周潤發的崇拜, 就像黑澤明和寇比力克一樣, 不只是單純因為他們的電影好看,而是因為他們的作品反映了他們高尚的人格和敬業樂業精神!


by Ed Law

以戲服人 Film Analysis


Saturday, 3 July 2021

'未來戰士續集'三十週年紀念

三十年前的今天(1991年7月3日), 占士金馬倫(James Cameron)執導的’未來戰士續集’(Terminator 2: Judgment Day)在美國開畫。此部阿諾舒華辛力加電影在1991年勇奪全球最高的票房, 亦贏得四個奧斯卡獎項。’未來戰士’第一,二集並沒有隨時間的流逝而被人所遺忘。即使占士金馬倫在後期拍過看似更成功的電影,’未來戰士’一定是他的代表作。沒有’未來戰士’,他可能只會是一位寂寂無名的B級片導演。當金馬倫可以在影壇運用’未來戰士導演’這個稱號時,他才可以運用這個亮麗的track record去爭取拍攝如’鐵達尼號’和’阿凡達’等大製作!


今次我會在此分享之前寫過關於’未來戰士’的幾篇文章:

The Terminator

https://emockedlaw.blogspot.com/2015/07/terminator.html

Terminator and Me

https://emockedlaw.blogspot.com/2015/07/blog-post.html

Terminator 2 : Judgment Day

https://emockedlaw.blogspot.com/2015/07/terminator_13.html

Terminator and Postmodernism

https://emockedlaw.blogspot.com/2015/07/blog-post_18.html


沒有看過’未來戰士’, 又怎會領略此經典電影的強烈魅力? 


by Ed Law
以戲服人 Film Analysis
 

Sunday, 20 June 2021

Under Capricorn

 


‘Under Capricorn’ is an interesting film from Alfred Hitchcock. The fascination with this film originates from its technical innovation and the issue of audience expectation often associated with genre films. A film from 1949, it is an early Technicolor film, just like Hitchcock's previous film 'Rope'. The film is also a period drama, a rare choice from the Master of Suspense. ‘Under Capricorn’ also shows some similarities in terms of content and style to ‘Notorious’, another Hitchcock film from the 1940s. Both films were brilliantly performed by Ingrid Bergman.



The most interesting aspect about ‘Under Capricorn’ regards the audience reception of the film when it first came out in the end of 1940s. ‘Under Capricorn’ appeared to adopt a European sensibility and it was more popular in the art film circles of Europe rather than mainstream Hollywood. The audience back in the 1940s expected the period drama to be a typical Hitchcockian thriller. Yet while the film was suspenseful and also had a mystery plot element, the story was more melodramatic than thrilling. The film seemed to resemble the melodramas by Kenji Mizoguchi in the same era rather than a typical thriller in the golden age of Film Noir.  



The Sydney of the 19th century, where the story took place, was a new frontier where many foreigners flocked to. Prospectors travelled there to look for a new start in their lives. What they could not have left behind, as implied by Hitchcock's stylistic motifs, were the crime of passion and the darkest secrets of the past. Indeed, the film was quite similar to the Hitchcock’s  ‘Notorious’, another melodrama disguised as a Film Noir. Other than the similar ‘poisoning Ingrid Bergman’ motif, both film concerned complex love triangles. The dramatic tensions were further complicated by the ethical gray areas, which served as an essential theme for the Noirish landscapes portrayed in both films.



Characters searched for their selves and made sense of their existences through Hitchcock's long takes, as an ongoing experiment that originated from his previous film ‘Rope’. When long takes were employed in the late films of Kenji Mizoguchi, they were formalized and represented the processes of ritualistic gestures in the past. In contrast, Hitchcock's long takes demanded the viewers to look for clues and emotional cues as they travelled alongside with the characters in the film. As we were led through the ballrooms, dining halls, and bedrooms inside the gothic manor, the power relations due to the differing social status of the various characters shifted, and everyone gained their upper hands at certain points when the power dynamics were changed. In fact, ‘Under Capricorn’ can be considered as an erotic film - it is just the clinical and subtle style of Hitchcock that renders it less like the sexually-charged ‘erotic films’ we understand today.

All the characters had their own secrets in ‘Under Capricorn’. Their actions were often amoral and they were motivated by material considerations and self-interest. For Ingrid Bergman, she has given an edgy performance in the film, as an eccentric and alcoholic lady. I bet Ms. Bergman has probably tried to make her photogenic appearance more unflattering, like wearing baggy clothes and having nervous gestures and intonations to fit her character in the film.  Her character had to sort out her turmoil for her passions and feelings for the two male protagonists, not knowing she was slowly poisoned by alcohol with another jealous character. Through the film, further criminal acts were carried out and unfair insinuations were made, cluttering the moral compass of the cinematic world. Being a moralist, Hitchcock offered hope by giving Bergman’s character a sense of justice, even if she was physically compromised at the climax of the film. She was willing to stand up and speak about the truth, and sorted out the moral clutter. In the age of the dark and fatalistic Noir, ‘Under Capricorn’ gave the viewers an ending where the innocent ones received justice as the truth came to light at the end.

 

This Hitchcock film is a great representative of classic Hollywood cinema. And, if you have seen enough black-and-white images and films of the legendary Ingrid Bergman, you may want to see how she looks in Technicolor, too! 


by Ed Law 

Film Analysis


Sunday, 13 June 2021

Sophrosyne : Art of Moderation

 


‘Looking forward’ often sounds like a positive outlook, yet there is a caveat to it. When one examines an idea, he should not jump to the conclusion that the idea is not useful as it is ‘dated’ or ‘old-school’. Such a contextual reading of things can lead one to overlook some of the most endearing wisdom of the human legacy, and often this attitude merely represents one’s obliviousness to the origin of our thoughts. The contributions from thinkers of Ancient Greece have been tremendous. They have ignited the fire of Western thoughts through the work in literature, philosophy, and science. The thinkers have also proposed to us some of the first models of an ethical life. One of the most important ethical outlooks from this era is Sophrosyne, widely considered as the golden rule of Ancient Greek wisdom.

 

Sophrosyne (σωφροσύνη) is the noun of Sophronein (σωφρονεῖν), the verb that corresponds to the same idea. Often translated as ‘soundness of mind’ (noun) or ‘thinking well’, the concept has been interpreted by many thinkers through the Archaic Greece and Classical Greece, and continued to later eras. Sophrosyne has been transformed, and encompassed wider attributes throughout history. Despite diverse opinions added to the concept, the central theme of the word has not been altered. As an opposite to hubris, sophrosyne demands a clear and rational mind, which judges and makes decisions wisely, with regards to one’s limit. It is a form of moderation for an individual to exist in the world.

 

It is quite interesting to note that, while the concept of sophrosyne has first appeared in the epic poems of Homer, later thinkers have often ‘cherry-picked’ on various parts of the concept and made their assessment by focusing on their particular interests of the concept. Thus for the Pre-Socratic philosopher Heraclitus, sophrosyne was related to physis and logos; for Socrates and his successors, the focus was on the rational examination and analysis of the concept with regards to ethics; and for the Stoics, the concept was used to establish one’s place in the universe. The later thinkers stressed about the concept of sophrosyne as akin to ‘knowing your place’ in the universe, and one’s ethical deliberations should be based on a sound mind and rational considerations. Also the concept of measure was associated with sophrosyne, as that provided a metric for one to weigh different options and choose the most well-informed actions. For Socrates, he has attempted to find an objective standard of knowledge and ethics, through his questioning and examination of general and particular beliefs. The Sophist Protagoras has gone even further to abandon any objective metric, and proclaimed ‘Man is the measure of all things.’

 

Of all the interpretations of sophrosyne, I find Heraclitus’s elaboration most inspiring. The Pre-Socratic thinker was one of the most charismatic thinkers of Archaic Greece, and his thoughts were so original that they can still be considered fascinating and contentious by today’s standard, just like when one reads Nietzsche and Zhuang Zi. Asserting that the universe was governed by the cosmic order known as ‘Logos’, Heraclitus stressed the importance of sophrosyne in the famous fragment B112, a memorable advice that deserves to be quoted below.


“Sound thinking (σωφρονεῖν) is the greatest virtue and wisdom: to speak the truth and to act on the basis of an understanding of the nature of things”

-Fragment B112

 

Thus for Heraclitus, the attribute of sophronein meant getting closer to the nature of things. Only which one embraced physis, which originated and was governed by Logos, could the individual acquire true wisdom and lived well.  This statement reflected the philosopher’s opinion that the human world, which was part of the universe, was modelled after the cosmic (divine) world. For Heraclitus, true wisdom meant the realization of the fact meant that the human world, being part of nature, was in no way distinct or separate from the cosmos. The appreciation of this limit has implications of one’s ethical outlook, as one will deliberate with considerations regarding one’s nature and limitations and avoid the influence of hubris and other folly. Thinking well is the virtue of sophrosyne. 


by Ed Law 

Conatus Classics


Monday, 31 May 2021

Conatus Classics - The First Year

 

On 31st May 2020, I have published the first article of Conatus Classics, which is a section with the intention to discuss the History of Thought. The articles in this section have spanned the broadest of scope I have ever written about the other topics from cinema and science. For the past year, I have many opportunities to explore diverse themes from philosophy, history, science, poetry, drama, politics and social science in Conatus Classics. When I write articles for Film Analysis, I often take a more liberal approach and express many personal opinions, as cinema is something that has fascinated me for many years and it is also a topic I am well-acquainted with. For Conatus Classics, I take a more objective and impartial approach, and have carried out more background research, which includes reading the original text. An improvement is probably more careful close-reading of the original sources, so that the readers can more easily appreciate the different interpretations that arise from the ideas of these curious thinkers.

 

The first year of Conatus Classics has placed an intense focus on Natural Philosophy of Ancient Greece. Almost all the Pre-Socratic philosophers have expressed opinions, or have gone as far as developing coherent philosophical systems, to account for the world in a rational way. The information acquired from the myth of the epic poets would no longer be useful for the understanding of humanity, that has given way to the use of rational speculations. These thinkers attempted to understand, amidst the ‘many’ in the universe, what was the ‘one’ that everything was originated from? In short, what is the ‘physis’ (Greek for ‘nature’) of things? The philosophical ideas from these ancient thinkers may be dated by today’s standard, yet one cannot deny the imaginative aspect of the many ideas that have survived the passage of time. Some of the ideas have even provided the foundation of different schools of thought that are still relevant today: materialism, rationalism, ontology, theology, behaviourism, you name it.  The wise men from the Pre-Socratic era – from Homer, Solon, Thales, to Pythagoras, Parmenides and Democritus – have all left lasting impressions for future people, and their impacts were no less significant than the Holy Trinity of philosophers from Classical Greece.

 

Creative juxtapositions have also been committed in a series of articles. The tragedians from the Classical Greece -  Aeschylus, Sophocles and Euripides – have been compared with three brilliant filmmakers of the 20th century – Griffith, Kurosawa and Peckinpah. The more we attempt comparisons on the 2 distinct art forms, the more surprises we can discover. What have struck me are the similarities in the emphasis on the universal human issues, stressed by the artists from two millennia apart. That represent the legacy of artistic innovation offered by the members of our species.


Looking forward to the 2nd year of Conatus Classics, the concentration will be on the thinkers from Classical Greece onwards. The focus will be shifted from the heavenly bodies back to our Earth. The humanism of Classical Athens and the associated ideas would shape the Hellenistic philosophy. The diverse schools of this later era had the common theme on proposing systems for the individual to interact with the world which he was situated in. The philosophical deliberations led to implications in diverse ethical outlooks and possible ways towards ‘eudaimonia’ (commonly translated as ‘happiness’).

 

The other face of Classical Studies is focused on the Latin world. The ancient Roman Empire is renowned for its contribution to legal studies. The Roman Law serves as the locus classicus for the development of jurisprudence in the Western world. The ancient empire was also famed for its contribution in literature, rhetoric and philosophy. The studies of ancient Rome are just as interesting and inspiring as ancient Greek studies. These are the topics I will explore in the 2nd year of Conatus Classics! 


by Ed Law 

Conatus Classics


Sunday, 30 May 2021

A Few Words on Oscar

The Academy Award for 2021 has come late, yet it was still present for the sake of historical records. Many of the winners and key contenders, following the trend of the past few years, are films about outsiders and the unnoticeable. Gone were the days of the larger than life epic heroes in past films that have garnered many Oscars. The underdogs found their voices in the many films for the Award this year. Be it a nomadic existence due to economic circumstances, the whistle blower who was silenced due to a heterosexual power structure, idealistic characters who became fall guys to ideology and political power struggle. Even people forgotten in history re-emerge:  people may know Orson Welles and his masterpiece Citizen Kane, but how about Herman J. Mankiewicz, the writer who collaborated on the script and received an Oscar along with Welles? Even in a larger than life film, Tenet, the hero and the villain have to resort to alternatives - by reversing the time to place an edge against each other in the struggle. The truth is, these stories are closer to our experience, and the characters are no less heroic than the idealized heroes often found in the uplifting films. 

 

Universal theme of family values is upheld by a few winning films, emphasizing to the audience that no matter how the world has changed, there are some fundamental values that can be truly considered as humanity’s legacy. ‘Minari’ stressed the need for family relationships in a foreign land; ‘The Father’ stressed the compassion required for surviving old age; and ‘Nomadland’ reminded the audience of the humanism common in all the drifters and loners. The importance of family values and emotional support, after all, is independent of geography and context, and this note is in particular relevant for the divided world of today.

 

While there are many young and talented contenders in the acting category, it is just as happy to see the veteran performers, like Anthony Hopkins and Frances McDormand, getting the recognitions they deserve. It has been about 30 years since Mr. Hopkins first received an Academy Award, with the Chianti-loving Dr. Hannibal in ‘The Silence of the Lambs’. Mr. Hopkins has proved to be a versatile actor throughout the years, from portraying President Richard Nixon to the Pope. In ‘The Father’, the Jonathan Demme-style stare from the intense Dr. Lecter is no longer required: Mr. Hopkins offered us an intimate portrayal of an aging father, alongside with Oliver Colman’s brilliant supporting performance. 


Frances McDormand, the frequent leading lady of Coen Brother’s edgy masterpieces, is known for heightened characters like those in ‘Fargo’ and ‘Three Billboards’. In her Oscar-winning performance of ‘Nomadland’, we can see the more subtle side of Ms. McDormand’s performance, which can be easily overlooked when one associated her with the darker films she has often appeared in. It is also gratifying to see that she has taken a more active role in the film by acting as a producer. While actors and actresses have often involved in the backstage work of film production through the history of cinema, this has become more commonplace in recent years. This is indeed a great testament for the enrichment of cinematic experience for practitioners in the film industry! 


by Ed Law 

Film Analysis


Sunday, 18 April 2021

Being Nameless with the Dao


When the Ancient Greek thinkers were experiencing a paradigm shift in the understanding of the world from the 6th century BC onwards, another intellectual force was rising at the same time in the East. The dawn of Chinese Philosophy appeared in the Spring and Autumn Period, and continued with an intense and diverse development throughout the Warring States Period. The Pre-Qin Philosophy (先秦哲學), which encompassed a number of competing schools of philosophy, laid the intellectual foundations of the most important values of Chinese culture, be it in Literature, Theater, Calligraphy and Painting. Having a strong fascination in Chinese Literature and Philosophy, I would like to share about some ideas of a fascinating school of thought of Chinese Philosophy – the Daoist school (道家), as advocated by the philosopher Lao Zi (老子) and his famous successor, Zhuang Zi (莊子).
 
The Daoist philosophy is idiosyncratic when compared to the other schools of Chinese philosophy, not only because of its apparently passive outlook of life, but also because of its more metaphysical worldview. The pre-Qin philosophy was all pragmatic and humanistic – each school wished to advocate for beliefs that would impact the human life and society in general. The Daoist outlook, by contrast, was more inclined towards nature, and that was quite similar to the natural philosophers of the Pre-Socratic period. Indeed, in the later Classical Greek era, natural philosophy has been perceived as a pointless inquiry for human existence and the thinkers placed their focus on more humanistic issues such as ethics, politics and rhetoric. That is why Daoist philosophy was considered unique and has attracted its fair share of detractors, who pointed out that the philosophy itself was not useful for any reforms on social and political issues. As we will see, Daoist philosophy is often capable of surprise and it may turn out to be useful for the human world.

‘Dao’ (道), which is translated as ‘way’ or ‘path’ in English, is the ontological entity of the universe, and it is the central component of the cosmology proposed by the Daoists. Dao leads to the genesis of all things in the world. Reminiscent of the ontological reality proposed by certain Presocratic philosophers, Dao is everlasting and it neither has a beginning or an end. There is no notion of life and death in this reality, so the whole system is harmonized and does not have any dialectical or opposite relations at all.

While I do not think that the nature perceived by the Daoist necessarily means ‘natural science’ in the modern sense of the term, it is quite evident that Dao encompasses everything from nature – including humans. Thus in Daoist doctrines, the meaning of ‘Zi Ran’ (自然, translated as ‘nature’ in English) can be compared to ‘physis’ from Greek philosophy, which excludes anything that originates from humans. The whole enterprise of Daoist philosophy is to inspire the followers to appreciate the genuine nature of things, and to retreat from the human influences – that have led to a lot of unnecessary conflicts and arguments – and live one’s life by getting closer to the way of ‘Dao’.

An important attribute of ‘Dao’, which is relevant as that serves as a contrast to other competing Pre-Qin philosophy, is the namelessness of Dao. ‘Dao’, immanent in the natural world, is abstract and it cannot be represented by language or ‘names’. In a sense, one cannot easily comprehend the nature of Dao and describe it in words how that looks like and what it is about. This is in stark contrast to the other schools of philosophy, as they often attempt to give opinions on human nature and hence how one should behave to fit in. A key example is the Confucian school (儒家).

Confucius (孔子), the founder of the school, maintained that ‘Ren’ (仁, kindness) was important because, when a person has disciplined himself through the observation of this moral requirement, that would facilitate a positive interpersonal relationship with others, leading to a stable social order at large. Confucius observed that language, one of the most important vehicles of human interactions, would impact human relationships and also the social hierarchy. Thus he proposed the need for ‘rectification of names’ (正名, Zheng Ming), the requirement that a person’s behaviour should be in accord to his title, the ‘name’.  By expressing a meaning and correspondence unambiguously, the correct ideas can be conveyed through the verbal or written means and that would lead to less conflicts and a more harmonious social order. The notion was not very different from Greek philosophy, like when Socrates pushed for clear definitions of terms when someone gave an ambiguous statement; or the sophist Prodicus who stressed on precise distinctions between similar terms.

The Confucian moral order is therefore rational and hierarchal, working through a rational stage-by-stage approach. Mencius (孟子), the successor of the school of thought, advocated that one should start a moral outlook from an individual perspective, and then influenced his family and finally the society at large (推己及人).

The Daoist philosophers, however, disagreed with this perspective of looking at life. Lao Zi, the founder of the school, has made the famous statement that:

‘The Dao that can be told of is not the eternal Dao.’ (道可道非常道)

and

‘The Nameless is the origin of Heaven and Earth.’ (無名萬物之始)

The philosopher has stated the two most unique doctrines regarding Dao: it cannot be spoken of or stated in words. To put it in another word, if that is an alleged ‘Dao’ which can be stated in words – it is not the real thing, it is a hoax. That is why ‘wu ming’ (無名, namelessness) is Dao’s most important attribute, and it is the origin of all things in nature. If the Confucian thinkers attempted to place names on everything they experienced in life, their actions were against nature, as nature has already organized everything in unity, and the Confucians were trying to disrupt the order of nature. Lao Zi has provided a lot of metaphysical background for Daoist philosophy, but that was Zhuang Zi, his successor, who has engaged with the detractors of his era and expressed a more systematic exposition of Daoist ideas in the book that bore his name. 

(End of Part 1) 

by Ed Law 
Conatus Classics

Saturday, 10 April 2021

Nights of Cabiria

 


To celebrate the 100th birthday of Italian filmmaker Federico Fellini, a number of Fellini classics will be shown again in cinemas around Hong Kong. ‘Nights of Cabiria’ is an interesting candidate of Fellini’s wonderful oeuvre.


While cinema lovers around the world are familiar with Fellini’s imaginative style, often characterized by its dream-like tendency, it is easy to overlook that Fellini started from an origin of Italian Neorealism. This film style from the 1940s strove for the most hard-core realism known to film – from the ‘un-cinematic’ casual gestures from de Sica films to the uncompromising scenes common in Rossellini’s films, the artistic movement built up on the influence of von Stroheim and Renoir, and aimed for a kind of documentary realism unprecedented for cinema. The young Fellini has worked with Roberto Rossellini, as a writer for the Neorealist film ‘Paisan’. Hence ‘The Night of Cabiria’ is seen by many as an interesting work in Fellini’s cinema, as it combines two apparently irreconcilable style – his later signature style and the realist style where he originated from. Yet the result is not an inconsistent film: the Fellini masterpiece is a sincere outlook of how one may have survived in a harsh and uncompromising environment.


One can easily feel that Fellini has expressed a sense of pessimism in ‘Nights of Cabiria’, yet it is likely a commitment to the style of Italian Neorealism rather than his personal outlook on life. It is as if the filmmaker is placing the protagonist, Cabiria (starring Giulietta Masina) in a social experiment. Cabiria was a sympathetic character for many, she was a happy-go-lucky kind of person and she was willing to fight for a better future, quite like a Sirkian woman. That reminds me of a later film by Godard, ‘Vivre Sa Vie’, and Nana (played by Anna Karina) was actually quite similar to Cabiria, though not as comedic. By placing Cabiria in a genuinely rough and unsympathetic world, one can see that she was as street-smart as she could be, as it was the only way for her to survive ‘on the streets’. Many viewers have expressed that Cabiria resembles a Chaplin character, and indeed her gestures were not very different from the Little Tramp. While the iconic character is very likeable, one should also note the subtlety offered by Chaplin. The comedic character possessed a kind of passive-aggressiveness in all his adventures, and he was willing to play dirty and rough when the situation called for it (albeit in a funny way).  


Cabiria was as intelligent, yet she had to face a lot of misfortunes, some caused by the economical situations reflected in the film, other caused by the various characters in the film. She has been taken advantage of all the time, even when she was making attempts to connect with other people and to cultivate genuine relationships (the fact that Cabiria was working as a prostitute also signified her instrumental value as perceived by others in the film).  Fellini placed the ultimate irony at the point when Cabiria finally felt serene and thought of a more fulfilling life, she was in a state of trance caused by a magician, under the watchful eyes of some curious audience looking for entertainment. She could not find happiness or fulfilment in reality, and even when she could at least imagine that in her mind, she was still being taken advantage of. 


The rather dark tone of the film took an existential turn, when Cabiria discovered that, after the events of the whole film, she was again facing a man who would give a false promise of loving her, only having an intention to take away her money and possessions. The rather absurd scenario alluded to Nietzsche’s idea of eternal recurrence, or maybe the ‘Kenny dies at every episode’ scenario in South Park. Literally, Cabiria’s life was going nowhere, and she was living her life one day at a time. Fellini was wise in the sense that he did not offer the audience a deus ex machina or an optimistic ending here. Whether the ending is good or bad is not the most important issue, what matters is the reflection that can be offered to the audience. Cabiria finally came to the realization of the absurdity of life, and that would simply not be a miracle and then everything become okay. In the memorable final scene, she gave the answer for enduring the impermanence of human existence: a smile through the tears. The journey of life is long, and only by staying in the struggle will one have the last laugh. 


by Ed Law 

Film Analysis


Saturday, 3 April 2021

Pozzolana : The Wonder of Roman Concrete

 


Classical antiquity has not only offered us a rich cultural heritage, that has also seen a lot of scientific achievement. When one has an opportunity to admire the architecture that originated from the Roman Empire, one should not overlook the fact that the science of building materials from the ancient times have provided the starting point for further development that is still highly relevant to this day. With previous experience in the research of Construction Materials, I find the science of Roman concrete (Latin: opus caementicium), responsible for the wonder of Roman architecture, really fascinating. For this time, it is all about science.

 

While most of us can easily appreciate the importance of cement and concrete for our daily lives, we may not necessarily know the scientific and historical background of these useful materials. To start with, concrete is a mixture of a few chemical components: a binder material, some form of aggregate, water, and some cases, further chemical additives. The binder is often called a cement, and it is like the ‘backbone’ of the concrete. The aggregate is often some form of sand of various diameters, acting as a filler material. Concrete is prepared by mixing cement, sand, and water in a well-defined proportion, when chemical reactions lead to the setting, and eventually hardening of the resulting concrete. Though it may sound trivial, this has always been the the basis for the building industry throughout human history.

 

Let’s look a bit further about the historical and scientific aspects of cement. While forms of cement have been known since ancient Egypt, Greek, and the Roman empire, the key composition of cement almost always contains some calcium compounds, like lime or calcium carbonate. The cement we know nowadays, the most classic form being the Portland Cement, was a creation from England back in the 19th century. While there are many variations since the first development of this classic form of cement (Ordinary Portland Cement, abbreviated as OPC), the key chemical components of the cement itself are often very similar, albeit varying in proportions – inorganic compounds of calcium (Ca), silicon (Si), aluminum (Al) and iron (Fe). The Roman cement, as we will see, also contained many of these chemical components, yet its specific composition led to some interesting properties of its own.

 

Before we move on to the ancient science let me address two further issues regarding some properties of cement. The first issue is the production of cement itself. The ingredients of cement, containing inorganic salts of calcium, silicon, aluminum and iron, is heated at very high temperature (>1500 degree Celsius), and as a result a number of chemical reactions take place during the burning process, forming new chemical products. The resulting mixture is ground into a fine powder and leads to the greenish grey appearance very typical of modern cement. While we do not have to go into the chemical details, often 4 types of complex inorganic salts result: two of them are calcium-silicon salts, designated as C3S and C2S; one is a calcium-aluminum salt, C3A; and a calcium-aluminum-iron salt, C4AF. The reason why this is mentioned is because the proportion and the specific properties of the 4 salts will determine the resulting properties of the cement, and hence impacts the setting time, mechanical and durability of the concrete itself. As an example, ‘high-alumina cement’ is a version that increases the concentration of aluminum salt in the precursor mixture and leads to a richer aluminum content (more C3A) in the resulting cement. Indeed, the various types of special cement that have emerged from the past 200 years of so originated from tuning of these properties.


The second issue is the paradoxical observation of water’s action towards concrete. Water is needed in the setting and hardening of the concrete. Yet, the strength of the resulting concrete is developed and enhanced by immersion of the concrete in water, which may sound counter-intuitive to many. That is because the calcium-based cement is a hydraulic-setting cement, meaning that the resulting concrete develops its mechanical strength in water. That would certainly sound strange to many people not in the field of construction engineering.

 

Yet, there is a caveat in the water immersion issue. While calcium-based concrete can develop strength in a water medium, we mean water only. If the aqueous environment contains other inorganic salts, just like in the marine environment, it will lead to a deterioration of the structure in terms of mechanical strength and issues in durability. Thus, underwater construction has always posed a problem for the field of building materials, and throughout history many has worked towards solving the problem. That is where Roman Concrete enters the story.

 

Roman Concrete, which has been used in the construction of many architectures since Ancient Rome, was reputed to be a very durable building material. Also, the ancient building material was in particular famous for application in underwater building work, including bridges and areas near water. The Roman concrete was also based on a calcium hydraulic-setting cement, like the Ordinary Portland Cement. The wonder behind this ancient cement can be summarized by one word: Pozzolana.

 

Pozzolana (Latin: pulvis puteolanus) is the volcanic ash found from Pozzuoli, Italy. While it is known that other civilizations, like Egypt and Greek, has adopted similar approaches in their building work, that was the Romans who have really popularized the idea and committed to large scale construction. Volcanic ash is a product of a relatively explosive volcanic eruption, often due to the rhyolite-natured magma (more felsic / acidic magma due to a higher SiO2 content), and that contains more gas products and hence a more violent eruption. When the liquid magma is released into the air through a pyroclastic eruption, the resulting tiny fragments of glass formed from that are the volcanic ashes. The pozzolanic volcanic ash is rich in silica and alumina, and by reacting with lime, Ca(OH)2, further products are obtained, giving rise to its specific properties. The resulting cement has a higher silica content than the standard version of modern cement, and they are not indeed very different certain specific types of cement nowadays, where additives like fly ash and fumed silica are added into the precursor mix.

 

The resulting concrete, prepared from the cement (Lime and Pozzolana), various aggregate and water, has offered a number of advantages. First, the concrete is very durable. That can be attributed to the high silica and alumina content of the cement. Also, it is very resistant to the action of salt water. Thus, in the marine environment, even if the concrete structure was submerged under water, the mechanical strength of the structure was not compromised. This can be explained as high-alumina cement is often resistant to sulfate attack and the action of other inorganic salts. One will always feel with a sense of awe how a volcano-related material can contribute so much to a long-standing construction problem.

 

The ancient cement from the Roman Empire may be from a long, long time ago, yet the concept behind such an achievement is in no way antiquated. The type of ancient cement has inspired a modern type of cement known as 'Pozzolanic Cement', which is still used in a number of regions around the world. The approach is immortalized by a named chemical reaction, and a number of international standards regarding the use of these materials in building industry. You will never view the volcanos in the same way again! 


by Ed Law 

Conatus Classics