A Few Words on Oscar

Just as I am still pondering on the masterfulness of Taratino’s ‘Inglorious Basterds’ and speculating on how I will look like when I am ‘avatarized’, the Academy Award nominations for this year are out there. As always, there are loads of surprises but let me share with you some of my observations.

Some general comments to start with. While I am gratified to see ‘Black Swan’ receiving 5 nominations (including Best Picture, Director and Actress), I was somewhat surprised that it did not receive a nomination for its screenplay, and no nominations for any supporting actresses at all. What I am really intrigued in Black Swan is its storyline, to be frank. Another surprise is that ‘True Grit’ has received 10 nominations. I believe I have underestimated once again the power of large film studios. As always, in spite of my distaste in John Wayne’s work, I have total respect for him as a great actor. I am a big fan of the Coen Brother’s work – like ‘Blood Simple’, ‘Barton Fink’ and ‘Fargo’ and so on. At first I do not think ‘True Grit’, a remake of the John Wayne classic, will receive that many nominations based on the fact that: (a) The Brothers had a film (‘A Serious Man’) which was nominated for Best Picture last year, and (b) they have won the Best Director and Best Picture for ‘No Country For Old Men’ not so long ago. I am indeed a bit disturbed by the fact they have got this recognition this time because the film is a tribute to John Wayne’s film. Given the cult status of their films, one may wonder why the Coen Brothers have been recognized by Oscar so often in recent years – given that the Oscar has been perceived as ‘Game of Big Film Studios’. This phenomenon is also observed in Quentin Tarantino’s case. The likely reason is because the Big film studios have seen their potential to make quality (Oscar-worthy) films and these directors have a wider appeal for the mainstream audience - unlike some independent filmmakers who are more focused on niche audience. That explains why the big studios are willing to invest in their ‘cult’ projects.

It is also great to see Inception received a number of nominations, though rather ironically only 2 of the nominations are in the major categories. Christopher Nolan, the director, received a writing nomination – this testified the nice plot of this story. Chris Nolan has been doing well since ‘Momento’. His films are both financially and critically successful (Batman Begins, The Dark Knight, Inception). Some people can see the recognition of ‘Inception’ encouraging as it is a summer blockbuster-type film. Popular belief dictates that film studios tend to release their Oscar-worthy films in later months of the year to make people (especially the committee members who have the right to vote in the award ballots) remember those films. Blockbusters tend to be placed in the summer slot. The nice thing we can see from Inception is that it is such a cool film that it has a lasting impression for us and the voters alike.

The other nominees of Best Picture are obvious choices: The Social Network, 127 Hours, The Fighter, The Kids Are All Right, The King’s Speech are predictable contenders. I am quite glad to hear that ‘Winter’s Bone’ has been nominated as a Best Picture – this is an edgier and darker film which requires a more dramatic treatment.

Notice the fact that the ‘Best Picture’ Category was increased from 5 nominees to 10 nominees since last year. I suspect the reason behind this change is that the Oscar is attempting to dismiss the myth that the Academy Awards is only a game for large film studios – a campaigning war. Increasing the number of nominees means that independent films and those form smaller film studios will have a chance to stand in the glamorous spotlight. Also this will provide spaces for the more commercial films to be considered as Best Picture nominees– I do believe someone has casted doubt on choices like ‘Inception’ and ‘Toy Story 3’ already, but we can’t blame them!

The other major categories are expectable. Congratulations to the acting trio of ‘The King’s Speech’, Natalie Portman of ‘Black Swan’, and Jennifer Lawrence of ‘Winter’s Bone’ for the recognition they have been awarded. The latter two leading ladies’ roles are challenging ones, and I believe they have portrayed it well.

by Ed Law

25/01/2011

Films And Feminism

A personal observation on women's influences in films.

Consider the following shocking fact: although the Academy Awards (Oscar) have recognized the talents of numerous personalities in films for 80 years, it was not until 2010 that the very first female director, Kathryn Bigelow (The Hurt Locker), was awarded a Best Director Oscar. Female directors have been nominated before (e.g. Sofia Coppola, 'Lost In Translation'; Jane Campion, 'The Piano'), but for only 4 times over the last 80 years. For some culturally-related reasons, women tended to be under-represented when looking in this perspective. That may not be true: if you look at it in a mechanistic manner, it will always be ensured that there will be female winners in the award because the Best Actress in Leading Role / Supporting Role awards have always been in the Oscar. What is obvious, however, is that some of the most talented people ever emerged in films are women. 

Kathryn Bigelow

The content of a film can always reflect the contemporary culture at the particular time, thus watching a classic film will definitely give you insights into the history and culture of that particular timeline. The very first lady in film that has inspired us is obviously Scarlett O'Hara (portrayed by the legendary actress Vivien Leigh), in  'Gone With The Wind'. The iconic aspect of this character was her liberal spirit and her tenacity, which was clearly ahead of her time. Her influence has protruded from her elegant look to her spirit, and it should become no surprise that even the male counterparts will be inspired by her. An additional reason for her popularity is obviously the time in question: it was a time when the menacing Great Depression has just passed, and it was this restorative spirit of her that we needed to make ourselves back on track. Leigh's role has clearly stood the test of time, and become an eternal icon in film art.

Vivien Leigh

The Great Depression has also led to the emergence of a sub-category of film - the Film Noir. While this type of film is often realistic and dark in tone, the importance of female characters in these films cannot be underestimated. The element of 'Femme Fatale' has very much become an essential ingredient in all these classics. The role of these ladies is not merely acting as visual sensations. The female characters are used for driving the plot. They unfold the secrets and provide clues to lead us through the maze. Of course, too often they also contribute to the male protagonist’s misfortune. In other cases the ladies can be manipulative. These observations have important cultural implications:  in an age where males have a much higher social status, these vixens illuminate that the males can just be hopelessly vulnerable – bringing a balancing act to the 'battle of the sexes'.

The Big Combo

Lauren Bacall

It's evident that certain treatments of plots will be at a better hand if it is done by a  female writer / director. By this assumption we are looking at the issue at a male’s perspective - which is not particularly biased given the development of film art in general. Indeed, female artists tend to have a very distinctive psyche when it comes to certain sort of topics, and often they are able to shed light on the blind spot where a male cannot perceive. A good example is that, if Jane Eyre is written by a male author instead of Charlotte Bronte, Ms. Eyre will clearly not become an icon. Thus, it may be a bit surprising at first sight that some of the finest films about women are the works of male directors. The most famous contender is obviously Ingmar Bergman, and his 2 master strokes are ‘Cries And Whispers’ and ‘Persona’. The wonderfulness of these 2 masterpieces warrants future accounts of their own, yet the extent of how Bergman understands about women was one of a kind. Bergman loved to talk to women, and he was voraciously interested about ladies. It was this passion that the lasses were happy to share their little secrets to him. Bergman has found his muse in the name of Liv Ullman. This perfect match has led to 10 pieces of great work (including the aforementioned two). The ultimate lesson from this, in particular for an auteur, is that there will be such a gift to have a muse – someone that will inspire you to the point that you are always happy to write stories for them. 

Cries And Whispers

The contemporary favor for girl power originated from a few mainstream films, namely the ‘Alien’ and ‘The Terminator’ series.  These films very much embraced the rising awareness of ‘equal sex’ in the society. The protagonists, Ellen Ripley and Sarah Connor are courageous, intelligent, and independent.  I believe Feminism is amongst one of the key sub-plots , other than human-technology interactions in the ‘Terminator’ series – that represents the evolution of Sarah Connor from a timid woman to a courageous warrior that fights for the future. An interesting observation in the first ‘Alien’ picture was that the director has made no attempts to allow the Ellen Ripley role as a superwoman at the very beginning of the film, she was not seen as a heroine when the film began. The 7 people on the spaceship ‘Nostromo’ was working as a team, and there were clear tensions between Ripley and her male colleagues concerning work practices. It was not until the Alien killed off almost everyone on ‘Nostromo’, at that point that Ripley had to rely on her own. The whole process of Alien once again represented our heroine’s transformation, for which her courage was evident in all the subsequent Alien films. Indeed, the directors behind these 2 famous series, Ridley Scott and James Cameron, both have a strong track record in the portrayal of strong female characters in their films. Scott has obviously made an ultimate Feminist statement, ‘Thelma and Louise’. Indeed, ‘Alien’ and ‘Terminator’ have often been cited as the prime examples of the depiction of Feminism in modern cinema. 

Ellen Ripley (Sigourney Weaver)

Sarah Connor (Linda Hamilton)

In an interview, Jada Pinkett Smith has stated her philosophy of working in a masculine world – don’t be the ‘loudest’ one but have your ‘authentic confidence’. It is this very precious femininity that makes ladies so sexy. The talent that females have contributed to the modern cinema was clearly unquestionable. 

By Ed Law 

13/06/2010

以戲服人 Film Analysis – 0

花邊教主

美國CW電視台潮劇花邊教主(Gossip Girl) 在舉座嘩然下落幕。相信結局不但為GG迷帶來連場OMFG的慘叫外, 連日來亦tweet 爆社交網站。當中最為震撼的, 一定是世界最有名的壞男孩 – Chuck Bass 中鎗倒地, 是否已魂歸天國就要等待Season 4 自有分曉。 相信不少討厭 Bass-tard 的觀眾頓時感到大快人心。 但E人倒想: 那 Blair Waldorf 怎樣辦? 明顯地, 在這些少女的小圈子(clique), E人早就加入「B隊」。這套被評為是Every Parent's Nightmare的潮劇, 看真一點其實又有不少令人發人深省的地方。現在就放下那道德的假面具…

花邊教主(Gossip Girl)是一個在Blackberry年代才會發生的故事。神秘的 Blogger ‘Gossip Girl’ , 不斷以爆料的形式向紐約Upper East Side 的型男索女送上各種潮聞, 有點像現實世界的Perez Hilton 。當然向Gossip Girl放料的情況也不勝其數。Gossip Girl 是一個另類的傳媒, 與現在如 Facebook, Twitter 那些社交網相映成趣。連串的醜聞就是貫穿整個故事的主要橋段; 然而Gossip Girl最強的戲碼, 一定就是Blair Waldorf 和 Chuck Bass 這對錯對鴛鴦的愛情大悲劇。事實上, ‘Chair’ (Chuck + Blair) 的故事亦是在三個 Seasons 以來最為consistent的主題。

Blair Waldorf 和 Chuck Bass 相信一定是Gossip Girl 最有趣的兩個角色, 因為他們代表的, 是人性的現實。Serena van der Woodsen 和 Nate Archibald 像是完美的化身, 所以不怎麼特別。 而Blair Waldorf 就是 Gossip Girl 最具魅力的人物。 國色天香的她總是懂得作出最高貴典雅的打扮; 她甜美的笑容往往暗藏玄機; 她攻於心計, 抹黑誹謗壞事做盡, 很多人自然會把她和一個 B 字頭的 5-letter word 連在一起, 但這樣看又未免太過膚淺。 她的潑辣源自她內心的insecurity, 或者這就是她自我保護的行為。 由故事所見, 她不但懂得關心她愛的人, 更有一份久違了的正義感。 而E人最愛的當然是她那極其獨特的說話方式, tongue-in-cheek 有餘又具原創性: mother-chucker, basstard, basshole, non-judgmental breakfast club 等等… Blair Waldorf 是一個悲劇人物, 她不能像Serena 般, 凡事唾手可得; 因此,作者要她不能得到她所愛的Nate, 要她與花花公子Chuck Bass 一起。 因為大小姐和壞男孩的戲劇性更強。 Blair Waldorf 是故事中characterization 最好的一個角色, 她心理的複雜性令她成為了一個有血有肉的寫實人物。

她冒最大的險, 就是愛上了Chuck, 但最終竟然慘淡收場。

Chuck Bass 最大的罪, 就是他把女人視為一種 possession (令E人想起了舊文「憐愛」) 。 他或者也把與Blair的一段情視為一場遊戲, 這樣的行為不但不尊重女性, 亦顯得他的幼稚。 他萬萬想不到的是 Blair 根本沒有當他倆的戀情為一場遊戲, 在Chuck 與Uncle Jack 的一場角力裡, 她甚至以身犯險, 其深明大義令人為之動容。 但當她知道原來Chuck早就以她為交換酒店的條件時, 她是何等的痛心。 結局的慘淡, 只能用天意弄人來形容: 因為 Blair 的姍姍來遲, 令 Chuck 以為她已死心。他便與同被打進地獄的 Jenny Humphrey 上床 , 更令Little J 失身。悲憤莫名的Blair 再次拒絕 Chuck 的求婚。 他在酒吧流連時為了阻止兩名搶劫者奪去他要送給 Blair 的求婚戒指, 最後中鎗倒地, 生死未卜。Blair 和 Chuck 故事迷人之處, 就在他們是劇中真正愛過的一對。 相信編劇安排兩個比較負面的角色相愛, 是因為這樣才可以帶出他倆隱藏已久的優點。他倆互相的關心, 和為對方所作的英勇行為, 顯現他們美麗的一面。 可能最初他們只是一對惡作劇的伙伴 (Season 1), 到了那iconic 的Limo Scene, 大家看到的是他倆感情的發展, 他們亦明白到愛情是不用轉彎抹角, 簡單就是完美。 原來, 真愛根本就不應滿佈機關, ‘3 words, 8 letters’ 其實一點也不難說出口, 只要你是真心。無論Chuck的結局是如何, E人深信當Blair 知道Chuck 為她的所做後, 一定會原諒他, 因為他最終抓緊他相信的東西了。正如一些網上的評論人說 - a bumpy ride , 他們相愛的過程刺激無比, 令大家都覺得他們必定是螢幕上最具魅力的一對, 實為天作之合。 難怪Blair 對 Chuck 說: ‘At least we won't be lonely in hell.’

棕髮女郎的崛起 The Rise of the Brunette

相信大家會看到 Gossip Girl 和 The O.C. 有很多相像之處 ( 同是Josh Schwartz所監製), 亦為E人帶來一道難題: 究竟 Blake Lively (GG) 還是 Mischa Barton (OC) 漂亮些? 其實現時的青春劇 (Teen dramas / movies), 大都是啟蒙自一些八九十年代的經典作品。1985年的早餐俱樂部Breakfast Club (Blair Waldorf 所說的 ‘non-judgmental breakfast club’ 的來源 ) ,把年青人分為五種人, 出奇的是這個概念至今還沒有過時。1989年的希德姐妹幫(Heathers) 帶出了學校裏clique (結黨) 的現象, 此片也啟發了由Lindsay Lohan主演的Mean Girls. 事實上,由Leighton Meester 演的 Blair Waldorf 與當年由Shannen Doherty 演的棕髮美女 Heather Duke 有幾分相似, 在characterization亦然: 除了她們都有很重的妒忌心外( 她們都各妒忌一個金髮少女 – Serena van der Woodsen / Heather Chandler), 兩人都有 Bulimia的問題和擔心自己的地位不保。不知道是否文化的因素, 金髮女郎在電視和電影裏總是比較看重。 但原來早在21年前, Heathers就已為棕髮女郎的崛起埋下伏筆。 九十年代的Teen Drama 由五個數字所統領: 90210 , 亦使 Shannen Doherty 的Brenda Walsh 成為了家傳戶曉的角色。2000年後, 輪到The O.C. 和 Gossip Girl, 再創造了這種’Blonde+Brunette’ 的必潮模式, 此兩劇當然亦深受上述的幾套經典作品所影響。

對物質主義的控訴

Gossip Girl和The O.C. 這些潮劇帶起了青少年的潮流, 引來Fans的爭相模仿。 不過,在把自己的頭set得像Serena, 或把自己打扮得如Blair Bear 般的高貴大小姐的同時, 大家又看不看到作者對這些上等人的暗諷? 即使他們有錢有權有勢, 是不是就代表他們不會遇到一般年青人所要面對的問題? 其實他們的財富,可能會為他們加添更多不必要的困擾! 在此E人的感受是, 這一類故事是要對物質主義作出控訴: 有智慧的觀眾不會因為這些角色的家財萬貫而對他們有所傾慕; 真正能產生共鳴的, 只會是觀眾發現生活中亦有遇過類似性格的人。

E人不認識Gossip Girl, 她當然也沒有爆這些多的料。我們可能永遠不知道Gossip Girl 是誰, 但E人就絕對不是secret. 最重要的是, you know you love me. XOXO E人

^o^ 秋水E人 

22/5/2010

八十後的麥田捕手

J.D.沙林傑離去, 沒有帶走的, 是他描繪青年人那種憤世嫉俗的獨特風格。而麥田捕手的戲碼, 就在今天的香港上演。

成年人見到現在的年青人搖旗吶喊,  狂衝「西環官商俱樂部」的欄王雄姿, 感到很不是味兒。縱然知道自己當年血氣方剛, 擲至遍地「菠蘿」的佳話還能為自己挽回不少面子; 但對今時今日連擲幾隻香蕉也大驚小怪的成年人. 亦不免感到「長江後浪推前浪」。 成年人大抵也有看過麥田捕手這部文學經典, 於是他們就搬字過紙, 大造文章。首先, 他們把這些年青人定義為「八十後」, 企圖一竹篙打一船人。 然後, 他們試圖把麥田捕手的主人公 -  那個激烈亢奮的年青人, 代入這群八十後的身上。 但 Holden Caufield 啟發了讀者六十年, 是神聖不可侵犯。幸虧沙林傑筆下的主人公是一位unreliable narrator, 滿口「流料」, 為成年人的描繪作出了完美的收筆。成年人覺得八十後雄心壯志, 義憤填膺, 但因為他們人生經驗淺, 往往只被自己的感性思維所操控, 以致橫衝直撞, 在沒有明確的理論基礎下就空喊口號, 印證了沙林傑所烘托的那種teenage angst 。 成年人把八十後定格為「麥田暴手」, 是要點出這些年青人和麥田主人公之間的相像之處: 就是滿腔控訴, 但那些所謂的理想根本是不切實際, 形同虛幻的夢, 甚至跡近妄想。成年人這樣說,無非是他們的鴻圖大計一次又一次被年青一代「狂插」, 唯恐小朋友將來不事生產,  只有言傳身教。

成年人機關算盡, 刻意地忽視了Holden迷人之處: 就是他那天真無邪的心。在勢利的目光下,他也許只是一條失學的雞蟲。但他就像國王的新衣裏面那個小朋友, 一次又一次地點出了成年人世界的不濟。成年人唯一的招架方法,就是否定他的觀察, 因為他「未夠班」。 這樣的情景, 不就是在八十後風波上歷史重演嗎? 其實年青人只是利用自己的稚子之心,繪畫出自己想見到的美好將來。即使他們不能像成年人繪出一個個雄圖偉略, 天真的筆觸正正表現出年青人的真心， 和他們對未來的憧憬。不過, 成年人拿起了一枝沾滿墨水的鋼筆, 不斷地把筆尖按在年青人的美夢上,  深藍色的墨水早就染污了年青人的幻想, 還混和了他們的淚水, 未來的影象就變成了模糊。是不是因為成年人掌握了謀生的標準答案, 目光只會勢利, 還是這就使與銅錢打交道的後遺症? 成年人還忠告這些八十後, 不要再尋覓他們幻想的天堂樂園, 因為那只是死路一條。做人要「精」一點,這才是「識撈」的不二法門。成年人以為自己化身成麥田捕手, 正在營救這些跌下懸崖的八十後小孩子。  意料之外的是,他們把年青人推往反智的思想深淵。

無謂再把年青人定格為八十後: 因為年青人要守護的,是自己對香港的夢想,不可以令它跌下萬劫不復之境。倒不如稱他們為「八十後的麥田捕手」吧!

秋水E人 

6/2/2010

紐倫港

或者, 你已經忘記了「世界仔」這個不值一提的同學; 然而, 在世界仔利用其「紅酒知多少」的知識耀武揚威時, 我們看到的, 是「紐倫港」 同學的嫉妒目光, 以及他的雄才偉略。

紐倫港和世界仔, 甚有淵源。大家都是出生知書識禮之家, 但可能是基因的一個倒掛金鈎, 使得他們的個人風格, 與他們備受大家尊重的父母, 大相逕庭。紐倫港同學遺傳了父親些少的讀書天份, 考得名列前茅, 擊敗了世界仔! 而在中學這個社會的超小縮影裏, 他已身任要職, 縱使他矮仔多計。  可能因為少年得志, 他亦開始變得有點語無倫次, 不單為自己創立了比世界仔更強的個人風格, 亦為自己將來的不幸埋下了禍根。

藉著紐倫港同學的才華, 他當然成功登上了象牙塔。 時值後基因組時代,他亦想過過「天才科學家」的癮 : 就算拿個學位, 都抵玩ar! 當然, 明眼 人早就揭穿了他想發大達的春秋大夢。 因為這個人最強的科目, 畢竟是數學: 儘管他不大精於如三角和微積分等抽象的部份, 但一切與「錢」有關的課題, 他都極為專長。  紐同學走過來, 就如響起了ABBA 的Money Money Money, 他照亮了大家。結果, 他不用像「貴婦狗」般扮天神, 就被大家擺上神臺, 受到萬人景仰。 越拉越遠, 那他的學習進度又如何? 雖然他深諳娛樂雜誌裏複雜的人物關係, 但可能他忙於研究出一條發達或溝女的必勝公式,而較少在科學上作出深究, 畢竟, 看著那些錯綜複雜的生化機理和公式, 和看著一件豬扒又有何區別? 憑著他三個月的才智, 他最後順利畢業。但他與科學三年的愛情長跑, 就無疾而終。 因為, 他掟煲了。

在掟煲事件後, 紐學士的後遺症開始浮現。 他決定繼續其象牙塔漫遊, 但他選擇了一些較為「實用」的科目, 怎說也被科學有用吧! 他依然講求理性,但每當他看見一些科學人的成功例子時, 一股酸溜溜的真氣如洪水般酸湧上喉嚨。他化身一尊嘴炮, 「理性」地辯證著科學課程的不濟。一時間潑婦罵街, 紐同學的真也令人深深懾服, 但也不禁慨嘆: 感情用事, 值得嗎? 究竟, 這是他對自己謙恭的自慚形穢, 亦還是他吞不下那一顆酸葡萄呢?

後記

你走到IFC, 逼於無奈, 在Coffee Shop看到了長大了的紐倫港同學。 只見他穿得西裝骨骨,這就是他用自己的「財」智打拼出來的成果。 有趣的是, 他的喉核長得很大。 原來, 是那顆忘年的酸葡萄, 哽得他透不過氣來。 他只能做的, 是發出一陣無恥的冷笑。

秋水E人 - 人物速寫

情迷香奈兒

在此推介兩部電影， 順道分享一片舊文 － 是關於香奈兒（CoCo Chanel)的。

情迷香奈兒

香奈兒小姐 (Gabrielle CoCo CHANEL) 不一定是世界上最幸運的女人, 但她對時裝風格的真知灼見,就永遠地徊蕩在千千萬萬潮流迷的腦際裡。大家亦不會忘記她坐在圓樓梯上, 提著一口煙, 傲視著足下由自己一手打造的時裝王國的經典一幕…

她沒有如童話故事般的出身。活在貧困之中, 至親相繼離去, 逼使她要瑟縮在沒有親情的孤兒院 , 她亦認識了與她一同闖天下的一位戰友 - 衣車。 她轉動衣車的轉輪, 為自己啟動了一生不平凡的命運巨輪。她曾是一位墮落巴黎酒廊的天使, 她悲涼的歌聲和舞步, 反襯著巴黎的浮華夜生活。她坐在樓梯上, 吸著一口煙, 為自己的將來又作出了一番躊躇。 但還是她的冷傲銳氣, 鎖住了人心。她點燃了一根香煙 , 眉心成了一道幼線, 對周圍的男性動物不屑一顧。其實, 在煙霧彌漫的酒廊裏, 她的冷傲目光早就看透了世界風情。

當她的步伐遇上了她生命中最重要的男人時, 他們帶著她到了二十世紀初的名利場, 小妮子的社會地位亦提高了。 他們不但解開了香奈兒的愁眉心鎖, 亦令她有了大鵬展翅的機會。二十世紀初的上流女仕都會穿著腰封 (corset) 的, 因為這會使她們看得「高貴」。在她最好的朋友 - 香煙的啟發下, 她不但看到了藝術的蓬萊仙境;亦看到了女人身材曲線真正的原始美。她撕下了自己的腰封, 亦把女仕美好的體態歸還給她們。 她穿上了設計如男性的服裝,如此的「中性打扮」又為自己添了一份獨立自主和高傲。她剪刀一揮, 布碎變成了獨具風格的時尚服裝。 香奈兒小姐解放 (liberate)了女性的身體,用「簡單就是完美」的信條, 裝飾在女仕的美好體態上;其實潛意識地解放了女性, 使得她們的社會地位提高, 更趨獨立自主, 男女平等之見隨之而起。 在這香奈兒小姐是功不可沒的。 人們當年笑她的打扮, 事實上他們亦不禁驚嘆此大師的非凡創見, 在笑聲中亦隨波逐流。香奈兒就此贏了一整個二十世紀。她曾經企圖隱瞞自己過去的悲慘身世, 杜撰自己的往事。但她有了這樣驚人的成就, 保留故事的原汁原味, 又會否為此添一份峰迴路轉?

香奈兒的風格, 改造了現代女性, 把女性高貴的一面推至顛峰點。她的敢作敢為與創作精神, 必然會像她的No. 5香水一樣, 散發著百世的芬芳。

秋水E人 ^o^ 13/6/2009

少女香奈兒 (Coco avant Chanel) 

推介1: Thérèse Desqueyroux (2012)

推介2:  香奈兒的情人(Coco Chanel and Igor Stravinsky, 2009)

秋水E人 ^o^ 22/6/2013

情婦

在窗簾微微低垂時, 妳不情願地從床上爬起來, 仍在細味著與他性戰過後的一陣餘韻 …

這是一個優皮一族的房間。他拼博工作的獎品,  驕傲地展現在這間漂亮的睡房裡。但妳在搜索著每一件精美的貴價擺設時, 又發現物質以外的一份情意結: 是他與另外一個她度蜜月時的照片; 他進修時取得碩士學位,  兩口子欣喜的合照; 還有老婆送給他的懷錶。這樣的mise-en-scene, 正正描繪著一對幸福的夫婦 , 而妳會成為他倆之間的一條刺。妳深知妳永遠會與「3」這個數字結下不解之緣, 但妳總是深深不忿: 以自己如此的內涵, 溝到他是顯示我的實力,當然妳也不會忘記當晚助攻的一杯白蘭地。他偏愛剛烈的威士忌,從前一把苦口婆心的聲音總是對他說: 「不要多喝了。」現在他偏愛Baileys Cream, 而且是要和妳享受的那一杯。的確, 他的口味是變了,從單純的剛烈變得creamy了。

妳就是不明白, 她憑甚麼可以贏得他? 是她有內在美嗎 ? 哈哈,不要這麼kai吧… 內在美可以當飯吃麼? 妳覺得他倆的每一張照片都是謬誤, 妳恨不得要打破 所有的擺設, 因為妳知道只有妳一個才可以造化他, 要不然他為甚麼會有了外遇? 是他心中的insecurity, 對一段感情的淡化。妳會心微笑, 將自己的地位升華至如救世主般的偉大, 縱然要拯救的, 只是一個沒有自制能力的男人。

但妳也要付出代價 : 在這個男人努力維持這兩段關係時,妳依然要低調一點, 偷偷摸摸, 又要害怕「一代新人換舊人」的報應。不能見天日, 和一隻吸血鬼又有何分別?

秋水E人 ^o^ 16/05/2009

貴婦狗

做人處世, 如果有著如「貴婦狗」般的氣質,  那怕翻起依戀的紅塵; 滾起的,可能是滿地的沙塵…

貴婦狗深信, 自己是上天派下凡間的天使。 為了過一下凡人的癮,她曾經試圖把頭上的光環脫下, 但不成功。  因為, 那個象徵高雅的光環, 太高了。 貴婦狗樂天知命, 知道費盡牛力, 也不會改變自己高人一等的命運, 她亦樂於擔任這個Alpha Girl 的角色。她從來看不起旁邊的西施 ,杜柏文;  她覺得狼狗是市井之徒。那嬌小玲瓏的芝娃娃呢? 她覺得芝娃娃美, 但是欠缺了一種成熟的女人味, 所以亦不屑與她結黨。護主犬搖著尾巴 , 走來跟她談話, 被她嗤之以鼻的回應。護主犬低下頭, 一副喪家之犬的模樣...

那貴婦狗是不是自閉美女一名? 非也。 貴婦狗的口技, 是天神級的。她的說話就如一支銀針, 針針到肉, 見血方休。她的決斷力,是無可比擬的。她就是一堅守個人私慾的天使。旁觀者深知她穩站道德高地, 與她抗辯也是無聊, 唯有曲意逢迎。她就像一顆金色的巧克力, 大家本著「煩人沒法擋」的信條, 亦不想與她深交。 有些樂觀的人更打趣說, 可能這是上天給大家的考驗吧。 但又埋怨上天, 為何派下如此劣質的天使下來…

花樣年華的背後, 不時又會翻起孤寂的暗湧。 貴婦狗回到自己優雅的房子裡,  看到了鋼琴上一張派對的照片, 一幅人性的浮世繪。 她看到自己穿著如十八世紀宮廷式的瑰麗衣飾, 打扮得像一個小婦人; 但站在一眾二十一世紀價值觀的「朋友」之間, 仿如一個荒謬的費里尼式時空錯配。 是她與這個時代格格不入?還是這個時代人的水準, 低得如此可憐? 她倒了一杯蔬菜汁, 走到陽臺。   在月光的映照 下,  在河水的倒影看到自己的尊容。  在打扮美艷的背後,投映到的是一個毫無人性靈氣的孤獨心房。生硬的面容仿似一片撕下來的圖騰般, 面無血色。可憐的貴婦狗, 她就是一個毫無靈魂的十八世紀Mechanical Doll。 她的存在價值,  和一個「古雅」的劣質花瓶沒有大分別。 原來, 閉月羞花的背後,  榨乾了的是人的靈氣, 看來, 她手中的蔬菜汁, 至少亦比她有一點營養價值。

她在陽臺偏偏起舞, 伴著三連奏的芭蕾舞。 她不會放棄自戀的意慾; 附和著她的, 只有滿面的雀斑。

秋水E人

11/04/2009