|
|
花絮欣赏，点击以下地址：
http://tvnews.media.daum.net/_po ... star/v10948959.html
http://tvnews.media.daum.net/_po ... star/v10198850.html
http://tvnews.media.daum.net/_po ... star/v10196088.html
http://tvnews.media.daum.net/_po ... star/v10533430.html
《Peter Pan Formula》，以年青人为中心的电影。曾拍摄短片《A Little Indian Boy》 的CHOChang-ho 执导了页眉长片《Peter Pan Formula》 ， 以年青人对于家庭和生活中的改变所面对的烦恼作出探讨。 电影描述一个破碎家庭只靠母亲支持的十九岁男孩， 因母亲而不得不面对过早到来的独立生活。
ps:这是部独立电影，06年3月商业院线上映。05年在釜山影展放映的时候观众反响很不错，已经入选了2006圣丹斯电影节竞赛单元。
电影中有两位偶仰慕已久却鲜少出现的女演员。一个是《蝴蝶》（姜惠贞版）、《绑架门口狗》（李成宰的孕妇老婆）、《春暖花开》（几番与崔岷植擦身而过最后再次重逢的旧情人）的金皓珍，《蝴蝶》和《春暖花开》中她的气质很吸引人，虽步入中年依然不减风韵，典雅高贵但却又让人觉得很温和，看着这样的她你觉对想不到她也能搞笑，在《绑架门口狗》，她的表演是那种高格调的诙谐逗趣型，都是很生活化的，不是庸俗的搞笑法，但就是会让你冷不防的大笑。另一个演员玉智英就是偶在《猫咪少女》中最欣赏的角色，那个傲傲的孤僻的女孩。两个女演员的演技都很棒，但看起来在此片中好像也都不是主演，不过能看到还是觉得很期待的说！这部电影应该是以男生为主角，那个男演员在《芭蕾舞教室》和《台风太阳》中都有出现。
ps.金皓珍《蝴蝶》主页：
http://www.koreafilm.co.kr/movie/fly/gallery.htm
左一导演、左二金皓贞、右一玉智英：
金皓贞：
The Peter Pan Formula
There are many ways to receive a film, and when blogging for GreenCine at the 10th PIFF in 2005, I decided to be resistant to the narrative when reporting on my screening of Cho Chang-ho's The Peter Pan Formula. I presented a contrarian view to the Freudian text that the film presents. But for this review, I'll let that be and present the film closer to what it is rather than a text with which to debate. Premiering as part of the New Currents Award series, it didn't win but seemed to generate some buzz at the festival. And this may be because of how psychoanalysis and film seem to stroll hand in hand. (My favorite film book title ever is a testament to this - the Slavoj Zizek edited Everything You Always Wanted to Know about Lacan (But Were Afraid to Ask Hitchcock). The book intimidates me too much to ever sit down at a coffeehouse to begin reading it. Although I'm sure having it in my hands would beef up my coffeehouse cred.)
Han-soo (On Ju-wan - Flying Boys, The Aggressives) is a 17-year old student in his final year of high school whose already vulnerable world has fully fallen apart. His mother attempts suicide but is caught soon enough that she remains in a coma. In her suicide note is the address of his estranged father. Initially, Han-soo holds off from locating his father. Instead, he decides to sever himself off from all connections to the world. He quits school and the swimming team where he is the most promising swimmer, resolving to take care of his mother full time. His teammates, coach, and teachers at school try their best to get him to reconsider but he is headstrong in isolating himself.
But Han-soo is also ambivalent about this trip to an existential island. Sharing the room with his mother is the comatose mother of college-aged Mi-jin (Ok Ji-young - again playing an orphaned young woman as she did in Take Care of My Cat). Insecure about approaching her, he ends up stalking her and stealing her stockings after discovering that she is prostituting herself to pay for the hospital bills. These stockings will later provide cover for Han-soo's own methods of paying off his mother's debts. Another woman who reaches out to him is his somewhat despondent, married next-door neighbor (Kim Ho-jung - Nabi, Springtime) who is a little too willing to comfort Han-soo in his time of certain needs.
Besides what Freud fans will find reinforcing about this film (Han-soo's need to "return to the womb", the sexuality issues that arise for Han-soo when bathing his mother, and various other fetishes), the film has some compelling scenes, particularly when Han-soo reveals a secret to Mi-jin and earlier scenes involving his coach and teammates. The scenes with his coach and peers are most compelling for me since the scenes present two common, and similar, tropes in South Korean cinema - freely dispersed capital punishment by male teachers and equally freely dispersed pummeling by peers. Cho (who also wrote the screenplay) provides a new perspective on this common occurrence in that he shows the coach punishing Han-soo and his teammates and the teammates punishing Han-soo, but then quickly shows them switching to alternate tactics when such methods prove futile. And these alternative tactics are, in one instance, the complete opposite of beating up Han-soo, resorting to prostrating themselves before him begging that he return. They truly care about Han-soo and want him to reconsider his alienating choices, placing the earlier punches as one aspect of a complicated interplay between peers.
For all that is understandable about Han-soo's need for isolation, The Peter Pan Formula also demonstrates how we can exacerbate that isolation into alienation. Han-soo rejects the outreach of his friends and the father surrogacy offered by his coach. Mi-jin seems to be the most likely candidate for an understanding ear, but his high school innocence makes approaching her more difficult. And he mis-uses the sincere offers of help from his next-door neighbor.
The latter two are where the fetishes presented come into play. Isolation can often bring about perversion. And I mean that in a more divergent definition of the word than is commonly used. The dictionary defines "perversion" as a sexual practice or act considered abnormal or deviant. But what we find abnormal or deviant is subjective and hence why I initially was resistant to The Peter Pan Formula's perpetuation of certain acts as always "abnormal". I look at an act as perverted if it is a sexual act of disconnect rather than connection. In this way, I refuse that label for sexual acts or attractions commonly perceived as perverted that actually bring partners together and reserve it for those that separate partners to the point of the objectification of one or more members of the union. (So if being into stockings makes you even more receptive, to yourself and your partner(s), then you go put those stockings to whatever creative use you have in store!) In The Peter Pan Formula, Han-soo's thing for Mi-jin's stockings are a means of separating from her and thus clearly fetishistic and not an extension of sex play, and his desire for his next-door neighbor is a need to "return to the womb" and not simply recognizing how damn hot some older women can be. In Cho's filmic formula here, Han-soo engages in clearly perverted actions and they definitely exacerbate his isolation.
And the more and more we isolate ourselves within our modern societies, societies that by the very acts of modernizing can impose involuntary isolation upon us to begin with, the more things become harder for us to survive the trials life brings us. Cho shows us there are beacons of hope all around us, including the hope within ourselves, if we'd only bother to receive their signals that it's ok to let our guards down and be the vulnerable human beings that we are. (Adam Hartzell)
[ Last edited by 阿韩 on 2005-12-22 at 01:51 ]
[ 本帖最后由 阿韩 于 2007-2-17 21:26 编辑 ] |
|
发表于 2005-12-22 00:33
发表于 2005-12-29 22:22
斗胆转篇好文。看了这篇，特别想看这电影~
超现实主义？