找回密码
 注册

QQ登录

只需一步,快速开始

搜索
楼主: 南极星

[转载] 关于《花与爱丽丝》

[复制链接]

0

主题

45

回帖

142

积分

高级会员

积分
142
发表于 2004-9-6 11:26 | 显示全部楼层
等着等着~~期待ing

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-7 10:00 | 显示全部楼层
. n! z' p3 }) G. g% Z! l* `2 Y
                               
登录/注册后可看大图

( ]+ }7 e9 L/ a8 o' L3 b9 {
6 }  E; N  c. |( S& r3 N& e9 Y
6 Y8 |+ n$ D, ]% A) K+ S& o! m[www.swallowtail-web.com/en/shunji-iwai/filmography.html]2 ^0 h! C8 o' u* `7 N) o; v

" p% b/ k3 f. M7 ohana & alice ...despite having a title that reminds you of one of those little cinematic gems, this film is in fact.0 |, S: v' e* K* q- W
: v6 e& k/ T. ^0 l; d
The newest offering from filmmaker Shunji Iwai, renowned for constantly breaking new ground in Japanese cinema, is hana & alice, a story of two exuberant young girls, Hana (Anne Suzuki) and Alice (Yu Aoi), and their strange love triangle involving Miyamoto (Tomohiro Kaku), the object of Hana's first ever crush.$ T' F# b' y- S

( T- C! Q, C* T9 U- RSo we have two girls and a boy -- the classic méage a trois repeatedly depicted in love stories for centuries. But this is Shunji Iwai we're talking about, the writer/director known for films such as Love Letter ('95) in which he deftly introduced the idea of 'a love letter from the dead', turning the plot into a romance about memories. No one should be expecting a straightforward love triangle here.9 q$ ^2 _; X' N* |  \
3 ^3 }1 F) Y+ Y" E9 v
With hana & alice, Iwai has created a completely unpredictable story by using an innocent lie mischievously told by the two girls. One lie leads to another, and soon the sweet and innocuous love triangle turns into a strange and delicate web of dynamics involving various characters.
5 U: d2 \6 y9 C- |1 K9 W
9 J7 x& ]4 n! X3 n( J/ c1 l* TWhatever the material, Shunji Iwai's works have always been profoundly original, drawing a rich palette of emotions from the audience, while deeply penetrating the theme of humanity. A recent example would be the highly praised All About Lili Chou-Chou, in which he delivered an overwhelming cinematic experience through his depiction of a group of lost and struggling 14 year-olds and their youthful pain.: a! Z/ K" g0 k6 i$ J
8 o" Y- Y, {, {% {
With his newest feature, hana & alice, Iwai again ventures into new territory. While humorously following the girls everyday lives, he adds a touch of mystery to the narrative, creating a slapstick roller-coaster ride that begins with the idea of 'amnesia', all the while continuing with the telling of the girls' coming-of-age story -- this is no mean feat. Of course, his signature styles; lyrical visuals and delicate and realistic dialogues, are both present throughout. In addition, there are frequently inserted side story-like episodes which feel like individual short films, which, at the same time, create an unexpected gravity that triggers a vivid chemical reaction within the story.

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-7 10:12 | 显示全部楼层
) K: D6 _- L8 B# a5 T( D" c
                               
登录/注册后可看大图
7 K9 H) K6 k+ C0 v( _+ d. Q

5 A4 x" u. |: x8 p; R% ~- M3 b# `% J
: o2 {4 \* f. _/ y" v6 O8 |www.imdb.com6 q! Y4 \% f. L& n- b9 d

: _4 e  s" `2 ?, V( wBy: harry_tk_yung
1 W: n; ?& r( I$ S/ J2 |7 q+ E6 RDate: 1 September 2004
) L5 ~) E/ ~) C( c0 y  o% K, m" V( V
Summary: Dreamworks (Spoilers)' A; x( Z1 z6 Q, H2 B* C; b! ?
5 W+ {6 |* h, S1 Q& ~0 n
No, not Mr. Spielberg's outfit, which incidentally also has my high regards. I'm talking here about the somewhat dreamy quality (entirely complimentarily meant) of this recent work of Japanese director Shunji Iwai, whom some describe as a ‘poetic' director.
" A* J4 |8 z- |$ H6 E9 k$ o
  z; ?5 i" O& R7 o, P2 eAs the title suggests, this is a story about two girls, Hana ('Flower') and Alice. Not suggested by the title, however, is the asymmetry – this is Alice's story, even though Hana has an important part to play too.8 ^8 L3 G6 l& g, O5 I- e3 U9 k+ z4 X
. H; o. E! P2 D2 I1 }$ K, L
It may seem slightly odd that director Iwai should take so long at the beginning of the film in taking us along the inseparable pair's inconsequential daydreaming wanderings. The length of this opening sequence, however, is of crucial significance in underscoring the metamorphosis in their relationship. As we soon find out, these two are going through the transition from junior high to high school. After this opening sequence, the two are rarely seen together, until towards the end of this 135 minute film. As Hana says to Alice on the phone, they are in high school now and should not be like a pair of twins anymore. While the motivation for her to say that is actually to spend more time with her new-found boyfriend, there's more truth to what she said than she realizes.* J# F. |- ]' d# D/ M! Q- U
& `3 ~& |# p0 Y. f- ?
Played by slightly chubby Anne Suzuki (but not quite as chubby as she was in 'Returner'), Hana tricks shy Masashi Miyamoto into believing that he has amnesia and that she is his girlfriend. Other than the typical persona of a playful teenager, we do not see very much of Hana's character until quite some time later. Of her family we also know little, except for an ordinary middle class mother who is not embarrassed to walk around in underwear in front of her daughter's teenage boyfriend (a little playfulness on the part of director Iwai, as seen throughout the film).8 e, a2 D. }  B

( s2 k1 u# ]6 N4 FThe focus now turns to Alice and we are taken into the layers of her character. After seeing her somewhat laid back and timid disposition at a talent scout interview, we learn about the family that must have played a large part in shaping her character. We first saw her tempremental mother, the only other member of her household, who introduces her as ‘the girl next door' to her boyfriend when they run into her by chance. Most poignant, however, is a day she spends with her father, a regular but infrequent event. In his thoughtful, sensitive touch, director Iwai shows us how Alice is cool to his father in the beginning, but gradually warms up during the course of the day they spend together in various picturesque part of Tokyo including, I believe, the Meiji Shrine. . @% g) X* w1 F% K( Q" K

4 Y  p8 L: d8 M* i! [The poignancy is in that while the father, while obviously caring, cannot empathize with the teenage girl's yearning for paternal love. With tears in her eyes, as the door of the train is closing, Alice whispers "Father, I love you", to which he replies with a polite, kindly smile, "You should be saying goodbye", undoubted well meant as an instruction of Japanese etiquette. # n% V& v4 y; U5 D" s: T5 S
* i# A$ }/ [5 z: f
While the romance Hana longs for with Miyamoto does not blossom (although there is beautiful flower in abundance anywhere she appears), an unexpected (to her only, certainly not to the audience) turn of events leads to Alice being asked by Hana to play the role of Miyamoto's ex-girl friend. As the intriguing triangle develops, we see interaction between the two girls again, as well as some tender, affectionate scenes with Alice and Miyamoto.! p1 y/ S8 ~" r* ~6 Q" N' B
0 l, Q& a- R6 N/ P0 h
This, then, is essentially the plot. But why dreamworks? In one way or another, the three main characters are going through a dream. By the very fact that he is living through the illusion that he has amnesia, the somewhat enigmatic and unexpressive Miyamoto can be said to be really having amnesia, of forgetting something that never was. He talks to Hana about the very dreams that he has but in the end, it mysterious comes out that he is aware of what's going on all along. Iwai thrives on these mental tricks. Hana is the creator of Miyamoto's dream, as well as her own, a teenage girl's romantic infatuation. At the end, she awakes to a new level of maturity, and the restoration of her friendship with Alice, appropriately elevated. Through the masquerade she has been forced into by her best friend, Alice breaks out of her dreamy cocoon, discovering some of her own delicate feelings as well as gaining her confidence that soars in her triumphant ballet performance at the crucial interview. The visual images throughout the film carry the hallmark of Iwai. We see splendorous scenes of blossom fields with crisp clarity as well as mystic out-focused scenes of dreamy landscape. We see abrupt jump cuts in succession, as well as wondering languid shots. We see human object framed in endless varieties. Most remembered is the sequence on the group of girls posing at the end of the ballet school, with the still pictures eventually finding their way into a photo exhibition which plays a pivotal role in eventually mending the rift between the two girls. The music, mainly alternating between piano and strings, is equally attention demanding, if not more so. It would almost be considered distracting had it not been so beautiful. As the audience, you somehow just have to develop the capacity to take in music and vision, both.
! w1 n% i% L  Y" N, ~* O0 @* o4 J3 M' J, \
Last words? This is a film worth seeing more than once.

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-7 11:18 | 显示全部楼层
filmreviews  :  Hana & Alice  ; Y6 l$ x( I0 ^1 E4 D3 W
First Asia Premier Movie Magazine0 l) D1 P, X; e8 Q8 ?

0 v2 q) r# N5 {( @! m1 h' g: M( S- W$ F4 [4 H: P  j. X5 J1 x
The one thing that Japanese artists seem to understand better than anyone is that you don’t have to be deep to be deep. That beauty has its own truth. + r- C- g( {* ?2 Q
+ s1 N, Q& S/ j7 @1 E7 c5 g8 C- q" }- w
While a Hollywood filmmaker will telegraph profundity with gnashing teeth, furrowed brows and copious tears (Clint Eastwood’s Mystic River springs to mind), a Japanese filmmaker will instead try to reach a similar place by more subtle means, via an epiphany, perhaps, or serendipity. One thinks of the films of Mizoguchi or Ozu and what comes to mind is the delicate and precise poetry of the images. Kurosawa, often seen in his homeland as too Western, is underrated in his ability to educe weighty emergent metaphors from his ostensibly literal-minded mise-en-scene. The filmmaker who today best exemplifies Japanese aestheticism is Shunji Iwaii.
; e9 m9 H  N* Y
3 U/ t) k$ x7 ~- x" L# pIwaii creates films unequaled in the world for their lyricism and grace, and his latest effort, Hana and Alice, is no exception. In fact, it’s exceptional in this regard. The project started off as a series of short commercials for Kit Kat candy bars, but they proved so popular that Iwaii decided to turn them into a feature film. The story is decidedly but at the same time deceptively simple: two best friends, Hana and Alice, fall for the same boy, and have a brief falling out. One could call it a coming-of-age story, but really it is so much more. It’s a love story. A fantasy. A comedy. A musical. It could be called an art film. Or perhaps a pop art flick. It is shot in a style reminiscent of Cinema Verite, yet it has obviously been painstakingly composed. It is a story of young girls with ancient souls. It is this reviewer’s favourite film of the year.: z% Q: d' u7 k, r& S4 y# {

' A5 P  k+ `, R, z5 @: K" [Hana and Alice starts off with the two girls dashing around together through their suburban Japanese wonderland. They hop on and off trains, talk pointlessly about how cold it is, and giggle when they see cute boys. Dressed in their identical school uniforms, they are all but indistinguishable from one another, and we suspect that it is perhaps Iwaii’s intention that we can’t tell them apart for the first 15 minutes of screen time. They aren’t just friends, but twins. The plot kicks in in its own good time, with Hana following a crush home from school. The lad knocks himself unconscious by inexplicably hitting his head on a door, and Hana rushes to his side. When he comes to, she tells him that he has amnesia, and that she is his girlfriend. The dreamy but somewhat dim kid believes her. So begins their romance. We’ve already mentioned that the boy ends up coming between Hana and Alice, but we hesitate to emphasise this aspect of the story. You might imagine that Hana and Alice will have a big fight over the boy, which they don’t, or that Hana will seek revenge against Alice for stealing her boyfriend, which she doesn’t, or that the plot will twist and turn on the two girls vying for his attention, which it doesn’t. Instead we see the girls clowning in ballet class. We are introduced to Alice’s hippie mother. We hang out with Hana in her flower-filled home (Hana means ‘flower’ in Japanese). We go on a trip to the beach. 4 {0 V. S- [' Q0 Y  S2 m  z" C
4 y1 Y2 t! y, J6 A0 N# f  I) O4 w+ H
Basically, this is an entire movie composed of nothing but evocative interludes. And yet, somehow, it’s deep.
/ l; {, r' M2 Q
" W$ T' ~( H8 o. u5 x' y. T1 Y6 B; Q
4 l7 y: @6 Y- `; J9 H# eWHAT WE THINK?
4 O" p7 s4 h, |" |! L, A7 g- gWe encourage you in the strongest possible terms to see Hana and Alice.

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-7 15:52 | 显示全部楼层

# D% Z7 d3 d, e                               
登录/注册后可看大图

3 ~9 T9 x# y' k7 M5 ]; O1 i8 }* R4 S
# P1 P, v% T$ c1 V
http://www.hkfilms.com
% k7 T- {, y3 J) u8 v" s. T. I4 q( l. O. q1 G& n1 I! B& Z
Hana and Alice花與愛麗斯
+ e& Z9 m" P  W# J2 H9 }5 W- Q岩井俊二最新作品
9 x( r3 S; o  B$ e8 d) J* K; ?& ~
! J9 C7 v6 n3 a2 ^' w作品解說2 \  Y# i. M# q

5 Y9 c5 c+ R4 M. r% K4 x岩井俊二自《情書》以來,回歸如痴如醉的純愛題材,《花和Alice》講述芭蕾舞姊妹的求愛物語,一對好友為了爭奪心上人,組織謊話構成三角朱古力關係。故事原型早於2003年以短片形式面世,全篇乃共4章分3輯的網上電影,於日本巧克力網頁breaktown.com下載,更配合零食公司宣傳活動,於在日本全國便利店以限量版形式,以分為三套DVD特典發售,掀起搜購熱潮,由於反應過激,徇眾熱烈要求下,導演岩井俊二答允改編成現時全長2小時15分足本劇場版。
6 S( P/ @/ @) n# i" k
# _( }- ~- E9 G; R+ B% f導演曾成功在互聯網推廣虛擬歌手Lily Chou -Chou音樂,拍成前作《青春電幻物語》,今次《花和Alice》亦締造日本網上映畫的新國度,電影版本既是短片延續又是再創作,全片除自編自導兼剪接,配樂亦由岩井俊二親自承包,在古典高雅的絃樂中,冬日戀色重現大銀幕,精思設計的情節對白,陶醉於岩井映像觀內。
: q& _+ v5 X+ a2 Z6 D- k, t4 q% d1 Z% N' ~( b, |  e
故事大綱5 T( x1 Y( F; f

) b. L, `' J/ q上學下課都常伴左右的高中雙妹嘜,花(鈴木杏)與愛麗詩(蒼井優),在火車上邂逅前輩宮本(郭智博),心儀俊男的花思前想後不敢表白。一次機會來了,書不離手苦讀「壽限無」經詞的宮本,發生輕微意外暈倒地上,苦纏埋伏在後的花,見珠玉前豈可放過,當宮本迷糊中醒過來時,撒了天大謊話,強指男方記憶喪失,聲稱自己是他女朋友。玄妙是,本來只協助參與這個無味謊言的愛麗詩,卻叫宮本一見鍾情,波動漣漪起風雲,將錯就錯,盲點愛麗詩是他已分手的前度女友,共同捲入自創的夢遊世界。
+ R2 Q* z- @" `6 e5 a4 Y! D; {  o/ O& m5 T
概念築於「花愛宮本迷戀愛麗詩」的三角關係,每局卻有意想不到的峰迴路轉。宮本企圖從空白記憶中再次重組戀之物語,片段卻無法拼湊出那從未發生過的南柯一夢。情事沙汰如戰場,含蓄害羞的花對決率直主動的愛麗詩,本來事無不可對人言,最後心有千萬結。兩名痴情少女左右玩弄失憶美男的掌中戲,友情角力真正大考驗,引發激情決裂,朝著日本傳統「落語」劇的荒謬幽默,只此一家的滑稽純愛譜。+ a$ d' W; y& N! F5 X! w

% R( a3 a* y; m. j登場人物
9 l8 f- v4 t8 p3 N" f' h0 m# U
7 U2 S; X% t5 F1 T1 U) Y* |+ z% m0 {荒井 花---(鈴木杏《武者回歸》)- 暗戀者,視宮本前輩為命根的求愛少女,為了霸佔心上人,不擇手段,自編自導策劃謊言,由傻少女演變惡女,幹得轟轟烈烈的不惜一切,那份勇者無懼的精神,一發不可收拾。" k4 e. h: S. c8 U3 p
! @9 i$ R+ U3 \/ L4 B
有栖川徹子--- (蒼井優 《青春電幻物語》)-- 同謀犯,人稱愛麗詩,樂天外表背後卻隱藏了不想告人的恩怨情仇,自命苦情結構式性格,對感情漠然,寧可不知的她,事件愈鬧愈心煩。) [9 s  ~% _3 H9 J4 W0 v

# I& v! \4 C4 k- t8 c- |% `宮本雅志---(郭智博) - 迷惑人,狂蜂浪蝶的目標,落語劇忠心擁戴,這名書不離手的君子,對曾經存在的感情,似有若無的熱戀,不敢肯定的展開探索,戀情存在意識虛無定向,不知不覺陷入苦思煩惱。

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-8 10:20 | 显示全部楼层
/ Z$ w2 i% I9 @9 j' V
                               
登录/注册后可看大图

" _7 H' T  H7 p+ l6 E
3 ?  p: U& d7 E9 V. H0 L6 K: H  Q+ N- W' s. k
《花與愛麗詩》散漫, w) ^2 d2 P  b

; ^4 S( ~7 B, E% z3 f. g0 O% A/ C文:石琪) L2 ~- k5 z% I# c! n( ~
資料來源:明報
8 w$ q5 T, ~. J# w; g0 ^3 l- n9 s/ d4 q7 l

! u9 Q* V! |" Z玩失憶,現已變得幾乎人有我有,百玩不厭,至少有三部玩失憶的影片正在同時上映﹕美國的《忘了,忘不了》、《叛諜追擊2機密圈套》,和日本片《花與愛麗詩》。除了《叛諜》是失憶殺手,另兩部都是失憶愛情,可見在愛情故事中,失憶簡直代替了曾流行很久的絕症,成為經常使用的招數。
- K& k! y( F6 S" J+ Y- \6 c
% g4 e7 b* F' x回歸青春純情$ a7 |7 y+ O/ O6 s" x" p
. B0 R+ `0 L; s& A
多數失憶片是真失憶,岩井俊二導演的《花與愛麗詩》(Hana and Alice)則名副其實「玩」失憶,兩個中學女生和一個男生玩出半假半真的愛情遊戲。這是岩井俊二回歸青春純情之作,有淺白生動的喜劇感,但沒有回復他的賣座舊作《情書》那種正規主流拍法,而採取錄像式自由散漫作風,就像獨立小型的學生作品,勝在頗自然,弊在鬆鬆散散。9 o$ {4 }+ u( ~( [( |
0 b: q4 J5 W: F( g( m
片中阿花和愛麗詩是同學死黨,出雙入對等於Twins。她倆開玩笑地看中斯文男生宮本,偶然一次撞頭,即興一句謊言,就引出連串大話,使這男生以為自己局部失憶,誤信她倆是自己的新舊女友。! k3 ?! O; b: u; J- w7 F- P; z2 s: g

; d1 m- p7 x; \: l這是有趣的玩笑,發展成戲假情真的三角遊戲,還搞出死黨變情敵的危機。演雙妹嘜的鈴木杏、蒼井優,一個珠圓一個玉潤,一動一靜,都演得貼切好玩。演男生的敦智博卻是很被動、軟弱的書呆子,實在傻頭傻腦,竟然那麼容易中計,看來日本新一代也有陰盛陽衰的問題。
4 f/ }* F6 f  b, g/ Q4 M8 b0 Y6 T
# v9 }! s' V  o7 G) B原作是網上短片" R# Z0 n# C* z+ m
$ [3 u# }% E+ y4 L- K
據介紹,《花與愛麗詩》原作是網上短片,事實上這個失憶謊言很小兒科,連傻仔也會不久便發覺受騙。現在拍成長片,未能進一步發揮三角戀的演變,而側重友誼萬歲,並刻劃兩女生日常生活的細節。不少篇幅拍攝學芭蕾舞,學日本傳統諧談「落語」表演,應徵做藝員,參加學校文化節遊藝會等。; t! j) W6 Q: {! L* B: t8 z

/ q7 u2 ]  f2 s; J9 a3 \亦有親情描寫,愛麗詩與離婚爸爸共聚遊玩一天,情景特別真切。妙在商人爸爸還教女兒講中國話「我愛你」和「再見」。/ g% F% a! c7 l9 M  L

0 S% x! b$ A. H, W( y自從一九九六年《情書》以來,香港映過岩井俊二多部影片,包括《四月物語》、《煙花》《夢旅人》、《燕尾蝶》和二○○二年《青春電幻物語》(All About Lilly Chou)等,一部比一部反主流,頗多奇思怪筆。《花與愛麗詩》是少女流行體,但也走另類路線。
/ C' R& o4 o' V5 ~6 ?( U! M/ {7 m9 e6 l; R# l
其實一九六一年法國藝術名片《去年在馬倫巴》,紳士游說貴婦相信去年已有定情之約,是玩失憶、謊言的愛情遊戲先驅。

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-10 19:10 | 显示全部楼层

4 i) b% k5 f, g% H+ d8 }9 y                               
登录/注册后可看大图
6 w8 G: T+ F& P; }9 R9 ~1 h0 H
蒼井優 (千龍網)  K% _6 P. Y* O4 ^8 d4 e

+ @( V4 D1 |2 C2 e$ Z" D5 L
& X6 O1 A/ \. a+ e6 e! V3 V
                               
登录/注册后可看大图
- I5 w, |: ?* W; h
铃木杏 (www.epochtimes.com/)
5 w3 g5 M4 J% [7 \$ ~9 m
* r* S2 f# \. _( F' D, ^[ Last edited by 南极星 on 2004-9-10 at 07:14 PM ]

458

主题

538

回帖

2179

积分

白金长老

积分
2179
QQ
发表于 2004-9-10 22:34 | 显示全部楼层
《花与爱丽丝》支持
恭喜你哦!!

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-11 16:21 | 显示全部楼层
BY: 孤草網想花園7 c& {" m: y% c2 G5 w5 Q1 e

7 q4 v+ u) v" w( W/ d% w2 @' n/ C5 u
我並不是岩井俊二的影迷,但數著數著,才發現原來他所拍的全部長片,和大部分短片,我都看了。當年因為《情書》開始留意他的電影。其後雜亂拼湊的《燕尾蝶》,即使略嫌失控,仍讓我感到十分有趣。《四月物語》卻令我失望了,那時候我覺得他為松隆子拍的 MV 還比《四月物語》好。; ~' [; S* P3 f1 c" n% G

" D: a# R, k0 \( [1 y: F  X$ t今天剛剛看了岩井俊二的新作品《花與愛麗絲》( hana & alice )。它的雛型是岩井為 Kit Kat 朱古力進軍日本三十周年所拍的短片,然後他再以其中的角色,發展成一部兩小時的電影。岩井似乎特別喜歡描寫青春期少男少女的故事:《情書》裡同班又同名同姓的兩個藤井樹、《煙花》裡的奧菜惠、《青春電幻物語》裡的成長陰暗面。後來的短片"Arita",也是一個關於告別girlhood的隱喻。《花與愛麗絲》表面上是兩女一男的三角戀關係,但電影側重的,其實還是兩個女孩之間的友情,以及她們在青春期所面對的轉變。9 d, X) A9 v; H0 t$ J. `9 X4 N9 {
! G% M5 p: s" u
《花與愛麗絲》大概有點日本「少女漫畫」的味道,看來軟綿綿的,沒有太多掙扎與衝突,也沒有壞人。而當中最好看的,是兩個女孩的性格描寫。鈴木杏飾演的阿花,常常弄出很多笑話,又滿腦子鬼主意,竟然想到趁著心儀的男生短暫失憶,編出連篇謊話來冒充人家的女朋友。阿花住在收拾得井井有條的「花屋」裡,而蒼井優飾演的愛麗絲,則來自單親家庭,跟母親住在凌亂的房間中。愛麗絲起初看來有點笨笨的,但岩井通過描寫她與父親的團聚,以及她跟阿花的關係,表現出她善良和孤獨的一面。反而夾在她們中間的那個男生,就顯得非常面目模糊。3 ?" g5 n( W& f+ [# V' D
/ h* b* w+ H. m; ]
《花與愛麗絲》是甜美的,影像悅目,配樂悅耳。我卻總是立壞心腸,想著兩個女孩會反目成仇,又或者愛麗絲在街上碰到星探後會墮進壞人的騙局。岩井創作出來的青少年世界,有的像《青春電幻物語》那樣刺痛,那樣叫人窒息,可以一夜之間由模範生變成惡霸,也有像《花與愛麗絲》這般,棉花糖似的輕柔。, A- ?: m% ?& V, F  _

  D( m4 ~: e, T4 N7 h0 A現實中的成長故事,大概都是兩者之間吧。

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-11 16:23 | 显示全部楼层
花與愛麗詩.畫與唯美詩 + z: O0 l( t/ l9 {4 t: m
( d9 x. t9 Q0 E: {9 T0 w/ w
BY:  陳分奇 (Movieworld HK Forum One)! X" V; |4 o5 Y' a
1 g7 c9 t, [8 M$ Y* Z' c
( T9 N2 r. l$ e" C3 H, i3 e
已經不記得何時愛上看岩井俊二了,但對從來寧願唯美而不顧是否貼近現實的分奇來說,這,合理不過。
& `, Q& W! d3 U: H5 D6 v6 [
# e* `$ m; |3 r8 r& I6 ]讓人冠以影像詩人的稱號,他或許不會希罕;但,想要解讀他的電影,還得要有賞詩的準備。
3 F9 q% k' p6 U. I, b; b* [$ l  {; ^  _: o% j9 k- l/ K
詩者,融情入景,借景抒情。常言道,詩中有畫。正是詩中描繪著一幅幅風光明媚的山水,看官看得出神,腦內慢慢建構出詩景;或許景致未能著形著跡,因為想像與文字的描繪難免出現斷層,但,這時,好的詩,帶著滿溢的詩意該可充實這個斷層,使整個構圖呼之欲出,讓人回味無窮。
5 {0 \4 y) ~8 R  O6 o: J 4 j( U- c- D! F5 L( j4 L; e
也有言,畫中有詩。詩畫究竟是同源,創作的對象離不開山水之間。畫固然能細膩地表達景致,然而千百萬幅山水臨摹中何者能傳頌後世,還得看畫中是否有情,是否有個性,簡言之,這還得看畫中之詩意濃度是否足以富生命予一紙素彩;又,這是平淡的、精彩絕倫的、曲折離奇的還是含蓄淡遠的?這除了得看畫畫者的靈感也得依賴看官的想像力。對著一幅靜止的圖像,感覺很自由,我可以隨意的想得很遠,可隨意在一點上無張擴張,沒有時間的限制,沒有下一個影像的催逼,我,可以很自主的決定我對畫的,只屬於自己的感受。同時靜止的畫描繪的一切盡在一時一刻,沒有下一個畫面,沒有下一段故事;有無限的可能,一切也隨看官興之所至。
* y& O) V, Y: m9 {
7 B! o) T/ n# X- R; |這無限的美的可能,是畫中有詩引人入勝的地方。
3 ]3 n3 ^4 m8 u  M$ }  G
8 R2 s5 P( d1 d' e然而放諸在不斷運行的影像是,如何表現詩的美,如何不辱影像詩人之美譽,這盡皆在一個字,凝。 : n6 r( D1 ^' U" T) B9 i4 R- c

6 |6 t: \3 m  Y把美好的時光和空間凝住,放任唯美的思緒留戀著每一個美的可能。流動的影像逐格逐格被凝住,化成了詩意盎然的慢動作平空,讓腦袋裡的天馬肆意游走。你可以隨呆笨的男生反目下墜,也可隨貌似欣宜的愛麗詩就地取材的於仙境起舞。 6 w3 D  Z( f4 g% k3 l' l5 L
0 D. Q# o# d% n$ i0 E" H
凝住了的不止是情景交融的影像詩,也包括求美的執著。阿花好比俊二,為了一個與漂漂學長如童話般的邂逅而編織連篇謊話,為了一個單純的美的而執著,她/他不介意創造出一整個故事,願意把自己都騙倒也得宣揚一件美事讓人知道。 3 B& |$ x  }! R7 W/ G, m
5 G/ n. w; v) Z! w& c3 ^
一個觀眾都不剩也好,他對美的追求還是不會停下來。如果要活在當下就得放棄美,那又何況常在夢中?

36

主题

475

回帖

513

积分

青铜长老

积分
513
发表于 2004-9-11 20:42 | 显示全部楼层
Originally posted by 南极星 at 2004-9-10 19:10:% \0 P# ~. S" w

0 t. ?) Y" F8 c9 _+ O3 R, w6 V0 w; _                               
登录/注册后可看大图
% W$ P9 U0 E6 W0 t
蒼井優 (千龍網)* N% \% l! v* ]9 ^8 R

( {0 u& @' l, B
2 a& D, I* Z( X  d8 t
                               
登录/注册后可看大图
+ s" q% m2 f! b9 p
铃木杏 (www.epochtimes ...

5 h& I& ?5 `8 L
2 ^( h% n- v5 o( A' K这个女孩子,好眼熟,是《莉莉周》里最后从电线架子上飞身而下的那个女孩?!
相思只在丁香枝上, 豆蔻梢头.

0

主题

847

回帖

1252

积分

账号被盗用户

积分
1252
发表于 2004-9-11 20:57 | 显示全部楼层
没看过哎

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-11 21:05 | 显示全部楼层
Originally posted by ode at 2004-9-11 08:42 PM:
( ~4 T3 R3 X' y/ Z0 n这个女孩子,好眼熟,是《莉莉周》里最后从电线架子上飞身而下的那个女孩?!

- F) |" m# C0 B4 R: t$ y* L9 @4 W- q9 Q0 K& `, a
沒錯!還演出過日劇《新高校教師》。18歲,真是花樣年華!- H+ t4 O. F$ K7 r  H
4 C# v4 D. c7 E

: e* i1 j6 Z0 |) k4 _# z6 M                               
登录/注册后可看大图

0 t& c, K( e* d- {; b人民網

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-11 22:43 | 显示全部楼层
[转贴] 觀《花語愛麗斯》後隨想 ) b6 F1 E- C: G  ]; t& s, v
6 K+ X7 n( K& G& P: m$ ]
《花語愛麗斯》還是《花與愛麗斯》,日本網站漢字是前者,但日文的”to”直譯是”和”或”與”,所以有一些哈日者還說我寫錯了,根本沒有了解清楚由來。看來這”語”可能跟這影片前身或靈感來源,導演拍攝的巧克力廣告有關連。
1 p' T5 t7 l% i! y
9 h6 ?6 U0 N. e+ R# `7 l岩井俊二不愧是拍青少年心路電影高手,簡簡單單的故事給他拍來流暢動人,還有其一貫細緻的地方。隨《情書》和《燕尾蝶》,此片是導演拍來故事性最完整的作品,比《一切關於莉莉周》更好更有神采。 . `, z. R5 a5 X$ h# i& w; w% Q' K
   
5 G* H4 a6 ]2 H- J9 m8 j在《一切關於莉莉周》中演出援交女學生的蒼井優,今片中就是演愛麗斯,導演極細緻地掌握出她的神韻轉化在鏡頭拍攝出來,片末一場她試鏡獨自跳芭蕾舞,銀幕上令人被其感染,這就是青春。一舉手一投足不是青春已逝的人可表現出來的韻味,是充滿生命力如待開的花蕾,是正面積極的,是一種青春無悔的顯示,令人心折的青春。 & t, M+ q* k1 p) H* e2 p) n

, L! A7 j0 f+ s+ e4 ?6 F# O5 T/ T鈴木杏也十分合身份,肥肥的少女身材正配合真實的日本學生模樣。但男主角長相差勁,可能導演想真實表達今天的日本下一代,日本的男生60%是如此模樣,十分真實。再想打第三次世界大戰,只是右派的狂想曲,日本青春男生已經半女性化,只有30%是otoko(日語:男子漢或男人),所以誰來參軍呢﹐可令人哈哈大笑,軍隊中有可能大玩《御法度》的男色呢。我們中國的反日憤青真正要放眼了解日本,不是在自行幻想的狂想曲中假設日本,那些什麼日本政客大小動作都只是小圈玩意兒,根本日本社會已改變。女性表面溫馴只是假面,現在日本公園全往著被老婆拋棄的昔日大男人,他們不是流浪漢,只是沒有了家的浪人,”家”也沒有了,要”國”來幹嘛 !  1 X% q3 h  q! q& n2 {
* q. U0 E! J8 f1 f
愛麗斯的爸爸也是因工作被年輕的妻了拋棄,愛麗斯是深深懷念父親與其昔日共聚的時光,所以她會在雨中獨舞來宣洩情緒來減壓,這樣的影響令她比普通少女更獨立更會思想,這個也是今天日本很多家庭的寫照。
2 {  K4 P) v* W5 z  T  \4 T1 {7 h, ~1 G9 c9 b
看《花語愛麗斯》時,鏡頭下的生活環境優雅舒服,真是不食人間煙火的樂士,可說是安心居所,青春成長在如此環境中應該是人類的烏托邦,我們再不需要政治、政客、愛國、功名,權勢、商機、平台、公平、監察、人權、草委…..等一大堆不知所謂的人和事,只需要一闕如影片中的優閒的地方給予我們生活。反觀,中國人何時有這樣的生活空間呢,看來做中國人生活太沉重太激情了,令人累。生活中的”美”也無閒心欣賞了,青春就白白投進江山一片紅流中而消逝。 2 T2 _9 y6 f; j
( m: F4 G' c! n# ^! B3 H" e
最近連奧運閉幕的2008北京預告也弄得愛琴海染上一片”大紅”。我關上電視,窗外明月清風,只好夢中重溫我的愛麗斯。

204

主题

5208

回帖

6683

积分

★VIP會員★

积分
6683
 楼主| 发表于 2004-9-11 22:45 | 显示全部楼层
岩井俊二 新作詩意再來' Q+ ^- q5 n. F8 y, D+ n
4 _( |7 X4 S" P6 {0 T0 m
撰文:Suti (成報)
0 M2 S4 \3 d! P1 [12- 08- 2004
, q( I7 H, h9 B! W  `) H7 \/ E$ w  b) m# Z  G, E" ^
第一次聽到岩井俊二,多數是隨?《情書》而來。之後的數部作品,他沒有像簽名式般,齣齣都是讓人癡醉純真的愛情材料,間中來部超現實的《燕尾碟》,之後又有黑暗靡爛的《青春電幻物語》。很多人期待的「情書類」,直至今年才再出現。新作《花與愛麗詩》跟《情書》也是詩意十足的作品,描劃一種純真的戀愛。但有所謂「青春殘酷蜜語」,兩戲都滲著淡淡的苦澀味,以為到手的愛情,原來只是一場空。純屬巧合?未必,岩井俊二的青春期,甜美時期本來就不多。* w, V) C0 w4 r# i, P
1 t. N% T+ s, u- D
岩井俊二的極端,從剛才所舉的數片內容對比可得知,他投射出來的影像,如果用天堂與地獄來比喻,可能不太貼切,但出來的意境真的有這種感覺。如果不看導演的是誰,有懷疑過並非出自同一人之手嗎?" y; L9 r& T) c1 a3 W# C; u/ I
. I0 a# N/ A6 R. H  _* E
求創新 小處見驚喜# f! }, V1 Z' L3 T
導演卻覺得這是對自己有交代的做法:「創作上不想每次相同,如果純粹做大家期待的,人家會覺得偷懶,停留在某階段,那是不可以的。」他要做的,是力求創新,不想被定型為某一類導演。, B# h+ I: b) e* S3 ]
) v* d7 \/ o9 z
他通常用兩年來拍一部電影,期望的是別人認同,而不是因為「岩井俊二」這品牌就覺得是好,始終,他也會有失敗作。他的創作意願是做好自己的,別人看過會記得。也許是這樣,岩井俊二的戲,多多少少都有種「喜出望外」。# a4 Y' A+ i* N: w" V! v
$ _! V7 R% |: |% k: S) X1 q  |1 R
不要說虛擬Yen Town的《燕尾碟》,才有很多未能預計的布局。即使是純樸、率真的《情書》及《花與愛麗詩》,都有點點意想不到的小驚喜。「很簡單,如果電影沒有想像空間,看十分鐘已猜到將發生甚麼,人會沒有驚喜,不是太有趣。理想是,帶給觀眾想像,意料之外的。」/ i' }& c4 B/ w# o8 {% z
( @; f% \. E9 g+ [9 G0 |. o
三角戀 微帶苦澀味# k, X# D6 g; X) d/ m- t/ j
《花》片在一般少年期的暗戀故事裏,也用了小枝節來製造「非一般」的驚喜:「好姊妹」返學放學都常伴左右,鈴木杏演的花與蒼井優演的愛麗詩,在火車上邂逅了郭智博演的宮本前輩,但暗戀前輩的花卻不敢表白。
3 k* [" v% X$ Y  u
1 }1 C; N/ o4 H一次,常拿著《壽無限》經詞的宮本,唸經時不小心撞倒大門而暈倒。於是花把握機會,強指他失去記憶,更指他曾說喜歡自己。被騙了過去的宮本,正當以為自己是她人的男朋友之際,花卻因要掩蓋原本的謊言,大話愈講愈多,再指愛麗詩是宮本的前度女友。結果,男孩真的喜歡上好友愛麗詩,令花患得患失……
2 u; Z$ A1 g6 A  ^+ m/ g* b/ B2 P  {$ @( B0 i' M
少年人 撒謊也可愛, X6 K# L5 d; l
編一個大話來讓對方與自己走在一起,花給人的感覺,並沒有惹人反感,反有種率直、可愛感。這種「得天獨厚」或許如導演所說,只有少年人才能獨有。& Q( q0 g) `2 ]0 o

8 D2 n; }9 A6 S3 a2 K7 c8 r「其實在成年世界不能說沒有可能發生的,這戲不是純粹寫十多歲的年輕人。問題是在成人世界裏,有太多複雜的愛情瓜葛,你會覺得難看,他們為何做這些,為何不可決斷一些?」' I, \/ G9 P/ {, ]

, T0 j2 K+ b8 u7 E4 J「但發生在小朋友身上是可原諒,是純真、可愛,而兩個成年女人去爭一個男人,則會難看,就是這個分別。」* J+ p! R/ v  n- }, @1 _- L7 |
6 J( t( Z9 j) U! r
既為導演 又做音樂! F* [% `7 b9 f
岩井俊二(Shunji Iwai)於大學時期便開始拍攝實驗電影,88年憑桑田佳佑的MV投身娛樂事業。同年得到日本電影導演協會的新人獎,而他的導演路,則在富士電視台拍攝劇集開始。& [& k; j6 y. F: I, H  ?$ d
9 }1 D' T3 k; A8 F9 a- Y# i3 `
1993年,他拍攝的《煙花》,破天荒地以電視劇的身分,為他奪得日本電影導演協會新人獎。1994那年,岩井的《愛的綑綁》得到柏林影展的「亞洲電影協會」大獎。當然,他的事業高峰是《情書》的成功,戲也讓他成為亞洲重要的電影人。: D+ D1 ]) ?6 P; \

4 R/ f. |1 p  [% `& {好扶後輩一把
0 a4 ]6 c: m9 v2 Q電影以外,岩井一直也作多方嘗試,以今次為例,音樂也是由他負責的。當年他拍完《四月物語》後,也開始利用多媒體創作,於網上虛構了Lili chou-chou,並拍成後來的《青春電幻物語》。
9 U, B* n1 O9 h6 l3 T! w  P" _9 G$ R( y& D) g: x$ H1 M
7年前,他又開始了另一計劃,就是收集劇本,為新人提供發表的渠道。這種扶後輩一把的誠意,令人尊敬。
4 e$ h5 T" }9 Z/ o  m
1 R6 S0 t5 O4 \一年看少於10部電影/ K, m% ?. x8 U0 W( u. R
電影人多會看很多電影,以為他們總堆在影碟中做人。但岩井俊二告訴大家,他看戲看得很少,少的可以一年只有一、兩部,多的也未必超過十部。「我沒有特別找電影來看,拍攝是我自己的一個工作,那就代表要看這麼多?如果找來十套好的看一百次,已可得到當中的精髓,可能有做導演的機會了。但如果有些戲,別人說一定要看的話,還是會去的。」
您需要登录后才可以回帖 登录 | 注册

本版积分规则

联系我们|手机版|小黑屋|韩剧社区 ( 蜀ICP备14001718号 )

JS of wanmeiff.com and vcpic.com Please keep this copyright information, respect of, thank you!JS of wanmeiff.com and vcpic.com Please keep this copyright information, respect of, thank you!

GMT+8, 2024-11-23 21:47 , Processed in 0.044580 second(s), 18 queries , Gzip On.

Powered by Discuz! X3.5

© 2001-2024 Discuz! Team.

快速回复 返回顶部 返回列表