Sunday, December 4, 2016

Ping Hing Kam shared Ho Yin Ng's post 影寫評 可以樣寫

Ping Hing Kam shared Ho Yin Ng's post.
1 hr
影寫評 可以樣寫
Ho Yin Ng
19 hrsHong Kong
【 Edward Hopper 的凝望】 ---- 吳浩然
天亮, Edward Hopper 站在窗前,看外面街景 , 逐漸顯明,感覺這是作畫好時光。
他把妻子喚醒 , 坐在窗旁,讓他造像。前一夜,倆人剛駕車來到Brooklyn, 入住這家廉價酒店,四周被破舊建築包圍,房間簡陋,牆壁灰黃,令人沮喪,大家只好倒頭便睡
仍然穿著睡袍的 Josephine, 睡意仍濃, 坐在窗旁餐桌前,面朝窗外,外面天已全白,淡淡晨光透進室內,照亮她臉。 她扭動有㸃僵硬的頸項,嘗試摔掉面上的倦容,雙眼微睜,看著窗外漸次明亮的世界。
但她不會看透 Edward Hopper的創作,那長久隱藏在內,黑暗掩蓋著的孤寂,光明都在外頭,像門縫下漏不進來的亮光。
就是因為了他,追隨者都依從著,孤單地往外怔怔呆望,等待,再等待;希望,復希望 ; 黑暗會被衝破,最終,光明會透進了來。
一朿陽光穿透紐約現代美術館的玻璃大門,照進室內。 場內Edward Hopper 的畫作【鐡道旁的房屋】前面,有個肥胖身軀在扭動,幾乎把繃得緊緊三件頭西裝上的鈕扣擠破;濃重的呼吸,在靜寂的美術館內,倍覺響亮。 他把頭挨到畫前,定神在看,肥肉擠在臉上,迫得細眼如絲; 細小的禿頭,龐大的身軀,看若企鵝;他不住㸃頭,並拿出袋裏雪茄,放在嘴邊咬著,看來,心裏已有著落。
希治閣看見的不是畫中那楝兩層高房子背後的藍天,天空斜斜白雲,都是幌子。房影掩映,封閉在窗簾後面的黑暗,才是主題,正好是他籌備電影【驚魂記】(Psycho)裏安東尼柏堅斯(Anthony Perkins)扮演的貝斯母子倆人的居所,屋內,幹著血腥殺人的勾當,自此,這座房子就存活在影癡的夢魘內。
多年後的一個下午,同樣的陽光透進室內, 美術館裏來了一個年輕小夥子,戴著一頂德州牛仔帽,穿著啡黃色猄皮外套,腋下夾著米勒的畫冊,走到 Edward Hopper 這畫前,停下來。 嘴巴下留著鬍子,幼嫩稀疏,定眼看畫,手撫下巴,眼睛一溜,像看明白了,就不停在做筆記。
年輕的泰倫士馬力 (Terrence Malick) 正在籌備他的第二部電影【天堂之日】( Days of Heaven) ,他用米勒畫作【晚禱】作為電影內大片農田的色澤, 大地神聖,沉靜肅穆。 只是他還需要尋找一個房屋的造型,用作電影裏農莊大宅之用,裏面封閉的世界是兩男一女Richard Gere, Sam Shepard, 和 Brooke Adams 三人共同生活的地方,人性黑暗就在此間彰現。
電影結尾,當鋪天蓋地的蝗蟲,有如聖經舊約一樣,降臨大地,神威施顯, 懲罰世上罪孽,天空就如米勒的黃昏,漫天雲彩,佈滿在內是密密麻麻的黑㸃,驟然而降,蝗羣如雨,洗滌大地;隨著,烈火把田野燃燒起來,有如天火焚城; 大地一切,頃間,盡為焦土;所有屬於地上的包括農莊大宅內的一切,皆無倖免,只有那個堅強的女子Brooke Adams存活下來。
同樣是五十年代的廉價酒店,漆黑房內,湯漢斯( Tom Hanks) 的幼子有如 Josephine一樣,孤單一人, 呆呆坐著,等待父親回來。
光從窗外透進室來,照在他漠然的臉上。
湯漢斯 (Tom Hanks) 穿著五十年代的氈帽大衣,有如畫作【夜鷹】 (Night Hawk ) 裏的男子,帶著兒子,踏上跟Edward Hopper 與太太 Josephine 一樣的汽車之旅,不是為著旅遊,為的是尋找滅門仇家,替家人報仇雪恥。
父子倆,一同走上一條【滅亡之路】( Road to Perdition) 。
是一家換一家旅店的行旅生活,兒子遊走封閉的空間裏, 看不透,理不清,父親所處黑暗的世界。 外面的光亮,只可在門縫下,偷偷透進了來。
當大仇得報,湯漢斯帶著兒子搬進臨海的房子,陽光滿盈,湯漢斯走到闊大的窗戶前,寛懷地看著外面海上的風光,有如 Edward Hopper 畫中 Cape Cod 的世界,柔風吹動白雲海面,天有許多的藍,無限透明, 湯漢斯用手輕輕觸撫玻璃窗外的世界,欣喜之情就如 Josephine 看見早上的晨光。
天上白雲飄近,掩蓋窗前朝陽,瞬間陰沉, 殺手祖廸羅( Jude Law )出現背後,開一冷鎗,湯漢斯緩緩倒下,臉上,盡現不捨。
原來,我們一代又一代,追隨著 Edward Hopper的目光,尋找著光源所在,然後,靜靜等待,呆呆凝望。
只是,原來內裏依樣黑暗 , 光明仍是只可留在外頭。
Credence Clearwater Revival有這樣一首歌【Long As I Can See The Light】--「請把燭光放在窗前, 看來我還要多走一會 …… . 你無需擔憂, 只要我仍能見著那光 」 。
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Friday, September 30, 2016

舒明: 日本电影纵横谈

(一)电影与文学 
1黑泽明震惊欧美的《罗生门》 
2涩谷实的《本日休诊》 
3稻垣浩与内田吐梦的《宫本武藏》系列 
4丰田四郎的《夫妇善哉》与池田敏春的《秋意浓》 
5市川昆的《火烧金阁寺》与《野火》 
6野村芳太郎的《埋伏》与《五瓣之椿》 
7野村芳太郎和犬童一心的《零的焦点》 
8小林正树的《怪谈》 
9黑泽明的《红胡子》 
10丰田四郎的《四谷怪谈》 
11三岛由纪夫自作、自编、自导和自演的《忧国》 
12熊井启的《望乡》 
13野村芳太郎的《八墓村》与《事件》 
14市川昆的《古都》与《细雪》 
15若松节朗的《不沉的太阳》 
16太宰治的《潘多拉盒子》与《黄金风景》 
17荒户源次郎的《人间失格》 
18平山秀幸的《必死剑鸟刺》 
19熊切和嘉描写庶民哀歌的《海炭市叙景》 
20大森立嗣的《多田便利屋》 
21山下敦弘的《苦役列车》 
22青山真治的《自相残杀》 
(二)昭和电影 
1沟口健二30年代的写实杰作:《浪华悲歌》与《祇园姐妹》 
2木下惠介的《肖像》、《小姐干杯!》与《二十四只眼睛》 
3《东京物语》西行记——欧美对小津艺术的欣赏 
4增村保造的《妻的告白》、《清作之妻》与《赤色天使》——若尾文子的三部爱欲物语 
5稻垣浩的《忠臣藏》——流芳百世的赤穗忠义武士 
6五社英雄的《三匹之侍》与稻垣浩的《埋伏》 
7黑木和雄的《凝聚的沉默》 
8大岛渚的杰作《少年》 
9小林正树的《化石》——面对死亡的哲理沉思 
10山田洋次的《幸福的黄手帕》 
11五社英雄的《云雾仁左卫门》与《黑暗中的猎人》 
12今村昌平的《乱世浮生》 
13铃木清顺的《流浪者之歌》与《阳炎座》——八十年代最华美妖艳的浪漫电影 
(三)平成电影 
1堺雅人主演的《南极料理人》 
2行定勋的《爱妻家》 
3北川景子演绎藤泽周平的《花痕》 
4小林政广的《与春同行》 
5中岛哲也的《告白》 
6绽放六段花样人生的《花》 
7北野武的《极恶非道》 
8土井裕泰的《花水木》 
9李相日的《恶人》 
10高良健吾主演的《哥哥的烟火》 
11三池崇史的《十三刺客》 
12濑濑敬久探讨罪与罚的巨片《天堂故事》 
13森田芳光的《武士的家计簿》 
14《最后的忠臣藏》的悲壮与温柔 
15《白夜行》的变态、伪装与爱情 
16若松节朗的《子宫的记忆》与成岛出的《第八日的蝉》——两个母爱与婴儿绑架的故事 
17青山真治的《东京公园》 
18原田芳雄的《我们的歌舞伎》与《大鹿村骚动记》 
19新藤兼人的《陆地上的军舰》、《石内寻常高等小学校》与《一封明信片》 
20原田真人的《记我的母亲》 
21荻上直子的《租赁猫》 
22高仓健与降旗康男的《致亲爱的你》 
23两位伊朗导演的日本片:《片场杀机》与《如沐爱河》 
24《临终的信托》与周防正行 
25《编舟记》:浩瀚字海渡人生 
26是枝裕和的《如父如子》 

Thursday, September 29, 2016

舒明: 平成年代的日本电影


第三辑 作品篇
[青春]
在乡间成长…………………筱田正浩的《少年时代》与东阳一的《梦之村》
春日少女群像………………中原俊的《樱园》
缅怀永远的青春岁月………大林宣彦的《两个人》与《青春摇滚》
运动员的奋斗………………矶村一路的《击浪青春》与曾利文彦的《乒乓》
错乱失落的世界……………盐田明彦的《月吟》、《害虫》与《金丝雀》
日本校园韩国调子的青春之歌……行定勋的《GO!大暴走》
两个少女不可思议的友情…………中岛哲也的《下妻物语》与大谷健太郎的《Nana世上的另一个我》
[爱情]
丝丝入扣的爱情三部曲……松冈锭司的《打水金鱼》、《星闪闪》和《我们曾经喜欢的事》
细诉同性爱…………………中岛丈博的《锅巴》与桥口亮辅的《三心两性》
隐藏于记忆之恋……………岩井俊二的《情书》
中年男女的不伦之恋………森田芳光的《失乐园》、市川准的《东京夜曲》与荒井晴彦的《身心投入》
重拾初恋半生缘……………中原俊的《贝壳》与绪方明的《何时读书天》
浪漫奇趣的童话世界………犬童一心的《金发的草原》与《若色、老虎和鱼》
异曲同工的男女公路电影……相米慎二的《风花》与广木隆一的《震荡器》
天国人间未了情………………竹内结子的《黄泉复活》、《天国之恋火》与《借着雨点说爱你》
[改编经典文学]
爱、死、不忠及精神失常…………小栗康平的《死之棘》 
远藤周作的精神求索与圣化角色…熊井启的《深河》与《天国情书》
痛失至爱的家庭悲剧………………是枝裕和的《幻之光》
平安王朝多情公子光源氏的一生…堀川顿幸的《千年之恋》
流行文学重新演绎…………………李相日的《69》与市川准的《东尼泷谷》
[喜剧]
以幽默讽刺扬名欧美………………伊丹十三的《鸿运女》、《民暴之女》与《超市之女》
令人捧腹大笑的体态喜剧…………周防正行的《五个相扑的少年》与《谈谈情,跳跳舞》
活力四射的荒诞喜剧………………SABU的《弹丸飞人》、《盗信情缘》与《失忆星期一》
凭歌寄意的人情喜剧………………井筒和幸的《嗓音自豪》
青春校园喜剧………………………矢口史靖的《五个扑水的少年》与《喇叭书院》
从势成水火到惺惺相惜……………三谷幸喜的《大家的房屋》与《笑的大学》
[历史]
战国时代艺术与权力的交锋………敕使河原宏的《利休》
立意创新的忠臣藏电影……………市川昆的《四十七人之刺客》与深作欣二的《忠臣藏外传四谷怪谈》
耐人寻味的男色暧昧剧……………大岛渚的《御法度》
乱世情仇的忍者秘史………………筱田正浩的《枭之城》
黑泽明遗稿活现……………………小泉尧史的《雨停了》、市川昆的《道乐平太》与熊井启的《大海的见证》
[黑帮、犯罪]
惊天动地的奇情绑架案……………冈本喜八的《大诱拐》和大河原孝夫的《诱拐》
劫杀案与死亡游戏…………………深作欣二的《起尾注》与《大逃杀》
末路英雄的最后激情………………望月六郎的《鬼火》
弱女子复仇记………………………石井隆的《黑天使》与《不溶性侵犯》
东京都湾岸警署风云录……………本广克行的《跳跃大搜查线》
徘徊于艺术与商业之间……………青山真治的《浩劫余生》与《湖畔杀人事件》
[家庭伦理]
电影中的戏剧与人生………………新藤兼人的《午后的遗书》
家庭变奏曲…………………………竹中直人的《东京日和》与《连弹》
青山依旧人面全非…………………河濑直美的《萌之朱雀》
[惊悚、恐怖]
血腥暴力世界………………………冢本晋也的《东京铁拳》
蛇蝎美人心…………………………三池崇史的《切肤之爱》
惊心动魄的幽灵世界………………中田秀夫的《鬼水凶灵》
[真实纪录]
真实探索与虚像营造………………原一男的《全身小说家》
关怀社会的生活纪录………………佐藤真的《生活在阿贺》与森达也的《我在真理教的日子》
[其他 梦幻、社会、风土、动物]
电影大师的八个梦…………………黑泽明的《梦》
如画似梦的彩色迷离世界…………铃木清顺的《梦二》与《手枪歌剧》
黑暗现实世界………………………原田真人的《神风72小时》、《涩谷24小时》与《金融腐蚀列岛〔咒缚〕》
城市唯尘俗,乡间有桃源…………三池崇史的《中国的鸟人》与小泉尧史的《阿弥陀堂来信》
我这一辈子 :小黑与小Q的优游岁月……松冈锭司的《再见了,小黑》和崔洋一的《导盲犬小Q》

Monday, June 6, 2016

The 10 Best Shots: Celebrating The Eye Of Christopher Doyle

64 years ago today, a one-of-a-kind film artist was born. Christopher Doyle, originally from Australia but wholeheartedly belonging to his adoptive Asian culture of Hong Kong and Taiwan, is one of the greatest living cinematographers working today. He’s also the first DP to come to mind if you’re ever thinking about having a drink with one, a plaudit he’d probably hold in higher regard than any praise of cinematic artistry laid on him. He has one of the most eclectic CVs of any cinematographer working today (can Emmanuel Lubezki boast that he was a cow herder, oil driller and doctor of medicine before picking up a camera? Don’t think so) and if you were to discuss where he gets his inspiration from, cinema isn’t even on the list. Dance, theatre, literature, “Francis Bacon talking about the bars that he likes,” engaging and breaking up with beautiful women; all of these come before any direct cinematic influence for the genuine maverick and notorious wild card that is Chris Doyle. Breaking technical rules, using mistakes to his advantage, and proudly preserving hisreputation as “the fucking Keith Richards of cinematography,” Doyle’s images in the blistering Asian cinema of the nineties and early aughts helped redefine Eastern cinematic culture and language. His trophy case boasts awards from CannesVeniceAFI, loads of Golden Horse and Hong Kong Film Awards, but, insanely enough, he’s never even been nominated for an Oscar. Although, consideringhis thoughts on American cinema and the Hollywood system, he’s probably doesn’t give two shits about that.
Doyle is, of course, most famous for his collaborations with Hong Kong auteur and directing legendWong Kar-Wai. I’m not sure if any cinematographer was as instrumental in creating a director’s reputation and name as Doyle was for Wong. Their seven collaborations (together with Wong’s long-time production designer, William Chang), offer some of the most vivid, immediate, energetic, inventive and groundbreaking cinematic experiences in contemporary cinema – most notable for bringing the neon world of Hong Kong to colorful and visually jaw-dropping life. Seeing himself more as a collaborator than a cinematographer, Doyle’s images are suffused with symbolic visuals and a sensitive engagement with the actors; so many of his shots bottling the essence of the film’s themes, messages, and emotions.
To celebrate the work of an unpretentious genius and one of the most unique eyes of cinema, I’ve hand-picked 10 shots from Doyle’s Chinese and Hong Kong oeuvre, sticking to his most popular and artistically creative years. Take “best” with a grain of salt (and some lemon and tequila since we’re celebrating), since there are dozens of other films Doyle has worked on before and after Wong Kar-Wai, and outside of his sandbox in Hong Kong, which offer an array of dazzling and inventive techniques. Beauty is also in the eye of the beholder, etc.
For reasons explained below, these 10 shots define Chris Doyle’s commandeering art for me. Oh, and in case you’re wondering; for the purposes of this article, a shot is any uncut take as seen in the finished film.
SPOILER NOTE: There are some upcoming spoilers for the films “Hero,” “Dumplings” “Temptress Moon” and “2046.”
Late Night Chat – “Days of Being Wild” (1991)
The 10 Best Shots by Christopher Doyle 2
The first of seven films Wong Kar-Wai and Chris Doyle made together, “Days of Being Wild” is also the first in the loose trilogy that follows the fates of Maggie Cheung‘s Su Li-zhen and Tony Leung‘s Chow. For this shot, Su feels jilted from the pangs of first love after realizing that the man she fell for, Yuddy (Leslie Cheung), is no longer a part of her life. She meets a kind-hearted and soft-spoken security guard (Andy Lau) who comforts her by listening and sharing his own story. They take a late night stroll by the streetcar tracks, the wet concrete glistening after the rain and the film’s most predominant colour — green, here lit up by the railway signals — bouncing off in a way that foreshadows one of Doyle and Wong’s trademarks: the urban jungle. It’s a reverse tracking shot, (smooth on a dolly, unlike Doyle’s upcoming handheld tracking shots that have a rougher, but more intimate, effect), that lasts almost a full minute and a half. Already finding a way of capturing Su Li-zhen’s incandescent characteristics, Doyle’s camera positions itself as a gentle observer, green wilderness taking a backseat to an incredibly sincere and authentic moment between two souls. We’re also witnessing the early origins of Cheung’s iconic wistfulness through the film’s thoughtful introduction of one of the most poignant characters in modern cinema. Lights from the off-screen traffic and streetcars at times eclipse the actors in total darkness, and at others illuminate them in bright white light, almost as if orchestrated by the ebbs and flows of personal sadness and regret in the conversation.
A Style is Born – “Chungking Express” (1994)
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The legend of how “Chungking Express” came to be is now as famous as the film itself, and stands as the greatest example of Doyle and Wong’s improvised and spontaneous modus operandi. Shot in two months, as a breather from editing his wuxia epic “Ashes of Time,” “Chungking Express” ended up being the film that put Wong on the international map, many still hailing it as his quintessential film. Would this have been the case without Chris Doyle? The film is an atomic blast of creative energy; exhilarating, vibrant, inventive – it coaxes us with its visually provocative use of neon colours smudged and smeared with perfectly imperfect and abstract focus. He may be the Keith Richards of cinematographers behind the camera, but through the lens, Doyle is cinema’s Jackson Pollock; an action painter of the most vivid kind, creating a language that spawned litters of copycats and wannabes. There’s no better moment in any film that celebrates this harder than the infamous shot from the opening chase sequence of “Chungking Express.” Lasting only a fleeting 2 seconds, Hong Kong’s neon nightlife is rendered a blur while Cop. 223 (Takeshi Kaneshiro) pursues a nameless villain right before he’s about to brush past Brigitte Lin’s femme fatale. As with most every film from this list, choosing the best shot from “Chungking Express” is practically impossible, because so many of Doyle’s shots engrave themselves on the frontal lobe – think of Faye Wong’s fixated stare at Tony Leung while the crowd speeds past in the foreground, or all those magical escalator reflections. But, as a tone-setter so early in the film, this must have been the one that knocked people out with its inventive and audacious use of light, colour and focus; creating cinematic texture and redefining the way people thought of “motion” in motion pictures. With Wai-Keung Lau.

Cagey Conversation – “Ashes of Times” (1994) 
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Wong’s wuxia tale can be confusing if you’re into straightforward plotlines and linear character action. Its plotline is as confusing to follow, as its visual telling is resplendent to behold. With every frame, the film seems to vie for the number one spot on Wong Kar-Wai’s best-shot films. Its aggressively saturated yellow hues at times leave the impression that Doyle’s greatest tool was not the camera, but the sun and a magnifying glass. Scorched desert landscapes pierce through the screen, reflections sumptuously melt into each other like smooth liquid puddles of spilt oil, but one standout shot screams artistic bravado with such a high pitch, it just about drowns everything else. The scene sees Brigitte Lin’s Yang and Leslie Cheung’s Feng discussing – what else? – love. The shot, lasting almost a full minute and a half, observes Lin and Feng’s movements behind a couple of bamboo birdcages (the film’s most prominent symbol) as they discuss the possibility of Yang’s brother Yin having some sick infatuation with his sister. The kick is that Yang and Yin are the same person, and the shadow-dance on the actors’ faces – created by daylight shining through the revolving cages – captures this trickery as evocatively as it symbolizes Feng and Yang’s entrapped destinies. Doyle’s hand-held movements glide behind the birdcages, creating a sense of palpable space – the entrapped atmosphere perfectly complimenting the cagey conversation while literally keeping the viewer captive like a caged bird.
Neon Pleasures – “Fallen Angels” (1995) 
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Moaning with pleasure, with back-up vocals courtesy of Laurie Anderson‘s sexy psycho-punk ballad ‘Speak My Language,’ a woman in fishnet stockings and a black leather dress masturbates on the bed. Doyle’s wide angle lensing and compositions, the neon-lit shady streets of Hong Kong after dark, and the assassin’s narrow apartment that we keep coming back to gives “Fallen Angels” a sexy, sleazy, and lurid varnish. Lasting well over a full minute, this single take is the camera at its most perverse, and the single greatest symbolic representation of the film’s intense effect on the viewer. By turning us into voyeurs and creeps who lurk behind beds and watch with some excitement (Doyle’s handheld motions see to that) as a sexy assassin contractor (Michele Reis) pleasures herself, Doyle and Wong turn the audience on by turning the image into something to fetishize over. I seriously doubt that a homosexual man or a heterosexual woman watching this scene could deny the lasciviousness that drips from every corner of the frame. Of course, as with every brilliant Doyle shot, this particular one serves multiple purposes. Doyle’s use of deep focus ensures that the green clock in the background dominates part of the frame, reminding us of one of Wong’s most re-occurring symbols (to quote the man himself: “all of Wong Kar-wai‘s films are pretty much about time”). A little later in the film, a near-identical angle sees the same woman sprawled out on the same bed, making similar motions. This time, when the camera cuts to her face we see that she’s crying, making the effect all the more powerfully because of our association with this earlier scene. Pleasure and pain, color and sex, music and mood; all are fused together through Doyle’s brilliantly angled hand-held shot.
It’s Too Late – “Temptress Moon” (1996)
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Legend has it that Chris Doyle drank a bottle and a half of whiskey a day during the shoot of “Temptress Moon,” Chen Kaige‘s period piece. Seeing how fast and loose the camera moves within the film’s gorgeous golden complexions, there is a definite feeling of unhinged liberty at play, as if Doyle really is under some toxic influence. The result is a whirl of sumptuously contrasted shadow and light with Doyle’s camera at its most balletic; so visually striking is the picture, in fact, that the aesthetics dominate over plot, which Kaige purposefully made opaque and not unlike the construction of a dream. The overexposed lighting creates a sort of veil through which the engrossing tracking shots are allowed to breathe, and none are quite as effective as the one that captures the climactic farewell between the doomed central lovers Ruyi (Gong Li) and Zhongliang (Leslie Cheung). Lasting a full 3 minutes, the camera starts with Zhongliang’s desperate pleas for Ruyi to reconsider her decision to marry someone else. But it’s too late. Pulling backwards, pushing forwards, shaking as if scared in a moment of duress, the camera chooses to stick by Ruyi’s side and her defiant convictions. As she slowly walks away from the crushed Zhongliang, deflated Chinese lanterns from bygone times decorating the background, the sun dances on her face – at one point making her tear glisten, diamond-like. Gong Li’s performance is remarkable; her sigh that signals the end of the shot lingers, echoes and cuts our hearts in the deep dead center. It’s a genius shot; using motion and light to epitomize the essence of the film in 3 minutes while giving the two central characters a glorious send-off. If there was ever a case to be made for drinking on the job…
The Tango – “Happy Together” (1997)
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Wong’s “Happy Together” is the same story him and Doyle have been creating throughout their time together, a story about love, loss, looking back and moving on. This time it’s depicted through a same-sex relationship and the emotionally charged connection between two lovers: Ho (Leslie Cheung) and Lai (Tony Leung). They’re in Argentina, trying to rekindle their relationship, and this particular scene – which, unsurprisingly, produced the most prominent marketing image for the film – sees them reunited after the umpteenth break-up, with Ho teaching Lai the tango. Lai thinks he finally got his footing, and after a gorgeous shot of some debris and unfinished construction work under an overcast sky, we get this minute-long handheld shot of the two of them dancing in the kitchen. Bathed in sunlight as they frolic more than tango, the two lovers can’t keep their hands off each other and we, in turn, can’t keep our eyes off of them. The shadows created by the most ordinary objects (a pot, a pan, and a kettle) add to the exotic mystic, as we bear witness to the peak of a passionate love story. Doyle’s insistence of operating the camera himself places emphasis on the “witnessing” aspect of the shot, as his slight motions and variations seem to make the camera dance along with the characters, the way your feet involuntarily tap to the beat of a song you love. Astor Piazzolla‘s accordion tango is the mood-enhancer, Leung and Cheung exude the chemistry, but what drapes this moment in nostalgia and turns their love into a chimera, is all Doyle.
Missed Connections – “In the Mood for Love” (2000)
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As the most celebrated film from one of the greatest director-cinematographer pairings in the history of cinema, “In the Mood for Love” is miraculous in how it captures Wong’s grand themes of loneliness, longing and love. So deeply felt are these emotions, that almost every composition and flow of action feels serendipitous. Music, acting, mise en scène, framing, dialogue, the sumptuous and never-garish reds and blues, Doyle’s observant camera; everything syncs to create something timeless and extraordinary. This shot, lasting just over 30 seconds on screen, sees our central characters Mr. Chow (Tony Leung) and Mrs. Chan (Maggie Cheung) at the peak of their happiness together, working together on Chow’s story. In one of the film’s iconic slo-mo montages while‘Yumeji’s Theme‘ seduces us through the speakers, the camera is positioned behind Chow and starts to pan right, captures her looking at him, continues to move behind her, and lingers for a beat or two while framing him in deep concentration. Lingering for a beat, it returns the same way, behind her, capturing her fixated focus at work now, before ending back on his left side, and him – his concentration briefly broken – glancing up at her. Crucially, both are reflected in a mirror, so while the camera glides to the music (or the music follows the camera’s movements) the two of them are doubled, so that we are, in a way, looking at four people. It’s a masterful shot because in 30 seconds it captures the essence of Wong’s themes; the duplicitous nature of their connection (their respective spouses, whom we never see, are having an affair with each other), the missed connection symbolized in the longing gaze while the other is not looking, and the half-circular tender swing of the camera movement returning to where it came (a signature motion that’s everywhere in the film) reminding us how retracting steps and mirrored movements are integral to understanding the nature of the film’s emotional flow. This fantastic video essay goes into greater depth regarding the frames-within-frames construction in the film. With Ping Bin Lee & Pung-Leung Kwan 
“Why didn’t you block my sword?” – “Hero” (2002)
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Director Zhang Yimou comes from a cinematographic background, so when he paired up with Christopher Doyle for his martial arts epic “Hero,” visual beauty was a given. Every frame, every composition, in this film is lush, wondrous, and awesome in the true sense of the word. Each version of the central story is unabashedly adorned by a single color – red, blue and white – while the present is bedecked in black, and flashback scenes are as green as evergreen. Doyle shoots the colors in a way that devours the screen, so that key fight sequences – the one in the forest or the one on the lake, for example – resonate in our minds in shades of red and blue. The beauty contained in every shot is impressive even for masters like Doyle and Yimou, but it’s in the white version where I’ve found my favorite shot. Shooting in the desert must be one of the greatest challenges a cinematographer can face, and in an interview with filmdetail, he calls it “finding the sculpture in the stone.” When Broken Sword (Tony Leung) gives his life so that the woman he loves, Flying Snow (Maggie Cheung), can understand that letting the King live is more important – it’s the most heartbreakingly pure and essentially heroic moment of the film. She lets out a primal scream, and it cuts to this incredible wide shot of the elemental desert landscape, with the sky and its pinkish hue above them, and a powerful gust of wind – nature’s silent symbolizer – blowing their corporal connection away. At once dreamlike, emotional and primeval; the shot goes to show that, in the hands of a master DP, a stunning film like “Hero” can contain scenes with the least amount of flashy color and still visualize intense emotion, on a cosmic scale.
Twisted Nutrition – “Three… Extremes: Dumplings” (2004)
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There was no way of talking about one of Doyle’s more brilliantly twisted shots without completely spoiling “Dumplings.” Originally shot as a short for director Fruit Chen as part of a horror anthology “Three…Extremes” (the other two shorts are directed by Park Chan-Wook and Takashi Miike, by the way, so the whole thing is well worth checking out), “Dumplings” is about desperate Mrs. Li (Miriam Yeung) who seeks the help from an unsettling medicine woman (Bai Ling), known for her special, youth-restoring dumplings recipe. During the film’s pivotal moment, Li finds out what the special ingredient is (aborted fetuses!), runs away, tries to vomit it all out of her mind, but is suddenly compelled to return. What follows is a discombobulated sequence of blurred cuts, distorted angles and lopsided framing before the shot in question makes us simultaneously recoil in horror and marvel at its genial composition. Shot underneath Mei’s glass table, the two women stare at the red speck in the center, the tiny humanoid form that goes ever-so-slightly in and out of focus and acts like a branding iron that burns the moment into our retinas. “Nothing in the world can beat this nutrition,” extols Mei, as she leans for a closer look at one point and her face gets contorted through the fetal blood. It’s truly horrific stuff, and Doyle compliments the disturbing themes with an appropriately disturbing angle, confirming that the colour red can provoke revulsion just as easily as passion.
Christmas Dinner – “2046” (2004)
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For fans of Wong and Doyle’s films, “2046” is a bittersweet affair. Taking close to 5 years to complete, feeling like a contractual obligation more than any of their previous, ad hoc efforts, this spiritual and futuristic sequel to “In the Mood for Love” follows Mr. Chow (Leung) after his life-changing encounter with Su-Li Zhen (Cheung). Even if it was the film that effectively broke Doyle and Wong up, “2046” is still one of the best shot “unnecessary” sequels in contemporary cinema, and this scene – featuring Wong stalwarts Tony Leung and Faye Wong as Jing-wen – gives the greatest ballast to an unwavering and tonally off-kilter picture. It is the distant and futuristic relative to the “In The Mood for Love” entry; a tracking shot that sways from side to side and captures two people and their reflections in the same shot. For almost a full minute and a half, the space covered by the uninterrupted shot is the length of a dinner table but by magnifying, duplicating and refracting the actors with lambent reflection, the ground covered feels much larger. Instilling an epic nature into something as intimate and everyday as a dinner conversation is one of Doyle’s many uncanny abilities, and here, with a little help from Nat King Cole and two brilliant screen performers, loneliness and the sense of doomed romance are once again in wedlock. They’re both alone on Christmas Eve, and Chow – who has turned into something of a womanizing selfish former shell of the man we once knew – is on the verge of doing the most selfless thing in the film; helping Jing-wen reunite with her Japanese boyfriend. The reflections – futuristic in their shapes, perhaps even digitized – signal the evolution of the same story from “In the Mood,” as Chow looks at the one woman who reminds him of Su Li-zhen the most, and decides that the right thing to do – no matter how close they’ve grown and become part of each other’s lives – is to let her go.
A fitting final shot to bring this article to an end. Doyle often cites breaks ups, and the depression that usually follows them, as the greatest creative stimulant to his best work.
The films mentioned above overflow with shots that contain tiny worlds, so here’s hoping that this article encourages readers to seek out and revisit all of them. Any film, even if they are shot-for-shot remakes by Gus Van Sant (“Psycho”) or ‘lesser’ exports by the likes of Jim Jarmsuch (“Limits of Control”), Jon Favreau (“Made”) and M. Night Shyamalan (“Lady in the Water”) are worth seeing because of Christopher Doyle’s inventive use of tracking, composition, and lighting. Special mention has to be made for “Rabbit Proof-Fence” (2002) and “Last Life in the Universe” (2003) which contain shots that nearly made it on here. Even still, we’ll all still secretly hoping that Wong and Doyle make-up and create something special again because they really turned out some magical stuff together.
Got any favorite Doyle shots you want to get off your chest? Thoughts on anything we’ve discussed, or about the idea of going to bars in lieu of watching movies for artistic inspiration? You know where to sound off!