Sunday, January 20, 2013
周日話題﹕葉底藏花——《一代宗師》的金句符號學及主體建構
周日話題﹕葉底藏花——《一代宗師》的金句符號學及主體建構
【明報專訊】王家衛式金句氾濫本地媒體，全城談論《一代宗師》。當我的一名學生在他剛提交的短片作品用上獨白﹕「打機，兩個字﹕左右、上落」（指那用箭嘴顯示的四個快速鍵；明明是四個字，卻仍要這樣說）作為開端，我無法不承認，新一輪「王癮」（如還不至於「王毒」的話）業已成形，新一代「王粉」行將出現。
《一代宗師》究竟有什麼魔力？除了照搬以往王家衛作品的大堆頭明星（從《阿飛正傳》到《藍莓之夜》到《一代宗師》，由香港一線紅星到荷李活大牌到大中華一網打盡）加話題炒作（透過訪問及幕後花絮報道）這公式，王家衛成功複製舊作引人入勝的敘事技巧，同時創造了新的金句系統，相信也是他再度點石成金的重要條件。
更重要的是，這金句系統儼然提供了一種集體無意識語言，循此我們可找到香港作為獨特之地的傷痛之源，從中構作的「香港故事」（同時是病歷），可視為為香港主體立傳。
放大跳敘手法
幾乎任何資深「王粉」都可一眼看出，《一代宗師》放大了《東邪西毒》敘事的方式。後者片前片後各出現一次，由張國榮飾演的歐陽峰在鏡頭前大講生意經（「老兄，我看你也有四十出頭……」）之類的場面，幾乎遍佈《一代宗師》；差點每個角色都在特寫鏡頭捕捉下說出他們的代表對白。也許這個手段來自《旺角卡門》的偷格實驗（劉德華衝入火鍋店怒斬羅莽一幕，當時評論便已指出是把錄像語言移用到電影上），但顯然經過《阿飛正傳》和《重慶森林》，到《東邪西毒》得臻圓熟。全片碎裂的敘事塊，宛如把本可平鋪直敘的影段剪開，每到若干位置便偷走部分菲林，再掉換次序，因而觀眾看到的永遠不會是全貌。這種方法固然留給觀眾很大的想像空間，懸念製造也變得方便起來，尤其配合《東邪西毒》貫注全片的消逝和遺憾感。缺失，形成一種美學。
不過，《一代宗師》已把跳敘放大到舻近濫用的程度。角色們逐一對覑鏡頭說話，他們的對手都不見了。本來，電影的魔術正在於讓觀眾看得見可以看見的，也可進而看見鏡頭沒直接讓他們看見的。王家衛一直擅於把「看不見的」拍出來，但這一次，他不但偷走了大部分場景與場景之間的聯繫與連貫，甚至偷走了同一場景人物與人物之間，人物與事件之間的連接；更甚者，他還恐觀眾留意不到這「風格」，於是把特寫（以至大特寫）和慢鏡大量（以至差不多可說過量）使用，把偷剩下來的畫面營造至過度飽和。他要觀眾集中注意「該看到」的部分，「看不到的」即使不被排除，也宛如備受壓抑。
無意識的語言
壓抑便會形成無意識，這是弗洛伊德（S. Freud）心理分析的常識。《一代宗師》被偷走的敘事（無論它們實際上有沒有拍攝），其跳敘所暗示的看不見部分，儼然構成了它的「暗黑面」。情節及人物設計上所謂面子及裏子的佈置，堪稱指涉對應。丁連山（趙本山飾）是裏子，宮羽田（王慶祥飾）是面子；一線天（張震飾）是裏子，葉問（梁朝偉飾）是面子。裏子是影子（shadow），面子是人格面具（persona），兩者合起來才是完整的自我（self）。這容格 （C. G. Jung）分析心理學的自我結構固然為王家衛好幾部前作的人物關係提供了詮釋的重要參考（例如《阿飛正傳》中最後神級出場的周慕雲／梁朝偉可視為本是旭仔／張國榮的裏子，後來翻上來成為面子。《春光乍洩》的張宛／張震可視為黎耀輝／梁朝偉的裏子），也彰示了王式敘事那底一層的存在。《一代宗師》偷走的敘事愈多，這底一層便愈廣闊；愈「呼喚」觀眾和詮釋者把它找回來。
明乎此，《一代宗師》那頗受視藝人指摘的，不惜犧牲色感層次的畫面數碼校色（大抵歸因於從《東邪西毒終極版》掙來的經驗不易），便也可得到同情的理解。扁平化效果引導出虛外之實，虛後之實，以及以虛引實的策略。
心理分析和分析心理學有特定的技術挖掘無意識，拉康（J. Lacan）便指示我們要掌握無意識的語言，尋找（同時是創造）被壓抑的原始創傷，從而以該創傷為起點，撰寫病歷（主體的傷痛故事）。無意識的語言每每有性的象徵，一般人耳熟能詳的戀母殺父、閹割焦慮等，便是這種象徵語言。假如我們把《一代宗師》放進這框架，那麼，那些充斥全片的氾濫金句，大抵可統統視為引導觀眾進入那暗黑底層的符號，並借這些符號之助，我們該可發現一個傷痛之源。
回不了頭的傷痛
「人世間所有的相遇，都是久別重逢。……我在最好的時候碰到你，是我的運氣。可惜我沒時間了。……我心裏有過你，可是我也只能到喜歡為止。」宮二（章子怡飾）最後見葉問時，說出了上述金句。
宮二的漂亮遺言，情節上是表白，但葉問一早曉得她的心意（之前他們早互通魚雁——說什麼「葉底藏花一度，夢裏踏雪幾回」），她其實只是向觀眾交代，提交暗示。「王粉」從她的化妝和對白內容自然聯想到《東邪西毒》片末同樣時不可予的歐陽大嫂，但後者充灌全身的是遺恨，宮二則彷彿點到即止，求仁得仁。她始終也是另一個「一代宗師」，她口中緩緩吐出不是（正常）人說的話頭。
也許觀眾不得不有此覺悟﹕《一代宗師》裏的金句不是人說的，不是角色說的，而是他們的集體無意識抖出來的。情節上，它們是江湖人的套語，帶點古風，可以說得通，而就其呼喚觀眾從中順藤摸瓜而言，我們更不必苛求所謂生活化和現實性。
宮二在《一代宗師》的悲劇，在於她執著於報仇，不惜佛前立誓﹕不婚嫁、不傳藝。她評價詠春只有眼前路，不顧身後身，但她拳路（六十四手八卦掌）雖懂繞圈，個人的生命卻也不免於此。她是東北人，《一代宗師》鏡下的廣東人／南人，才是火氣大、直性子（假盧海鵬飾演的金樓老闆燈叔之口直接點出）。她老爹勸劣徒，她的師兄馬三要懂「回頭」（「老猿掛印，志在回頭」），除了是指漢奸之路不好走，也是一種北人轉圜的智慧。但回不了頭的豈止馬三、宮二，整個南方武林，以葉問為代表，最後也回不了頭。
回不了頭，是南人的故事，說真切點，是南向的故事。南向所在，就是香港！香港本是個移民城市，一九四九年後，中國各地的難民湧入，其中有廣東人，也有東北人，他們的悲劇，正都是回不頭（回不了家）的悲劇。
香港主體上限
早有不少論者指出，《一代宗師》中的一代，是民國最後的一代，王家衛的致敬對象，是這整整的一代文化精英；那時學武的，同時學做人，武術是功夫，是修養，不是一種運動；練武者要「見自己，見天地，見眾生」。這一代人，一九五○年代開始雲集香港，他們回不了頭，葉問尚能自只有眼前路，沒有身後身；宮二則沉迷鴉片，連眼前路也沒有了。
香港（人）的故事，上限該設在哪裏呢？這問題宛如問﹕作為主體的香港，該始於何年何月？《一代宗師》交出了它的答案﹕一九五○年！香港土生土長的第一代，便是一九五○年來港的這一代人的後裔。原始創傷之後，香港（人）只能一直向前走，走到一九八九，走到一九九七……
突入無意識，編寫屬於香港的故事，乃《一代宗師》在在暗示，處處呼喚之所依。金樓既是溫柔鄉，復是英雄地。情節上雖處佛山，但港式江湖的味道也呼之欲出。功夫的主題，也直指一種作為力度（表現為後來以活力、拼搏、靈活稱著的香港精神）的主體性。由個人到武林，由武林到世界，《一代宗師》敘事一路走來，終至全個森林，只成就了一個人。這個人，是葉問，是王家衛，當然也可以是任何一個具世界識見，主體挺立的香港人。
《一代宗師》片末的鏡頭顯示，葉問當年似該去了東北，卻在宮家門前徘徊未進。這個敘事被蓄意偷走了。宮二問葉問知否十年前的大年夜她在哪，葉問沒有回話（或觀眾看不見他回話），其實宮二也曾不知道葉問的行蹤——那次，他勒了馬，回了頭，但正好是取消北向南返。這種喻意只嫌太白。
葉（問）底藏花，《一代宗師》壓抑出一個暗處，一個底層，保障了詮釋之趣。是以當有人問及我對傳說中的四小時版本的欲望時，我幾乎是零反應。一百三十分鐘還不夠嗎？小心再長一點，底子藏的花便沒了。
文 朗天
編輯 梁詠璋
Wednesday, October 24, 2012
Tuesday, October 16, 2012
Tuesday, April 24, 2012
汤祯兆
说近年国际影展上刮起川岛雄三热，一点也不为过。2012年刚过去的柏林影展，挑选了三部川岛雄三的作品放映，分别为《昨日与明日之间》（1954）、《洲崎乐园——赤信号》（1956）及《幕末太阳传》（1957），论者更以“未出土的导演”来形容川岛雄三。而2011年的东京国际电影节，更以“焦点导演”名目来特别推介川岛雄三，并选映5部作品，包括极少机会曝光的早期作如《猪扒大将》（1952）。其他曾放映川岛作品的国际电影展，还有2011年的美国纽约电影展及法国阿眠（Amiens）国际电影节等。
今年香港国际电影节举行了较全面的川岛雄三展，共有6部作品。我有幸也在幕后帮忙，6部数量虽然有限（川岛一生产量甚丰以数十计），但已贯穿他的创作生涯（由《猪扒大将》至1962年《温柔的兽》，导演于1963年逝世），可说已尽量呈现整体面貌。
永远反叛的风骨
川岛雄三以身为日活麾下的畅销导演而为人认知，但他从来不甘心于自己的位置。由于一直被安排要去拍摄不同类型的娱乐作品，粗制滥造马虎胡混的作品自然不能幸免，然而却没有打击他对电影艺术的严正追求。日本业界向来没有认真看待他的作品，所以他的名声与其他广为国际熟悉的日本大导演如沟口健二、小津安二郎及黑泽明等不可同日而语。不过时至今日，国际影展的欣赏角度已更为开阔，不再囿于形式上又或是主题上的“东方主义”局限，终于逐步进入娱乐产业的核心，去探寻大隐隐于市的世俗高人及杰作。
从头回顾川岛雄三的人生路，大抵才可以了解到这位“法外之徒”永远反叛的姿态由来。川岛出身于松竹，但一生在日活、大映甚至东宝不同公司中游走，一直追求变化而不愿安定下来。身处松竹期间，他早与编剧好友柳泽类寿瞒着公司与其他几位志同道合的友人，一起发行批评电影业界的新闻，后来柳泽因而被公司解雇，而川岛就被上司劝谕以后要低调噤声。后来柳泽类寿转籍至日活，加上日活以双倍的导演费向川岛招手，于是他最终也决定转籍至日活公司再创新天下，那时候的日活制作以文艺电影及风俗喜剧为强项，所以各方的期望均甚大。川岛也立即与柳泽故剑重逢，1955年的《爱的行李》正是两人在日活再度双剑合璧之作。
事实上，除了以上的个人因素，川岛的反叛社会根性也是关键因素。日活以前虽曾拍出如《丹下左膳余话·百万两之壶》(1935)及《河内山宗俊》（1936）等山中贞雄执导的叫好叫座名作，但整体声势上仍与东宝及松竹有一定距离。再加上战时又因为政治原因，被迫与新兴电影和大都映画合并，改为制作为军方服务的作品，发展更因而倒退。直至1953年“日活株式会社”才正式复活，面对当时“技术阵容以东宝为首，导演阵容则以松竹为首”的业界氛围下，川岛选择由松竹跳槽至日活，明显正是偏向虎山行的决定。
然而我想指出的是，川岛从来没有压抑内心的反叛呼唤。后来日活发展趋向以动作片先行，当年著名导演之一的涉谷实便扬言“能量主义的旋风已席卷电影界”，而此风潮正是川岛最不愿看到的，因为他自幼已受小儿麻痹症的折磨，加上又患上筋肉萎缩症，所以要处理大规模的动作场面，体力上已不能应付。而日活于1956年的《太阳的季节》（古川卓巳导演）及《狂野的果实》（中平康导演）带来的超畅销效应，正式掀起了“太阳族映画”风潮。然而与此同时，“太阳族映画”所带来的影响已远远超越了电影层面，当中描写年轻人反社会的无秩序生态，加上流露浓烈的暴力气息，已令社会上的保守势力兴起猛烈的抨击回响。日活的首脑也为此而大感烦恼，于是才请川岛借“制作再开三周年纪念作品”之名完成《幕末太阳传》，希望透过以古典的“落语”故事为素材，加上又是喜剧类型来作平衡。但川岛雄三从来都不是规行矩步的窝囊角色，他把片名定为《幕末太阳传》早已流露公然抗命的气息，同时也借此标示所谓的“太阳族”风潮，一点也难不倒他，自己甚至可以随时把揶揄拍成杰作以“示威”。
更为甚者，《幕末太阳传》隐藏了川岛双重抗命的意涵，电影借太阳族的代表明星石原裕次郎饰演的高杉晋作，带同一众攘夷武士烧毁英国使馆，以宣泄对幕末弱势政权的不满，设定上可谓与《狂野的果实》的开首场面大同小异，同样流露浓厚的新势力不满保守僵化上一代的激情动力。然而一切不过仅属川岛借红旗反红旗的暗度陈仓策略，由始至终在《幕末太阳传》中，导演的代入化身正是由堺正俊饰演的佐平次，他身上具备的戏谑、胡扯撒谎以及随机应变等街头活力，正是导演自诩的生存妙法及人生智慧所在。导演刻意把游郭内的色道从佐平次身上排除，或者至少强调要在俗世中自由出入，就一定要保留清醒避免泥牛入海，也反映出自己在俗世中保持清醒的雪亮眼光。川岛更刻意把高杉拍成时常把两足或搁在脚枕上，又或是干脆挂在壁龛前侧的立柱上，简言之是以“不动之足”作为他的标志特征，而与佐平次即使身患恶疾作活动灵活敏捷作对比。石原裕次郎虽被传媒颂为“裤裆以下足足有85厘米”的长脚明星，川岛竟然逆向而来把他的身材优势尽情压抑。再连结起“幕末英雄”对照新一代的“太阳族英雄”来看，就可清楚体会到作者认同及颂扬的价值在哪一端身上，也同时流露出背后“借古讽今”的含蓄旨意。
事实上，川岛的捣蛋本质及反社会性格，反映出来不仅时常不安于位（对所属的电影公司而言），甚至与电影业界也常处于对立紧张的状态（或多或少导致他在日本业界来一向评价不高）。先前提及的《爱的行李》，媒体直指乃从法国剧作家André Roussin的《婴孩颂》剽窃意念，川岛径言这一出风俗喜剧是他看新闻后，所触发的奇想构思，为此而背负污名大感无奈。晚期作品《温柔的兽》（1962）的剧本，由名导新藤兼人执笔。电影正月上映，可惜票房却遇上滑铁卢，评论更一窝蜂落井下石。川岛雄三更高调宣言以《温厚的兽》作里程碑，从此不再理会他人的理解及明白与否，恪守个人的执持标准。川岛永远反叛的风骨于此清晰可见。
道在粪溺
川岛雄三的作品，在日本一向被认为属鄙俗、无责任、呈现恶劣趣味，甚至带有自虐成分。换言之，在他身上集结了不少负面形容及评价，但若能从中细察，自可看出当中“道在粪溺”的一面来。
就以川岛雄三常为人诟病的不避俚俗一面来看，他的作品时常出现便溺场面，男性小便更司空见惯。很多人均认为此乃不必要的安排，甚至因而生出不快之情，但川岛的便溺其实乃是针对人的本性而发，一方面从现实考虑出发，洗手间往往正是情报流放及传递的重要场域，尤其在古代更加重要，同时也是庶民可以释放压力的关键环境。正如在《幕末太阳传》，佐平次及一众友人与高杉率领的攘夷武士的首次交锋，就是在走廊上的小便处。大家要明白对男性而言，彼此相邻而立并列小便，其实也是一比拼阳物大小的“战场”——川岛不避俚俗正是想借此象征人生的反讽。高杉等人到小便处时，佐平次等正一边办事，一边嬉笑耍乐，他们与前者的严肃绷紧的小便风情正好对照得相映成趣。更重要的是导演暗中带出权力的反讽，表面上高杉等一众武士自然身居上风（就如石原裕次郎由现代的太阳族回归到幕末都离不开“英雄”的舆论定性），但实际上操控大局运转乾坤的正是佐平次──他小便完毕正欲离开之际，冷不防扔出一句，“那边不是有一枚手表掉下吗？”（那是武士们遗失之物）恰好不偏不倚点出真正的幕后玩家是谁的关键要素。
事实上，不仅川岛爱让角色出入便溺场所，其实风月游郭正是他取景设地的心头好，《幕末太阳传》的“相模屋”正是幕末的烟花之地。梅本洋一在《目击“历史”——〈幕末太阳传〉的方法程式》，曾经指出日本电影出现娼妇的作品有不少，就好像沟口健二的《赤线地带》，电影既描绘女性坚强的生命力，同时亦不回避身份的悲哀。但川岛显然没有按西方歌颂的人文理论又或是女性主义的观点处理个中情况（或多或少反映出海外“接受”川岛的障碍所在），镜头下一众红牌如Osome（左幸子饰）和Koharu（南田洋子饰）既争风呷醋，同时也时常耍手段与恩客周旋，本质上同样充满常人的劣根性。川岛没有为庶民阶层脸上贴金，也没有透过风月场所背景去建构任何歌颂人性光辉的故事，他直面的从来都是尔虞我诈，充满贪婪、欺诈、不公及忠奸难分的现实人生──甚至现实至血肉横飞的地步，那正是川岛雄三的坦率可贵之处。
（作者系香港影评人及作家、香港中文大学新闻及传播学系讲师，著有《讲演日本映画》等）
Tuesday, February 28, 2012
Martin Scorsese’s Film School: The 85 Films You Need To See To Know Anything About Film
By: Rick Tetzeli
As we head into Oscars weekend, here’s an A-Z list of the films that influenced the most influential--and Oscar-nominated--director in Hollywood, Martin Scorsese (in other words, the films you need to see to be the film expert you think you are).
Interviewing Martin Scorsese is like taking a master class in film. Fast Company’s four-hour interview with the director for the December-January cover story was ostensibly about his career, and how he had been able to stay so creative through years of battling studios. But the Hugo director punctuated everything he said with references to movies: 85 of them, in fact, all listed below.
Some of the movies he discussed (note: the descriptions for these are below in quotes, denoting his own words). Others he just mentioned (noted below with short plot descriptions and no quotes.) But the cumulative total reflects a life lived entirely within the confines of movie making, from his days as a young asthmatic child watching a tiny screen in Queens, New York to today, when Scorsese is as productive as he’s ever been in his career--and more revered than ever by the industry that once regarded him as a troublesome outsider. Hugo leads the Academy Award nominations with 11 nods, including Best Picture and Best Director. Several Oscar pundits believe he’ll nab his second Directing win. If so, he owes a lot to movies like the ones below.
Ace in the Hole: "This Billy Wilder film was so tough and brutal in its cynicism that it died a sudden death at the box office, and they re-released it under the title Big Carnival, which didn’t help. Chuck Tatum is a reporter who’s very modern--he’ll do anything to get the story, to make up the story! He risks not only his reputation, but also the life of this guy who’s trapped in the mine." 1951
All That Heaven Allows: In this Douglas Sirk melodrama, Rock Hudson plays a gardener who falls in love with a society widow played by Jane Wyman. Scandale! 1955
America, America: Drawn directly from director Elia Kazan’s family history, this film offers a passionate, intense view of the challenges faced by Greek immigrants at the end of the 19th century. 1963
An American in Paris: This Vincente Minnelli film, with Gene Kelly, picked up the idea of stopping within a film for a dance from The Red Shoes. 1951
Apocalypse Now: This Francis Ford Coppola masterpiece is from a period when directors like Brian DePalma, John Milius, Paul Schrader, Scorsese and others had great freedom—freedom that they then lost. 1979
Arsenic and Old Lace: Scorsese is a big fan of many Frank Capra movies, and this Cary Grant vehicle is one of several that he’s enjoyed with his family at his office screening room. 1944
The Bad and the Beautiful: Vincente Minnelli directed this film about a cynical Hollywood mogul trying to make a comeback. It stars Kirk Douglas, Lana Turner, Walter Pidgeon and Dick Powell. 1952
The Band Wagon: “It’s my favorite of the Vincente Minnelli musicals. I love the storyline that combines Faust and a musical comedy, and the disaster that results. Tony Hunter, the lead character played by Fred Astaire, is a former vaudeville dancer whose time has passed, and who’s trying to make it on Broadway, which is a very different medium of course. By the time the movie was made, the popularity of the Astaire/Rogers films had waned, raising the question of what are you going to do with Fred Astaire in Technicolor? So, really, Tony Hunter is Fred Astaire--his whole reputation is on the line, and so was Fred Astaire’s.” 1953
Born on the Fourth of July: Produced by Universal Pictures under Tom Pollock and Casey Silver, this Tom Cruise movie (directed by Oliver Stone) was an example of how that studio “wanted to make special pictures,” says Scorsese. 1989
Cape Fear: As he once explained to Stephen Spielberg over dinner in Tribeca, one of Scorsese’s fears about directing a remake of this film was that, “The original was so good. I mean, you’ve got Gregory Peck, Robert Mitchum, Polly Bergen, it’s terrific!” 1962
Cat People: Simone Simon plays a woman who fears that she might turn into a panther and kill. It sounds corny, but the psychological thrills that directors Jacques Tourneur got out of his measly $150,000 budget make this a fascinating movie, with amazing lighting. 1942
Caught: “There are certain styles I had trouble with at first, like some of Max Ophuls’ films. It took me till I was into my thirties to get The Earrings of Madame de…, for example. But I didn’t have trouble with this one, which I saw in a theater and which is kind of based on Howard Hughes [protagonist of The Aviator].” 1949
Citizen Kane: “Orson Welles was a force of nature, who just came in and wiped the slate clean. And Citizen Kane is the greatest risk-taking of all time in film. I don’t think anything had even seen anything quite like it. The photography was also unlike anything we’d seen. The odd coldness of the filmmaker towards the character reflects his own egomania and power, and yet a powerful empathy for all of them—it’s very interesting. It still holds up, and it’s still shocking. It takes storytelling and throws it up in the air.” 1941
The Conversation: Gene Hackman stars in this thrilled directed by Scorsese’s friend, Francis Ford Coppola. It’s a classic example of stuido risk-taking in the early 1970s. 1974
Dial M for Murder: When discussing the creation of Hugo, Scorsese referred to this Hitchcock film as an example of other directors who have tangled with 3-D over the years. In its original release most theaters only showed it in 2-D; now the 3-D version pops up in theaters from time to time.1954
Do The Right Thing: Spike Lee’s film was the kind of risky production that drew Scorsese to Universal Pictures when it was run by Casey Silver and Tom Pollack. “Then Pollock left,” says Scorsese, “and it all changed.” 1989
Duel in the Sun: Scorsese went to see this movie, which some critics called “Lust in the Dust”, when he was 4 years old. Jennifer Jones falls hard for a villainous Gregory Peck in this lush King Vidor picture. A poster of the movie hangs in Scorsese’s offices. 1946
The Four Horseman of the Apocalypse: Rex Ingram made this movie, in which Rudolph Valentino dances the tango. Ingram stopped making films when sound came in. Michael Powell’s father worked for Ingram; living in that milieu gave Michael the cultural knowledge that informed his own movies like The Red Shoes. 1921
Europa ’51: “After making The Flowers of St. Francis, Rossellini asked, what would a modern day saint be like? I think they based it on Simone Weil, and Ingird Bergman played the part. It really takes everything we’re dealing with today, whether it’s revolutions in other countries or people trying to change their lifestyles, and it’s all there in that film. The character tries everything, because she has a tragedy in her family that really changes her, so she tries politics and even working in a factory, and in the end it has a very moving resolution.” [Also known as The Greatest Love] 1952
Faces: “[Director John] Cassavetes went to Hollywood to shoot films like A Child is Waiting and Too Late Blues, and after Too Late Blues he became disenchanted. Those of us in the New York scene, we kept asking, “What’s Cassavetes doing? What’s he up to?” And he was shooting this film in his house in L.A. with his wife Gena Rowlands and his friends. And when Faces showed at the New York Film Festival, it absolutely trumped everything that was shown at the time. Cassavetes is the person who ultimately exemplifies independence in film.” 1968
The Fall of the Roman Empire: One of the last “sandal epics,” this sweeping Anthony Mann picture boasted a stellar cast of Sophia Loren, Anthony Boyd, James Mason, Alec Guinness, Christopher Plummer and Anthony Quayle. And it failed miserably at the box office. 1964
The Flowers of St. Francis: “This Rossellini movie and Europa ’51 are two of the best films about the part of being human that yearns for something beyond the material. Rossellini used real monks for this movie. It’s very simple and beautiful.” 1950
Force of Evil: Another picture that defined the American gangster image, this noir stars John Garfield as the evil older brother whose younger sibling won’t join his numbers-running conglomerate. 1948
Forty Guns: Barbara Stanwyck stars in this Sam Fuller Western. She plays a bad-ass cattle rancher with a soft spot for a local lawman. 1957
Germany Year Zero: “Roberto Rossellini always felt he had an obligation to inform. He was the first one to do a story about compassion for the enemy, in this film--it’s always been hard to find, but now there’s a Criterion edition. It’s a very disturbing picture. He was the first one to go there after the war, to say we all have to live together. And he felt cinema was the tool that could do this, that could inform people.” 1948
Gilda: “I saw this when I was 10 or 11, I had some sort of funny reaction to her, I tell you! Me and my friends didn’t know what to do about Rita Hayworth, and we didn’t really understand what George McCready was doing to her. Can you imagine? Gilda at age 11. But that’s what we did. We went to the movies.” 1946
The Godfather: “Gordon Willis did the same dark filming trick on The Godfather as he had done on Klute. And now audiences accepted it, and went along with it, and every director of photography and now every director of photography of the past 40 years owes him the greatest debt, for changing the style completely--until now, of course, with the advent of digital.” 1972
Gun Crazy: A romantic example of film noir, this one features a gun-toting husband and a sharp-shooting wife. 1950
Health: This Altman movie came out at the same time as King of Comedy. They were both flops, and we were both out. The age of the director was over. E.T. was a very big worldwide hit around then, and that changed the whole business of film finance. 1980
Heaven’s Gate: Scorsese was with United Artists in the 70s, with producers he describes as ”understanding and supportive.” Heaven’s Gate, one of the ambitious films UA backed at the time, was a critical and box office bomb, although its reputation has improved over the years. 1980
House of Wax: This was the first 3-D movie produced by a major American studio. It starred Vincent Price as a wax sculptor whose sourcing was, shall we say, unusual. 1953
How Green Was My Valley: “I appreciate the visual poetry of [director John] Ford’s film, like in the famous scene where Maureen O’Hara is married and the wind blows the veil on her head. It’s absolute poetry. No words. It’s all there in the image.” 1941
The Hustler: Scorsese liked the Paul Newman character (Eddie Felson) in this movie so much that when Newman came calling about a possible update of the movie, he agreed to direct The Color of Money. He says the movie’s box office success helped rehabilitate his career after a tough slog. 1961
I Walk Alone: One of several movies that Scorsese says clearly defined the American gangster ideal, this one stars Burt Lancaster and the smoldering Lizabeth Scott. 1948
The Infernal Cakewalk: One of the many George Melies movies that have been restored and can now be seen on DVD. Melies, a French director of silent films, is at the center of the plot of Hugo. 1903
It Happened One Night: “I didn’t think much of this Frank Capra film, until I saw it recently on the big screen. And I discovered it was a masterpiece! The body language of Claudette Colbert and Clark Gable, the way they related--it’s really quite remarkable.” 1934
Jason and the Argonauts: As part of his film education of his daughter, Scorsese screened a bunch of Ray Harryhausen classics, including this one. 1963
Journey to Italy: “After Rossellini married Ingrid Bergman he wiped the slate clean and left Neo-Realism behind. Instead he made these intimate stories that had a great deal to do with a certain intellectual mysticism, a sense of cultural power. In Viaggio [Viaggio in Italia is the Italian title], for example, the English couple played by George Sanders and Ingrid Bergman are traveling in Naples on vacation while marriage is faling apart, but the land around them—the people the museums, and especially their visit to Pompeii, these thousands of years of culture around them—work on them like a modern miracle. The film is basically two people in a car, and that became the entire New Wave. Kids may not have seen this film, but it’s basically in all the independent film of today.” 1954
Julius Caesar: “This is another example of Orson Welles’ risktaking, with Caesar’s crew as out-and-out gangsters.” 1953
Kansas City: “This is one of the great jazz movies ever. If you could hang on with Altman, you were going to go on one of the great rides of your lives.” 1996
Kiss Me Deadly: A great example of the noir genre that so inspired Scorsese. This one stars Ralph Meeker as detective Mike Hammer. 1955
Klute: “There are movies that change the whole way in which films are made, like Klute, where Gordon Willis’s photography on the film is so textured, and, they said, too dark. At first this was alarming to people, because they’re used to a certain way things are done within the studio system. And the studio is selling a product, so they were wary of people thinking that it’s too dark.” 1971
La Terra Trema: This Lucchino Visconti film is one of the founding films of Neo-Realism. 1948
The Lady from Shanghai: “The story goes that Welles had to make a film and he was in this railway station, and there were some paperbacks there and he was talking to Harry Cohn of Columbia and he said look, I’ve got the greatest film it’s called Lady from Shanghai, which was this paperback he saw there. And then he made up this story, taking elements of Moby Dick, where he talks about the sharks, and the whole mirror sequence in that picture is unsurpassed. I don’t know if Lady is a noir, but it’s awkward, and it’s brilliant.” 1947
The Leopard: “Visconti and Rossellini and deSica were the founders of Neo-Realism. Visconti went a different way from Rossellini. He made this movie, which is one of the greatest films ever made.” 1963
Macbeth: “This was the first Welles movie I saw, on television. He shot it in 27 days. The look of it, the Celtic barbarism, the Druid priest, this was all very different from other Macbeth productions I’d seen. The use of superimpositions, the effigies at the beginning of the film—it was more like cinema than theatre. Anything Welles did, given his background in radio, was a big risk. Macbeth is an audacious film, set in Haiti of all places.” 1948
The Magic Box: “There were a number of people who felt that they had invented moving pictures. Robert Donat plays William Friese-Greene, one of those people, who’s obsessed from childhood with movement and color. Donat was a great actor. And this is a beautifully done film.” 1951
M*A*S*H: “I saw it at a press screening. That was the first football game I ever understood. Altman developed this style that came out of his life and making television movies, it was so unique--and his movies seemed to come out every two weeks.” 1972
A Matter of Life and Death: “This is another beautiful film by Powell and Pressburger, but it was made after World War II, so people said, ‘You can’t use the word ‘Death’ in the title!’ So it got changed to Stairway to Heaven, that’s what it was called in America. Now it’s A Matter of Life and Death again.” 1946
McCabe & Mrs. Miller: “This is an absolute masterpiece. Altman could shoot quickly and get the very best actors.” 1971
The Messiah: “Rossellini’s last film in this third period, the last film he made before he died, is this beautiful TV film on Jesus. He had planned on making more such films, like one on Karl Marx. He thought TV was the way to reach young people, to educate them. But then of course TV changed.” 1975
Midnight Cowboy: One of the great movies released by UA in its glory days, starring Dustin Hoffman and Jon Voight. 1969
Mishima: Scorsese describes this Paul Schrader film about the great Japanese author as a “masterpiece.” 1985
Mr. Deeds Goes to Town: In this Frank Capra movie, one of several that Scorsese has screened for his family, Gary Cooper plays a small-town boy who inherits a fortune--and a bevy of big-city sharpies that he can’t quite contend with. 1936
Mr. Smith Goes to Washington: Jimmy Stewart stars in this Capra movie, one of the all-time greats, which features a dramatic filibuster. 1939
Nashville: “Altman had a point of view that was uniquely American and an artistic vision to go with it. All his early work pointed to this movie.” 1975
Night and the City: “It’s the essential British noir film. Harry Fabien, played by Richard Widmark, is a two-bit hustler running through the London underworld at night, and he always oversteps, particularly with the gangster played by Herbert Lom. From the very beginning you know Fabien’s going to fail, because he’s up against a power he doesn’t understand. 1950
One, Two, Three: A classic Billy Wilder comedy, starring James Cagney as a Coca-Cola exec in West Berlin. The dialogue crackles. 1961
Othello: "It took (Orson Welles) years to finish this. There were tons of quick cuts, and there’s a wonderful sequence where two people are attacked in a Turkish bath, and it works beautifully. They’re wearing towels, and one is dispatched under the boards. It has a strange North African whiteness. It turns out that he was ready to do the sequence, and the costumes didn’t show up. So he said, let’s put it in a Turkish bath. He had the actors there! He had to shoot it!” 1952
Paisa: “This is my all-time favorite of the Rossellini films.” 1946
Peeping Tom: “Michael Powell himself gambled everything on Peeping Tom and lost in such a way that his career was really ended. The film was so shocking to some British critics and the audience because he had some sympathy, sort of, for the the serial killer. And the killer had the audacity to photograph the killing of the women with a motion picture camera, which of course tied in the motion picture camera as an object of voyeurism, implicating all of us watching horror films. He was reviled. One critic said this should be flushed down the toilet. He only got one or two more movies done. He really disappeared. And now in England there are cameras watching everyone all over the street.” 1960
Pickup on South Street: Richard Widmark picks the wrong purse in this classic noir, unwittingly setting off a series of events that come to a violent climax. 1953
The Player: “In the years before this movie, the age of the director who had a free hand came to an end. And yet Altman kept experimenting with different kinds of actor, different approaches to narrative, different equipment, until finally he hit it with this movie, which took him off onto a whole other level.” 1992
The Power and the Glory: “Directed by William K. Howard and written by Preston Sturges, it had a structure that Mankiewicz and Welles used for Citizen Kane.” 1933
Stagecoach: “Welles drew from everywhere. The ceilings and the interiors in John Ford’s classic western inspired him for Citizen Kane.” 1939
Raw Deal: NOT the Arnold Schwarzenegger pic. This one’s a noir directed by Anthony Mann, starring Dennis O’Keefe and Claire Trevor. 1948
The Red Shoes: “There’s something so rich and powerful about the story, and the use of the color, that it deeply affected me when I was nine or ten years old. The archness of the approach, and how serious the ballet dancers were … When they say, “The spotlight toujours on moi,” they mean it! The ballet sequence is almost like the first rock video. It’s almost as if you’re seeing what the dancer sees and hears and feels as she’s moving. It’s like in Raging Bull, where we never went outside the ring for the fighting sequences.” 1948
The Rise of Louis XIV: “In the third part of his career, Rossellini decided to make an encyclopedia, a series of didactic films. This is the first film in that series, and it’s an artistic masterpiece. He shot it in 16mm for TV, and called it anti-dramatic. Yet, I screen it once every couple of years, and when you look at frames of it on the big screen there are shots that just look like paintings. Rossellini couldn’t get away from it, he had an artist’s eye. There’s nothing like the last ten minutes of that film to show the accumulation and the display of power. It’s not done through the sword or the speech, it’s done through the theatre he created around him with his clothes, his food, the way he eats. It’s extraordinary.” 1966
The Roaring Twenties: James Cagney and Humphrey Bogart star in this homage to the gangsters of the 1920s. It was one of the many great films made in 1939 (like Gone with the Wind, The Women, Mr. Smith Goes to Washington, Goodbye, Mr. Chips, Stagecoach and many many more.) 1939
Rocco and his Brothers: “This Visconti film was also a major influence on filmmakers.” 1960
Rome, Open City: “I saw Italian movies as a 5-year-old, on a 16-inch TV my father bought. We were living in Queens. There were only three stations. One station showed Italian films on Friday night for the Italian-American community, subtitled, and the family would gather to see the films. My grandparents were there—they were the ones who moved over in 1910. So it became a ritual. [Director Roberto] Rossellini had an intellectual approach.” 1945
Secrets of the Soul: “This was a silent movie whose flashback structure was unlike anything else. Secrets of the Soul looked almost experimental.” 1912
Senso: “An extraordinary film by Visconti, another Neo-Realist masterpiece.”
Shadows: “I saw Shadows at the 8th Street Playhouse [in Manhattan], and when I saw such a direct communication with the human experience, of conflict and love, it was almost as if there was no camera there at all. And I love camera positions! But this was like you were living with the people.” 1959
Shock Corridor: A wild Sam Fuller movie about a journalist who enters an insane asylum to try to break a story. 1963
Some Came Running: This Vincent Minnelli melodrama is definitely not a musical. It’s a tough story about an alcoholic Army vet returning home. It stars Frank Sinatra, Dean Martin, and Shirley MacLaine. 1958
Stromboli: “This too was a very important film of Rossellini’s second period. Very beautiful.” [During the shooting of Stromboli, the star, Ingrid Bergman, who was married to an American dentist, got pregnant with Rossellini’s child. She divorced the dentist, and became persona non grata in America]. 1950
Sullivan’s Travels: “Billy Wilder told me, you’re only as good as your last picture. Sullivan, played by Joel McRae, is in the studio system, under that kind of pressure. He makes comedies, but one day he decides he really wants to make ‘Oh, Brother, Where Art Thou?’ He puts it all on the line to learn about the poor. The resolution of the movie is very moving.” 1941
Sweet Smell of Success: Like Ace in the Hole, this classic noir is about an unethical journalist who will stop at nothing to get his way. Burt Lancaster plays the journalist. 1957
Tales of Hoffman: “This was a great risk for Powell and Pressburger. In fact, they lost it on that. He had in mind a composed film like a piece of music, and played the music back on set during the shooting, so the actors moved in a certain way.” 1951
The Third Man: “Carroll Reed made one of those films where everything came together. It made me see, with Kane, that there was another way of interpreting stories, and another approach to the visual frame of the classical films…all those low shots, and the cuts.” 1949
T-Men: Another Anthony Mann noir with great cinematography, this one’s about Department of Treasury men breaking up a counterfeiting ring. 1947
Touch of Evil: “Welles’ radio career with the Mercury Theater made him a master of the soundtrack. Just listen to this movie--you can close your eyes and imagine everything that is happening. (Young people should listen to the radio soundtrack of War of the Worlds, which was so effective that people got in their cars and started to drive away, because they really believed that Martians were attacking.)
The Trial: “This is another film that gave us a new way of looking at films. You’re very aware of the camera, like when Anthony Perkins came running down this corridor of wooden slats and light cutting the image, blades and shafts of light, talk about paranoia!” 1962
Two Weeks in Another Town: The Vincente Minnelli movie stars Cyd Charisse, Kirk Douglas, and Edward G. Robinson. It’s a classic 1960s melodrama. 1962
Correction: Raw Deal was amended to reflect its release date of 1948.
Orson Welles directed the stage version of Julius Caesar; Joseph Mankiewicz directed the film.
As we head into Oscars weekend, here’s an A-Z list of the films that influenced the most influential--and Oscar-nominated--director in Hollywood, Martin Scorsese (in other words, the films you need to see to be the film expert you think you are).
Interviewing Martin Scorsese is like taking a master class in film. Fast Company’s four-hour interview with the director for the December-January cover story was ostensibly about his career, and how he had been able to stay so creative through years of battling studios. But the Hugo director punctuated everything he said with references to movies: 85 of them, in fact, all listed below.
Some of the movies he discussed (note: the descriptions for these are below in quotes, denoting his own words). Others he just mentioned (noted below with short plot descriptions and no quotes.) But the cumulative total reflects a life lived entirely within the confines of movie making, from his days as a young asthmatic child watching a tiny screen in Queens, New York to today, when Scorsese is as productive as he’s ever been in his career--and more revered than ever by the industry that once regarded him as a troublesome outsider. Hugo leads the Academy Award nominations with 11 nods, including Best Picture and Best Director. Several Oscar pundits believe he’ll nab his second Directing win. If so, he owes a lot to movies like the ones below.
Ace in the Hole: "This Billy Wilder film was so tough and brutal in its cynicism that it died a sudden death at the box office, and they re-released it under the title Big Carnival, which didn’t help. Chuck Tatum is a reporter who’s very modern--he’ll do anything to get the story, to make up the story! He risks not only his reputation, but also the life of this guy who’s trapped in the mine." 1951
All That Heaven Allows: In this Douglas Sirk melodrama, Rock Hudson plays a gardener who falls in love with a society widow played by Jane Wyman. Scandale! 1955
America, America: Drawn directly from director Elia Kazan’s family history, this film offers a passionate, intense view of the challenges faced by Greek immigrants at the end of the 19th century. 1963
An American in Paris: This Vincente Minnelli film, with Gene Kelly, picked up the idea of stopping within a film for a dance from The Red Shoes. 1951
Apocalypse Now: This Francis Ford Coppola masterpiece is from a period when directors like Brian DePalma, John Milius, Paul Schrader, Scorsese and others had great freedom—freedom that they then lost. 1979
Arsenic and Old Lace: Scorsese is a big fan of many Frank Capra movies, and this Cary Grant vehicle is one of several that he’s enjoyed with his family at his office screening room. 1944
The Bad and the Beautiful: Vincente Minnelli directed this film about a cynical Hollywood mogul trying to make a comeback. It stars Kirk Douglas, Lana Turner, Walter Pidgeon and Dick Powell. 1952
The Band Wagon: “It’s my favorite of the Vincente Minnelli musicals. I love the storyline that combines Faust and a musical comedy, and the disaster that results. Tony Hunter, the lead character played by Fred Astaire, is a former vaudeville dancer whose time has passed, and who’s trying to make it on Broadway, which is a very different medium of course. By the time the movie was made, the popularity of the Astaire/Rogers films had waned, raising the question of what are you going to do with Fred Astaire in Technicolor? So, really, Tony Hunter is Fred Astaire--his whole reputation is on the line, and so was Fred Astaire’s.” 1953
Born on the Fourth of July: Produced by Universal Pictures under Tom Pollock and Casey Silver, this Tom Cruise movie (directed by Oliver Stone) was an example of how that studio “wanted to make special pictures,” says Scorsese. 1989
Cape Fear: As he once explained to Stephen Spielberg over dinner in Tribeca, one of Scorsese’s fears about directing a remake of this film was that, “The original was so good. I mean, you’ve got Gregory Peck, Robert Mitchum, Polly Bergen, it’s terrific!” 1962
Cat People: Simone Simon plays a woman who fears that she might turn into a panther and kill. It sounds corny, but the psychological thrills that directors Jacques Tourneur got out of his measly $150,000 budget make this a fascinating movie, with amazing lighting. 1942
Caught: “There are certain styles I had trouble with at first, like some of Max Ophuls’ films. It took me till I was into my thirties to get The Earrings of Madame de…, for example. But I didn’t have trouble with this one, which I saw in a theater and which is kind of based on Howard Hughes [protagonist of The Aviator].” 1949
Citizen Kane: “Orson Welles was a force of nature, who just came in and wiped the slate clean. And Citizen Kane is the greatest risk-taking of all time in film. I don’t think anything had even seen anything quite like it. The photography was also unlike anything we’d seen. The odd coldness of the filmmaker towards the character reflects his own egomania and power, and yet a powerful empathy for all of them—it’s very interesting. It still holds up, and it’s still shocking. It takes storytelling and throws it up in the air.” 1941
The Conversation: Gene Hackman stars in this thrilled directed by Scorsese’s friend, Francis Ford Coppola. It’s a classic example of stuido risk-taking in the early 1970s. 1974
Dial M for Murder: When discussing the creation of Hugo, Scorsese referred to this Hitchcock film as an example of other directors who have tangled with 3-D over the years. In its original release most theaters only showed it in 2-D; now the 3-D version pops up in theaters from time to time.1954
Do The Right Thing: Spike Lee’s film was the kind of risky production that drew Scorsese to Universal Pictures when it was run by Casey Silver and Tom Pollack. “Then Pollock left,” says Scorsese, “and it all changed.” 1989
Duel in the Sun: Scorsese went to see this movie, which some critics called “Lust in the Dust”, when he was 4 years old. Jennifer Jones falls hard for a villainous Gregory Peck in this lush King Vidor picture. A poster of the movie hangs in Scorsese’s offices. 1946
The Four Horseman of the Apocalypse: Rex Ingram made this movie, in which Rudolph Valentino dances the tango. Ingram stopped making films when sound came in. Michael Powell’s father worked for Ingram; living in that milieu gave Michael the cultural knowledge that informed his own movies like The Red Shoes. 1921
Europa ’51: “After making The Flowers of St. Francis, Rossellini asked, what would a modern day saint be like? I think they based it on Simone Weil, and Ingird Bergman played the part. It really takes everything we’re dealing with today, whether it’s revolutions in other countries or people trying to change their lifestyles, and it’s all there in that film. The character tries everything, because she has a tragedy in her family that really changes her, so she tries politics and even working in a factory, and in the end it has a very moving resolution.” [Also known as The Greatest Love] 1952
Faces: “[Director John] Cassavetes went to Hollywood to shoot films like A Child is Waiting and Too Late Blues, and after Too Late Blues he became disenchanted. Those of us in the New York scene, we kept asking, “What’s Cassavetes doing? What’s he up to?” And he was shooting this film in his house in L.A. with his wife Gena Rowlands and his friends. And when Faces showed at the New York Film Festival, it absolutely trumped everything that was shown at the time. Cassavetes is the person who ultimately exemplifies independence in film.” 1968
The Fall of the Roman Empire: One of the last “sandal epics,” this sweeping Anthony Mann picture boasted a stellar cast of Sophia Loren, Anthony Boyd, James Mason, Alec Guinness, Christopher Plummer and Anthony Quayle. And it failed miserably at the box office. 1964
The Flowers of St. Francis: “This Rossellini movie and Europa ’51 are two of the best films about the part of being human that yearns for something beyond the material. Rossellini used real monks for this movie. It’s very simple and beautiful.” 1950
Force of Evil: Another picture that defined the American gangster image, this noir stars John Garfield as the evil older brother whose younger sibling won’t join his numbers-running conglomerate. 1948
Forty Guns: Barbara Stanwyck stars in this Sam Fuller Western. She plays a bad-ass cattle rancher with a soft spot for a local lawman. 1957
Germany Year Zero: “Roberto Rossellini always felt he had an obligation to inform. He was the first one to do a story about compassion for the enemy, in this film--it’s always been hard to find, but now there’s a Criterion edition. It’s a very disturbing picture. He was the first one to go there after the war, to say we all have to live together. And he felt cinema was the tool that could do this, that could inform people.” 1948
Gilda: “I saw this when I was 10 or 11, I had some sort of funny reaction to her, I tell you! Me and my friends didn’t know what to do about Rita Hayworth, and we didn’t really understand what George McCready was doing to her. Can you imagine? Gilda at age 11. But that’s what we did. We went to the movies.” 1946
The Godfather: “Gordon Willis did the same dark filming trick on The Godfather as he had done on Klute. And now audiences accepted it, and went along with it, and every director of photography and now every director of photography of the past 40 years owes him the greatest debt, for changing the style completely--until now, of course, with the advent of digital.” 1972
Gun Crazy: A romantic example of film noir, this one features a gun-toting husband and a sharp-shooting wife. 1950
Health: This Altman movie came out at the same time as King of Comedy. They were both flops, and we were both out. The age of the director was over. E.T. was a very big worldwide hit around then, and that changed the whole business of film finance. 1980
Heaven’s Gate: Scorsese was with United Artists in the 70s, with producers he describes as ”understanding and supportive.” Heaven’s Gate, one of the ambitious films UA backed at the time, was a critical and box office bomb, although its reputation has improved over the years. 1980
House of Wax: This was the first 3-D movie produced by a major American studio. It starred Vincent Price as a wax sculptor whose sourcing was, shall we say, unusual. 1953
How Green Was My Valley: “I appreciate the visual poetry of [director John] Ford’s film, like in the famous scene where Maureen O’Hara is married and the wind blows the veil on her head. It’s absolute poetry. No words. It’s all there in the image.” 1941
The Hustler: Scorsese liked the Paul Newman character (Eddie Felson) in this movie so much that when Newman came calling about a possible update of the movie, he agreed to direct The Color of Money. He says the movie’s box office success helped rehabilitate his career after a tough slog. 1961
I Walk Alone: One of several movies that Scorsese says clearly defined the American gangster ideal, this one stars Burt Lancaster and the smoldering Lizabeth Scott. 1948
The Infernal Cakewalk: One of the many George Melies movies that have been restored and can now be seen on DVD. Melies, a French director of silent films, is at the center of the plot of Hugo. 1903
It Happened One Night: “I didn’t think much of this Frank Capra film, until I saw it recently on the big screen. And I discovered it was a masterpiece! The body language of Claudette Colbert and Clark Gable, the way they related--it’s really quite remarkable.” 1934
Jason and the Argonauts: As part of his film education of his daughter, Scorsese screened a bunch of Ray Harryhausen classics, including this one. 1963
Journey to Italy: “After Rossellini married Ingrid Bergman he wiped the slate clean and left Neo-Realism behind. Instead he made these intimate stories that had a great deal to do with a certain intellectual mysticism, a sense of cultural power. In Viaggio [Viaggio in Italia is the Italian title], for example, the English couple played by George Sanders and Ingrid Bergman are traveling in Naples on vacation while marriage is faling apart, but the land around them—the people the museums, and especially their visit to Pompeii, these thousands of years of culture around them—work on them like a modern miracle. The film is basically two people in a car, and that became the entire New Wave. Kids may not have seen this film, but it’s basically in all the independent film of today.” 1954
Julius Caesar: “This is another example of Orson Welles’ risktaking, with Caesar’s crew as out-and-out gangsters.” 1953
Kansas City: “This is one of the great jazz movies ever. If you could hang on with Altman, you were going to go on one of the great rides of your lives.” 1996
Kiss Me Deadly: A great example of the noir genre that so inspired Scorsese. This one stars Ralph Meeker as detective Mike Hammer. 1955
Klute: “There are movies that change the whole way in which films are made, like Klute, where Gordon Willis’s photography on the film is so textured, and, they said, too dark. At first this was alarming to people, because they’re used to a certain way things are done within the studio system. And the studio is selling a product, so they were wary of people thinking that it’s too dark.” 1971
La Terra Trema: This Lucchino Visconti film is one of the founding films of Neo-Realism. 1948
The Lady from Shanghai: “The story goes that Welles had to make a film and he was in this railway station, and there were some paperbacks there and he was talking to Harry Cohn of Columbia and he said look, I’ve got the greatest film it’s called Lady from Shanghai, which was this paperback he saw there. And then he made up this story, taking elements of Moby Dick, where he talks about the sharks, and the whole mirror sequence in that picture is unsurpassed. I don’t know if Lady is a noir, but it’s awkward, and it’s brilliant.” 1947
The Leopard: “Visconti and Rossellini and deSica were the founders of Neo-Realism. Visconti went a different way from Rossellini. He made this movie, which is one of the greatest films ever made.” 1963
Macbeth: “This was the first Welles movie I saw, on television. He shot it in 27 days. The look of it, the Celtic barbarism, the Druid priest, this was all very different from other Macbeth productions I’d seen. The use of superimpositions, the effigies at the beginning of the film—it was more like cinema than theatre. Anything Welles did, given his background in radio, was a big risk. Macbeth is an audacious film, set in Haiti of all places.” 1948
The Magic Box: “There were a number of people who felt that they had invented moving pictures. Robert Donat plays William Friese-Greene, one of those people, who’s obsessed from childhood with movement and color. Donat was a great actor. And this is a beautifully done film.” 1951
M*A*S*H: “I saw it at a press screening. That was the first football game I ever understood. Altman developed this style that came out of his life and making television movies, it was so unique--and his movies seemed to come out every two weeks.” 1972
A Matter of Life and Death: “This is another beautiful film by Powell and Pressburger, but it was made after World War II, so people said, ‘You can’t use the word ‘Death’ in the title!’ So it got changed to Stairway to Heaven, that’s what it was called in America. Now it’s A Matter of Life and Death again.” 1946
McCabe & Mrs. Miller: “This is an absolute masterpiece. Altman could shoot quickly and get the very best actors.” 1971
The Messiah: “Rossellini’s last film in this third period, the last film he made before he died, is this beautiful TV film on Jesus. He had planned on making more such films, like one on Karl Marx. He thought TV was the way to reach young people, to educate them. But then of course TV changed.” 1975
Midnight Cowboy: One of the great movies released by UA in its glory days, starring Dustin Hoffman and Jon Voight. 1969
Mishima: Scorsese describes this Paul Schrader film about the great Japanese author as a “masterpiece.” 1985
Mr. Deeds Goes to Town: In this Frank Capra movie, one of several that Scorsese has screened for his family, Gary Cooper plays a small-town boy who inherits a fortune--and a bevy of big-city sharpies that he can’t quite contend with. 1936
Mr. Smith Goes to Washington: Jimmy Stewart stars in this Capra movie, one of the all-time greats, which features a dramatic filibuster. 1939
Nashville: “Altman had a point of view that was uniquely American and an artistic vision to go with it. All his early work pointed to this movie.” 1975
Night and the City: “It’s the essential British noir film. Harry Fabien, played by Richard Widmark, is a two-bit hustler running through the London underworld at night, and he always oversteps, particularly with the gangster played by Herbert Lom. From the very beginning you know Fabien’s going to fail, because he’s up against a power he doesn’t understand. 1950
One, Two, Three: A classic Billy Wilder comedy, starring James Cagney as a Coca-Cola exec in West Berlin. The dialogue crackles. 1961
Othello: "It took (Orson Welles) years to finish this. There were tons of quick cuts, and there’s a wonderful sequence where two people are attacked in a Turkish bath, and it works beautifully. They’re wearing towels, and one is dispatched under the boards. It has a strange North African whiteness. It turns out that he was ready to do the sequence, and the costumes didn’t show up. So he said, let’s put it in a Turkish bath. He had the actors there! He had to shoot it!” 1952
Paisa: “This is my all-time favorite of the Rossellini films.” 1946
Peeping Tom: “Michael Powell himself gambled everything on Peeping Tom and lost in such a way that his career was really ended. The film was so shocking to some British critics and the audience because he had some sympathy, sort of, for the the serial killer. And the killer had the audacity to photograph the killing of the women with a motion picture camera, which of course tied in the motion picture camera as an object of voyeurism, implicating all of us watching horror films. He was reviled. One critic said this should be flushed down the toilet. He only got one or two more movies done. He really disappeared. And now in England there are cameras watching everyone all over the street.” 1960
Pickup on South Street: Richard Widmark picks the wrong purse in this classic noir, unwittingly setting off a series of events that come to a violent climax. 1953
The Player: “In the years before this movie, the age of the director who had a free hand came to an end. And yet Altman kept experimenting with different kinds of actor, different approaches to narrative, different equipment, until finally he hit it with this movie, which took him off onto a whole other level.” 1992
The Power and the Glory: “Directed by William K. Howard and written by Preston Sturges, it had a structure that Mankiewicz and Welles used for Citizen Kane.” 1933
Stagecoach: “Welles drew from everywhere. The ceilings and the interiors in John Ford’s classic western inspired him for Citizen Kane.” 1939
Raw Deal: NOT the Arnold Schwarzenegger pic. This one’s a noir directed by Anthony Mann, starring Dennis O’Keefe and Claire Trevor. 1948
The Red Shoes: “There’s something so rich and powerful about the story, and the use of the color, that it deeply affected me when I was nine or ten years old. The archness of the approach, and how serious the ballet dancers were … When they say, “The spotlight toujours on moi,” they mean it! The ballet sequence is almost like the first rock video. It’s almost as if you’re seeing what the dancer sees and hears and feels as she’s moving. It’s like in Raging Bull, where we never went outside the ring for the fighting sequences.” 1948
The Rise of Louis XIV: “In the third part of his career, Rossellini decided to make an encyclopedia, a series of didactic films. This is the first film in that series, and it’s an artistic masterpiece. He shot it in 16mm for TV, and called it anti-dramatic. Yet, I screen it once every couple of years, and when you look at frames of it on the big screen there are shots that just look like paintings. Rossellini couldn’t get away from it, he had an artist’s eye. There’s nothing like the last ten minutes of that film to show the accumulation and the display of power. It’s not done through the sword or the speech, it’s done through the theatre he created around him with his clothes, his food, the way he eats. It’s extraordinary.” 1966
The Roaring Twenties: James Cagney and Humphrey Bogart star in this homage to the gangsters of the 1920s. It was one of the many great films made in 1939 (like Gone with the Wind, The Women, Mr. Smith Goes to Washington, Goodbye, Mr. Chips, Stagecoach and many many more.) 1939
Rocco and his Brothers: “This Visconti film was also a major influence on filmmakers.” 1960
Rome, Open City: “I saw Italian movies as a 5-year-old, on a 16-inch TV my father bought. We were living in Queens. There were only three stations. One station showed Italian films on Friday night for the Italian-American community, subtitled, and the family would gather to see the films. My grandparents were there—they were the ones who moved over in 1910. So it became a ritual. [Director Roberto] Rossellini had an intellectual approach.” 1945
Secrets of the Soul: “This was a silent movie whose flashback structure was unlike anything else. Secrets of the Soul looked almost experimental.” 1912
Senso: “An extraordinary film by Visconti, another Neo-Realist masterpiece.”
Shadows: “I saw Shadows at the 8th Street Playhouse [in Manhattan], and when I saw such a direct communication with the human experience, of conflict and love, it was almost as if there was no camera there at all. And I love camera positions! But this was like you were living with the people.” 1959
Shock Corridor: A wild Sam Fuller movie about a journalist who enters an insane asylum to try to break a story. 1963
Some Came Running: This Vincent Minnelli melodrama is definitely not a musical. It’s a tough story about an alcoholic Army vet returning home. It stars Frank Sinatra, Dean Martin, and Shirley MacLaine. 1958
Stromboli: “This too was a very important film of Rossellini’s second period. Very beautiful.” [During the shooting of Stromboli, the star, Ingrid Bergman, who was married to an American dentist, got pregnant with Rossellini’s child. She divorced the dentist, and became persona non grata in America]. 1950
Sullivan’s Travels: “Billy Wilder told me, you’re only as good as your last picture. Sullivan, played by Joel McRae, is in the studio system, under that kind of pressure. He makes comedies, but one day he decides he really wants to make ‘Oh, Brother, Where Art Thou?’ He puts it all on the line to learn about the poor. The resolution of the movie is very moving.” 1941
Sweet Smell of Success: Like Ace in the Hole, this classic noir is about an unethical journalist who will stop at nothing to get his way. Burt Lancaster plays the journalist. 1957
Tales of Hoffman: “This was a great risk for Powell and Pressburger. In fact, they lost it on that. He had in mind a composed film like a piece of music, and played the music back on set during the shooting, so the actors moved in a certain way.” 1951
The Third Man: “Carroll Reed made one of those films where everything came together. It made me see, with Kane, that there was another way of interpreting stories, and another approach to the visual frame of the classical films…all those low shots, and the cuts.” 1949
T-Men: Another Anthony Mann noir with great cinematography, this one’s about Department of Treasury men breaking up a counterfeiting ring. 1947
Touch of Evil: “Welles’ radio career with the Mercury Theater made him a master of the soundtrack. Just listen to this movie--you can close your eyes and imagine everything that is happening. (Young people should listen to the radio soundtrack of War of the Worlds, which was so effective that people got in their cars and started to drive away, because they really believed that Martians were attacking.)
The Trial: “This is another film that gave us a new way of looking at films. You’re very aware of the camera, like when Anthony Perkins came running down this corridor of wooden slats and light cutting the image, blades and shafts of light, talk about paranoia!” 1962
Two Weeks in Another Town: The Vincente Minnelli movie stars Cyd Charisse, Kirk Douglas, and Edward G. Robinson. It’s a classic 1960s melodrama. 1962
Correction: Raw Deal was amended to reflect its release date of 1948.
Orson Welles directed the stage version of Julius Caesar; Joseph Mankiewicz directed the film.
Thursday, November 3, 2011
Sunday, October 30, 2011
《賽德克． 巴萊》非一般的血肉史詩
Ming Pao Daily News
P12 | 周日搜影 | 家明雜感 | By 家明 2011-10-31
魏德聖的《賽德克．巴萊》確是觀影的考驗。不是說它兩集共4 個半小時的篇幅，而是它對霧社事件複雜面的呈現，頗出乎觀眾意料。
宣傳嘗試讓《賽》片喚起觀眾的《阿凡達》印象，有點捉錯用神，只怕令人有錯誤期許。事實上這也把《賽》的影響力與重要給低估了。
我看了《賽德克．巴萊》兩次，第一次上下集分開來看，第二次是兩集一氣呵成。得承認，最初只看上集《太陽旗》的印象不好，但看完《彩虹橋》就整體改觀了，影片兩集加起來才算完整。
另第二次比第一次好看，因為故事的信息量不輕，覆看更弄懂前文後理及角色的轇轕。發行公司附印的人物關係表也好，有助觀眾明白故事——《賽德克．巴萊》也是沒所謂「劇透」的電影，霧社事件的始末本來不是秘密，觀眾沒必要保持白璧無瑕的觀影純真；反而多讀與《賽》有關的材料，電影看來會更有收穫。
看前多讀背景資料更有收穫
《賽德克．巴萊》之用心良苦，在於嘗試帶觀眾進入賽德克族人的世界，那跟我們的道德價值有不少衝突。他們的信仰、對彩虹橋世界的嚮往，直接影響了在世的言行。狩獵、出草（獵殺敵人頭顱）、血祭祖靈，是原住民青年的成人禮，只有驍勇戰士才配紋臉，臉上紋上圖騰，才配在死後通過彩虹橋到祖靈的家。日本人對台灣的殖民統治，引進了「文明」，但郵局與銀行對原住民毫無意義。原住民失去了獵場，傳統及信仰日漸受到動搖。於是，對賽德克族而言，是活在當下的苟延重要？還是反抗統治奪回種群的尊嚴重要？霧社事件爆發後，有頭目不肯參與免招滅族之禍，也是這種生死選擇的矛盾。
《賽》不是「阿凡達」的三毫子文化衝突，故事的原住民及日本人並不二元對立。賽德克族人沒被過分美化，日本人也非十惡不赦的妖魔。編導魏德聖放棄了最討人歡心、易懂的戲劇手法，以更微妙的處境、更複雜的人物性格來說故事。《賽德克．巴萊》中沒有絕對好人、壞人，觀眾的視點甚至不斷在原住民及日本人之間轉移，教我們看見不同人物的限制及苦衷。如此主流電影（史詩大製作）的格局，竟打破了類型片一貫的觀影預期，可見魏德聖之藝高人膽大。《賽》也許叫人看得混身不自在，但肯定更刺激思考，有更廣闊的討論空間。老實說，看完兩次心情久久不能平復，電影帶出很多問號，不是三言兩語可以說清。
打破類型片一貫觀影預期
比如主角莫那魯道就不簡單了，《賽德克．巴萊》寫了他3 個成長的階段，年輕時他相當鹵莽，好勝心強甚至不顧族人死活。成年後，他是發起霧社事件的靈魂人物，是族中最受尊敬的頭目；他多次訓誡年輕的族人別急進，要學會獵人的等待。但影片也有自嘲，莫那長年累月收集火柴而積累成小型火藥庫，因得到花岡一郎的協助一下子變得沒有意義， 「等待」有時也枉然。上集《太陽旗》最後的公學校大屠殺是影片最具爭議的場面，莫那魯道是始作俑者。母親在公學校場地的呼喊，配樂用的祖靈怨歌瀰漫一片哀愁，連串慢動作，以至莫那魯道背槍狂奔時瞥見樹上一朵孤獨的紅櫻花（ 相對其他場面的遍地紅櫻），都表達了對殺戮以至莫那魯道的懷疑。
《賽德克．巴萊》兩集也花了不少篇幅在花岡一郎及花岡二郎這對義兄弟身上。他們是原住民，從小受日本教育，為日本人效力，於是有了雙重身分。但裏外不是人，一方面受族人排擠，在日本人眼裏地位也次等。莫那魯道一度質問花岡一郎，死後要葬在日本的神社還是祖靈的家。花岡一郎及二郎突顯了身分文化衝突，1930 年時兩股勢力、信仰的水火不容，沒有誰對誰錯，但他們的掙扎教人非常難過。《彩虹橋》開始不久，族中的婦孺為節省糧草、成全族中戰士，在林中集體上吊；一郎及二郎在事件爆發後也生無可戀，與家人一起自盡。這幕在滂沱大雨襯托下氣氛非常震撼，肝腸寸斷，看得人涕淚交流。
人物有血有肉教人難忘感動
《賽德克．巴萊》技術上也許有不少瑕疵，但有血有肉的人物成就了電影，在在教人難忘、感動。除了上文提及的，還有年輕的賽德克戰士巴萬，最初只是個黃毛小子，後來經歷了與母親訣別的悲慟，在戰場上成長，臉上紋了圖騰，眼神充滿鬥志（演員銳利的眼神是影片另一精彩的地方），年紀輕輕卻一夫當關。另外，日軍的司令鎌田彌彥，初時恥笑下屬尊稱賽德克人為「戰士」，最後霧社事件告一段落，他看到山野開滿紅櫻花也不禁問： 「為何我會在這遙遠的山地，見到我們已消失百年的武士道精神？是這裏的櫻花開得太漂亮了嗎？」300 人的賽德克族奮勇頑抗船堅炮利、數以千計的日軍，令鎌田的態度徹底改變。
魏德聖本人有沒有立場？這自不用說了。《賽德克．巴萊》上下集的一首一尾，都強調祖靈鳥很有靈性；莫那魯道向小孩講述賽德克族由來的傳說，說最初男女從木頭及石塊誕生；碰巧莫那死後的遺體奇妙地分成白骨及木乃伊兩部分，暗暗呼應了遠古的傳說。電影以人出發，同時歌頌神秘的自然力量。當然，還有最後一幫賽德克戰士在遙遠天邊，昂首闊步走過彩虹橋的場面。這超現實的景象，由一名不知名的年輕原住民獵人親眼目睹，傳承的意味自不言而喻了。
儘管霧社事件具爭議，魏德聖還是以敘事的細節向我們說明，賽德克族人對信仰的堅持，銳利眼神背後的勇氣與精神，是多麼讓人肅然起敬！
P12 | 周日搜影 | 家明雜感 | By 家明 2011-10-31
魏德聖的《賽德克．巴萊》確是觀影的考驗。不是說它兩集共4 個半小時的篇幅，而是它對霧社事件複雜面的呈現，頗出乎觀眾意料。
宣傳嘗試讓《賽》片喚起觀眾的《阿凡達》印象，有點捉錯用神，只怕令人有錯誤期許。事實上這也把《賽》的影響力與重要給低估了。
我看了《賽德克．巴萊》兩次，第一次上下集分開來看，第二次是兩集一氣呵成。得承認，最初只看上集《太陽旗》的印象不好，但看完《彩虹橋》就整體改觀了，影片兩集加起來才算完整。
另第二次比第一次好看，因為故事的信息量不輕，覆看更弄懂前文後理及角色的轇轕。發行公司附印的人物關係表也好，有助觀眾明白故事——《賽德克．巴萊》也是沒所謂「劇透」的電影，霧社事件的始末本來不是秘密，觀眾沒必要保持白璧無瑕的觀影純真；反而多讀與《賽》有關的材料，電影看來會更有收穫。
看前多讀背景資料更有收穫
《賽德克．巴萊》之用心良苦，在於嘗試帶觀眾進入賽德克族人的世界，那跟我們的道德價值有不少衝突。他們的信仰、對彩虹橋世界的嚮往，直接影響了在世的言行。狩獵、出草（獵殺敵人頭顱）、血祭祖靈，是原住民青年的成人禮，只有驍勇戰士才配紋臉，臉上紋上圖騰，才配在死後通過彩虹橋到祖靈的家。日本人對台灣的殖民統治，引進了「文明」，但郵局與銀行對原住民毫無意義。原住民失去了獵場，傳統及信仰日漸受到動搖。於是，對賽德克族而言，是活在當下的苟延重要？還是反抗統治奪回種群的尊嚴重要？霧社事件爆發後，有頭目不肯參與免招滅族之禍，也是這種生死選擇的矛盾。
《賽》不是「阿凡達」的三毫子文化衝突，故事的原住民及日本人並不二元對立。賽德克族人沒被過分美化，日本人也非十惡不赦的妖魔。編導魏德聖放棄了最討人歡心、易懂的戲劇手法，以更微妙的處境、更複雜的人物性格來說故事。《賽德克．巴萊》中沒有絕對好人、壞人，觀眾的視點甚至不斷在原住民及日本人之間轉移，教我們看見不同人物的限制及苦衷。如此主流電影（史詩大製作）的格局，竟打破了類型片一貫的觀影預期，可見魏德聖之藝高人膽大。《賽》也許叫人看得混身不自在，但肯定更刺激思考，有更廣闊的討論空間。老實說，看完兩次心情久久不能平復，電影帶出很多問號，不是三言兩語可以說清。
打破類型片一貫觀影預期
比如主角莫那魯道就不簡單了，《賽德克．巴萊》寫了他3 個成長的階段，年輕時他相當鹵莽，好勝心強甚至不顧族人死活。成年後，他是發起霧社事件的靈魂人物，是族中最受尊敬的頭目；他多次訓誡年輕的族人別急進，要學會獵人的等待。但影片也有自嘲，莫那長年累月收集火柴而積累成小型火藥庫，因得到花岡一郎的協助一下子變得沒有意義， 「等待」有時也枉然。上集《太陽旗》最後的公學校大屠殺是影片最具爭議的場面，莫那魯道是始作俑者。母親在公學校場地的呼喊，配樂用的祖靈怨歌瀰漫一片哀愁，連串慢動作，以至莫那魯道背槍狂奔時瞥見樹上一朵孤獨的紅櫻花（ 相對其他場面的遍地紅櫻），都表達了對殺戮以至莫那魯道的懷疑。
《賽德克．巴萊》兩集也花了不少篇幅在花岡一郎及花岡二郎這對義兄弟身上。他們是原住民，從小受日本教育，為日本人效力，於是有了雙重身分。但裏外不是人，一方面受族人排擠，在日本人眼裏地位也次等。莫那魯道一度質問花岡一郎，死後要葬在日本的神社還是祖靈的家。花岡一郎及二郎突顯了身分文化衝突，1930 年時兩股勢力、信仰的水火不容，沒有誰對誰錯，但他們的掙扎教人非常難過。《彩虹橋》開始不久，族中的婦孺為節省糧草、成全族中戰士，在林中集體上吊；一郎及二郎在事件爆發後也生無可戀，與家人一起自盡。這幕在滂沱大雨襯托下氣氛非常震撼，肝腸寸斷，看得人涕淚交流。
人物有血有肉教人難忘感動
《賽德克．巴萊》技術上也許有不少瑕疵，但有血有肉的人物成就了電影，在在教人難忘、感動。除了上文提及的，還有年輕的賽德克戰士巴萬，最初只是個黃毛小子，後來經歷了與母親訣別的悲慟，在戰場上成長，臉上紋了圖騰，眼神充滿鬥志（演員銳利的眼神是影片另一精彩的地方），年紀輕輕卻一夫當關。另外，日軍的司令鎌田彌彥，初時恥笑下屬尊稱賽德克人為「戰士」，最後霧社事件告一段落，他看到山野開滿紅櫻花也不禁問： 「為何我會在這遙遠的山地，見到我們已消失百年的武士道精神？是這裏的櫻花開得太漂亮了嗎？」300 人的賽德克族奮勇頑抗船堅炮利、數以千計的日軍，令鎌田的態度徹底改變。
魏德聖本人有沒有立場？這自不用說了。《賽德克．巴萊》上下集的一首一尾，都強調祖靈鳥很有靈性；莫那魯道向小孩講述賽德克族由來的傳說，說最初男女從木頭及石塊誕生；碰巧莫那死後的遺體奇妙地分成白骨及木乃伊兩部分，暗暗呼應了遠古的傳說。電影以人出發，同時歌頌神秘的自然力量。當然，還有最後一幫賽德克戰士在遙遠天邊，昂首闊步走過彩虹橋的場面。這超現實的景象，由一名不知名的年輕原住民獵人親眼目睹，傳承的意味自不言而喻了。
儘管霧社事件具爭議，魏德聖還是以敘事的細節向我們說明，賽德克族人對信仰的堅持，銳利眼神背後的勇氣與精神，是多麼讓人肅然起敬！
Subscribe to:
Posts (Atom)