Archive for 二月, 2007

Marcello Mastroianni

Marcello Mastroianni (Italy, 1924-1996)

Notti bianche, Le (White Nights) (1957)
Dolce vita, La (The Sweet Life) (1960)
Notte, La (The Night) (1961)
8½ (1963)
Ginger e Fred (1986)
Intervista (1987) Himself

作為演員, 他在50~70年代和許多義大利大導演多次合作,
甚至在晚年也持續和其他大導演合作.
作為明星, 他的生涯高峰以”Latin Lover”名聞國際,
這也算是則傳奇了吧~

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Scorsese’s Oscar win ends long wait

身為 Martin Scorsese 的影迷, 對Marty 終於以 The Departed 得到奧斯卡最佳導演這個遲來的補償, 心情真是矛盾. 一方面我覺得Marty 根本不需要在意這座小金人, 他的成就和地位早不需獎盃來肯定, 如果終身槓龜, 那就可以列入”沒拿過最佳導演的偉大天才導演”之列 (eg. Alfred Hitchcock (5次提名), Robert Altman (5), Stanley Kubrick (4), Orson Welles (1)…) 畢竟人類歷史中, 那些天才藝術家/科學家的光芒, 普羅大眾總是沒辦法馬上接受的.

但另一方面, 由Marty 今天領獎的情緒, 看的出來他是在意的, (he perhaps felt his career was not quite complete without it) 從Coppola, Lucas和 Spielberg 手中接過小金人, 影迷總是會為Marty 得獎而高興, 當然這不是他最好的作品, 但反正也沒有真正實至名歸的最佳影片和導演 XD. BTW, 已經有很多年沒有純種美國的優秀電影了, The Departed 會拿下最佳影片/導演/改編劇本/剪輯, 也算預料之中吧~

The Last Temptation of Marty by David Thomson
這篇超級好笑, Marty從奧斯卡前的失眠之夜到頒獎前, 和St. Martin的對話.

MARTIN: The great work. It is in the bank, as they say. Mean Streets…
MARTY: Uh-huh.
MARTIN: Taxi Driver …
MARTY: Yeah.
MARTIN: (sleepy)… Er,
MARTY (prompting): Raging Bull?
MARTIN: I was going to say New York New York.
MARTY: Oh, you liked that? You really liked that? I never realised you liked that. What did you like about that one?
MARTIN: Well…
MARTY: Because, actually, I hardly remember that one.
MARTIN: I know.

MARTY: You know, I’ll tell you the honest truth. I got in the car, in the limo, and I knew I would just as soon have told the guy, drive out to Malibu, and we’ll just blow the day. Hang the Oscars up. I mean, do I owe them? How many times have I been and done the good loser grin.
MARTIN: It has taught you so much about acting.
MARTY: And the mortification of the soul – don’t forget that.

MARTY: Are you out of your mind? I have to show I care. Unless I care, they can’t strip the skin from my face. You know nothing about being a Catholic!
MARTIN: Sorry, old chap. There’s this new thing with saints – we have to be neutral.
MARTY: Fucking Swedish is what you are!
MARTIN: Do calm down. Do you have an iPod? You could listen to opera, or something.
MARTY: So what do I do when it’s best director.
MARTIN: You could chat to Peter O’Toole. You know if he loses tonight it’s his eighth loss.
MARTY: He loses. Forest Whitaker is my man. You know who gave Forest his break?
MARTIN: No, I don’t think so.
MARTY: It was me. The Color of Money. The time Newman won.

MARTY: You see! Every shot of the audience I’m on camera.
MARTIN: Perhaps you’re going to win, old boy.
MARTY: For The Departed? You would want to win for that? Do you think I don’t get the point? I mean, do you think I’m really stupid?
MARTIN: I heard a rumour that The Departed might get best picture, too.
MARTY: That would be a disgrace. You see, for Taxi Driver I don’t get nominated. And then I win for The Departed. Do you not see the insult in that? I am going to leave.
MARTIN: You can’t. Your limo won’t be back for hours.

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Oscar’s Mistakes and Omissions

最近才發現 The Greatest Films 這個網站, 資料非常豐富, 對於了解美國經典電影頗有幫助. 其中有個部分是 Academy Awards-Mistakes and Omissions, 裡面洋洋灑灑列了一堆 List, 像是完全沒被提名/有提名但沒得獎的經典電影/導演/演員, 沒入圍最佳影片的”最佳”電影, 稍微喵一下就知道保守的影藝學院忽略過多少優秀電影了.

奧斯卡從來都是庸列的商業主義和保守意識形態的代名詞, 具突破性的作品常常被屏除在外, 近年來再加上片商的操弄和政治運作, 更是變本加厲. 衛報的 Oscar’s greatest crimes (這篇尖酸犀利超級好笑) 可以和 The Worst of the Awards 對照看, 這也是奧斯卡季常常被翻出來的耳熟能詳的”舊帳”.

奧斯卡的權威性如此地被台灣一般觀眾所認可, 對我來說, 代表的是現代傳播系統可以用密集性的暴力, 轉變成神話式的迷信. 這篇只是對於台灣被美國文化入侵如此嚴重之有感而發而已.

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Federico Fellini

Federico Fellini (Italy, 1920-1993)
南方網專題, NYTimes, 完全費里尼影展

主要作品

  • Luci del varietà (Variety Lights) (1950)
  • Lo sceicco bianco (The White Sheik) (1952)
  • I vitelloni (The Young and the Passionate) (1953)
  • La strada (The Road) (1954)
  • Il bidone (The Swindle) (1955)
  • Le notti di Cabiria (The Nights of Cabiria) (1957) *
  • La dolce vita (The Sweet Life) (1959)
  • 8½ (Otto e mezzo) (1963)
  • Giulietta degli spiriti (Juliet of the Spirits) (1965)
  • Fellini Satyricon (1969) *
  • I clowns (The Clowns) (1970)
  • Roma (Fellini’s Roma) (1972) *
  • Amarcord (1973) *
  • Casanova (Fellini’s Casanova) (1976)
  • Prova d’orchestra (Orchestra Rehearsal) (1979)
  • La città delle donne (City of Women) (1980)
  • E la Nave va (And the Ship Sails On) (1983)
  • Ginger e Fred (Ginger and Fred) (1985)
  • Intervista (Interview) (1988)
  • La voce della luna (The Voice of the Moon) (1990)

federico-fellini-02.jpg

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Michelangelo Antonioni

Michelangelo Antonioni (1912-2007, Italy)

南方網簡介, senses of cinema

主要作品

  • Cronaca di un amore (Story of a Love Affair) (1950)
  • La Signora senza camelie (The Lady without Camelias) (1953)
  • I Vinti (The Vanquished) (1953)
  • Le Amiche (The Girlfriends) (1955)
  • Il Grido (The Cry) (1957)
  • L’Avventura (The Adventure) (1960) *
  • La Notte (The Night) (1961)
  • L’Eclisse (The Eclipse) (1962)
  • Il Deserto rosso (Red Desert) (1964)
  • Blow-Up (1966)
  • Zabriskie Point (1970)
  • The Passenger (Professione: Reporter) (1975)
  • Il Mistero di Oberwald (The Oberwald Mystery) (1980)
  • Identificazione di una donna (Identification of a Woman) (1982)
  • Al di là delle nuvole (Beyond the Clouds) (1995), Co-directed by Wim Wenders
  • segment in Eros omnibus film (2004)

antonioni-michelangelo-1.jpg

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All Quiet on the Western Front (西線無戰事)

All Quiet on the Western Front 1930 (USA) B&W 133min 8/10

嘖嘖, 這部1930年的反戰電影始祖, 是我目前看過最早的電影 (1930年, 離WWI結束也不過11年, 而有聲電影也才剛開始發展, 想來真不可思議) 電影的偉大有一半要歸功於雷馬克的小說”西線無戰事”本身就是一部反戰經典, 另一半則要歸功於導演 Lewis Milestone 不可思議的運鏡—用俯瞰的鏡頭和士兵們的殘肢來呈現壕溝戰的慘烈, 另外有兩幕頗有實驗風格, 一個是主角在床上對著不懂德語的法國女性吐露心事, 鏡頭拍的卻是牆上的光影, 另一是令人摒息惆悵的最後一幕, 想抓蝴蝶的手就這樣慢慢垂下了. 真要說這部電影在今日看起來有什麼過時之處的話, 也只有1950年代前的電影的特色—很不自然的演技.

Variety.com review (May 7, 1930)
New York Times review(April 30, 1930)

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