Saturday, September 11, 2010

曼尼拉南在威尼斯影展獲頒獎項

香港的華文傳媒都只顧報吳宇森奪獎,或甄子丹在新戲中露股。沒法子,惟有在此寫兩句:印度南方泰米爾納德邦名導演曼尼.拉南(Mani Ratnam)於2010年9月6日在威尼斯影展獲頒Jaeger-LeCoultre Glory to the Filmmaker Award。

曼尼拉南的電影風格雄揚剛勁,政治批判性強,藝術水平不下於徐克。他的名作孟買生死戀(Bombay)、影壇政壇兩冤家(Iruvar)曾在香港國際電影節上映,其他名作有Dil Se、Guru等等。期望今次在港人熟識的影展得獎後,會吸引更多香港影評人認識這位南印度名導。

如想進一步了解他,還是看看印度的報導吧。

Venice honours Mani Ratnam
Gautaman Bhaskaran, Hindustan Times
Venice, September 07, 2010
First Published: 15:13 IST(7/9/2010)
Last Updated: 16:17 IST(7/9/2010)
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India’s essentially Tamil director Mani Ratnam received the Jaeger-LeCoultre Glory to the Filmmaker Award at the ongoing 67th Venice Film Festival late last night. The ceremony was followed by a screening of Raavanan in Tamil. Happily so, for, of the two versions -- the other being in Hindi 
-- the one in Tamil with actor Vikram is by far the best.
Vikram, who plays the role that Abhishek essays in the Hindi Raavan, was also present at the ceremony. Curiously, Abhishek Bachchan and Aishwarya Rai, who appear in both the Hindi and Tamil editions, were not to be seen. Raavan was also screened at the Festival.
The award is a tribute to Ratnam’s achievements. He is one of the few helmers in southern India, more so in Tamil Mani RatnamNadu, who broke away from the melodramatic histrionics of men like Sivaji Ganesan. The theatrical influence was so strong in the late actor that he often treated cinema as an extension of the stage.
One of Ratnam’s earliest movies made in 1986, Mouna Ragam with Revathy and Mohan was critically praised as a realistic portrayal of urban Tamils.
Then came Nayagan with Kamal Hassan playing Godfather of sorts. Inspired by the true story of the Tamil underworld don settled in Mumbai, Varadaraja Mudaliar, the film was India’s official choice for the 1987 Oscars. Though it did not even make it to the foreign lingo shortlist, Nayagan is undoubtedly one of Ratnam’s finest movies. Perhaps, the best in his basket, and Hassan contributed in no small measure to this feather in Ratnam’s cap.
Much like Shyam Benegal’s masterpiece, Bhumika, which may have never attracted such accolade had Smita Patel not essayed the protagonist, Ratnam may have similarly not been as successful withNayagan had Hassan not been part of it.
Ratnam made several movies after that. Some did not make a mark at all. Some did, and among his most notable ones were Alaipayuthey, where Madhavan and Shalini portray a couple who go through marital upheavals. Personal and intimate, this film, much like Mouna Ragam, showed Ratnam at his best.
The helmer made other movies, a few inspired by real life characters. His 1997 Iruvar (which brought Rai to the screen for the first time) was loosely based on the rivalry between two Tamil Nadu Chief Ministers, M.G. Ramachandran and Karunanidhi, who cut their teeth in the same political movement, but later split to form separate parties. Rai is said to have been modelled on Jayaalalitha, a one-time Chief Minister of Tamil Nadu and erstwhile actress who’s pairing with Ramachandran produced many box-office hits.
More recently, Ratnam made Guru with Bachchan playing India’s late business tycoon, Dhirubhai Ambani. Rai is his screen wife (his real one too). Although the plot closely resembled Ambani’s life, Ratnam never admitted that his work was based on the businessman. Nobody knew why.
Guru was one of Bachchan’s better performed films (his acting in Raavan was ripped by critics), but Ratnam is at his glorious best when he creates small, intimate and even romantic cinema. Perhaps, he should stick to that and give us many, many more hours of joy.
(Gautaman Bhaskaran has been covering the Venice Film Festival for a decade.)

Thursday, September 02, 2010

威尼斯影展即將表揚印度名導

當年意大利佬發掘黑澤明,今次終於輪到曼尼拉南(Mani Ratnam)啦!

Indian director Mani Ratnam to receive the Jaeger-LeCoultre Award 2010

< Back
Takeshi Kitano, Abbas Kiarostami, Agnès Varda and Sylvester Stallone the former winners
05 | 17 | 2010

the last film by Mani Ratnam, Raavan, at the 67th Venice Film Festival

This year the Jaeger-LeCoultre - Glory to the Filmmaker Award 2010, founded by laBiennale di Venezia (Venice International Film Festival), and organized in collaboration withJaeger-LeCoultre is to honour the work of the great Indian director Mani Ratnam.
 
In recent years, the award has honoured other major world filmmakers: Takeshi Kitano, Abbas Kiarostami, Agnès Varda, and Sylvester Stallone.
 
The Jaeger-LeCoultre - Glory to the Filmmaker award ceremony will take place during the 67th Venice International Film Festival (September 1-11, 2010), directed by Marco Mueller, and organized by la Biennale di Venezia, chaired by Paolo Baratta.
 
The Venice Film Festival Director Marco Mueller explains the choice as follows:
"Mani Ratnam used to make movies only in his native tongue, Tamil, but has been one of a handful of filmmakers to successfully handle the transition to the All-India market.
One of the great innovators in contemporary Indian cinema, he helped introduce the auteur concept to contemporary Bollywood.
His movies display precision and poise, and have always been removed from the bombast and bluster of mass-produced regional cinema.
The lavish musical numbers in his films, some of the best-tailored in Mumbai and Madras in recent years, have influenced the style of many others (as well as the design of commercials and music videos).
Ratnam's most celebrated films have become part of the cinematic imagination of the sub-continent.”
 
On the occasion of the award ceremony, the 67th Mostra will present the festival premiere of Mani Ratnam’s much-anticipated forthcoming film Raavan,attended by the director and by the Indian movie super stars Aishwarya Rai, Abhishek Bachchan, Vikram, and A.R. Rahman. Raavan is produced in association with Reliance Big Pictures and distributed internationally by Reliance Big Pictures and IM Global.
Raavan will enchant audiences with its stirring drama and entrancing musical sequences,” says Marco Mueller. “We are proud to be hosting the festival premiere of this wonderful film, which will be presented at the 2010 Mostra in both the Hindi and the Tamil version.”
 
Enlivened by the music composed by the two-time Academy Award winner A.R. Rahman, popularly known as the man who has redefined contemporary Indian music (and hailed by ‘Time Magazine’ as the ‘Mozart of Madras’), Raavan fuses drama, action, love story, and musical. The film tells the adventurous story of a bandit leader who kidnaps the wife of the policeman who killed his sister, taking her through a journey during which once again the everlasting, epic battle between good and bad takes place, and stars Abhishek Bachchan, Ashiwarya Rai Bachchan, and Vikram.
 
In 2010 Jaeger-LeCoultre celebrates its six years of sponsorship with the Venice International Film Festival.


Tuesday, August 10, 2010

When Guru dumped Waheeda

"Ten Years with Guru Dutt", Chapter 22, 談到了Abrar Alvi 了解關於 Guru Dutt & Waheeda 的故事。

他說有關兩人的閒言閒語在CID首映之後開始傳出。Guru Dutt的製作團隊中人,更普遍認為兩人更加登對。其中兩個女人的直覺更是可圈可點。

Waheeda的母親曾對Abrar Alvi表示憂慮,指Guru Dutt是有婦之夫,擔心女兒不能自拔。"She tells me that he says he will give up his life for her."

Geeta Dutt 又怎會不察覺?在開拍《紙花》之前,她也跑到Abrar Alvi跟前,探聽口風,並且希望Abrar Alvi可在與丈夫的遠赴英國尋找鏡頭時,規勸他丈夫。Abrar Alvi 雖然叫她不要聽信謠言,但似未能令她收起疑心。後來某天,Guru Dutt 收到一張便條,題為 "Yours, Waheeda",內容叫Guru Dutt到指定地點見面。Guru Dutt 與 Abrar Alvi 斷定不是 Waheeda 寫的,因為二人日日可在片場見面,Guru Dutt 更可直接到 Waheeda 的化妝間,根本沒有需要約到老遠幽會。 Guru Dutt 着 Abrar Alvi 到指定地點旁的印度木球會看看誰在搞鬼。結果發現 Geeta Dutt 與友人坐着一輛車子,在附近等候。她們沒料到螳螂捕蟬,黃雀在後。

多年之後,傳出 Guru Dutt 為了 Waheeda 轉信伊斯蘭教的新聞。事件後來被視之為流料。Geeta Dutt 當時身在倫敦,回國後沒有返孟買,卻逗留在 Kashmir。丈夫着她回家,她卻說自己墜馬傷了鎖骨。Guru Dutt 派助手探望太太,但卻得到太太無恙,但與一英籍巴裔年輕男子在一起。Abrar Alvi 認為這消息損害了 Guru Dutt 的大男人自尊心,可能引致他下定決心與 Waheeda 決裂。

當時正值他們拍攝《老爺、太太與僕人》,Waheeda 的專用化妝間與 Guru Dutt 相連,而且 Waheeda 有權在任何時間使用她的化妝間,即使她替其他電影拍攝時也可以。某天,Waheeda 的優待突然被取消,Waheeda 哭着跑到 Abrar Alvi 問為何那個「他」要這樣對待她。達特夫婦卻得以重修舊好,而且再度蜜月。

幸好有關 Waheeda 的戲份除了煞科一場,都已拍完,對拍攝計劃影響不大。不過,Waheeda 不想再跟 Guru Dutt 拍戲和說話,煞科一場怎麼辦呢?Abrar Alvi 最後費盡九牛二舌,才能令 Waheeda 同意出境,但她要求 Guru Dutt 不可碰她、也不許二人有對白。Abrar Alvi 在片中最後一幕,遂安排了 Waheeda 碰了一碰 Guru Dutt 手胕,以交待劇情。

兩人雖因電影到柏林參展,同赴德國宣傳,但旅程中雙方鮮有交談。他倆的關係,就這樣了。

Monday, June 28, 2010

看罷 Abrar Alvi 的傳記

整整一個月在看Abrar Alvi的傳記 ﹣﹣"Ten Years with Guru Dutt - Abrar Alvi's Journey" (Written by Sathya Saran) ,對於 Guru Dutt 的人生有了不少新角度。



雖然這充其量只是 Abrar Alvi 一面之辭,但也補充了不少比較有根據的資料。例如,自《求之不得》起,Guru Dutt 已叫 Abrar Alvi 客串執起導演筒,協助他拍攝部份場面。例如,《老爺、太太、僕人》的導演工作,雖由 Abrar Alvi 話事,但所有歌舞場面仍由 Guru Dutt 親自操刀。例如,Abrar Alvi講述 Guru Dutt 如何為了挽救婚姻,氣走 Weeheeda Rehman,了斷這段似有還無、有緣無份的情緣。還有,Abrar Alvi因何在拍攝《老爺、太太、僕人》時,得罪來探班的Rai Kapoor。少不了,Abrar Alvi如何辜負了一名妓女,導致他將此段憾事寫入《求之不得》的劇本中......

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Friday, April 30, 2010

Pyaasa (1957) 《求之不得》 ﹣﹣ 鞭撻偽善社會的經典傑作

Pyaasa (1957) 《求之不得》是寶萊塢導演Guru Dutt風格全面成熟之作。故事講述詩人Vijay,以失業貧窮等社會陰暗面為創作題材,詩雖美卻不為人所悅,曲高和寡潦倒街頭,舊愛捨他而去,兄長視他為無用的廢物,只有一名風塵女子欣賞他的才華。

故事的神來之筆是安排 Vijay 被誤傳死訊,風塵女子傾盡所有將詩作出版。《暗影詩集》一出,洛陽紙貴,在生的人爭相吹捧「已死」的詩人。詩人現真身,卻被各方既得利益勢力阻撓,世態炎涼,前倨後恭,雖親人至愛,亦難敵人性的弱點。

Guru Dutt 喜愛的推軌、特寫、焦距、強烈光暗對比、恰到好處的剪接,還有踱步場景,在這齣電影中運用得揮灑自如,每一個signature都對推演劇情,帶動觀眾情緒起作用,是一名電影作者巔峰期的成熟表現。對故事結構的掌握進退有度,即使間中有的惹笑歌舞也不會衝散電影的主調,更勝其後另一佳作《紙花》,不會像後者般硬塞一段來娛樂觀眾,打斷電影的主旋律。

我最喜歡的是風塵女子在天台遙望詩人一幕歌曲 ﹣﹣"Aaja Sajan Mohe Ang Lagalo", 剪接、焦距、遠景中景近鏡的蒙太奇,簡直就是廿五年後,廿世紀八十年代的MV模樣,只差沒有用手搖鏡頭。另一歌曲 ﹣﹣"Jaane kya tune kahi" 則盡現導演迷醉的推軌和踱步追尋場面。這是男女主角初遇男追女一段,跟天台一場女對男心生傾慕,可望卻不可即一段,前後相映成趣。

不過,真正將 Pyaasa 推上殿堂的,不只是技巧的嫻熟和超前,而是電影展露出導演對現代社會的偽善、世俗人對名利的追逐等人性醜惡一面的尖銳批判。Guru Dutt 雖然似乎深受蒙太奇美學影響,但他不是愛森斯坦,沒有用光影叫人革命,但卻也不留情面地向各種惡行和虛偽鞭屍。

片初,男主角提醒二哥年幼時也曾保護受傷幼鳥,卻遭二哥搶白:「因為我那時是小孩,而你,到現在還是小孩。」童真,被生活和成長磨走了。人,怎能再美?詩人縱使想保住人世間一點真善美,也不容易。

到了歌曲 ﹣﹣"Jinhe naaz hai hind par" 時,詩人從紅燈區中看到妓女如何被欺壓,連停下來照顧哭啼中的嬰兒也不獲恩客容許。人,難道連一點側隱之心也沒有嗎?聖雄甘地的身教言教,喚來共和國在1947年成立,但立國十年,這個新生國家是怎麼模樣?國人得到什麼?社會最弱勢的社群又能否得償創立國家的甜美果實?

Guru Dutt 用詩人 Sahir Ludhianvi 譜出的悲歌嚴厲地向現實發出詰問,但戲肉還未到來。神來之筆,是令男主角「起死回生」一幕,他「死後揚名」,被社會捧為偶像,受各方供奉,但這又代表什麼呢?是代表他一直渴求的認同得到了?是他所珍視的真善美在社會偏地開花?還是他所痛恨的一切,借着他的「屍身」,更放恣地張牙舞爪?

此一刻,電影已經超越了南亞的地域和年代的時空,觸摸着普世人性黑暗的深處。難怪 Sahir 要男主角頌歌 "Yeh Duniya Agar Mil Bhi Jaaye",狂呼要將它投進煉獄火海。有趣的是,此時男主角失去了西裝褸,披着白袍的樣子,跟《十戒》(1956)中查爾登希斯頓飾演的摩西,從山上下來怒擲十戒前的模樣,竟有幾分相似。

當然,男主角沒有如摩西般衝擊惡行,因為這也不是 Guru Dutt 的性格。他就像《第七封印》裡的知識份子,對世人不無憐憫,但太多的思考,反而不如低下階層直接了當,義無反顧的行動。人生的確有很多悲劇,而對悲劇了解甚多的希臘人曾經說,打開了潘朶拉的盒子,放出那麼多妖魔鬼怪出來,最後還是有一樣叫「希望」的好東西,而希望,需要靠行動才能活起來。

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Wednesday, April 28, 2010

轉貼:石琪評 Guru Dutt

早逝寶萊塢傳奇才子


明報 : 2010-03-16 (星期二) 5:04 AM

【明報專訊】第34屆香港國際電影節即將開幕,節目照例多得難以選擇,單是致敬回顧的亞洲已故才俊,便有李小龍、費穆、日本早期大師島津保次郎,還有今天要特別推介的印度能導能演的古魯達特。





古魯達特(Guru Dutt, 1925-1964)是傳奇才子,出身舞蹈,上世紀五十年代自導自演叫好叫座,在「寶萊塢」通俗片中載歌載舞而又自成一家,被稱為印度的奧遜威爾斯。但他英年逝世,可能是自殺。



電影節將於四五月間的「下集」選映他4部代表作,全部黑白片,我都預先看了。《55年的夫妻》(Mr. & Mrs. '55)是富家刁蠻女與窮才子的愛情錯摸喜劇,像當年香港電懋作風,有點胡鬧,勝在精裝。



《求之不得》成為典範



真正優異是《求之不得》(Thirst),描述潦倒詩人失戀失業,在大城市捱苦受辱,他「死後」揚名,「翻生」卻被關入瘋人院,充滿社會諷刺。詩人與多情妓女邂逅的歌舞,與舊女友在電梯重逢的回憶,以及多次誦詩的輕吟淺唱,音樂感電影感都精彩,成為印度文藝寫實派歌舞片典範。



《紙花》(Paper Flowers)亦是名作,古魯達特自演名導演,與一手捧紅的新女星相戀,然而情海翻波,事業受挫。這部導演自嘆片不及費里尼《八部半》天馬行空,但拍得更早,片場光影特別出色。



《老爺太太僕人》豪門沒落



1959年的《紙花》票房慘敗,三年後《老爺太太僕人》(Master, Mistress and Servent)就大獲成功。此片由古魯達特的編劇拍檔掛名導演,看來仍是他自導自演,細緻感性地刻劃豪門大宅盛極而衰,最動人是賢淑的貴婦,為了討好縱情酒色的丈夫,使自己像舞女般賣弄色相和酗酒成癖。



此片可說是印度版《金鎖記》,而且這悲劇好像真實預言:據說古魯達特後期酗酒,又與愛將華希妲列曼發生婚外情恩怨,他暴卒後其妻亦借酒澆愁而死。



現在觀看這些舊片,無疑有老派和牽強之處,然而佳句確實不少,尤其是《求之不得》和《老爺太太僕人》。《紙花》則把女星華希妲列曼拍得最奪目。



石琪

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按:《老爺太太僕人》掛名導演之說由憶測漸變定見,實在有澄清之必要。

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Tuesday, April 27, 2010

為何我認為 "Sahib Bibi Aur Ghulam" 不是由 Guru Dutt 執導!



Sahib Bibi Aur Ghulam (老爺、太太與僕人)被不少人認為是 Guru Dutt 假借御用編劇 Abrar Alvi 之名義的作品。不過,我卻另有看法。

無疑,電影不少鏡頭充滿 Guru Dutt 的影子,但細看之下,如一些 Zoom in/ Zoom out 的鏡頭實在用得太濫,甚至有部份鏡頭運用得有點兒無厘頭,不像《求之不得》和《紙花》兩齣作品那樣手起刀落,乾淨利落。以《求之不得》天台一場戲為例,妓女與詩人的焦距鏡運用就合理得多。

另外,電影的調子也與《求之不得》和《紙花》兩者不同。這兩套 Guru Dutt 的經典,調子是憤世灰暗的,Abrar Alvi 這齣作品雖然對戲中女主角的悲慘命運不無婉惜慨嘆之筆觸,但卻沒有 Guru Dutt 對俗世的尖銳批判。整個世界觀很不一樣。相對上述兩齣戲,此片的訊息柔和得多。



當然,不排除部份場面,Guru Dutt 或技癢幫忙,如七名舞者在莊園內獻舞一幕,燈光只打在中間一名舞者身上,兩旁各三人全被燈光效果變成黑色影子,就是氣度不凡的大師手筆。

據聞,Abrar Alvi 曾為此感到不平。不過,也沒有辦法。誰叫你一生只執導一齣戲,而且片中盡是 Guru Dutt 的影子!俱往矣,隨着Abrar Alvi 去年十一月也仙遊,已無法找到當事人查證。

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  1. http://www.exoticindiaart.com/book/details/IDC375/%22%3E "he ranted about the fact that he was still being robbed of his right the credit for directing Guru Dutt Films most lauded most awarded, film Sahib Bibi Aur Ghulam. Critics have over the years insisted that Abrar was only a front for a director who had decided he did not want to take credit thanks to a superstition resulting from the debacle of Kaagaz ke Phool that he was jinxed.Abrar would bubble over when he came to that point. He had many ways of proving he was the man at the helm, that it was his baby from start to finish. He had proof, witnesses and had produced them at times, but the doubt remained in people’s minds-the suspicion once planted, would not be erased. More than four decade after the films release, it still hurt him that the finest hour was attributed to someone else."
  2. http://www.nowrunning.com/news/news.aspx?it=17344 "Abrar Alvi's favourite movies were "Pyasa", as well as "Sahib Bibi Aur Ghulam" because he directed it, Saran said."
  3. http://www.aol.in/bollywood-story/abrar-alvi-remembered/676414   
"Unfortunately, Alvi never received full credit for 'Sahib Bibi Aur Ghulam', which had all the hallmarks of a Guru Dutt movie. There was always a controversy regarding the real director of the movie. It was often unkindly said that Guru Dutt ghost directed the movie. "

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