Bollywood in Hong Kong 寶萊塢在香港

曼尼拉南在威尼斯影展獲頒獎項

2010-09-11T20:51:00.000+08:00

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 Nadu, 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.)

威尼斯影展即將表揚印度名導

2010-09-02T23:37:00.000+08:00

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.

When Guru dumped Waheeda

2010-08-10T23:13:00.000+08:00

"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。

看罷 Abrar Alvi 的傳記

2010-06-28T23:40:00.001+08:00

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......

Pyaasa (1957) 《求之不得》 ﹣﹣ 鞭撻偽善社會的經典傑作

2010-04-30T23:59:00.000+08:00

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。

轉貼：石琪評 Guru Dutt

2010-04-28T10:41:00.002+08:00

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。

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

2010-04-27T00:26:00.002+08:00

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。

參考資料：

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."
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."
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. "

Finally, more than 10,000 visits

2010-04-14T22:34:00.002+08:00

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Mr. & Mrs. '55

2010-04-10T00:41:00.003+08:00

廿世紀五十年代印度共和國立國之初，迎來的不只是新的國旗，還有各種各樣的新鮮思想。離婚法獲通過，除了震撼了印度保守社會，也為電影人帶來拍電影的好題材。

這齣風趣惹笑的愛情輕喜劇，前半段呈現的彷彿是一個全新的印度。女性不再是洗衫、做菜、帶孩子、眼看女兒病重卻徬徨無助的農村柔弱婦女，她們開會、講學、穿洋裝、做白領、睇網球、爭取婦權，單看服飾和對白，還以為在看Howard Hawks 的 His Girl Friday，連註冊和舞池的背景音樂也忽然變得很Jazz，難怪女主角的奶媽要不斷埋怨片中各人「太英國人了」。

當然，當時的印度觀眾即使準備好當家作主取鹽紡布，卻未必準備好迎接這文化新衝擊。故事隨即安排女主角為繼承遺產，要急急找人結婚，婦運領袖姑姑卻給找來對女主角一見鍾情的潦倒漫畫家。最初以為只是假結婚，怎料人家玩認真，假戲真做，終於有情人終成眷屬。

下半場還臨場加插一段又一段捍衛婚姻制度宣言，女性自由非幸福，在家勞動好快樂。時移世易，廿一世紀聽到這些話實在有點兒吃不消，但也可視之為新舊觀念衝擊下的一個旁證。

此片歌曲動聽，十分流暢，剪接利落，技巧圓熟，恐怕Billy Wilder若投身寶萊塢，也未必能高出少許。

看《紙花》，點人頭

2010-04-05T21:34:00.003+08:00

電影節昨日在太空館重播《紙花》，放映前一刻，點點人頭，約只有廿一個，包括三名南亞裔人，還有一位貌似英國紳士的老外。Ｂ行只有我一個坐，很自由；在狹小的太空館演講廳坐第二行，距離剛剛好。

這是一齣感人的文藝悲劇，有多首動聽歌曲，卻沒有舞蹈場面。故事講述導演要重拍印度經典電影Devdas，找到年輕孤女飾演女主角。（不知道Bimal Roy有何想法呢。）兩人日久生情，但導演有妻有女，此情不愉卻無法開化結果。不知道達特與Waheeda Rehman在現實中也是暗生情愫的緣故，兩人眼中滲透出壓抑下的綿綿情意，分寸可以恰到好處，多一分嫌太多，少一分嫌太少。

導演導演達特在不少場面花了不少心思設計，我最喜歡是男女主角在漆黑片場中表露心跡一幕，中段一縷陽光從天窗中射進來，像一道雀橋將二人似有還無地連上。另外，二人坐車到片場，其他演員坐在後面一輛車唱着歌一段，也牽起不少寶萊塢電影演員在汽車上、在火車上載歌載舞的場面。

電影中男女主角雖有真愛，但敵不過現實的殘酷，一反荷理活和寶萊塢愛情戰勝一切的傳統。男主角頑固的自尊心，令他拒絕愛人的援手。此刻，寶萊塢通俗劇終於跨進莎劇的深度。無奈這樣做只會被庸俗的市場立即斬殺於票房。

影評人鄭政恆給了此片四粒星，是準確的評價。此電影雖是好戲，但仍有瑕疵。男主角落泊後，跟着突然來一段男配角的搞笑歌唱片段，與全片的調子有點格格不入。《紙花》雖好，但與同年代的《大路之歌》，甚至小津和黑澤明的作品比較，仍是稍遜一籌。

觀影之日，剛看完《紅菱艷》，無獨有偶都是藝術家與紅伶的故事，卻有截然不同的處理，電影橋段真是可以千變萬化。

一個呼籲

2010-03-31T21:03:00.001+08:00

近年電影節每年都選映印度電影。忽發奇想，不如印片迷盡量坐在 "I" 行，或 "B" 行。

Without a trace

2010-03-24T22:02:00.002+08:00

BigB was awarded in Hong Kong. Ironically, local media did not the cover the moment, not even a caption story. Without a trace!

Thanks for Reuters and Rediff.com, we can still find out that he did come to Hong Kong and received the honor.

Amitabh Bachchan poses with his trophy after receiving the Lifetime Achievement Award at the Asian Film Awards in Hong Kong March on Monday.

Festival director Shaw Soo Wei said Bachchan left a mark on world cinema "with tremendous talent, a rigorous work ethic and an uncanny ability to reinvent himself."

Local Bollywood fans were interviewed

2010-03-17T14:44:00.001+08:00

Yesterday, SCMP published a report on local Bollywood movies fans.

"Just can't get enough

SCMP, 16th March 2010
Written by Vivian Chen

Touts move in as soon as Agnes Tse Nga-chi walks up to the entrance to Chungking Mansions, but the financial consultant isn't interested in trying the curries in one of the South Asian restaurants at the Tsim Sha Tsui landmark. Instead, as the security guards steer the posse away, she makes her way up a narrow staircase to a DVD shop on the first floor.

I wouldn't normally come here, but what other options have I got? This is one of the few places where I can get Bollywood films in Hong Kong, says Tse.

The 29-year-old can't get enough of India's escapist movies and has watched more than 100 over the past six years. Tse's blog, where she regularly gives updates on new productions, movie reviews and celebrity gossip, has attracted more than 13,600 views over the past three years.

Not surprisingly, South Asians make up most of the audience in Hong Kong for Bollywood productions, but the films are winning a new following in the larger Chinese community. Tse has got to know a number of fellow fans through the internet. Some also contribute blogs, including Kristy Wong Yee-man, whose Namastehk has received than 20,100 views since 2008, and Martin Wan Kwok-wai, who writes the Bollywood in Hong Kong blog under the name Loso.

..."

(For the rest, please visit South China Morning Post website.)

My Name is Khan

2010-03-09T22:49:00.001+08:00

節錄自《信報》和《金融時報》

沙魯克汗這次來倫敦是為了宣傳新電影My Name is Khan（此片大破印度電影在英美的票房紀錄，在英國上映第一周便錄得近100萬英鎊的票房）。

主題異常敏感

沙魯克汗在戲中扮演一名於「九一一」動盪時期在美國生活的孤僻伊斯蘭人。我指出他用自己的名字做電影名稱可能有點奇怪。他傾身向前，在煙灰缸抖下煙灰，對我展開他那特有的迷人微笑。「人們都覺得我很傲慢，但我不是。我們為電影改名時，我告訴卡蘭（Koran Johar，本片導演，也是沙魯克汗的好朋友），人們現在會說我們開始用我的名字做電影名稱了。」我以為用「Khan」來命名是因為那明顯是伊斯蘭的姓氏。但沙魯克汗只說這個名字與角色吻合。「他（電影主角）對大部分人都有意見，包括自己的妻子。他無法講自己的名字因為『Khan』應該是用喉頭蓋（epiglottis）發音的。」他說，然後示範用喉嚨後部發音。

雖然這部感人的愛情電影是典型的沙魯克汗作品，但主題卻異常敏感。印度以印度教為主，沙魯克汗本身是伊斯蘭教徒，而他的妻子是印度教徒。他極少在電影中碰觸宗教或種族問題。這部新片會不會是印度電影趨向處理更沉重主題的徵兆？

「我從未想過電影是要來改變社會的……我不是輕率，但我相信，我所做的任何電影和演出主要目的是盡量娛樂更多人。」他停了一下，傾身按息香煙。「但可能當你達到我這種明星地位或擁有那麼大的感染力時，你就會有更大野心，心想也許我可以在娛樂中投入更多自己的觀點。」這些年來，沙魯克汗演過很多角色，從老練的黑社會頭子到沉溺酒精的情人到輪迴再生的演員。他從寶萊塢另一傳奇人物巴赫卡安（Amitabh Bachchan）那裏接過印度版「百萬富翁」節目的主持人之職。但他最為人熟悉的仍是他在「masala」電影（混合歌舞的愛情電影）中的演出。「你看，我喜歡masala，享受masala帶來的樂趣。如果你想讓所有人認識你，這是非常重要的。印度人面對很多實際問題，需要有人帶他們逃離現實幾個小時。」我說他的人生本身就是一場masala。生於1965年的沙魯克汗有一個姐姐，兩姐弟在新德里一個中產家庭中成長，他後來到基督兄弟會（Christian Brothers）經營的聖高林巴（St. Columba）學校上學。其父親米爾塔傑（Meer Taj Mohammad）於1928年在白沙瓦（當年是印度領土）出生，經營一個不太穩定的運輸生意，曾是爭取印度擺脫英國統治的戰士。在1980年，沙魯克汗十四歲時，米爾塔傑死於癌症。他們兩姐弟由母親帶大。他母親是地方法官，並經營餐廳和貿易生意，於1991年去世。

沙魯克汗擁有漢斯主權學院（Hans Raj College）的經濟學學位，但是未有完成大眾傳播系碩士的課程。在八十年代後期離開大學後，他獲得演出電視連續劇的機會。我問他是否認為自己是個認真的演員。「我是個了不起的演員啊。」他以開玩笑的口吻說，然後把吃完了的碟子放到桌上，開始更認真地回答我的問題。

「我沒有必要嘗試解釋我演戲有多認真。」他說。「我覺得藝人不應該說：『我對我的工作很認真。』我的工作應該是當你看到我的作品時，會覺得那也可以是你。這是我為什麼會成為明星，因為看了我演出的男生及女生，95％會想：『我也做得到。他又不是長得特別好看。』米高堅（Michael Caine）曾很漂亮地說：『我在電影中演出時，不是嘗試讓你們看到我演得有多棒，或我在演什麼，而是嘗試做一面鏡子，讓你們知道這就是你們自己做的事。』」

「去歌舞表演化」

寶萊塢電影在海外居住的印度人之間可能很受歡迎，但需要如何吸引其他西方觀眾？我指出，如果印度電影可以做些歌舞以外的事，可能有助打入西方主流電影市場。

事實上，沙魯克汗為沒有歌舞表演的印度電影創造了一個詞「去歌舞表演化」（uncabaret-ifying）。這個過程正在進行，但沙魯克汗強調，音樂將繼續是印度主流電影的重要部分。「如果我去看成龍的電影，我一定要看到功夫，印度電影也是這樣，如果沒有音樂，那就讓人有些失望了。」他點起另一支香煙，一名進進出出的公關人員給了他一杯咖啡，我正好問到他這樣的一位超級巨星如何處理家庭生活。他和妻子戈麗（Gauri）於1991年結婚，有兩名子女──十三歲的兒子阿里安（Aryan）和十歲的女兒蘇漢娜（Suhana）。他說自己發展出一個巧妙的心理架構來處理其巨星地位。他相信自己的魅力來自他是一個「平凡人」，但如果名氣開始蓋過了這個平凡人的自我，這種魅力便會消失，於是他決定把自己─作為丈夫和父親的沙魯克汗─視為超級巨星品牌沙魯克汗的員工。

「我認為自己與觀眾之間的連繫是我的中產身份。我是一個非常簡單直接的人，沒有不可思議，不是以明星概念來宣傳，這很重要。但誘惑是有的，我如何避開？我會想：『你知道嗎？我應該把自己當作僕人；我應該是一個員工，一個工作得非常出色的員工。』」那怎樣才算表現出色？「繼續做一個簡單直接的人，像二十年前初入行時那樣的工作，把每部電影中當作是我第一部，也可能是最後一部的作品。」他續道：「當我在台上時，我覺得自己是那麼有力量，不可能出任何差錯，什麼都難不到我。我到任何地方都有十萬人及十萬架攝影機跟着，讓我覺得自己是無敵的，但那不是真的。我的肩膀剛受了傷，我曾弄碎膝蓋（為電影拍攝特技鏡頭時）。我剛剛無法向兒子說明一條數學題。我怎可能是無敵的呢？因此，我實在是個小人物，不過，是的，我正在為一個很重要的人工作。」沙魯克汗一家住在一座大孟加拉式平房，名為「願望」（Mannat），位於有錢人聚居的班德拉（Bandra）住宅區，接近孟買的北部海岸。沙魯克汗告訴我，他周末拒絕接電話。當他與子女看電視的時候，在他家裏走來走去的秘書會嘗試要他作出與商業有關的決定。「我在看《樂壇Teen后》（Hannah Montana）時做過一些最重要的商業決定，有好有壞。」我們的話題回到孟買上。孟買是個混合印度所有族裔的大都會，但當地政客對外來者變得愈來愈有敵意，包括沙魯克汗這些來自印度其他地方的人。沙魯克汗拒絕讓這些偏見標籤自己。「我是個演員，我是印度人。我的父親曾為國家自由而戰。我相信無論是國家或者人民，都不應該把人分門別類。」

HKIFF 2010 - Tribute to Guru Dutt

2010-03-07T16:06:00.003+08:00

斐聲國際，歐美影友認識亞洲的門窗、在亞洲區歷史悠久首屈一指的香港國際電影節，今年選映了古魯達特（Guru Dutt）的四齣作品兼舉辦座談會，中文介紹中還說大師的作品已成原型經典，「不識這些寶，不會懂寶萊塢」！

不知道這是否出於廣告語言，想吸引本地影痴購票入場？這樣說未免太誇張了吧。誠然，Guru Dutt大名鼎鼎，我每次想到對於十二年前錯過《紙花》也扼腕輕嘆，但寶萊塢人村眾多，風格多變，沒有話欠了誰就是不懂寶萊塢之說。難道沒有看過John Ford的電影就不懂荷理活？沒有看過費穆的作品就不懂中國電影？不識北野武就不懂日本電影？至多只能說對該國電影的認識不完整。相對而言，英文的引言，就平實得多。

香港國際電影節對介紹印度電影又有多大貢獻？上一次大動作地舉行專題選映已是十二年前，而今次選擇的亦已是辭世已四十六年的故人。反觀其他亞洲電影強國，日本的小津、黑澤明、寺三修司、Sabu......等導演作品多得不能盡錄，連若松孝二都不遺漏；伊朗的基阿魯斯塔米是必然之選、南韓洪尚秀不能錯過，泰國、新加坡、馬來西亞、菲律賓和越南的佳作仍年年入選。寶萊塢電影？在Don之前可以算得出有多少齣？當然，如果你像 Uttara （2000年作品，第廿五屆香港國際電影節選映電影）那樣在威尼斯影展中奪得導演大獎，那又另作別論。從選片的取態上，我們可以看到比荷理活電影情節更多。

不過，如果影痴有時間，我還是建議大家把這四齣電影全部看遍，畢竟機會難逢，在本地大銀幕觀影的機會肯定比山田洋次作品的少。但願日後隔年（也不敢奢望年年了）也會介紹一些舉足輕重的寶萊塢電影，讓香港影痴可以補上自1694年到近幾年間，對寶萊塢電影的認知空白。

其實，1948年的《想入翩翩》(Kalpana)、 1951年的《浪子心曲》（Awara），以及 Govindan Aravindan 的《變身遊戲》(Kummatty) 和《哲達巴林》(Chidambaram) 也應該是很值得一再選映的作品。

P.S.
1998年，第廿二屆香港國際電影節曾以「印度電影的歌與舞」為題，選映11齣印度電影：
1) Sant Tukaram, 1936
2) Street Singer, 1938
3) Kalpana, 1948
4) Awara, 1951
5) Pyaasa, 1957 （今年也有選映）
6) Kaagaz ke Phool (aka Paper Flowers), 1959 （今年也有選映）
7) Amar Akbar Anthony, 1977 （這個不用介紹了，相信本地寶萊塢影痴早已耳熟能詳）
8) Sankarabharanam, 1979
9) Kummatty, 1979
10) Bhavni Bhavai, 1980
11) Bombay, 1995 （曼尼．拉南的羅密歐與朱麗葉故事）

當年電影節舉辦了講座 ﹣「印度電影之歌與舞二三事」(Lecture: Evolution of Song and Dance in Indian Cinema)，由印度國家電影資料館前館長納亞（Mr. P.K. Nair）主講，是英文講座。

同期，第廿二屆電影節還向印度紀錄片導演晏納．柏域丹 (Anand Patwardhan)致敬，選映了以下紀錄片：
1) Waves of Revolution
2) A Time to Rise
3) Bombay, Our City
4) In Memory of Friends
5) In the Name of God （欲了解 Slumdog Millionaire 的小主角為何失去至親，應看此紀錄片）
6) A Narmada Diary
7) Fishing: In the Sea of Greed
8) Business as Usual/ We're Not Your Monkeys/ Occupation: Mill worker

在當年的亞洲視野中，也選映了三齣印度片：
1) Dahan (aka Crossfire)，暴烈餘波
2) Iruvar (aka The Duo)，影壇政壇兩冤家（兩場+一場露天放映）
3) Hyderabad Blues 金山大少

IIFA

2010-03-06T12:15:00.002+08:00

國際印度電影大獎頒獎禮

看到〈盛事基金〉只批出一項申請的消息（明報：盛事基金次輪僅批１項申請），心中不禁扼腕。香港要爭取盛事，有很多東西可做，如爭取《國際印度電影大獎頒獎禮》（International Indian Film Academy Awards）在香港舉行。

這個頒獎禮是寶萊塢每年一度的盛事，自２０００年起，每年在不同城市舉行（２０００年＠倫敦、２００１年＠南非太陽城、２００２年＠大馬雲頂高原、２００３年＠南非約翰奈斯堡、２００４年＠新加坡、２００５年＠荷蘭阿姆斯特丹、２００６年＠阿聯酋杜拜、２００７年＠英國約克郡、２００８年＠泰國曼谷、２００９年＠澳門威尼斯人渡假村）。寶來塢都會精銳盡出，星光煜煜！寶萊塢的影迷（不少是非富則貴的豪客）自然蜂湧而至，對一個城市的名氣和旅遊業均有幫助。

環顧四周，大馬、新加坡、泰國，甚至澳門，都先後爭取主辦權，藉頒獎禮而帶來同期進行的FICCI IIFA Global Business Forum、IIFA Fashion Extravaganza、IIFA World Premier，可促進商貿，尤其是時裝和電影產業的活動。無奈香港就是沒有人有眼光，肥水只流別人田。

My Anthropology background

2010-03-02T21:53:00.001+08:00

Recently, I was asked if my study has any link to my interest in Indian films. Well, I don't think my environmental studies has anything related to Bollywood, but my Anthropological training might help me to accept foreign culture. Does that means I'm more easy to fall for foreign culture? "Noble savage" is not my cup of tea. Every culture has their good and bad. So does movies.

MPW Interview

2009-07-11T22:16:00.007+08:00

I was interviewed.

Mingpao Weekly Issue 2122, P. 36, pictured by Agnes Tse.

Hope that more Hongkongers will fall for Indian Movies.

Kambakkht Ishq

2009-07-06T22:27:00.003+08:00

本周五在美國上映的Kambakkht Ishq，不單止可以登陸花旗國，而且還邀得美國影星史泰龍、Denise Richards 及 Brandon Routh 客串，能否讓印度寶萊塢電影在亞美利堅遍地開花，令男女主角Akshay Kumar （《從印度到中國》）和 Kareena Kapoor （《阿育王》）從印度洋組到太平洋，就拭目以待了。

單看預告片，電影似乎是典型男女鬥氣冤家格局，結果如何未看過也大致可以估計到。我有興趣知道的是美國觀眾反應如何？同時，透過在美國上映，此片會否被香港發行商相中，安排在本土院線上映？百老匯和影藝的老闆不妨考慮一下吧。

這張劇照，令我想起安東尼奧班達拉斯和嘉芙蓮薛達鍾斯。

與張帝莊一席話

2009-06-30T23:55:00.002+08:00

2009年6月15日，與張帝莊先生暢談了印度電影，尤其是南印度的泰米爾語電影，暢所欲言，稱心愉快。

Main Aisa Kyun Hoon

2009-06-29T00:04:00.002+08:00

比較一下：

寶萊塢舞曲

與祖師爺的舞步

當然少不了的： Tama Tama Loge

米高積遜對寶萊塢舞蹈的影響

2009-06-28T23:01:00.004+08:00

正如功夫迷視李小龍為功夫之神一樣，MJ在一眾舞者心中，也有着無人能及的崇高地位。事實上，MJ對近年全球跳舞的風格的確有極大極大的影響力。即使是舞蹈文化淵源深厚的寶萊塢也不例外。巨星猝逝，觀眾層面較照顧南亞社群的英國國家廣播公司立即點出MJ與寶萊塢的關係。在印度方面，也有同樣的論調。

我不是米高的歌迷，對舞蹈也是門外漢，但這一篇文章還是值得作一篇文字紀錄。

1983年，印地語電影 Meri Jung 中，Javed Jaffery 在電影中引入 Break Dance 元素在歌曲 Rock and Roll 之中，從此令印度電影與美國街頭舞蹈結下不解之緣。

之後，Prabhu Deva 於泰米爾語電影中大量運用 Break Dance ，配合上 A. R. Rahman 的音樂，產生名作如電影 Pukar 的 Que sera sera、電影 LAKSHYA 的 main Aisa Kyoon Hoon 等等。Sanjay Dutt 與 Madhuri Dixit 合演的電影 Thanedar，舞曲 Tama Tama Loge 也盡顯米高的影子。

資料來源：
Michael Jackson: An era of gravity defying dance comes to a sad end

不過呢，我覺得最有趣的，還是以下一段片：

從印度到中國

2009-04-19T20:29:00.002+08:00

近期比較忙，今年電影節唯一看的就是這一齣印度電影。

喜劇有地域性，跨過文化的界線，笑料可能打折扣。喜劇有地域性，因為優秀的喜劇演員，不少其貌不揚，不會藉一張俏臉，吸引各地影迷。

一邊看《從印度到中國》，一邊想起我們的《喜馬拉雅星》，人家看中國是這樣的張藝謀，但別忘了，我們看人家也是戴着有色眼鏡。

電影的情節、故事、拍攝和武打，都沒有太大值得談論的地方，猶幸一些近乎日式漫畫的處理，仍然可以逗得觀眾發笑。

電影節近年都選播寶萊塢的電影。只有這樣，電影節作為亞洲的重要影展，才不會遺漏。今年終於終於不選SRK主演的作品，也許也是時候讓香港的觀眾了解其他印度大明星。

看戲的時候，整個大劇院幾乎坐滿，要坐到Upper Circle才能找到位置，心想如果真的有片商發行公映，會有多少觀眾購票捧場？

這可能想得太遠了。電影節可以控制的，反而是可以把這一年一度的公映機會嘉年華化，例如鼓勵影迷以印度服裝、化妝或彩膾，增添觀影氣氣。

Imran Khan 被寸演技差

2008-10-23T22:45:00.002+08:00

講多無謂，睇下下邊篇衛報影評啦。

Revenge is a dish best served without Imran Khan

Monthly visitors review

2008-04-30T22:16:00.002+08:00

Visitors in this month:

31% from Hong Kong
22% from Poland
12% from Taiwan
6% from U.S.A.
4% from Pakistan
4% from Germany
3% from China
2% from India
2% from Italy
2% from Singapore
Jordan, Kuwait, U.K., Sri Lanka, Canada, Australia, Afghanistan, Indonesia & Asia/Pacific Region each got 1%
Anonymous proxy: 1%
Unknown: 2%

"印度劉德華"之說

2008-04-29T22:46:00.003+08:00

近兩年，香港國際電影節選映沙魯克汗(Shah Rukh Khan)的寶萊塢電影，宣傳上總會加一句「印度劉德華」，向香港觀眾介紹這位寶萊塢的天皇。有人滴沽，橫睇豎睇，ＳＲＫ的樣子都不像劉華，點解咁叫佢？

想不到，這個在2003年，幾個百老匯電影討論區印片迷的戲語，會給電影節的寫手一用再用來宣傳印片。記得當時,WW說印度電影圈有「三更」：Salman Khan, Aamir Khan, Shah Rukh Khan。後來不知誰將ＳＲＫ比作劉華，於是ＳＲＫ就此在香港跟劉華拉上關係。由於百老匯討論區在2003年中出現洗版事件，現時已找不到出處。現在只找到自己在當年六月下旬一篇《阿育王》的影後感寫道，ＳＲＫ「猶如印度版的劉德華」。

其實兩人頗相似，我指的不是面孔，而是兩人在各自電影圈的地位、又同是票房保證、角色多屬正義小生（早期的ＳＲＫ除外）、臉上總帶有幾分傲氣、很受女影迷歡迎，而且星味濃郁，甚至有時候令你覺得其明星光芒太耀眼，連他們自己的演技也被掩蓋。

如果這兩大亞洲電影天皇有機會合作同場較勁，就不得了。不過最好要快啦，因為兩人都已經年過四十，我不想他們像羅拔迪尼路和阿爾伯仙奴，變成阿伯，才在《導火線》交鋒。

Masala 盆菜式電影類型

2008-04-10T22:54:00.002+08:00

香港國際電影節播影的寶萊塢重量級電影 Om Shanti Om 是寶萊塢特有的電影類型 -- Masala（嘛莎拉）。所謂「嘛莎拉」，其實是一種混合多種材料炮製而成的印度香料，而嘛莎拉類型電影，就似香港新界原居民的盆菜一樣，綜合各種類型片的元素，如愛情、歌舞、動作、喜劇等，成為一齣很有印度風情的電影。

出現這種類型的原因，網上的英文解說一般說，是因為印度人都要求看電影物超所值，所以希望在一齣電影可以一次過看到很多各種影片的元素。對此，我另有看法。

類型片的出現和成熟，我認為跟荷理活的片廠制度很有關係。大家都知荷理活片廠制度非常嚴格，一齣電影從選角、劇情到拍攝手法，都有重重設限，未能在荷理活成名的編導根本難以改動分毫，好處是製作水平穩定，不好處是扼殺創意。即使名導演如希治閣和陳凱歌，初登荷理活的首作，也只能循規蹈矩地拍一些工廠罐頭式的類型片。

不過，在荷理活以外，卻沒有此種限制。八十年代的港產片就是很多時在一齣電影中滲入不同類型片的元素，這種fusion式的電影天馬行空，卻活潑多姿。法國導演洛比桑在《夜海深情》、《第五元素》中，加入很多與電影類型風格格格不入的笑料。擺脫了荷理活的框條，一齣電影中同時呈現喜、怒、哀、樂，更貼近真實的人生。

當然，嘛莎拉有它獨特的印度公式，片中的英雄都是疑情種，又是母慈子孝，而父親的角色不是很薄弱（有些編劇甚至索性寫父親已死），就是把他描繪成父權、壓迫的象徵。最後，當然少不了大團圓結局。

寶萊塢影迷新血

2008-03-30T21:17:00.002+08:00

隔了一段日子，發現香港又有一些朋友愛上寶萊塢電影，還勤於筆耕，努力將觀影心得在網上分享。當中包括〈莎莉．袁〉和〈在香港中了印度毒的人〉。但願將來會有更多香港人接觸印度電影，壯大這個行列。

Recently, I found out more and more Hongkongers fell in love with Bollywood movies and they even wrote their critics and share their comment on web. Two of them are Sally Yuen and India, Namaste! Hope that more Hongkongers would make contact with Indian films and we'll have more fans in Hong Kong.

Om Shanti Om

2008-03-29T21:12:00.002+08:00

剛剛在電影節看完印度電影"Om Shanti Om"。電影雖片長三個小時，但絕無冷場，觀眾不時傳出笑聲，散場時更兩度出現掌聲雷動場面，似乎甚為受落這寶萊塢賣座作品。

電影故事大致是片場臨記愛上女大明星，但心中女神遭壞蛋監製所害，臨記救美不遂還陪上生命......。不過，此時只是電影的半場而矣，臨記輪迴轉世，三十年後長大成為了真正的電影英雄，誓要找壞蛋監製算帳。

坦白說，對電影的大橋倒沒有什麼興趣，但電影在不少細節卻拿寶萊塢電影圈和經典電影來開玩笑，熟悉印度電影的固然捧腹大笑，即使不通印度電影的門路，也很容易意會到笑話的神髓，給逗過開懷。例如：寶萊塢歌舞愛情片，女主角勢必如拍洗頭水廣告般秀髮輕飄出場、SRK千篇一律的癡情種子造型、影圈中的跟紅頂白、緋聞男女最愛的那個對白："We're just good friend."

新人Deepika Padukone 有氣質、鎖骨鎖魂、腰肢纖幼，在前半部連場歌舞中更顯出不俗的舞蹈底子，看來很有條件在孟買走紅。SRK亳不吝嗇地展示結實腹肌，正是明星魅力如日中正的展現。

片中最喜愛的，還是男主角轉世後得到金像獎後的興功宴。寶萊塢影圈幾乎精銳盡出，老中青著名演員，除Ash和Amir Khan外，全都到場與郎共舞，寶萊塢皇帝的面子可真不賴。網友Agnes對此撰文有詳細講述，有興趣的可click 入：

http://agnesvaria.blogspot.com/search/label/印度Bollywood電影

在眾多明星中，我還是最喜歡看SRK 跟Rani Mukherjee鬥舞一段。可能是老拍擋吧，兩人一站在一起，好像跳起來特別有火花和默契，完全是最強碰上最強的模樣。

另一個令我捧腹的，是片子結束後，一眾演員和幕後人員行紅地毯，接受影迷在兩旁夾道歡呼。到了最後輪到導演出場，卻因SRK走了，影迷也散了，現場只見工作人員捲起地毯收拾。導演回頭一望，見到連人力車也要開走，唯有灰溜溜地轉身追車出了。自嘲抵死得笑破肚皮。

Shahrukh Khan in HKIFF

2008-03-19T21:36:00.003+08:00

In Hong Kong International Film Festival 2008, there are 2 indian films showed. One is Om Shanti Om, starring SRK, Deepika Padukone and Arjun Rampal. Another one is Frozen, directed by Shivajee Chandrabhushan.

CNN Report on King

2008-02-10T00:07:00.000+08:00

CNN 今期為SRK做了一個系列報道。文中提及，受傷令他放棄當板球員的夢想，投身公仔箱、母親的離世如何令他「的起心肝」到孟買進軍電影圈、從影初年透過做壞蛋角色要漸漸受歡迎等等。詳情請閱：

The King of Bollywood

Archie Panjabi

2007-05-31T21:01:00.000+08:00

我愛碧咸的 Pinky 在康城得獎了。

Each year at the Cannes Film Festival, a young actress and a young actor are discovered. Who will be the 2007 revelation?

The aim of the Chopard Trophy is to promote new talent and accompany those taking their first steps into the world of cinema. With the support of Gilles Jacob, President of the Festival, and in partnership with Studio Magazine, Chopard has created this prize to be awarded to young actors designated the Female Revelation and Male Revelation of the Year.

The choice of awardees demonstrates remarkable flair, since all of these young hopefuls went on to enjoy very successful careers in film: Audrey Tautou, Eduardo Noriega, Paz Vega, Ludivine Sagnier, Hayden Christensen, Gael Garcia Bernal, Diane Kruger, Marion Cotillard, Rodrigo Santoro, Kelly Reilly, Jonathan Rhys-Meyers, Jasmine Trinca, Kevin Zegers. Who is next in the row?

Shotlist: Chopard Trophy Ceremony

Jude Law as master of ceremony gives the prizes to Archie Panjabi & Nick Cannon. Gilles Jacob and Caroline Gruosi-Scheufele are there to support them.

link

Bollywood in Cannes

2007-05-17T21:07:00.000+08:00

For the fifth consecutive year, the Confederation of Indian Industry will head for the 12-day Cannes Film Festival and Market beginning May 16 to project India and Indian cinema with support from the Ministry of Information and Broadcasting.

There will be a red carpet walk for India at the Cannes Film Festival on May 19. This year marks the special importance for India at the Cannes Film Festival, as it marks the 60 th anniversary of Indian Independence and 60 years of Cannes Film Festival.

The India participation will be lead by officials of the Information and Broadcasting Ministry, industry leaders and film stars.

Over 80 companies will position themselves at Cannes taking 150 films (mainly for the market section) and 35 new projects. This year over 20 exhibitors from India will showcase their products and projects at Palais and the India Pavilion on the sea front along the ritzy croisette.

The two “India focus” days have been allotted in the All Cinemas of the World and seven (07) Indian films will be screened at the festival. India is also the partner country at the opening dinner of the Cannes Film Market.

The seven Indian movies selected for this section include Saira (Malayalam), Missed Call (Hindi/English), Guru (Hindi), Dosar (Bengali), Veyil (Tamil), Dharm (Hindi) and Lage Raho Munnabhai (Hindi).

The Ministry of Information and Broadcasting will be hosting the India Party on May 18, 2007 at the Majestic Beach on the occasion of the India Focus with the Cannes Film Festival.

Water

2007-03-31T23:42:00.000+08:00

Deepa Mehta's another classic art film after Fire and Earth. Water is even more subtle than Fire. That make it even better.

The whole movie is about the sad story of Indian widows. I'm glad to see Deepa has more hope in life. Not like Earth, the country was teared apart and humanity sank; not like Fire, the actress rebelled and burn the system into ashes; Water facees the misfurtune of reality but did not give up hope. After all, every Indian hope the teaching of Gandhi would lead them to the truth.

Fire and Water both discuss about how religion affect people's life. Fire is full of anger, and it seems that Deepa want Water can purify people.

HKIFF neglects Bollywood

2007-03-30T22:54:00.001+08:00

For decades, organizers of Hong Kong International Film Festival were proud of themselves for organizing the best film festival in Asia. Even though in recent years, Hongkongers has been facing the challenge from Koreans and Thais, they still think that HKIFF is the most important window for westerners to watch Asian movies.

But, there is a blindspot of the HKIFF, i.e. Indian movies. Except organizing a feature once in late 1990s, HKIFF seldom put Indian movies on the list. If you compare the movies showed from Iran, Japan and Korea, you'll know their cups of tea.

This year, they introduce Viva Bollywood! Yet, it's another disappointment for not showing films like Faana, Water...etc. For a countries produce more than 800 films a year, is it so difficult to find a few movie to show?

HKIFF organizer, if you don't know about India movie, then visit this blog la, maybe we can give you some hints.

Next Bollywood King and Queen?

2007-03-24T23:12:00.000+08:00

In the 1990s, a group of stars emerged in Bollywood, such as SRK, Amir, Salman, Salif Ali Khan, Ash, Zinta, Rani. They brought the Bollywood out of India, leading by King (SRK) and Queen (Ash), which was symbolized by the Devas entered Cannes and then Ash goes to Hollywood.

Ten years later, Bollywood is still ruled by them. But SRK has already reached his 40 and Ash is over 30 and going to marry. Clearly, the future of this movie kingdom cannot rely on them. They are the sun at the noon and sunset will be followed. Is there any promising morning stars shining? Doubtful.

Apart from good script and good directing, movie stars are always the crucial part of the cinema. It would not be a good thing to see the Bollywood cinema is facing the problem of their aging Kings and Queens without a new generation as great at their elders. And this might make the cinema going down.

Viva Bollywood!

2007-03-07T00:58:00.000+08:00

今年香港國際電影節選映了兩齣印度電影，還包裝成「我愛寶萊塢」（Viva Bollywood!）。

公映的電影是ＳＲＫ主演的《奪面煞星寶萊塢》（ＤＯＮ）和Shilpa Shetty 參與演出的《都會愛情故事》（Metro）。雖然這絕非電影節第一次放映印片，更不是ＳＲＫ的電影在港首次上映大銀幕（幾年前皇后戲院就上映過他主演的ＫＨＬＨ），但電影票價肯定較合理。

遣憾的是印片片長動輒兩三個小時，但放映的時間卻總排在九點或九點半。如果你唔嫌夜的話，就一起在３月２１日晚九時半到銅鑼灣UA時代廣場去睇
ＤＯＮ啦。

別忘了，明天（３月８日）是城市電腦售票網接受買票的日子。

後記：想不到當年幾條友戲稱ＳＲＫ為印度劉華，會給電影節寫手挪來使用。

寶萊塢翻拍片

2007-03-05T00:29:00.000+08:00

提起 Madhavan ，就想起他是近年曼尼拉南的愛將，七年前憑主演曼尼拉南的泰米爾愛情片一炮而紅。寶萊塢立即開拍印地語版，大家看看以下兩片，可會察覺一南一北，風味有何不同：

Tamil Movie: Alai Payuthey, Song: Pachai Nirame

Hindi Movie: Saathiya, Song: Saathiya

GURU

2007-03-03T22:30:00.000+08:00

Producer: Mani Ratnam/ G. Srinivasan
Music: A. R. Rahman
Choreograhy: Saroj Khan
Cinematography: Rajiv Menon
Starring: Abhishek Bachchan, Aishwarya Rai, Madhavan, Vidya Balan
Guest Appearence: Mallika Sherawat

印度崛起了；曼尼拉南（Mani Ratnam）卻失手了。不知道拉南大師在這齣電影的參與有多少，但卻肯定給他在九十年代末期的傑作比下去，甚至比上一齣作品更不濟。

電影的戲軌很簡單，描述一名鄉里小子白手興家成就國際大企業的故事，整齣電影不斷叫同胞要有夢想，總之就是「大想頭」、「大想頭」、「大想頭」，有can do spirit 就可以成功，即使欺詐違規、輸送利益也無謂計。

更可惜的是，整齣電影拍得無神無氣，即使 A. R. Rahman 一貫的鼓舞飛揚也救不了太多。白手興家的故事好像是輕而易舉之事，主角衝破一個又一個的官僚制胕和商界常規，本可以有很多張力，但卻只見主角在彈指之間輕描淡寫地化解，給人的感覺是：too simple, too naive！男女主角雖然在戲外締結婚盟，但戲中兩人的愛情線卻沒有得到充份發揮，反而男女配角 Madhavan & Vidya Balan 的正義記者與輪椅女之戀卻有兩幕動人戀歌，無奈只是蜻蜒點水。

Madhavan kisses Vidya Balan

他的英雄總是鄉里小子，勇敢、不屈不撓、以一股像美國牛仔般的蠻勁衝擊一切，格外讓人看得大叫：「爽呀！」無論是南印度影壇的小演員、愛上中產女的貧窮醫學生、同情恐怖份子的電台記者、從鄉間走入國會議事堂的年輕理想政治活躍份子，都感情澎拜、簡單但很有力，就像黑澤明鐘頭下的三船敏郎，直把其他寶萊塢電影內的娘娘腔英雄比下去。

在印度崛起的風潮裡，曼尼拉南是否亦有點迷失呢？這位來自南印度的大師，從來亳不遮掩他對政治中心新德里所代表的官僚主義的不滿。或許南亞的官僚習氣真的讓人有一個必要猛撞醬缸的衝動，但背離了法治精神，後果可能不堪設想。

面對中國的崛起，還有香港的電影人拍《霍元甲》來加以糾正，給國人冷靜冷靜，導入王道；還好，中國還有香港。

Is it a heart attack?

2007-03-02T00:11:00.000+08:00

Top Bollywood actor Saif Ali Khan was being treated in an Indian hospital after suffering from chest pains.

The 36-year-old actor was taken to Lilavati hospital in Mumbai (Bombay) and underwent tests on his heart.

A hospital spokesman said Khan was out of danger but would be kept under observation for up to a week.

The actor has been in about 40 movies and won acclaim for last year's Omkara, a Bollywood version of William Shakespeare's Othello.

Local media outlets said Khan had been working hard and could have over-exerted himself.

He is the son of former Indian cricket captain Mansur Ali Khan Pataudi and Sharmila Tagore, a former actress and chief of the country's censor board.

Meanwhile, the BBC Asian Network has announced its Film Cafe Awards with listeners voting for the best of Bollywood.

Rang De Basanti won best film, which also secured best actor for Amir Khan and Rani took best actress for her role in Kabhi Alvida Naa Kehna.

Shahrukh Khan in HKIFF

2007-03-01T22:36:00.000+08:00

Don will be shown in Hong Kong International Film Festival on 21/3 and 7/4.

Here are the promote materials:

Writer-director Akhtar helms the big budget remake of Amitabh Bachchan's late 80's demi-classic with Megastar Shahrukh. It's Bollywood and the film can be described as an action-comedy-musical-thriller-romance. Don see Khan as a hapless street musican who is pegged to impersonate a dead crime boss, in a story full of twist, turns, and surprises - with more after the intermission.

On a more gossip note: the director's father was a co-writer of the original, and iconically Khan and the legendary Bachchan carried on a holiday star feud to rival anything in Hollywood. Plus the musical numbers!

Ace and Queen in Coca Cola ad

2007-02-20T00:12:00.000+08:00

很簡單的故事：俊男美女網上結緣，於是相約見面，以可樂樽為記，點知來到相約地點發覺人人都拿着可樂樽，但不要緊，有緣人最終都能遇上。

廣告雖然創意欠奉，但天皇天后坐陣，已經夠照啦！

1st Appearence after engagement

2007-02-19T00:20:00.000+08:00

News round up

Amitach Bachchan talking about the engagement

Ash talked about her love

Aishwarya Rai engaged

2007-01-16T21:14:00.000+08:00

Ash 訂婚了！就連《蘋果》今天都用了Ａ疊全版版底報導，寶萊塢女皇的名氣真厲害！

Updated pictures about the engagement

喀拉拉大戲： Kathakali

2006-10-23T23:24:00.000+08:00

In the beginning of this year, I watched a good southern Indian movie called 'Vanaprastham' (aka The Last Dance), which was about the love story of a Kathakali artist (Please also read my critic on this movie - posted in this blog in Feb 2006).

At that moment, I did not know anything about the Indian drama, i.e. Kathakali. This month, the tourism board of Kerala did their promotion in Hong Kong, and several reports were written in chinese newspaper. That make me know something more about this art.

「Kathakali表面上與中國的傳統戲劇頗類似——演員要畫大花臉，佩戴精緻頭飾，女角由男演員反串，但兩者相異之處其實更多。要了解這項傳統技藝，便得到科欽各大Kathakali中心參加導賞活動和欣賞演出。

「與中國戲劇不同，Kathakali的演員既沒有對白，也沒有歌唱；故事由專門的歌手唱出。由於不能以聲線和語言表達情緒，演員的面部表情和肢體語言變得更重要，Kathakali絕妙之處正是演員如何用眼睛演戲。演員滾動眼珠，掀動眉稍眼角，表達九種情緒：愛、惡、驚、怒、哀、勇、輕蔑、驚嘆及平和。看見演員眼都不眨的一連氣示範九個表情，淚水夾雜汗水簌簌而下，觀眾無不拍爛手掌。眼珠活動不止因應情緒，更會因音樂節奏而急促轉動；劇情需要時，演員還要令雙眼通紅，方法是用一種類似胡椒粒的植物種子，夾在眼瞼之間來刺激眼睛。

「除『眼戲』外，Kathakali最鮮明的特點便是化妝。和中國戲劇一樣，不同顏色的臉，代表不同性質的角色——綠色代表貴族英雄、綠底紅頰代表貴族中的敗類、紅色代表盛怒或極邪惡的角色、黑色代表獵人、黃色代表女性或苦行者。很多時還會用紙和米漿，造成像碟般的大鬍子。Kathakali中心一般會提早開放給觀眾參觀化妝過程，一化就是個多小時。中心的人員還會示範如何製造化妝顏料——在一塊石頭上澆上椰油，再用特殊石塊一磨，就能像魔術般磨出色彩鮮艷的顏料。一輪準備後便到戲劇表演，工作人員事先會把劇情的英文版本派給觀眾。

延伸閱讀：
喀拉拉大戲睛彩連場
Lite印度友善多元
Kerala Tourism Board

AAA

2006-10-21T18:26:00.000+08:00

前言

曾幾何時, 我們的香港國際電影節也十分重視印度區域的電影, 早年已介紹過不少南亞電影. 第廿二屆香港國際電影節 (1998)上, 曾經舉辦「印度電影之歌與舞」的環節. 當年仍未認識印度電影, 自然是白白錯過也不覺可惜.

提到Bollwood的經典電影, 《Amar Akbar Anthony》不可不提. 《Amar Akbar Anthony》曾在該年香港國際電視節的印度電影回顧專題上選映過, 當時名叫《三教兄弟》. 現在我會留意這套舊片, 是因為驚訝於當年可以出動如此星級陣容.

「本片將印度公式電影推至極限, 用盡一切俗套元素營造曲折劇情, 而不流於殘忍暴力. 片中善惡正邪不再壁壘森嚴, 大壞蛋變成淘氣鬼. 演員陣容鼎盛, 三生配三旦, 歹角分別由擅演老狐狸和惡棍的演員擔綱. 影片包羅萬有: 親情愛情、載歌載舞、打鬥追逐, 警匪槍戰, 甚至還有印度奇蹟. 自幼失散的三兄弟, 幾經巧合, 一家團聚, 又都與不同信仰 (印度、伊斯蘭、基督教) 的心上人終成眷屬, 難怪影片在戒嚴後十九個月推出, 各派宗教的影痴信徒, 紛紛捧場. 」

─節錄自第廿二屆香港國際電影節節目表

無論在哪個年代, 電影界找來三位小生和三位花旦來壓陣, 都是不得了的事. 香港以前也有《八星報喜》和《家有囍事》幾套「閉門一家親」式喜劇, 內容宜莊宜諧, 但主題都是傾向家庭團結.《Amar Akbar Anthony》也不例外.

《Amar Akbar Anthony》並非無中生有. 據聞導演Manmohan Desai某天看到一則有關家庭倫理的報導:某酗酒者毆打妻子, 更拋下三個兒子一走了之. 這報導令他產生靈感, 如果這三個小孩由三個不同宗教的人所撫養, 會發生甚麼事來著? 基於這種惻隱, 導演想到《Amar Akbar Anthony》這個故事.

影片故事本身頗為婆媽, 但導演卻藉著十來位角色穿插, 勝在情節簡單而不扭擰、清爽俐落, 不但要求看得快快樂樂, 又要重申家庭和諧和英雄助人的重要性. 影片選擇輕鬆的表達手法營造氣氛, 易於消化. 更重要的是將三個不同教派的觀眾都吸引過來, 兄弟同心「三合一」, 強調彼此不分種族宗派, 極受歡迎. 這也是《Amar Akbar Anthony》在西印度流行至今, 歷久不衰的原因.

故事說甚麼?

《Amar Akbar Anthony》片長兩小時多, 實在不能一言道盡:

黑幫頭子Robert殺了人,要求司機Kishanlal替他頂罪, 條件是會照顧Kishanlal的妻子和三位兒子, 但Robert出爾反爾. Kishanlal出獄後氣沖沖找他算帳. Robert當眾奚落Kishanlal , 要對他不利. Kishanlal逃出Robert的魔掌, 無意中撿到一箱由Robert走私得來的黃金.

Kishanlal的妻子Bharati病重, 一時衝動下拋下三個兒子打算自殺. Bharati死不了, 一個旱天雷卻奪去她的視力. 三個小孩則與父母失散, 並分別被印度教警官、基督教神父和伊斯蘭教裁縫收養.

多年後, 三名兒子長大成人, 長子Amar (Vinod Khanna) 是盡忠職守的警察, 次子Anthony (Amitabh Bachchan) 是見義勇為的神父助理, 三子Akbar (Rishi Kapoor) 是萬人迷民歌歌手. 一天, 失明的Bharati在教堂門外賣花, 不幸遇上車禍, 需要輸血. 由於Bharati的血型罕有, 醫生Salma (Neetu Singh) 幾經辛苦找到三位血型相同的人: 就是Amar、Akbar、Anthony, 但他們並不知道眼前的婦人, 就是自己的親生母親. Bharati感激「3A」仗義幫助, 以後常常探望三人.

三兄弟的愛情故事亦各自各精彩: Akbar喜歡醫生Salma, Salma父親卻要棒打鴛鴦. Amar為了捉拿賊黨, 故意掉進小偷Laxmi (Shabana Azmi) 的美人計陷阱. 孤苦伶仃的Laxmi被家人強迫成為匪徒同黨. Amar替Laxmi解決困難後, 答應照顧Laxmi. 本著未遇到心目中的女神而誓不結婚的Anthony, 卻在教堂對前來祝禱的Jenny (Parveen Babi) 一見鍾情.

其實Jenny是Robert的親生女兒. Kishanlal憑得來的黃金擴張勢力, 倒過來奪去Robert的所有, 包括Jenny, 為的是要他嚐嚐自己當年所受的屈辱.

Robert求見女兒不果, 企圖捲土重來, 發難偷去Kishanlal的一箱黃金(歷史重演) , 又槍傷了Amar的養父. Amar誤會Anthony包庇Robert, 與Anthony發生衝突. (這也是Amitabh Bachchan在銀幕上僅有一次被打敗) Jenny的保鑣得知Jenny要和Anthony結婚, 心有不甘, 與Robert聯合劫走Jenny. 路過的Laxmi目睹事情經過, 也一併被匪徒捉去. Kishanlal與Bharati重遇Robert並受到襲擊. 機緣巧合下, 他們也分別和三位兒子陸續相認…

Robert強迫與Jenny相認和下嫁保鑣, 但Jenny不肯屈服. Akbar得知Jenny和Laxmi被囚禁, 著Salma立即通知Amar和Anthony. 三人各自扮鬼扮馬, 出盡法寶營救佳人…

為何好看?

《Amar Akbar Anthony》成功的地方, 在於影片包羅當地觀眾喜愛的所有原素: 家庭團圓、兄弟同心、英雄、歌舞、喜劇…《Amar Akbar Anthony》的三位主角就是三種英雄形象的代表: 當警察的Amar是Bollywood世界的典型正義英雄, 代表紀律、國家; 當歌手的Akbar 代表活力青春的歌舞英雄 (這角色類型由Rishi Kapoor的父親Raj Kapoor和叔叔Shammi Kapoor奠基, 再由Rishi接了棒); 而Anthony 則代表義字當頭的流氓英雄, 代表反叛和俠義. Amar Akbar Anthony三人各有愛情線, 由愛情線反映主角們重視忠義、願意承擔責任, 這些都是Bollywood電影世界裡一再強調的母題. 英雄要負起保家衛國的負任, 再加上連場充滿娛樂性的喜劇場面─英雄也要曉得娛樂眾人, 種種元素集合起來, 就是Bollywood的標準了!

論戲份, 三位主角誰也搶不了誰的風頭, 但根據角色的性格, 影片比較傾重Akbar和Anthony. 許是明星效應: 飾演Akbar的Rishi Kapoor憑愛情歌舞片《Bobby》(1973) 的白馬王子形象一舉成名, 而Amitabh Bachchan在當時也已經是一線明星, 在《Amar Akbar Anthony》貫徹了他的「憤怒青年」形象, Rishi Kapoor和Amitabh Bachchan的佻皮演出和風彩確是生色不少, 而Vinod Khanna則較嚴肅, 角色也符合他向來擅演的「正直青年」. 更可喜的是片尾三兄弟高歌一曲, 再加插許多有趣的小動作拯救女主角, 將眾演員的喜劇細胞都激發出來.

三位主角的愛情線, 亦應該經過一番計算: 正直警官拯救樑上佳人、風流歌手追求保守女醫生、鄉鎮小子愛上都市女郎. 其中以Akbar與女醫生Salma佔的篇幅最多 , Akbar也獲分配最多歌舞場面: 唱歌示愛. (戲外Neetu Singh果真被Rishi Kapoor娶回家裡去, 引來不少女影迷企圖自殺) 唯一要挑剔的, 是為了顧及主線, 沒有深入描寫Amar和Laxmi之間的關係 .

三旦中以Neetu Singh戲份最多, 但Neetu Singh、 Parveen Babi和少有在Bollywood主流電影上出現的Shabana Azmi, 在《Amar Akbar Anthony》裡其實也只是花瓶角色. 但導演很醒目地找到她們作號召: Shabana Azmi氣質清純, 同時又是藝術電影Parallel Cinema的主將 (導演本身也拍過Parallel Cinema) , 本身和Vinod Khanna已經合作數次, 定下銀幕情侶的基礎形象. Parveen Babi在當時也暫穩Bollywood一線女星的位置 (她是夥拍Amitabh Bachchan最多次數的女演員, 更是第一位登上《TIME》的印度籍女演員), Neetu Singh則是童星出身的青春玉女明星. 因此以演員的名氣和星味來打造電影角色, 是相當聰明的做法.

《Amar Akbar Anthony》可視為Bollywood 70年代黃金時期的代表作. 想重溫Bollywood演員昔日風彩 (他們的下一代也是現在和將來的Bollywood中流砥柱), 實在不應錯過.

原文

作者：Agnes Tse

Iruvar

2006-10-20T00:52:00.000+08:00

香港國際電影節近年鮮有選映印度電影，現在要追溯起來，對上一次大手筆選映印度片已是上世紀1998年，真教人唏噓！

不過當年亂點一通，卻誤打誤撞地看了Iruvar （港譯《影壇政壇兩冤家》），驚為天人，從此對印度電影的主流拍攝手法刮目相看。這部南亞泰米爾片，就連香港的印度人影碟鋪也沒有影碟賣，多年後才在一個專賣泰米爾語電影的網站購得ＤＶＤ，恐怕全港華人中，只有區區在下有此拷貝。

不過時代畢竟進步了，該片其中一段歌舞已上載上網，現連結如下：

別以為片中男主角是色迷迷地看上了跳舞女郎，實情是年輕的跳舞女郎長得跟他早逝的愛妻一模一樣，他久已平復的心情給翻起千重巨浪。

Re Dola

2006-10-18T20:38:00.000+08:00

不單止是印度，甚至全球電影當中，Re Dola 這場舞也肯定是頂尖中的頂尖！

hyperlink

Ash on Youtube

2006-10-16T00:41:00.000+08:00

In the year of Youtube, it is more accessible to watch Indian movie stars, either in movies, TV shows and/or their advertisement. The following is one of them:

Ash Lux Advertisement

Water 代表加拿大爭奧斯卡

2006-09-30T23:46:00.000+08:00

印地語電影 Water 正式被加拿大方面選取為代表加拿大角逐明年奧斯卡最佳外語片的影片！恭喜！恭喜！

加拿大 Telefilm Canada 於九月廿二日正式公布，以《水》一片代表加拿大競逐奧斯卡，令明年奧斯卡最佳外語片有至少兩齣印地語電影爭逐。《水》是以加拿大多倫多為基地的電影人 Deepa Mehta 的作品，片中講述印度獨立年間，寡婦與爭取獨立的理想主義者相戀的故事。

詳情：
Canada gives thumbs-up to Water

今天突然多了很多訪客

2006-09-27T22:37:00.000+08:00

一直徘徊於低位的訪客數字，今天突然來過鯉躍龍門大躍進！

無他，因為今日一份主流報章報導了肥彭細女彭雅思有份主演的Rang De Basanti 獲選代表印度電影參與競逐奧斯卡最佳外語片。不過呢，電影獲選恐怕與彭雅思無關啦，因為表揚愛國主義的電影從來都是印度有關方面的那杯茶，是代表印度競逐奧斯卡的大熱。這次ＲＤＢ取得代表資格，也是大熱之選。

至於高登討論區的朋友，我想告訴你們，ＲＤＢ不是無聲無息地在香港上了畫再落畫，而是從來未在香港的戲院放映過！幸好，因為香港南亞人開的鋪頭引進了ＤＶＤ，才能讓我輩香港人得睹盧山咋。

100 films you must see?

2006-09-26T23:09:00.001+08:00

Posted by someone called Vinay

1974 a.nkur by Shyam Benegal
1982 a.nguur by Gulzar
1949 a.ndaaz by Mehboob Khan
1994 andaaz apanaa apanaa by Rajkumar Santoshi
1966 anupamaa by Hrishikesh Mukherjee
1960 anuraadhaa by Hrishikesh Mukherjee
1973 abhimaan by Hrishikesh Mukherjee
1977 amar akabar e.nthonii by Manmohan Desai
1985 arjun by Rahul Rawail
1982 arth by Mahesh Bhatt
1983 ardh satya by Govind Nihalani
1980 aakrosh by Govind Nihalani
1975 aa.Ndhii by Gulzar
1970 aanand by Hrishikesh Mukherjee
1951 aawaaraa by Raj Kapoor
1987 ijaazat by Gulzar
1996 is raat kii subah nahii.n by Sudhir Mishra
1989 ek din achaanak by Mrinal Sen
1983 kathaa by Sai Paranjape
1993 kabhii haa.N kabhii naa by Kundan Shah
1976 kabhii-kabhii by Yash Chopra
1988 qayaamat se qayaamat tak by Mansoor Khan
1959 kaagaz ke phuul by Guru Dutt
1960 qaanuun by B R Chopra
1972 koshish by Gulzar
1999 kaun by Ramgopal Verma
1980 Khuubasuurat by Hrishikesh Mukherjee
1961 ga.ngaa jamunaa by Nitin Bose
1973 garam hawaa by M S Sathyu
1965 ##Guide## by Vijay Anand
1979 golamaal by Hrishikesh Mukherjee
1975 chupake chupake by Hrishikesh Mukherjee
1958 chalatii kaa naam gaa.Dii by Satyen Bose
1981 chashm-e-baddoor by Sai Paranjape
2001 chaa.Ndanii baar by Madhur Bhandarkar
1976 chitachor by Basu Chaterjee
1979 junoon by Shyam Benegal
1967 ##Jewel Thief## by Vijay Anand
1959 jaagate raho by Amit-Shombhu Mitra
1954 jaagrati by Satyen Bose
1983 jaane bhii do yaaro by Kundan Shah
1950 jogan by Kidar Sharma
1963 tere ghar ke saamane by Vijay Anand
1966 teesaree kasam by Shailendra
1966 teesaree ma.nzil by Vijay Anand
1990 tho.Daa saa rumaanee ho jaae.N by Amol Palekar
1955 devadaas by Bimal Roy
2001 dil chaahataa hai by Farhan Akhtar
1975 deewaar by Yash Chopra
1957 do aa.Nkhe.n baarah haath by V Shantaram
1953 do beeghaa zameen by Bimal Roy
1964 dostee by Satyen Bose
1982 namakeen by Gulzar
1957 nayaa daur by B R Chopra
1968 pa.Dosan by Jyoti Swaroop
1957 pyaasaa by Guru Dutt
1982 prem rog by Raj Kapoor
1989 pari.ndaa by Vidhu Vinod Chopra
1958 phir subah hogii by Ramesh Saigal
1994 ##Bandit Queen## by Shekhar Kapur
1963 bandinee by Bimal Roy
1967 bahoo beGam by M Sadiq
1979 baato.n baato.n me.n by Basu Chaterjee
1972 baawarchee by Hrishikesh Mukherjee
1969 bhuvan shome by Mrinal Sen
1978 muqaddar kaa sika.ndar by Prakash Mehra
2003 maqabool by Vishal
1960 muGal-e-Azam by K Asif
1983 ma.nDii by Shyam Benegal
1957 ##Mother India## by Mehboob Khan
1958 madhumatii by Bimal Roy
1994 mammo by Shyam Benegal
1966 meraa saayaa by Raj Khosla
1949 mahal by Kamaal Amrohi
1983 maasoom by Shekhar Kapur
1985 mirch masaalaa by Ketan Mehta
1987 ##Mr. India## by Shekhar Kapur
2005 ra.Ng de basa.ntii by Om Prakash Mehra
1990 lekin by Gulzar
2001 lagaan by Ashutosh Gowarikar
1991 lamhe by Yash Chopra
1965 vaqt by Yash Chopra
1999 vaastav by Mahesh Manjrekar
1982 vijetaa by Govind Nihalani
1983 vo saat din by Bapu
1982 shakti by Ramesh Shippy
1977 shatara.nj ke khilaa.Dii by Satyajit Ray
1973 shole by Ramesh Shippy
1959 sujaataa by Bimal Roy
1969 satyakaam by Hrishikesh Mukherjee
1998 satyaa by Ramgopal Verma
1983 sadamaa by Balu Mahendra
2004 swades by Ashutosh Gowarikar
1985 saagar by Ramesh Shippy
1984 saaraa.nsh by Mahesh Bhatt
1962 saahib, biiwii, aur Gulaam by Abrar Alvi
1981 silasilaa by Yash Chopra
1964 haqeeqat by Chetan Anand
1994 ham aapake hai.n kaun by Suraj Barjatya
1962 ##Half Ticket## by Kalidas

--

其實當中大部份我連聽都未聽過。

轉貼Agnes 評論

2006-09-07T00:42:00.000+08:00

魯甦兄叫到，當然要寫兩隻字。

在《Salaam Namaste》(2005) 的DVD上，看到Sanjay Dutt新片《Lage Raho Munnabhai》的試片。只見Sanjay Dutt坐在海邊妙語如珠，靈光一閃，哦，是Munnabhai。

從一些Bollywood的clips上，看過Sanjay Dutt過往的演出，覺得他不是一個懂得演戲的演員，甚至連基本功架也沒有，只懂弄刀弄槍，裝出一副絕世情聖的樣子。身為Sunil Dutt和「印度之母」Nargis (Raj Kapoor銀幕拍檔) 的兒子，系出名門的Sanjay Dutt星途卻不算一帆風順。根據資料顯示，他的初哥作《Rocky》即使由老父執導開路，票房亦慘淡收場。 Sanjay Dutt把心一橫，從此專拍商業片，不演文藝青年了。又不得不佩服Sanjay Dutt，全盛時期的他，年產至少四套電影或以上。至今已經拍過超過一百部電影，如今仍然活躍於Bollywood影壇。

練得一身健碩的Sanjay Dutt成為動作片巨星 (甚至拍過印度版《英雄本色》，從此我稱之為「印度豪哥」，狄龍在《英雄本色》中的名字)，私生活和個人形象，卻成為困擾事業不能更進一步的障礙。Sanjay Dutt曾被控私藏AK-47、而與黑幫來往的傳聞，使他被外界視為惡人。對此， Sanjay Dutt無奈的說：「人人當我是恐怖份子。實際上，銀幕上的我和現實上的我，完全是兩回事。」他的私生活亦波折重重: 母親Nargis去世，他和父親都受到打擊 (Sunil Dutt從此淡出影壇從政去)、前妻患癌去世、濫藥、患上失眠症、和銀幕拍檔 Madhuri Dixit 糾纏數年，始終沒有結果. 而Sanjay Dutt和現任妻子，亦要分手收場。 Sanjay Dutt縱然演技差勁，但他的故事已經好比一套曲折離奇的電影。

Sanjay Dutt對自己的事業，也醒覺到需要作出一點突破了。他厭倦演動作片英雄角色。《Munnabhai M.B.B.S.》(2003) 可謂他的演藝生涯二春，救了Sanjay Dutt一命。事實上，Sanjay Dutt接拍《Munnabhai M.B.B.S》的決定也是正確的。他解釋：「雖然外表上《Munnabhai M.B.B.S.》是一套諷刺醫療制度的鬧劇，但情節和對白並不牽強，而是充滿處境味道。這是一套有深度、充滿感情的電影... 我不能拒絕Munnabhai 這個角色，主角為了當上醫生而習醫，是非常滑稽的想法。」Sanjay Dutt演慣公式江湖大哥大，以喜劇手段顛覆這個形象，可謂再適合不過。

《Munnabhai M.B.B.S》看過一次便擱在架上。但我記得，當初找到《Munnabhai M.B.B.S》，是因為看到印度電影網頁上，得知影片當時很受觀眾歡迎，票房成績不俗。故事其實頗有趣：孝順乖仔Munnabhai (Sanjay Dutt) 本是專責收數的江湖小混混，深得一班烏煙瘴氣的手下所尊敬。父親 (Sanjay Dutt的親父Sunil Dutt飾) 望子成龍，做兒子唯有投其所好，善意騙說自己是醫生。但紙包不住火，Munnabhai被青梅竹馬Chinki (Gracy Singh，《Laggan》女主角) 的官僚醫院院長父親，揭破他的真正身份， Munnabhai父親怒極拂袖而去。為了一圓高堂心願, Munnabhai竟然報讀醫學院，希望成為真正的醫生。

但江湖大哥又怎能在規矩多多的醫院乖乖學習? Munnabhai學不成醫，反而在醫院大放笑彈，奇蹟地讓植物人甦醒過來，贏得醫院上下員工和學生的歡心，更抱得美人歸!

說實在，外貌粗獷的Sanjay Dutt初演喜劇有一點生硬。大概是他決心轉型，演得也頗投入。不過，別期望Munnabhai M.B.B.S 是印度版的《ER》。主角若認真讀醫，片長十小時也演不完。醫學知識只是意思意思而已。 Sanjay Dutt的角色反而像個心理治療師，由他以局外人的角度.，道出醫院種種官僚腐敗的弊病。

在我眼中，《Munnabhai M.B.B.S》未算一流喜劇。枝節和角色太多，醫療事故和小混混鬧事炒成一碟，跟著又一場無相干的歌舞，橋段鬆散，無謂的悶場過多，不能一氣呵成。Munnabhai令植物人甦醒過來，更是荒誕至極。我亦不滿選角安排： Jimmy Shergill客串演肺病病人，並無太發揮機會，最後落得兩腳一伸的煽情下場。安排Gracy Singh演Sanjay Dutt的青梅竹馬，更是令人摸不著頭腦。Sanjay Dutt年紀足可以當她的叔叔有餘。 (幸好沒有甚麼調情場面, 否則... )

印度觀眾對走喜劇路線的Sanjay Dutt很受落。《Munnabhai M.B.B.S》在當地是blockbuster。結尾拍得有點一廂情願，但還是可以接受的。這次續集《Lage Raho Munnabhai》保留人物、另組新故事的做法也相當聰明。

《Lage Raho Munnabhai》原定安排Sanjay Dutt和Sunil Dutt父子再度攜手演出。可是Sunil Dutt在去年辭世，《Munnabhai M.B.B.S》成為Dutt父子檔的最後一次合作。 Sanjay Dutt只好化悲憤為力量，孤身上路。 Munnabhai上次為討好父親去讀醫。這次是另一個新故事，與上集無關。Munnabhai傾慕靚聲女DJ (憑《Parineeta》迅速走紅的Vidya Balan)，對方卻以為Munnabhai是歷史教授，還要求大哥大當"家庭家教"，課題是聖雄甘地...

《Lage Raho Munnabhai》的評價如何? IMDB的影迷大讚： 8.5/10, outstanding. Awesome Movie, ONE OF THE BEST MOVIES OF 2006...還呼籲影友不要看DVD，到戲院欣賞...雖然未能看到《Lage Raho Munnabhai》影片，但經過數年來的新嘗試， Sanjay Dutt無疑憑著幽默和睿智，成功地轉型為喜劇笑匠了。

《Lage Raho Munnabhai》官方網站

Lage Raho Munna Bhai

2006-09-02T21:31:00.000+08:00

South China Morning Post, 2/9/2006

The sequel to commedy Munnabhai MBBS, about a conman, his sidekick and the girl of his dreams. In Hindi with English subtitles. 2/9, 9:30pm, G/F Chinachem Golden Plaza, 77 Mody RD., TST East, HK$80-HK$180. Inquiries: 852-96418214

又一齣印度印地語電影在香港上映，片名叫 Lage Raho Munna Bhai。放映地點，又是尖東的華懋戲院，而票價仍是那麼貴：八十至一百八十港圓正！看來又只有香港的印裔香港人才會慷慨解囊，破費捧場了。

按：Agnes, 請問你可否介紹這齣「有幸」在香港銀幕相見的電影是什麼類型的電影？（只要登入blogger.com，你就可以在這裡貼文）

印度電影部落格

2006-07-31T22:32:00.000+08:00

喜歡印度電影的，從來不止這裡的幾個香港人。台灣的 Laxmi 小姐，也是一個超級粉絲。她開了一個「印度電影部落格」，把自己對印度電影的所思所想，透過文字書寫下來。

部落格在寶島方面也頗獲好評，在今年初被中時部落格推崇為五大優格之一，編輯的評語為：頗具特色的電影網誌。

近期大熱的電影如《調情魔師》和Fanaa，當然不會走漏眼；甚至連現在印度最出位的新星也有涉獵，好厲害！

唔，講多無謂，都係過去留言打個招呼先！

Fanaa

2006-07-30T18:25:00.000+08:00

Fanaa (2006)

Directed by: Kunai Kohll
Music: Jatin-lallt, Prasoon Joshl, DJ Aqeel
Starring: Aamir Khan, Kajol, Rishi Kapoor, Tabu

首先，我要祝賀即將在八月五日卅一歲生日的Kajol生日快樂！

恐怖主義襲擊已是近年印度人揮之不去的夢魘，天皇級如Aamir Khan 最近的兩齣電影都先後觸及這個題目。Fanaa 的成功之處，是以通俗劇的情節，蜻蜓點水般去處理恐怖主義對普通人的生活影響，可以說是一個聰明的避重就輕的做法。

故事的骨幹其實很簡單，起初時跟一般印度愛情歌舞片無異，都是男碰上女，女愛上男，兩情相悅的典型歌舞片格局。不過，如果你有細心留意片中的細節，就會知道本片「愛祖國」（當然是印度啦）的主題。其實這也不難察覺，因為這些「伏線」，都已經透過對白交待出來，觀眾不用像看米高漢尼基的《偷拍》般，要留意片中電視機的新聞片段、施丹的海報、斬雞頭在法國的象徵、男主角在街頭跟黑人對罵、女主角出版的全球化書籍大賣等蛛絲馬跡，才能領會那些隱晦艱澀的弦外之音。

不過，電影在中場休息前，卻忽然來過大轉向。平地一聲響，印度總統府的一次爆炸，揭開了恐怖主義襲擊的副題。片子亦由純綷的愛情歌舞片格局，穿插加入「仿占士邦」式動作情節。看慣港產動作和荷理活大製作的香港觀眾可別大興奮，因為這只是「往占士邦」式動作設計，遠鏡尚還可以，但近距離肉搏就．．．．．．

電影中拍得最好的始終是一些愛情的段落，如男主角登上火車再會女主角一幕，還有男女主角重逢後在屋內對唱情歌的一幕。這不得不讚男主角Aamir Khan 的演出。雖然他的眼神不及我們的梁朝偉，但深情的面部表情，就把幾位同是天皇級的印度一線男星比下去。Kajol 復出演盲女，不知道大家怎樣看她跟另一印度首度女星Rani 在Black 的演出？

同樣是以愛情和恐怖主義襲擊為主題，９９年的Dil Se 能夠用愛制止恐襲，七年後（正如片中男女主角分開的）又能否以愛戰勝仇恨和殺戮？大家在片中找答案吧。

In short, there are 3 points:

1) It's clever to incorporate the theme of terrorism into the melodrama plot.
2) Aamir Khan's acting is great and Kajol is absolutely gorgeous!
3) There is still a lots of lessons could be learnt from James Bond's style action scene.

"Mistress of Spices" in HK

2006-07-05T20:49:00.000+08:00

《調情魔師》在香港止映時間：22/6-7/7
"Mistress of Spices" showed in Hong Kong cinemas: 22/6-7/7

石琪影話 (Film critics by Shek Kei)

印度美后艾殊華雅雷（艾絲維亞莉）主演的《調情魔師》，拍攝印度香料的迷情魔力，應有奇異的情慾色香味吧？但這是英國出品以美國為背景的變種咖喱片，失去原汁原味，成績麻麻。主要吸引力是那位印度西施，尤其是她含情眽眽的眼神。

她飾演印度奇女仔，自小有預感異能，並成為香料神功掌門人的得意弟子，但不像《百年好合》的峨嵋派接班人鄭秀文會飛會打，而是完全文靜地只會執藥配料。劇情說她移居美國奧克蘭，開設印度香料店，與美國男工程師發異族戀。

異族戀在今日世界很平常，《調情魔師》故弄玄虛，使女主角受到「滅絕師太」式師門戒律約束，春心大動卻不敢犯禁，扭扭擰擰。她終於為愛情打破了禁忌，又無驚無險，這故事實在平庸單薄。

此片的愛情戲劇性不足，對香料的神奇亦得個講字，描述其他印度移民的景況也很普通。參與監製和編劇的古蓮德查達，是印度裔英國女編導，拍過《我愛碧咸》成名，又回祖家印度拍了艾殊華雅雷主濱的《愛鬥氣愛上你》。《調情魔師》的導演不是她，是她的現任英國丈夫保羅貝治斯，手法平平無奇，不及妻子靈活。

同樣拍香料和異國情綠，去年上映的希臘、土耳其合作片《情尋色香味》(Touch of Spice) 好得多。至於1994年當選世界小姐的艾殊華雅雷，最美麗是早幾年濱出印度大型歌舞片，現在少了青春，多了風韻。

Review on Salaam Namaste

2006-05-31T00:36:00.000+08:00

Directed by Siddharth Anand
Music: Vishal & Shekar
Cast: Saif Ali Khan, Preity Zinta

故事簡介：

這齣電影以澳洲墨爾本為背景，講述一對年輕的男女相遇並熱戀同居的種種甜蜜、爭吵、衝突和和解等等。電影以愛情輕喜劇方式處理，意圖不斷地逗得觀眾發笑。

看看出品公司是Yash Raj Films，就很有一種該公司的愛情片的感覺。不信？請看看同公司Saathiya的和Hum Tum，就像是同一個模子倒模出來的樣子：爭吵幾句、掉幾滴眼淚，然後以密集式笑料硬要逗你發笑，活像八十年代的港產片。開頭時的鳥瞰墨爾本，與王晶外地取景電影真是系出同門，片末的「蝦碌」片段，又讓人想起成龍和高志森。

不過，片中觸及未婚同居、未婚產子等橋段，在印度主流電影中尚算新鮮。片中Saif Ali Khan與Preity Zinta的濕吻和床戲，在五年前恐怕很難想像會在寶來塢的電影中出現（也難怪場景要設在遠離印度的維多利亞省省府），尤其是在Zinta這樣的玉女女星身上。（男觀眾是不是應該向Bipasha Basu和Mallika Sherawat等先鋒多謝呢？）

Ash on HK's screens again

2006-05-30T00:31:00.000+08:00

Aishiwarya Rai's 新片 "Mistress of Spices" 已定了會在六月廿二日在香港各大戲院上映，而幾條大院線都已把電影海報掛上燈箱了。中文譯名是《調情魔師》(Flirting Master: chinese translation of the film title)！

Poster (Hong Kong version)

由此可見，《我見碧咸》真的餘威猶在！儘管此片在海外的評論頗為差勁，甚至比《愛上你．愛鬥氣》更差，但仍可再次讓阿Ash登上香港的大銀幕。不知道在香港又會有多少香港人看呢？還是主要夠南亞的同鄉支撐？

更重要是，不知道大陸有沒有機會上映？

蒙巴頓夫人情結？

2006-05-29T00:39:00.000+08:00

不知道這是巧合還是什麼，Aamir Khan先後兩齣以愛國主義、反抗殖民統治的電影，戲中都有英國女人傾幕印度愛國份子。

而這兩個女角色，又偏偏比一般的印度人，更着緊殖民地子民的自立自強，令我想起杜葉錫恩。這類英國人有時甚至極端到無視他們視之為被壓迫的國度的任何錯處和缺失。

說回印度電影中，英國女人愛上印度英雄。不知道這又是不是尼赫魯（印度首任總理）與蒙巴頓夫人「柏拉圖式傾慕」的一種延續／隱喻？

Review on Rang De Basanti

2006-05-25T16:14:00.000+08:00

Rang De Basanti

Directed by Rakeysh O. Mehra
Screenplay, Rensil D'Silva
Music by A R Rahman

Starring
Aamir Khan
Siddharth
Sharrman Joshi
Kuhai Kapoor
Atul Kulkarni
Alice Patten 彭雅思
Soha Ali Khan

Spoilers!!!
Dil Se 之後，我最欣賞的印度電影，就是這齣新片﹣﹣﹣Rang De Basanti 。

故事說一名英國女電影人（彭雅思飾演），看過她爺爺一本講述自己當年與一群年輕印度革命份子（或稱恐怖份子）接觸的日記，就決定要拍攝這個故事。於是她親身到印度召募演員拍攝，但發現時下印度的年輕人已非當年反殖反帝的那群人，只懂得吃喝玩樂，印度這個獨立自主的國家，亦被貪污腐敗弄得國家一團糟。不過，受周遭環境影響，這群新印度人慢慢溶入角色，甚至發展至現實與戲劇交融的地步。在廿一世紀，新印度人有新的目標去奮鬥，以愛護他們的祖國。

亳無疑問，電影的愛國立義如水銀一樣，滲入故事每一個角落。這樣的電影很容易成為另一齣大印度主義的劇作，但拍攝廣告和音樂錄像出身的導演並沒有墜入此俗套。在保守的主旨下，仍能對現實有點反省，儘管如果能夠再多一點就更好。

導演的手法可謂乾淨利落，令近三小時的光影旅程保持着明快的節奏。

四十出頭的Aamir Khan這次領着一批小伙子，扮演二十出頭的貪玩大學生，與年輕演員如Siddharth，Kuhai Kapoor等竟無隔代之感。（這兩位年輕演員被拍得甚為有型）另外，與廿六歲的彭雅思那點到即止的戀情，也拼發出火花，可真難得。（相反，《達文西密碼》裡五十歲的湯漢斯和三十歲的柯德莉塔圖就沒有如原者裡，兩人之間的化學作用了。始終覺得片中蘇菲一角，現時法國影圈只有Charlotte Gainsbourg適合。）

彭定康幼女彭雅思在片中算是中規中矩，可惜是她在半場休息後，就沒有太多機會發揮了。

不少意見認為，影片下半部的發展太誇張了。以印度現在的政治現況對比帝國主義當年的鎮壓，對比上對現在的印度民主體制不公平。當然，劇情的確很誇，而且更有些為恐怖主義的解說的情況。這是此片難以超越Dil Se的主因。影片其實應該可以純粹透過拍攝過程而令片中角色得到領悟，編導似乎選擇了讓影片硬着陸，狠狠地刺激觀眾的思維。

無論如何，整體來說已是很不錯的了。主旨是反省今時今日，印度人的愛國主義何去何從，儘管結論仍是十分保守的。另外，戲中那群年輕人，各自都有空間發揮，如父子情、印度和伊斯蘭信徒之間的衝突與諒解等。即使電影的布局uneven，但亦不失為一齣好戲。

RDB, is the most favourite Bollywood film since Dil Se.

Though Indian patriotism fill in every corner of this film, filmmakers did not fall into the pitfall of the mouthpiece of Indian nationalism. In fact, the film criticized the dirty politics of the Indian political circle.

Alice Patten is above average before the intermission, but she did not have the chance to play in the later part of the film.

Aamir Khan is excellent. But what surprise me is the performance of Siddharth and Kuhar Kapoor.

Critics said that the later part is too extreme, and the story went too far. They said that it is unfair to compare the colonist and the current corrupted policitical system. I don't like there is lack of criticism of terrorism and that is why I prefer Dil Se.

Anyway, as a whole the film is quite good. Although the position is conservative, it did ask the audience to review how to love their country in 21st century. Besides, almost every main characters do have a story themselves, e.g. the conflict between father and son, the conflict and reconciliation between Hindus and Musilm...etc.

延伸閱讀：Alice Patten in Rang De Basanti

FlyingDonkey, Thank you!

2006-05-21T00:37:00.000+08:00

It's great to find out that HKCM Forum linked this blog in their thread for their discussion of South Asian movies on 5 May.

It's an encouragement for my writing. After all, it did help some Hongkongers to understand more information about Bollywood/ Indian movies through traditional chinese characters.

見到ＨＫＣＭＦＯＲUM在５月5日超連結此網誌在其討論題目上，真是開心！很有鼓舞作用。

原來，寫了一陣子，都真的會有些香港人看的，希望可以用他們熟悉的文字幫他們更易了解寶來塢片及其他印片吧。（保存正體字！）

Black

2006-05-18T23:03:00.000+08:00

How can we comment Indian film like "Black"? Oh well, it's a good film. But something is wrong about the film, no matter how hard Rani and Amitabh Bachachan they try.

The problem is that it is not like an Indian story. It is more like a story happen in England or Scotland or New England. And the characters in the film is so much unlike Indian. (You could find that out if you compare their mannar with other characters in other mainstream Bollywood films) And more important is that, it's not just happen in "Black", but also in other so-called serious Indian movies, such as Fire and Raincoat. When I saw the head of the family in Fire said, "How dare you! How dare you!", I just find it strange. It's just not like an Indian speaking, but an English gentlemen's speaking.

I think that Indian movie should have their own character, characters in the film should speak like Indian and act like Indian. Otherwise, it's so strange and not real.

怎樣去評價ＢＬＡＣＫ這齣電影呢？都算得上是一齣不俗的作品，但無論男女主角如何努力，總有些地方總教人感到不對勁。

問題是它太不像是一個印度人的故事。故事更加像是一個英倫或美國東北岸的故事。戲中的角色的行為舉止都不像一般的印度人。其實這種情況並不單單在這一部電影中出現，在其他所謂嚴肅的印度電影中，也出現類似的情況，如Fire, Raincoat。

我認為印度電影要有自己的風格和等色，才能闖出一片新天地。可惜現時是，主流的歌舞片有自己的特色，卻多缺乏言之有物的主題；嚴肅的電影卻只會生吞硬剝外國戲劇元素。這種兩極化的情況阻礙了印片在國際影壇的昇華。

Eros International's flotation plan

2006-05-15T22:46:00.000+08:00

According to the report of Guardian, Bollywood film giant, Eros International is planning to float on the London Stock Exchange.

It is estimated that the value of Eros International is around US $400 million.

Eros International distribute dozen of Bollywood films into UK each year. It is just like Golden Havest in Hong Kong and Canal +, Gaumont in France.

Raincoat

2006-05-14T21:13:00.000+08:00

Raincoat 的故事很簡單。生活撩倒的漢子，為了借貸翻生，於是從鄉間跑到大城市向昔日舊同學們求助。正好當年的舊情人也住在此，於是就重燃了他對舊情人的感覺，希望可以再見她一面，問問她生活還過得好嗎？身邊的男人沒有虧待你吧。

原來他們當年青梅竹馬，可惜女方家長想女兒嫁個有錢人，而不是鄰居那個沒有工作做的窮光蛋。女子的意志也不太堅定，寧取安定也不要有情郎。

當兩人再碰頭時，不單止十年滄海難為水，男主角面對女主角富貴家境，更是無言以對，唯有編織謊話說自己事業有成。故事在女主角的斗室中慢慢推演，漸漸發覺雙方其實都是偽裝，兩人都大話連篇騙對方：「我生活得很好。」

這個靈感取自美國劇作家 O Henry (William Sydney Porter) 的電影，其實改編得不太好，舞台劇的味道太重，而且由一開始就已經「穿」了男主角是四處求乞的窮光蛋，減低了懸疑性。另外，片中以回憶交待兩人的前塵往事，反而多次打斷了影片的節奏和戲味。其實，故事若是由年輕時開始，再跳到雙方重逢後的試探和欺暪，到最後暗中互相幫忙，效果會否好一些呢？

說到男女互贈禮物，O Henry 的 The Gift of Magi 必屬經典。香港人也拍了一個香港版，就是發哥和紅姑的「船頭尺與十三妹」囉。

Ash New Film received poor review

2006-05-03T13:52:00.000+08:00

《我愛碧咸》班底製作的 The Mistress of Spicies ，雖然找來了舊將 Aishwarya Rai 助陣，但無論在評論和票房上都不理想。詳見以下連結：

Peter Bradshaw's review

Rediff.com Report

Pour "Water" into American Theatres

2006-05-02T09:49:00.000+08:00

Awarded Indian Film, Water, would be show in selected American theatres from 28 April 2006.

Ticket & Showtime:
28/4/2006
• New York
• Los Angeles
• San Francisco
5/5/2006
• Boston
• Chicago
• Washington D.C.
• Houston
• Philadelphia
• San Diego
• Denver
12/5/2006
• Detroit
• Seattle
• Minneapolis
• Phoenix
• Austin
• Portland
• Hartford/N.Haven
• Ann Arbor
19/5/2006
• Atlanta
• Dallas/Ft.Worth
• Miami/Ft.Lauderdale
• Baltimore
• Sacramento
• St. Louis
• Charlotte
• Milwaukee
• Rochester
• Albany
• Boca/W.Palm Beach
• Madison
• Raleigh/Durham
26/5/2006
• Cleveland
• Columbus
• Indianapolis
• Tampa/St. Pete
• New Orleans
• Providence
• Richmond
• Albuquerque
• Cincinnati
2/6/2006
• Buffalo
• Kansas City
• Las Vegas
• Orlando
• Louisville
• Tulsa
• Dayton
• Grand Rapids
• Honolulu
• Knoxville
• Nashville
• Pittsburgh
• Charlottesville
• Des Moines
• Ithaca
• Lansing
• Santa Fe
9/6/2006
• Memphis
• Salt Lake City
• San Antonio
• Norfolk/Newport N.
• Omaha
• Oklahoma City
• Birmingham
• Tucson
• Lexington
• Sarasota
• Syracuse
• Anchorage
• Asheville
• Boise
• Ft. Myers
• Jacksonville
• Northampton
• Tallahassee
30/6/2006
• Gainesville

Official website

And I'm now thinking about when will the DVD release.

Saif Ali Khan on Aussie Stamp

2006-05-01T11:06:00.000+08:00

Bollywood movie star, Saif Ali Khan, was chosen by Austrian authority and put his image on Austrian 50 cents stamp.

Some Indian media found it rare, because according to Indian postage rule, living human are not allowed to be chosen to be the subject of stamp.

印度影星 Saif Ali Khan 獲澳洲當局選中，將其肖像印在袋鼠國的郵票上。郵票在三月廿七日發行，為慶祝英聯邦運動會而設。印度傳媒有些酸溜溜，因為根據印度的郵務條例，活着的人不許被印在郵票上。

Shan Rukh Khan Chi Fans Forum

2006-03-15T23:26:00.000+08:00

Shan Rukh Khan is more popular in mainland China than in Hong Kong. Here is one of the evidence:

http://www.shahrukhkhan.com.cn/

The above forum is the online meeting point of SRK fans in mainland China. And they have all those specified discussion, according to SRK's films and special topics.

The forum also shared the news of other Bollywood Stars.

What a great site!!!

Contributors Wanted

2006-03-10T00:08:00.000+08:00

Dear all,

I'm looking for contributors for this blog. If you're interested in Indian movies and want to share your comment and critics about them. No matter your writings are Chinese or English, you're welcomed to write here. Please notify me by email. (For my email address, please regard to my profile) I'll get back to you and send you an invitation for being a contributor.

Indian Talent in Chinese Movies

2006-03-04T21:42:00.000+08:00

很多人或許不知道，其實華語電影，也往往找來寶萊塢的電影人來幫忙，無論是幕前還是幕後。可是由於本人對電影圈的認識實在遠不如余慕雲，所以信手沾來，只能舉出近年的三個例子來說說。

幕前是最引人注目的，相信最為華人認識的印度女星，不是寶萊塢女皇雅絲維亞．莉，而是在成龍《神話》一片中，性感演出的Mallika Sherawat！當然，片中還有很多其他印度演員，但名氣就不及這位憑《Murder》一片成名的女星。

寶萊塢善長歌舞片，現在全球要拍歌舞片都要到南亞獵頭去，聰明如Peter Chan又怎會甘於人後？在他的新作《如果．愛》中，就是採用了排舞師（choreographer）Farah Khan 為電影編舞。這位Iruvar, Dil Se, Alai Payuthey, Monsoon Wedding, Asoka, Kal Ho Naa Ho, Main Hoon Na... 等多齣名作的功臣，也在華語電影留下足印。不過呢，還是那些印度舊作的舞蹈出色些。

至於最後，當然不能不提A. R. Rahman替《天地英雄》配樂啦！如果連Anu Malik也來為華語電影助拳，而甘培達等也為印度電影配樂，那就過癮囉。

Water wins Best Film in Bangkok

2006-02-28T00:04:00.000+08:00

Deepa Mehta 繼《火》之後，新作《水》更上一層樓，在曼谷國際電影節中拿下最佳電影！吐氣揚眉肯定係，但不知她的江東父老會否覺得光宗耀祖了。

這位女導演總愛捅自家的蜜蜂窩，前作《土》批判宗教令國家、人民分離，之後的《火》挑戰貞操、直闖女同性戀的禁地；這一次《水》也弄個滿城風雨，雖然找來了當紅小生約翰．阿伯拉罕，但也險些兒拍不成。現在拿了大獎，相信會增加在海外放映的機會。

希望今年香港國際電影節會播放吧。話時話，電影節對印度電影的選映從來馬虎，應放的不放，或索性一齣也不放。太豈有此理！其實，像曼尼拉南、配樂大師拉曼、女導演薇拉挪兒和Deepa Mehta等，都值得做專題導演。

Waters wins Best Film Award at the Bangkok Film Festival

Hindus Times Report

I wish John and Lisa were here

Ming Pao Report

2006-02-20T17:36:00.000+08:00

明報 2006/2/20

印度音樂大師拉曼(A. R. Rahman)前晚在會展舉行一場《Live in Concert 2006》，吸引圈中藝人陳慧珊、夏韶聲、黃耀明、及張錦程前來捧場外，名人霍震寰與太太陳琪琪亦是座上客，不過兩人低調分開而坐。拉曼前晚準時開騷，打頭陣唱出《Fanna》，配合背後大銀幕3d 立體的星際太空短片，贏得全場掌聲。

陳慧珊透露最近寫了兩首新歌，今次睇騷也是為新碟找靈感。至於新碟何時推出？她說：「不會太急。好開心做到真正有意義的事新碟或會找夏韶聲監製，不過下月我會先拍劇，之後再投入新碟製作。」

Translation: Indian Music Master, A. R. Rahman held his "Live in Concert 2006" in Hong Kong Conference & Convention Centre. Celebrities, namely Chen Hui Shan, Flora; Danny Summer, Anthony Wong... joined the crowd. Mr. Rahman started his concert with his song, "Fanna", with a 3-D Space Odynessy Short Film showed on the background.

Flora Chen said that she hoped to get some inspiration from this concert in order to input more new ideas in her next album. She said Danny Summer would be the producer of the new album.

The Day after Rahman's concert

2006-02-19T23:30:00.000+08:00

Yesterday, A. R. Rahman held his concert in Hong Kong. Today, fans of arrahman quoted this blog in their news group. And suddenly we got lots of hit today.

Hey, is there anybody participated in yesterday's concert? Please share your experience here. Thank you.

For the practise of Hong Kong Entertainment page, the latest report should be wait until Monday. I hope to update you the news once if there is any report about the concert.

A. R. Rahman Hong Kong reports

2006-02-18T10:20:00.000+08:00

S.C.M.P. 18/2/2006

Indian star A.R. Rahman chose to pray quietly at the Mosque Street mosque and enjoyed a curry lunch as the city's Muslims took to the streets over the publication of cartoons of the Prophet Mohammed in Europe. He said he shunned politics.

My theory of life is love and music, said Rahman, in town a day early to catch Friday prayers and to prepare for his first Hong Kong concert tonight at the Convention and Exhibition Centre, where the most expensive ticket costs $3,880.

I feel blessed that I'm able to play music. I hate politics. Politicians divide the world, while musicians unite it, he said.

Born Allah Rakha Rahman in 1966 in India, he is considered one of the world's finest composers and has written scores for more than 50 Bollywood films. He began playing music at an early age and earned a scholarship to study western classical music at Oxford University.

His first movie album, Roja, was listed in Time magazine's top 10 movie soundtracks of all time. He is best known for combining technology and classical Indian musical instruments, and has sold 100 million records worldwide.

Rahman, who has cut his signature long hair since a trip to Mecca last month, has been to Hong Kong before and enjoys the shopping. He was eager to see who would turn up at tonight's concert. I'm quite anxious to see the audience, whether there will be southern or northern Indians or Chinese.

Tonight's show has been labelled the city's first three-D concert. A 60-square-metre LED screen will project three-dimensional images. Glasses will be distributed to the audience to view the special effects. Tonight's three-and-a-half-hour show cost US$1 million to produce.

Rahman, who wrote music for Andrew Lloyd Webber's hit Bombay Dreams, has been working on the West End version of Lord of the Rings. He composed the score for Chinese movie Warriors of Heaven and Earth and said he was looking forward to working with more Chinese filmmakers.

I'm a big fan of Chinese films, such as Raise the Red Lantern and Crouching Tiger, Hidden Dragon, he said. If there was an opportunity I would jump on it and say yes.

蘋果日報《印度音樂大師靚聲響徹會展》 18/2/2006

印度著名歌手拉曼〈 A R Rahman 〉前日抵港，昨日隨即在紅磡一酒店舉行記者會，宣傳他今日在灣仔會展新翼舉行的演唱會。

身為虔誠回教徒的拉曼，在記者會前先往中環一回教寺參拜，會展方面亦安排了一房間方便他禱告。

拉曼表示雖然首次在港開演唱會，但曾多次訪港購物，他以英語說：「我經常來香港購物，最鍾意去尖沙嘴。」他又表示曾幫台灣歌手蔡依林造音樂，而他先後推出過五十多張唱片，其中一張名為《 World Wide 》的大碟，全球賣出一千萬張。

Hong Kong Media reported A.R. Rahman

2006-02-15T10:07:00.000+08:00

South China Morning Post, Hong Kong, 15/2/2006

He has sold more than 100 million records and is a household name in India. And Unus Alladin says it's only a matter of time before the rest of the world catches on to the musical genius of A.R. Rahman

MOST MOTORISTS trapped in Toronto's rush-hour traffic were snarling. But for Indian composer A.R. Rahman, gridlock offered a welcome respite from his punishing schedule.

Emerging from a gruelling six-hour rehearsal for his latest project - a stage musical of The Lord of the Rings that opens next month in the Canadian city - he must, nevertheless, fit a telephone interview into the time it takes for the traffic jam to be freed up.

Often described as the greatest Indian composer of his generation, Rahman has dominated contemporary music in the country for more than a decade. He has written hit tunes and film scores for more than 50 Bollywood movies and sold more than 100 million albums.

His 1997 album, Vande Matram, released to mark 50 years of Indian independence, helped rekindle a patriotic fervour not seen in years. Similar passions could be ignited among Indian fans when Rahman and his entourage make their Hong Kong debut on Saturday.

Due to budget constraints, the show won't feature the 3D special effects seen on previous tours, but the 39-year-old promises an evening to remember. "We'll have the band, dancing and live performances, plus a surprise or two," he says.

He first visited Hong Kong during the 1990s, but spent that trip shopping for musical instruments and gadgets. "This will be my first time performing in Hong Kong, and I'm really excited," he says. "There's a big Indian community in Hong Kong, with a lot of Punjabis and other minority groups, so it's going to be fun."

During the three-hour-plus concert, Rahman will share the stage with a glittering cast, including classical Indian singers Alka Yagnik and Hariharan, pop star Shankar Mahadevan and rapper BlaaZe. But there's no doubt the Chennai-born composer is the star of the show.

Rahman's admirers extend well beyond South Asia. Andrew Lloyd Webber tapped his talents for the 2002 musical Bombay Dreams; he has collaborated with Jean Michel Jarre; and three years ago, Sony Pictures brought him in to write the score for mainland director He Ping's costume epic, Warriors of Heaven and Earth.

"All the initial meetings for the film were held at the Sony office in Hong Kong," says Rahman. "I also composed most of my work there."

Although the music for Warriors presented a different challenge from the demands of Bollywood, he says he enjoyed the experience. "It was the first time I had done work for a Chinese audience. It was a great opportunity. I like to do different things. It makes you feel that you have grown inside, experiencing different traditions and cultures."

The Lord of the Rings stage extravaganza, with music by Rahman and Finnish folk group V酺ttin? is a project that offers similar stimulation. Rahman won't reveal whether the music will retain the ambitious scale and dark overtones of the Peter Jackson productions, but says "it will be an extension of the original music [by composer Howard Shore]. You try to improve the work of other people. You're always improvising and improving."

The show is expected to open in London next year.

Rahman was born into a middle-class Hindu family that fell on hard times after his father, musical arranger K. Sekhar, died when he was nine. He inherited his father's musical talents. The young Rahman, who began learning the piano from the age of four, was helping to support his family by the time he was 11 as a touring keyboardist.

His experience with troupes led by such Indian musical luminaries as composer Ilayaraja and tabla maestro Zakir Hussain led to a scholarship to Trinity College, Oxford, where he earned a degree in western classical music. He established a successful career after returning to India, writing jingles and theme songs for TV shows.

The turning point came in 1991, when Tamil director Mani Ratnam invited him to score his film Roja (Rose). Both movie and soundtrack became mega-hits - Time magazine listed it as one of the top 10 movie soundtracks of all time - and made Rahman a household name. He has been on a roll since, contributing hit tunes to popular Indian movies, including Kadhalan, Rangeela, Minsaara Kanavu, Dil Se, Taal and, recently, Rang de Basanti.

His family converted to Islam in 1989, when his sister recovered from a severe illness after receiving the blessings of a Sufi mystic. As a result, he changed his name from the Hindu A.S. Dileep Kumar to Allah Rakha Rahman.

"Sufi is very closely associated to both music and spirituality. They complement each other," says Rahman, who draws inspiration from his religion.

"Life is full of surprises and you never know what will come next. I keep myself open to all possibilities," says Rahman, who enjoys Peter Gabriel as much as Bach. That eclectic style is reflected in musical partnerships that span the traditional - with carnatic violinist Kunnakudi Vaidyanathan, for example - to rock, with guitarist Dominic Miller.

Rahman is ready to work with any artist who appreciates his music. "Music is a kind of language that can transcend boundaries," he says. "There is so much hatred in the world from different communities, different countries and different continents. This [music] is the language that can be a healing language."

Cai Jindong, the director of orchestral studies at Stanford University in California, compliments Rahman for drawing from other cultures while remaining rooted in Indian tradition. "This makes the music very fresh, very compelling, especially to young people."

Having ruled the musical scene in Bollywood during the 90s, could Hollywood beckon? The US film industry is a "different syndrome", Rahman says. "But whether it's Hollywood or it's in India, there needs to be people who understand my style of music and who want to work with me."

The financial rewards in the US will certainly be greater. "But that's not really my goal. I don't want to be involved in any movie without passion," he says.

The huge record sales in his native India haven't made him as wealthy as some might imagine. "It's good that I have sold millions because my music has reached so many people," Rahman says. "But in India, the artist just gets a particular sum of money. It works in a different way from the west where artists get royalties."

Still, Hollywood may come knocking sooner than he thinks. Already his Bombay Theme was used in the recent Nicolas Cage movie Lord of War. Another of his songs will feature in Spike Lee's latest feature, Inside Man.

Moulin Rouge director Baz Luhrmann has also shown interest in his work and raised the possibility of collaboration.

Rahman often uses western instruments on his Hindustani and classical carnatic compositions, but he dislikes labelling his music. There is no definition, and music is "a journey that one has to take in life", he says.

"The influences, the dos and don'ts and likes and dislikes and a person's inner self - all of that forms part of the art. That makes the person an individual," he says. "It's not my mission to become famous. It may well happen, but I am not looking for that kind of thing. I already love what I am doing and I am happy with that."

A.R. Rahman Live in Concert, Sat, 7.30pm, Convention and Exhibition Centre, Wan Chai, $380-$3,880 HK Ticketing and Tom Lee. Inquiries: 3128 8288

Bollywood maestro - see Gigs tomorrow

Alice Patten in Rang De Basanti

2006-02-12T21:14:00.000+08:00

Alice Patten

最後一任港督彭定康的幼女彭雅思，接拍的首部電影是印度電影 Rang De Basanti ，夥拍印度大明星Aamir Khan。電影上月在全球上映，單單在北美和英國就有七十和四十間戲院放映。當然，在香港，放映的數目又是零蛋，看來又要到重慶買碟才能看其處子演出。

還是節錄影片上映時的訪問，讓以漢字為主要閱讀媒介的人看看：

問：為何一名劍橋畢業生會與印度寶萊塢的天皇巨星演對手戲？
答：我看過劇本後很喜歡，因為這是一個現代的故事，而且女主角的角色寫得很有深度，於是我就飛到孟買跟Aamir Khan 等一眾員試鏡。當我回到英國後，就獲得通知入選了。

問：令尊，彭定康勳爵，有何想法？
答：呀，他戥我很高興。就像其他演員的父母一樣，很高興子女有工開。

問：你事前知道男主角在印度影圈的巨星地位嗎？
答：我知道他很有名氣，也看過他在Lagaan裡的演出，但也是來到印度才知道他的天皇級聲勢。他是一個可愛的男人、風趣、平易近人、真誠而又勤奮。

問：聽說你為了演好角色而學印地語喎
答：對呀。片中的對白有七成五為印地語。我在大學唸過現代語言學，而幸好印地語不是太難學。我希望印度的觀眾會明白我的印地語吧。
（據聞，彭雅思花了兩個月時間就學會印地語）

問：傳統上，作為寶萊塢電影的女主角，會有一些 "spot boy" 被按排來待候她，你也有嗎？
答：他們也給我安排了一個，感覺怪怪的。他會幫你做諸如替你拿鏡子、為你開傘子等事情。這顯示你在片中的地位。我想他們人人都以為我傻，因為我每天都會說「多謝」和「唔該」十九幾次。

問：你會再拍一部寶萊塢電影嗎？
答：暫時不會。

Alice Patten in Rang De Basanti

Amendments

2006-02-10T00:51:00.000+08:00

為這個網誌作了幾項修訂，因為擺了好幾個烏籠：

第一，把「寶來塢在香港」改正為「寶萊塢在香港」，連寶萊塢都寫錯，真大頭蝦！

第二，把留言部份開放給所有人。

第三，留言須輸入字詞認證，以防被廣告商「炸」。

第四，更改了登文時間的顯示方式，方便知道是什麼日子什麼時間貼文／回應。

Choker Bali

2006-02-08T21:32:00.000+08:00

Aishwarya Rai 飾演上世紀初的年輕、貌美、會說英語的寡婦。

這類拿去影展參展的電影，例必涉及不倫之戀、傳統壓抑、控訴女性的慾念得不到正當的對待。主題有些似張藝謀早期的作品。其實，是不是一定要這樣「東方主義」，才能獲得外國影展的青睞呢？

我寧願看那些談談情、跳跳舞，老老套套的歌舞片啦。

片長１２０分鐘；中、英、日、法、西、德、荷、葡及阿拉伯語字幕；Ritupano Ghosh執導；Aishwarya Rai, Rrosenjit Chatterjee, Raima Sen, Tota Raychaudhuri主演

SRK: Remake more Bollywood classics

2006-02-04T19:05:00.000+08:00

「印度劉德華」Shah Rukh Khan表示，印度的電影人應向荷理活學習，多些重拍印地語電影經典。「在荷理活，業界重拍經典電影而公眾亦欣賞這種做法。他們不像印度人般對重拍經典電影充滿成見。」

（SRK將會在一岣翻拍1978年電影"Don"中演出。該齣戲是指一名貌似黑幫大佬的男子，在該黑幫頭子被殺後秘密地偷用其身份，取代其地位，事後被幫眾察覺而引發高潮迭起。）

The Last Dance

2006-02-01T22:58:00.000+08:00

Vanaprastham (aka The Last Dance)是南印度９９年的作品。

調子悲涼，講述印度大佬倌的愁苦一生。他是貴族與賤民母親的兒子，因此自小不得父親接受，要到戲棚學戲。長大後，憑一身功架成為當紅大佬倌，但婚姻生活並不美滿。

當他四處跑碼頭，因為在戲中扮演一名神祇的出色表現，跟一位上等種姓的大家閏秀戲迷熟落起來。可是，那女子只是迷戀他所扮演的角色，並不是真的喜歡他。二人雖育有一子，但因自己種姓等級低微，而不能跟自己的兒子相認。

男主角就是在這種有父親等如沒有父親，有兒子卻難盡父親責任的愁苦中鬱鬱而終。

飾演男主角的Mohanlal絕對是南印度的黃秋生，這次雖不用如前作《影壇政壇兩冤家》中，由後生演至中年，但片中大部份時間都要作傳統戲劇打扮，臉上塗上臉譜，只能靠兩眼和造手演戲，難度甚高，但也再一次證明他是演技派。

A. R. Rahman Live in HK

2006-02-01T17:00:00.000+08:00

印度寶來塢電影配樂大師 A. R. Rahman，將於今年２月１８日來港演出。此君的音樂造藝極高，大概在當今世上只有日本的久石讓和法國的艾力沙華可與之比美。他的力量不止於寶來塢，就算是南印度的電影大師﹣﹣曼尼拉南，亦愛起用他，例子有Iruvar, Dil Se等等。

２月１８日在香港會展３號館演出，門票由380元至3880元（ＶＩＰ）不等。

Bollywood in Hong Kong 寶萊塢在香港

曼尼拉南在威尼斯影展獲頒獎項

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