Sunday, November 11, 2007

湯禎兆回望奇斯洛夫斯基

湯禎兆:奇斯洛夫斯基回顧展2005

今年的《香港國際電影節三十週年特刊》,被友人撰文翻出當年捧著一大堆電影書、海報及明信片等,向奇斯洛夫斯基索取簽名的往事。那固然是不堪回首的思憶,大師當時打趣道:你憑這批物品在我死後應該可以發達了! ...

Wednesday, October 10, 2007

10/10/07 Update: What's new (to me)?



Krzysztof Kieślowski on DVD (Kinoblog) - A comprehensive list of Kieslowski's work on English-subtitled DVD.

Kieślowski, Krzysztof (ScreenLex) - Bluffing your way to Kieslowski? Make sure that you get the pronounciation right.

Krzysztof Kieslowski - What's New? (Weronika's World) - What are Alain, Lenka and Lein doing?

Kieslowski and The Commandments (1) | (2) (The Swallow's Nest)

A Personal Look At Kieslowski's Decalogue Part One (Moon in the Gutter)

有爱即地狱? (妖の莮魜)

Monday, July 30, 2007

《色,戒》 《情誡》 殘酷之美



《色,戒》洋片名叫《Lust, Caution》,參加威尼斯影展後,9月28日公演。影片不論宣傳海報或預告片都顯得平庸無特色,但我對李安還是滿有信心的。張愛玲的《色,戒》是否真的無法成功改編為電影,928自有分曉。但我相當肯定,在芸芸華人導演中,李安已是担此重任的最佳人選。

原著和電影都叫《色,戒》,不期然令我想起我最鍾愛的電影,奇斯洛夫斯基的《情誡》,它的英文片名叫《A Short Film About Love》,而《色,戒》不也是一部關於愛情的短片?

《色,戒》也好,《情誡》也好,講的都是那種天真的、虛妄的,瞬間化為灰燼的,以生命為代價的單方的愛。

----------

於是,我又重看《情誡》,但看的是原版,即《十誡 第六誡》。

----------

其實,幾近個半小時的《A Short Film About Love》不能算是「短片」,且已是《十誡 第六誡》的「加長版」。

兩個版本,除長度不同外,結局也有異。故事大概講的是孤僻青年迷上窺看住對面樓的浪蕩熟女,日久生愛,不忍再觀看熟女與男友們的性愛。當他大胆向她承認窺看並表白愛意後,卻遭熟女男友飽以老拳。由於出於好奇或對青年的好感,熟女與青年約會。青年滿腦子是愛,但熟女認為沒有所謂愛的存在。熟女帶青年回家,並為他「上一堂課」,青年受不住肉誘而早洩,熟女說:看,愛不過如此而已。青年心靈受創,返家後割腕自殺...

原版本結局:熟女懊悔,青年出院後重返工作崗位,並對來看他的她冷然地說:我不再窺看你了。

加長版結局:電影重心轉向懊悔不已的熟女,以開放的結局告終。



我在關於本片的網頁中表明,我偏愛「加長版」,原因是它强調了熟女因對愛的不屑而傷害了青年。懊悔又有何用?人世間的愛不是實驗,不能重頭再來。一個決定,旣傷害別人,又傷害自己。

----------

止庵說,張愛玲的小說,有一種「殘酷之美」。簡而言之,他認為張愛玲寫無辜者有種很徹底的、不留餘地的態度。這種寫法,其實是包含了人間和俯視人間的兩種視點。從人間視點出發,她寫出人物的願望,也認同他們,承認人生的價值。但她同時也以俯視人間的視點出發,點出這種價值的虛妄和非終極性,因而也可算是人生無價值。但他也指出,張愛玲後期的小說,「殘酷」趨淡,或點到即止,而「蒼凉」越濃。

其實,從某一個角度看,《色,戒》也是一本非常殘酷的小說。王佳芝因一念之愛,壞了大事,賠上性命。易先生逃脫後,一個電話打去,把那一帶封鎖起來,「一網打盡,不到晚上十點鐘统统槍斃了」。止庵說得好,本來是女主人公,最後卻只成了"统统"之一。

----------

如果說,《情誡》蒼凉,那《十誡 第六誡》就殘酷得很了。用導演自已的話說,《情誡》的結局,提供的是開放的可能性,甚麼都有可能,儘管大家心裹明白其實甚麼都不可能。

《十誡 第六誡》的結局呢?奇斯洛夫斯基認為它更貼近人世真象:青年從此不再窺看熟女,也多半再不會窺看其他任何人。熟女傷害過他,他將來也許會同樣地傷害別人...

一個純情青年就此「死去」。

那有所謂愛的存在。

----------

出色小說改編為出色電影的例子頗多,希望《色,戒》會是其中之一。

但由出色電影改編為出色小說,有過這樣的例子嗎?我深信,《十誡 第六誡》的故事和急轉直下的結局,若由高手執筆,可被改編成一篇很棒的短篇小說。

Thursday, July 12, 2007

Three Colours - White exhibition at Rohkunstbau

Equality, one of the most fundamental democratic principles, is the theme of Rohkunstbau XIV (15 Jluy - 26 August 2007).

In this, the second part of the trilogy Three Colours: Blue, White, Red, ten visual and a large number of performing artists will create at Sacrow Palace site-specific works of art addressing this challenging and timely topic.

Following Krzysztof Kieslowski's famous film trilogy of the same name (1993-94), Rohkunstbau XIV will shift attention to the perspective of the individual.

Rohkunstbau site

Tuesday, May 15, 2007

Slawomir Idziak on working with Kieslowski

Slawomir Idziak, who was cinematographer for Kieslowski's "A Short Film About Killing", "The Double Life of Veronique" and "Three Colours: Blue", reflects on his four decades worth of experience in the trade, including how he came to working with Kieslowski.

On Eyelevel With a View-Finder - Everything changes but the system (Berlinale Talent Campus)

Thursday, April 05, 2007

A truly wonderful cinematic event which nobody attended

This past weekend, [University of] Notre Dame was host to a truly wonderful cinematic event. The Decalogue, a series of 10 one-hour films by Krzysztof Kieslowski exploring each of the Ten Commandments, was shown at the DeBartolo Performing Arts Center. Sadly, the theater was nearly empty for every showing; only a handful of students bothered to show up.

Low attendance at film series shows missed opportunity, poor priorities (The Observer Online, 3/4/07)

Wednesday, February 21, 2007

Kieslowski on the Net (Feb 2007 edition)



There are hundreds of Web pages on Krzysztof Kieslowski and his films. I can only read those in English or Chinese though. Occasionally I use an online translater to read pages in other languages.

A lot of Kieslowski Web pages in English have become inactive in recent years. However, the number of Kiwslowski Web pages in Chinese is still rising.


A few good starting points:
Polish Culture profile
Wikipedia
IMDb
Rotten Tomatoes

Despite not being updated anymore, Krzysztof Kieslowski and His Films is still a resourceful site on Kieslowski.

Kieslowski Web Network has a collection of relevant links. However, most of the links are dead.

Kino Kieslowski has long been the most active K-site on the Net. Nevertheless, activity has dropped substantially since mid-2004. The chat page has just died.

Some other Kieslowski sites:
Krzysztof Kieslowski (Doug Cummings, Senses of Cinema)
A Tribute to Krzysztof Kieslowski (Jae-Yeon Jung)
Krzysztof Kieslowski (Sharon Ben-Arie)
Krzysztof Kieslowski (Musicolog)
A Short Website About Kieslowski
Krzysztof Kieslowski (Channel 4 Film)
Krzysztof Kieslowski (Acquarello, Strictly Film School)
Kino Kieslowski - The Life and Films of Krzysztof Kieslowski's Journal
Veronika's World (Alexandre Fabbri)

You must go to Remembering Krzysztof, by Piotr Jaxa for his photos of Kieslowski. (For more, go to Kieslowski Gallery)

Although not a Kieslowski site per se, Zbigniew Preisner is worth visiting for Kieslowski-related material.

IrenKa, the Double Glance is in French and awkward to navigate, but it has a wealth of up-to-date information on Kieslowski (and Irene Jacob, and The Double Life of Veronique).

【心靈小憩】 ─ 影像先知 ─ 奇士勞斯基,少數的中文奇氏網站,內有多篇縱論及奇氏作品的導覽和感想。

劉小楓 《沉重的肉身—現代倫理的敘事緯語》 (新浪網 讀書頻道)
- 「性感、死感、歌聲」(《薇娥妮卡的雙重生命》)
- 「愛的碎片的驚鴻一瞥」(總論奇斯洛夫斯基)
- 「艱難的自由倫理」(《十誡》的倫理觀)

沒有歸宿的靈魂─奇士勞斯基的人文悲劇電影(一) | (二) | (三) | (四) | (五) | (六) | (七) | (八) | (九) | (十) | (十一)(宋國誠,破報)

eno的一系列奇斯洛夫斯基文章

Wednesday, February 14, 2007

L'enfer lacks subtlety

L'enfer (Hell) is the second installment of the "Heaven, Hell, Purgatory" trilogy conceived by the late Krzystof Kieslowski and his long-term screen writing partner Krzystof Piesiewicz.

Unfortunately, when Kieslowski died in March 1996, only the script of Heaven (later directed by Tom Tykwer) was largely finished. The script of Hell was written by Piesiewicz, in consultation with Agnieszka Lipiec Wroblewska.

Danis Tanovic, whose first feature-length film No Man's Land won him an Oscar and a Golden Globe for the best foreign language film, directed this project.

Hell looks very much like a Kieslowski film - the multi-layered plot, destiny vs. coincidence, colour-coded cinematography, an old woman trying to put a glass bottle into the recycling bin, you name it - but what it lacks is subtlety.

- The opening sequence involving bird hatching and the eggs
- The Professor's lecture on destiny versus coincidence
- Anne's elaboration of the allegory of Medea

It gives me the impression that the director and screen writer try their very best to make sure that you understand the film.

Of the three sisters, the story of the loveless and lifeless Celine is in one way the most successful, but in another way the most absurd. Celine's misunderstanding of the intention of the stranger, who eventually would reveal the truth behind her family tragedy, was handled in a farcical way I think.

----------

Trivia: Emmanuelle Beart, who played the eldest sister Sophie in L'enfer, also starred in the 1994 film of the same title, directed by Claude Chabrol. In the earlier L'enfer, the husband was paranoid about the wife's infidelity. In the later L'enfer, it was the other way round.

Friday, February 02, 2007

《病隙碎筆》談偷看

說來慚愧,史鐵生的《病隙碎筆》是我眾多買了未看的書的其中一本。無意中去了史鐵生的綱誌,才知道《病隙碎筆》內有談及我的至愛電影-奇斯洛夫斯基的《情誡》

  奇斯洛夫斯基的《情戒》,就是要為這樣的偷看翻案,使這背了千古罵名的行為得到世人的理解,乃至頌揚。影片說的是一個身心初醒的大男孩,愛上了對面樓窗裡的一個成熟女人,不分晝夜地用望遠鏡偷看她,偷看她的美麗與熱情、孤獨與痛苦。當這女人知道了這件事後,先是以不恥的目光來看他。幸而這是個善良的女人,善良使她看見了大男孩的滿心虔誠。但她仍以為這只是性的萌動與飢渴,以為可以用性來解救他。但當她真的這樣做了,大男孩卻痛不欲生,驚慌地逃離,以致要割腕自殺。為什麼呢?因為他的期待遠不止與性啊!他的期待中,當然,不會沒有性。其實身心初醒就像剛剛走出了伊甸園,感到了誘惑,感到了孤獨,感到了愛 ──這靈魂全面且巨大的吁求!性只是其一部分啊,部分豈能代替整體?尤其當性僅僅作為性的解救之十,性對那整體而言就更加陌生,甚至構成敵意。大男孩他說不清,但分明是感到了。他的靈魂正渴望著接近那浩瀚的音樂,卻有一種籌謀──試圖把復雜的沉重解救到簡單的輕盈中去的籌謀,破壞了這音樂之全面的交響。

  當然,這大男孩會逐日成熟,就像人出了伊甸園會越走越遠。未來,他也許仍會記得靈魂所期待的全面解救,性從而成為愛的僕從,部分將永久地仰望整體。但也許他就會忘記整體,沉緬於部分所擺布的快樂之中;就像那個成熟的女人,以為性即可解救被逐出了伊甸園的人。未來什麼都是可能的。但現在,對於這個大男孩,靈魂的吁求正全面撲來,使他絕難滿足於部分的快樂。所幸者,在影片的末尾,那成熟的女人似也從這男孩的迷茫與掙紮中受了震動,仿佛重新聽見了什麼。

----------

沉默:愛情影片

Kieslowski at Sundance

Just learnt that among the 196 films selected for this year's Sundance Film Festival, one was "David Wain's spoof of the Polish master Krzysztof Kieslowski's The Decalogue" - The Ten.

The Bay Area Reporter article gives an excerpt from a scene in which a once-married couple re-unite by chance in the park:

"How is Liz doing?"

"Oh, we broke up. She was too young. I caught her cooking the books. How's Jim?

"No, it didn't work out. His penis was too big. It was great for a while. God! So great! Sometimes I just think about him and I have a little orgasm."

Below is a video clip of a film critic talking to the director and a few actors of The Ten. Wain describes the film as "quite similar to the Decalogue except for that its much shorter and really stupid."



Can't say I am looking forward to watching this re-re-interpretation of the Ten Commandments, which will be theatrically released in North America later this year.

The Ten site

Wednesday, January 31, 2007

End of retrospectives in North America

Today marks the end of the 5-month long Krzysztof Kieslowski Retrospectives throughout North America (Vancouver, Ottawa, Denver, Boston, St. Louis, Seattle, Montreal, Hartford and Chicago), organised by Polish Cultural Institute.

What remains after someone dies?

What a man has done.

Friday, January 19, 2007

The Decalogue a "midrashically" constructed film series

Midrash and Modernity: Art After the Holocaust (Monica Osborne, Tikkun, 26/12/06)

Midrashic on many levels, The Decalogue responds to those who view the commandments as sharply delineated moral proscriptions, and collapses them into one ethical imperative: Love your neighbor. The film forces the viewer to re-think the commandments in ethical terms rather than with the historical tendency to insist on literal interpretations. For instance, devotion to “the law” can lead to greater ethical transgressions. Kieslowski is reading the Ten Commandments midrashically by questioning their meaning and significance, identifying their gaps and ambiguities, and responding to them with contemporary narratives that extend—rather than re-write—the original premise and promise of the commandments.

----------

I have to admit that while I understand more or less what Osborne's trying to say in the article, I am not sure I understand what the concept "contemporary midrash" means.

Tuesday, January 02, 2007

Tykwer on Kieslowski

Sean Axmaker talked to Tom Tykwer in Tom Tykwer and the Collector's Compulsion (GreenCine 27/12/06)

Axmaker: Heaven is directed from a script by Krzysztof Kieslowski and Perfume is an adaptation of a novel. All your previous films have been your own original scripts, if I'm not mistaken.

Tykwer: Well, this is also my script. I mean, I had two co-writers, but I really put a lot of effort into making it. I can't really think of myself not being involved at all in the writing. But, yes, I know what you mean. It's different material. Also, in Heaven, we'd been really working a long time on this script together, but I didn't want the credit for it. It is really only the material itself that attracts me because it needs to touch something that I have a very subjective and personal relationship to. Kieslowski's script just did it. It was one of those scripts that I read and I felt like, "Wow! That's the one. That's the script I've always wanted to write but was never able to."

Axmaker went on and asked two more Kieslowski-related questions, but - perhaps understandably - Tykwer preferred to focus on his latest finished project - Perfume.