發文作者:c.w. | 三月 4, 2005

咖啡時光 Cafe Lumiere

Writing about web page http://www.coffeejikou.com/index_e.html

在里昂看完以後,跟朋友兩個都很興奮,覺得看到好東西了。就我而言,一點法文都聽不懂,還看的得意洋洋樂在其中,讓我更是開心。電影院在地下室,就直接打在圓弧形的牆壁上,因為是石頭老房子,整個空間像前幾天兩個人誤闖的酒窖一樣。

咖啡時光 的層次很多,先是這是一位台灣導演跟小津致敬的電影作品,電影裡女主角又在神保町找台籍音樂家江文也的資料。女主角懷了孕,父親是一位台商小開。淺野忠信和一青窈在咖啡店裡找咖啡店,兩人去的地方,煙霧繚繞,光影紛呈,一家比一家誘人,好看極了。

後來朋友說,電影最後的電車交纏,很像他小時家裡附近看到的景觀。嗯,還有街道的感覺、裡面父母親對小孩的態度、狹小的公寓,恐怕台灣人都會不由自主的興起某種鄉愁吧。這兩個國家這麼遙遠其實又這麼接近,侯孝賢成功的把要說的故事,說的極精緻、又順道向大師致了敬。

紐約時報 A. O. Scott 的影評

Redar Planet

電影時光


Responses

  1. I watched “Sadness of a city" again on my PB the other day. HHH was truly in his top form when he made this. “Puppet master" and “Flowers of Shanghai" both reach unprecedented achivement in terms of film art and together with “Sadness" are in my opinion the three pillars of HHH’s film art but “Sadness" has family saga, youthful iealism, love story, and on and on and on…. it has so may elements that make it terrific story.

    And by watching movie I finlly understand what HHH’s political belief might be. These days he is involved in some funky political movement that is in line with the now mainstream Taiwanese nationalists. I was initially puzzled because my (mis)understanding of HHH’s politics stays still in the old days when I fist encountered HHH’s film and that was “Sadness". I thought (correctly) that he was voicing for the historically oppressed Taiwanese but then interepreted (mistakenly) his intention as being synpathetic to cause of Taiwanese subjectivity. A few years ago I read an essay by a French film critic in this compilation of interviews, critics, and essays about HHH’s film talking about Chineseness in HHH’s work and the fact that he is a mainlander by definition and his nostalgic to a Chinese motherland. Now it’s all cleared up. HHH has a weird weak spot when it comes to imagining a China and it would appear that many a leftist he hangs out with share a similar nostaligic to China. Whenever these folks put out some sort of political action, I am puzzled.

    I said all these because in Cafe, which I’ve not seen yet, HHH pays tribute to Ozo, who he grew up with cinematially speaking. I can imagine that I will be a state of confusion when I see this film. Just like in “Sadness", I was following my instinct to indulge in identifying a sentiment in the film for the cause of Taiwanese subjectivity, but then was constanatly reminded by my own political awareness that this is not what HHH was trying to do. I will probably find myself confused when I would match my post-colonial nostalgia to an imagined Japanese-ness to scenes and sentiments in he film and be reminded by myself that what HHH was imagining was Ozu as cinematic master but not Japan as a colonial motherland.

    COMMENT:

    dear, you couldn’t seperate your own politics when watching a movie. I am not asking you to do that, but sometimes isn’t it nice to give yourself and movie makers a space to breathe? I am happy to see HHH could do this despite of all his “funky political campaigns." Otherwise it’s propoganda. And there’s something you can only say it in “arts" that couldn’t be, and shouldn’t be cleared up.


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