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The Art of Reinvention: Paul Thomas Anderson & His Influences - SHOOT THE PIANO PLAYER!

Truffaut, hot off THE 400 BLOWS, his masterpiece of adolescent dread, completely changes directions with SHOOT THE PIANO PLAYER, a film influenced by Hollywood gangster movies that trades in claustrophobic framing for black-and-white Cinemascope grandeur and invention on a small scale. 152 more words

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Me and Me and Earl and the Dying Girl, Part II

I told you I’d be back with a review of the film adaptation of Pittsburgh-native Jesse Andrews‘ debut novel Me and Earl and the Dying Girl… 847 more words

酷兒少年與殘缺母愛:《聽媽媽的話》、《親愛媽咪》的愛無能與愛無盡

札維耶.多藍(Xavier Dolan)鍾情楚浮(François Truffaut,又譯杜魯福),多次在訪問中申明看過的電影不多,拒絕被歸入哪個門派或與哪位大師的名字連在一起,卻唯獨承認自己「比較像楚浮」,還大膽說想不出二十部偉大的高達(Jean-Luc Godard),但想得出超過二十部偉大的楚浮(楚浮導演生涯的長短作品總數也就二十幾部)。[1] 在楚浮的二十多部作品裡,多藍又最鍾情《四百撃》(The 400 Blows)。除了將之比作自己的童年、首次愛與被愛的經驗,並說自己因此走上導演之路,[2] 多藍已先後有兩部直接指涉(或重寫)《四百撃》的作品,分別是其導演處女作《聽媽媽的話》(I Killed My Mother,港譯:《殺死我阿媽》)和在2014坎城(康城)影展上與高達《告別語言》(Goodbye to Language)並列評審團獎的《親愛媽咪》(Mommy,港譯:《慈母多惡兒》)。《聽媽媽的話》和《親愛媽咪》對《四百撃》之經典元素的借用──例如男童、母親、體制──並非單純重複,更是重新演繹,乃至注入新意。如此一來,多藍不只是拍出了「多藍版本的《四百撃》」,「多藍版本的《四百撃》」無疑也為解讀經典提供了來自新時代的新視角。本文從《聽媽媽的話》和《親愛媽咪》所組成的「多藍版本」中挑出兩點較明顯的重寫──頑童形象與母子關係──一窺這個來自天才(genius)、神童(prodigy)、頑童(enfant terrible)[3] 及酷兒(queer)的新視角。 225 more words

電影筆記

Monday Night Screening: The 400 Blows

The Cinema Club is pleased to announce the screening of the French classic, The 400 Blows (1959), this Monday. The 400 Blows belongs to a select group of films which could be said to be responsible for revolutionizing modern film-making. 398 more words

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