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標題: [時事討論] 四維出世: 悼﹕沒有太陽的希臘 ——我的母親、父親、安哲羅普洛斯 [打印本頁]

作者: felicity2010 時間: 2012-1-29 07:31 AM 標題: 四維出世: 悼﹕沒有太陽的希臘 ——我的母親、父親、安哲羅普洛斯

本帖最後由 felicity2010 於 2012-1-29 07:47 AM 編輯 # k1 x  J; ?7 `- P

四維出世:  悼﹕沒有太陽的希臘  ——我的母親、父親、安哲羅普洛斯

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Angelopoulos's The Weeping Meadow (2004), the first film of a planned trilogy, spans 30 years of Greek history, from 1919 to 1949.tvb now,tvbnow,bttvb$ P; P5 T0 _- U; F

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新年流流，大吉利市。TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。' ~- s  N4 V) d4 M0 r/ b

翻查紀錄，去年過世的名人真不少，其中不乏令人動容的如司徒華、Steve Jobs、Amy Winehouse，電影導演Sidney Lumet、Ken Russell、森田芳光，演員Elizabeth Taylor、Peter Falk，曾叱咤風雲的拉登、卡扎菲、金正日，綠茵場上馳騁的史必、蘇古迪斯，樂壇（不是娛樂圈）的Gary Moore、畫壇巨擘Lucian Freud，半文半政的哈維爾等。5.39.217.76# l  i. L* B$ d) q; P5 |1 V: ^5 L* J/ n

如果說立春以後才算得上是龍年，那麼這個兔年，於我來說，真的不好過。
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有三個人的辭世，令我最難釋然——先是我疼愛的媽媽走了，然後我敬畏的爸爸也緊隨其後，最後一個，竟然是想也沒有想過的安哲羅普洛斯。公仔箱論壇5 ~# p& Q7 P# d, M  I7 `- B  \

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近來心情複雜，很少上面書，對世界大事的認知，只限閱報，對最新情報的掌握，可說是慢三拍。星期三的下午，編輯黎佩芬忽然在電郵拋下一句﹕「想寫安哲羅普洛斯嗎？」剛讀過安氏在Sight & Sound的訪問，我第一時間的反應是﹕The Other Sea拍完了有試片嗎？還是這次他可以來香港接受訪問了（前年電影節因他突然有病，臨時取消來港，緣慳一面）。接通電話後，晴天霹靂，沒有一個詞彙可以更準確形容那一刻我的震動了。

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說來奇怪，小兒一歲有八，本在興高采烈地玩耍，一通電話後，見我面色一沉，坐下來翻閱安氏的訪問，合該有事，他竟然十分乖巧的安坐在我的膝上良久，然後指著《霧中風景》劇照中的姊弟，說﹕「爹爹？」彷彿他是知道這是尋找父親的故事，其後再指向房外說﹕「媽媽？」好像對我說：「媽媽知道了嗎？」

這半年間，父、母親離去的創傷還未來得及復原，新來的還得在傷口上灑鹽。要開始這篇悼文，感情上不得不從追悼父母親開始。雙親與安氏本來風馬牛不相及，不過想著想著，隱隱間似有一段非常微弱的紅線，牽引著過去百年一整個世紀人類的命運。/ Z( K0 t2 l9 g7 a" s& U+ w0 M

我的母親

我的母親是個非常傳統的中國女性，戰後走難來到香港，學歷很低，所識的字不多。最早且深刻的記憶是我3歲學前她教我寫字，每一個字她都很用力的寫在拍紙簿上，珍而重之，彷彿是她僅有的遺產，要好好的傳給我。很快，懂的字寫完了，她眼有淚光的跟我說﹕「媽媽懂的就這麼多了，以後你要好好讀書識字，知道嗎？」奇怪經她這麼一說，不用打鬧，我以後的學習軌跡，有幸沒有辜負她的期望。我沒有告訴她的是，讀書除了識字，還提供了一道橋樑，感通天地，明白是非，接近每一個善良的靈魂。那些年，是什麼令到人民得不到公平的教育的機會？

媽媽說，她有個大她很多的姊姊，在車禍中不幸去世（又是車禍），其後她二十來歲隻身來到香港。知識改變命運，缺乏知識當然會影響命運，往後她跟家鄉失去聯繫，就是自然不過的事情。是什麼樣的政治環境，會令人離鄉別井，切斷家族的根源，獨在異鄉裏自尋生機？她當時是何其堅韌，與我們幾兄弟認識的家庭主婦形象是如何大相逕庭。

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我的父親有著軍人般的性格，行事爽朗，樂天知命。你可以說他阿Q，可他凡事只往好處想，充滿正能量。記得我高考時成績不差，豈料大學收生時遇上滑鐵盧，過其門而剛不能入，他安慰我說﹕「理工學院（按﹕還未升格大學）仲好啦，哈哈哈……」真是令人難過。7 W* ~8 [# I* H  f3 _! v" i, t
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這幾天回到舊屋收拾，恍似《一生何求》的終場，Bruno Ganz回到家裏，一切記憶重現，不捨舊屋的離別。其間，有一鄰舍的小子路過，問起老父的近道﹕「大叔在我小時是很疼我的。」人與人總像有某種聯繫，有某段歷史，別人無法得知，直到契機悄然而至。我們在收拾間找到父親的記事簿，記下他來港時的心路歷程。「命途多舛」，是我們不曾聽他用過這詞來描述自己的，為我們提供了不一樣的父親面貌。二戰結束，內戰揭幕，家道中落，飄泊四方，親人失散，輾轉來港，落地生根。什麼的民族，會充公私產，迫使人民流徙四散？家父一生嫉惡如仇，教誨我們要做個正直之士，缺不可加害於人，於此有因。
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老父最後的日子裏，在病榻上竟然吹起口哨來。原來吸每一口氣都不是必然的，他用鼻子呼吸已然十分困難，要用口來呼氣，嘯嘯作聲，前半生太沉重，冀望他走得瀟灑。

安哲羅普洛斯

安哲羅普洛斯本念法律，臨近畢業，要接管叔叔的律師行生意時，作了逃兵，問朋友借了往巴黎的盤川，不顧一切登上往法國的火車讀電影。人到了關鍵的時刻，總知道自己想要什麼。不過，電影他也沒有念完，原因是討論拍攝計劃時，他在黑板畫了個大圓圈加一個中心點，他畫的可不是叮噹，因為他要拍一個360度的大搖鏡。老師要他回到原先的學習議題上，他不肯，就這樣吵了起來，結果當然是中途輟學。用現今香港的尺度看，真是一個一事無成的反叛青年。往後他回憶道，當時真的有些年少氣盛。無巧不成話，留下來的同學，沒有一個留在電影的行業，只有他這不肖徒，仍然是電影界的中流砥柱。

他要拍的360度的搖鏡，在首作Reconstruction我們見到了，其後在《36年的日子》、Alexander the Great等相繼出現。在外境場地，猛烈的陽光下，要拍這樣的搖鏡，問題可大了，因為一則背光，二則穿影。就因為這個意圖，他讓我們看到跟明信片不一樣的希臘，天蒼蒼、白茫茫的國度，冬天的希臘，沒有太陽的希臘。

安哲羅普洛斯的死是心裏的一根刺，令人忐忑不安，用平常分析電影的思考模式看，簡直是匪夷所思。外電說，他是步行往電影的場景中，給休班警員騎的電單車撞倒。我們每日翻報紙，給摩托車撞倒行人的機率是多少？摩托車遇行人從來都是司機避人而受傷，電單車撞死人而車手安然的例子又有多少？安氏的場景是設在海邊的一片頹垣，在一望無際的路上避不了途人的機會又是多少？這個難度簡直可比作是打一個距離月球這麼遠的保齡球瓶，而這個保齡球瓶又剛巧是希臘的國寶級導演，他正要拍攝現代三部曲的壓卷作，回應當下的歐債危機。試想想《尤利西斯的凝望》般的調度，大批軍警壓陣，與示威者對峙，主角們穿梭往來，是何其的震撼，他的死絕對不是巧合，更不像意外。朋友說希臘警察的往績很糟糕，經常非法打死打傷異見分子，亦多有殺傷人者及後被發現職業是為警察的納粹分子。tvb now,tvbnow,bttvb) w' ^! P3 G, [4 t% R

安氏的車禍，首先令我想到的是茂瑙，其次是柏索里尼。茂瑙是出櫃的同志，他的車禍是否意外，尚待考證，柏索里尼的可不是意外了，懸案三十多年沒有水落石出，又是什麼道理？/ k5 P. `$ e$ W

安哲羅普洛斯2000年時到巴塞隆拿出席影展，他托人傳話想會晤Victor Erice（艾里斯），艾里斯感到很驚訝，暗忖安氏為何對他有興趣，可是艾里斯住在馬德里沒有成事。安氏跟艾里斯，最終在2005年碰頭，這次還加入了基阿魯斯達米，成了三大師級導演的世紀會面，更速成了Erice跟Kiarostami在2006年的合作作品The Complete Letters。$ m% T+ }3 F" v+ U3 Q

緣起是安哲羅普洛斯覺得艾里斯的電影與背景跟自己很相像，西班牙是內戰與佛朗哥，希臘二次大戰時，先是意大利的法西斯，繼而是納粹的德國，然後是獨裁者Metaxas（《遊唱藝人》）。安氏的家庭就是在左右派的意態下被撕裂，《悲傷草原》有著淋漓盡致的描寫。在兩大陣營的角力下，到底「人」在哪裏，是安氏不斷拷問的問題，我父母親的家庭也是這樣的被撕破，那一輩的多少人，不分種族，多多少少是時代的受害人，他們的群像，構成了二十世紀的哀歌。萬萬料不到，新世紀的安哲羅普洛斯可能也是這個困局的直接受害者，他變成他電影裏故事的主人翁。tvb now,tvbnow,bttvb' a5 O* A; a4 p* n5 g2 O0 U5 }
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有問TheOther Sea怎樣埋尾，我們不知他拍了多少膠卷，不過電影是作者內心世界的呈現，前、中、後期太多變數，基本上沒有人可以替他作主，鑑於奇斯洛夫斯基的前車，替補完成亦不是那回事。TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。/ s7 |4 Z* n% u* ?# ^  v4 g

對於藝術家而言，沒有東西比不能完成工作更可悲、更不甘心了。死不瞑目，就更是放不下，可是我們不能像《獵人》般對屍首視而不見。套用一句Ken Loach在《土地與自由》的對白﹕「We can't let it pass!」" R; J/ p# s% C, N- i
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安氏在最後的訪問裏談到，現存經濟危機的癥結不在金錢，而是缺乏核心價值的問題，而安哲羅普洛斯的死亡說明，這個世界容不下一個把真話說得動聽的導演，正正就是最核心的核心價值問題。

在朦朧的冬日，一邊聽著Eleni Karaindrou的配樂，一邊寫這悼文，幾乎潸然淚下，沒有心情談電影，願在沒有「太陽」的國度，你我得到溫暖。

作者: felicity2010 時間: 2012-1-29 07:34 AM

本帖最後由 felicity2010 於 2012-1-30 01:28 AM 編輯
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Theo Angelopoulos obituaryTVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。; l- |. E" @1 N3 i# T; }7 h
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Film director with a magisterial style who excelled at historical and political allegories公仔箱論壇$ O5 k/ @6 t, U# z9 V7 u/ d
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The Greek film director Theo Angelopoulos, who has died aged76 in a road accident, was an epic poet of the cinema, creating allegories of 20th-century Greek history and politics. He redefined the slow pan, the long take and tracking shots, of which he was a master.His stately, magisterial style and languidly unfolding narratives require some (ultimately rewarding) effort on the part of the spectator."The sequence shot offers, as far as I'm concerned, much more freedom," Angelopoulos explained. "By refusing to cut in the middle,I invite the spectator to better analyse the image I show him, and to focus,time and again, on the elements that he feels are the most significant in it."

Angelopoulos was born in Athens,where he studied law. After military service, he went to Paristo attend the Sorbonne but soon dropped out to study at the IDHEC film school(now known as La Fémis). Back in Greece, he worked as a film critic for the leftist daily Allagi, which was closed down by the military junta that came to power in 1967. The seven-year regime of "the colonels" was seared into his consciousness and remained a subject –overtly or subliminally – throughout his oeuvre.tvb now,tvbnow,bttvb: y; D! S+ ?. q3 s: V

His elliptical style was born partly out of the restrictive atmosphere of the epoch during which he managed to make his first feature,Reconstruction (1970). Shot in spare, high-contrast black and white, it was about a Greek migrant worker who returns from Germany and is murdered by his wife and her lover. It was immediately clear that the director was less interested in the crime story than the ideological,individual and collective implications of the murder inquiry.
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Angelopoulos then emerged on the international scene with his impressive historical triptych, Days of '36 (1972), The Travelling Players (1975) and The Hunters (1977), the most ambitious Greek films to date. Shot by Giorgos Arvanitis, the cinematographer on almost all of Angelopoulos's films, they are long, contemplative studies of modern Greek history.

Days of '36, based on actual events, tells of a man arrested for the murder of a trade unionist. Protesting his innocence, he holds a politician hostage in his cell, threatening to kill the man, and himself, unless he is released.The film subtly undermined the military regime in its portrayal of official incompetence. Given its physical confines, and the fact that the prisoner remains out of sight for much of the time, the high level of tension is a real achievement.公仔箱論壇/ ?+ z0 G$ X( Q; e" S; S- A$ b
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In The Travelling Players, set in 1952, a troupe of actors recall Greek political history and their own personal histories since they last visited the country, in 1939. Nearly four hours long, the film consists of just 131shots, allowing the audience time to assess the situation rationally. The Hunters follows the eponymous group across a snowy mountainside in northern Greece as they come across the body of a Greek guerrilla fighter killed in 1949. At the subsequent inquest, each member of the group, as well as various peasants and workers, speaks of his experience of the civil war and the years that followed. Shot in pastel shades, the film slowly unravels the various strands in this inquisition of the right, using dream, memory and fantasy, and the powerful symbol of the corpse as the silent accuser.
TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。* |# y9 |- i4 F2 j3 c
In Voyage to Cythera (1984), the first of what Angelopoulos called the "trilogy of silence", an old man who fought with the communists during the civil war returns to Greece after more than 30 years' exile in the Soviet Union. He attempts to come to terms with his country and his wife and family, whom he hardly knows. The second, The Beekeeper (1986), was the first of Angelopoulos's films to use well-known actors, in this case Marcello Mastroianni as a morose,retired schoolteacher who sets off on a trip around the beehive sites of Greece,picking up an enigmatic young female hitchhiker on the way.

This compelling film could be called a metaphysical road movie, as could Landscape in the Mist (1988), the third in the sequence and the first of his films to feature children. Here, a 14-year-old girl and her little brother embark on a journey to find their father, whom they believe to be in Germany.In fact, it is an existential odyssey, a voyage towards the unattainable.
Harvey Keitel starred in Ulysses' Gaze (1995) as another character who returns to Greece from exile. He is a film-maker, back from the US,seeking some lost reels of films made by two famous Greek film-makers during the silent era. The film won the grand jury prize at Cannes.Uncharacteristically, Angelopoulos expressed his disappointment that it did not win the Palme d'Or. He told a shocked and suddenly silent audience: "If this is what you have to give me, I have nothing to say," before walking off the stage without even posing for pictures.; C) w0 z+ T# ~4 J
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Cannes made amends three years later when Eternity and a Day (1998) won the festival's top prize. The film is a philosophical meditation about a dying writer, played by Bruno Ganz, and his thoughts on family, art and mortality. Angelopoulos executes the transition between present and past brilliantly, gliding easily between uncertain reality and nostalgia.

The Weeping Meadow (2004) was the first of what Angelopoulos planned as a trilogy. The mytho-poetic dimension of the film – a magical fusion of colours,sounds, music and images which expresses the deepest feelings surrounding life and death – is linked, as usual, to a strong political and social context. The film spans 30 years of Greek history, from the exodus of the Greek colony in Odessa under the threat of the Red Army in 1919 to the end of the civil war in 1949.
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The Dust of Time (2008) covered the second part of the 20th century,venturing outside Greece for the first time. The Greek-German-Italian-Russian co-production, mainly in English, had all the makings of a Europudding, albeit one made by a master chef. Not all these fears were allayed. The Dust of Time is a fin-de-siècle drama, a cry of pain derived from the wounds inflicted during the previous century.

Angelopoulos's latest film, The Other Sea, was to be about Greece's financial crisis. While filming in Athens' main port, Piraeus, he was in collision with a motorcycle as he crossed a road. He died later in hospital.5.39.217.761 B% v7 F9 m1 A% ?) w

He is survived by his wife, Phoebe, and three daughters.* t- n1 l. \& e. R; ^' H2 b/ ]

• Theodoros Angelopoulos, film director, born 27 April 1935; died 24 January 2012公仔箱論壇' o: b3 s9 M6 _
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TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。' R, X0 U7 ?9 o# r2 l
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Theo Angelopoulos' first feature, The Reconstruction (1970), draws on the real-life murder of a Greek worker (Yannis Totsikas, left) in Germany by his wife (Toula Stathopoulou) and her lover (Michalis Fotopoulos). The murder story, and its 'reconstruction', becomes a parable for the disruption of a community and a nation – Greece was under military rule at the time.

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Angelopoulos' second film, Days of 36, was set during Greece's tumultuous interwar period, when unstable governments alternated with military coups with alarming regularity. Days of 36 focuses on a politically sensitive hostage situation, which Angelopoulos uses to lay bare the state's fragmentation as Metaxa's fascist dictatorship loomed.

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Angelopoulos' last completed feature was 2009's The Dust of Time, starring Michel Piccoli, Willem Dafoe and Irene Jacob. Dafoe takes on the Keitel role of a Greek-American film-maker; Jacob is his mother Eleni, a woman who manages to reunite with her husband Spyros (Piccoli) after deportation to a Soviet labour camp.

作者: felicity2010 時間: 2012-1-29 07:55 AM

黎佩芬: 安哲羅普洛斯會如何定鏡香港. C3 L. H3 r f2 o% y' W3 \7 C3 o
TVBNOW 含有熱門話題，最新最快電視，軟體，遊戲，電影，動漫及日常生活及興趣交流等資訊。9 A2 i: }6 o/ B* P( n- c5 b

新正頭霧氣很重，又濕又凍，初三起脇即收到家明電郵說，安哲羅普洛斯死了……怎可以這樣，我實在很期待看他的「希臘三部曲」最終章，想看他要如何用詩化的畫面和個人化的電影語言，還有如何的故事，去寫這個被金錢和私慾敗掉的國家。他是如此心繫他的國土。太可惜了。四維出世寫來一篇深情的悼文，到尾後提出一個陰謀論，叫人心寒。老編梁一看就說，想起Costa Gavras的電影Z（中譯《大風暴》），描寫六十年代軍政府統治下的希臘，政治暗殺橫行的時期。我就想起，導演死前說過，希臘現在最缺的不是錢，是核心價值。
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我最記得電影中的霧景，迷離淒美然後一記冷槍，叫人心碎。何倩彤明顯記住了倒下的列寧像緩緩在長河中流過的經典長鏡頭，她的筆下，列寧換成安導，兩岸是歷史和現代。如果安導拍香港，拍這片土地和人，他的凝鏡會定在哪兒？中港身分矛盾熱議的喧囂中，寫小說的紅眼寫蝗蟲，這裏，蝗蟲不是一些人指的「某些內地人」，而是一場「人吃人、狗咬狗」之災害。沈旭暉今期有《致煲呔書》，痛陳利害，籲請煲呔正視此災，不要只在面書問問學者意見就算，應坐言起行做番個「香港仔」。他能否變身幪面超人？

恰好有讀者來郵問香港所謂的核心價值係乜傢伙。香港最重要不是錢多，而是香港人對美好信念的堅持，不是嗎？

歡迎光臨公仔箱論壇 (http://5.39.217.76/)