拯救希治閣九部默片

2010/09/30 at 2:12 am | Posted in 香港戲院/港島, 光影絮言 | 6 Comments


↑希治閣和「鳥」。Philippe Halsman攝於1962年。(摘自Magnum Cinema,Phaidon,1998)

  尾巴一條。BFI早前傳來的另一則電郵,題為「Rescure The Hitchcock 9」,呼籲大家捐輸,協助該局以電子技術修復希治閣二十年代的九部默片。

  希治閣離世已30載,刻下香港正舉行他的回顧展。上述提及的九部影片,是次回顧展亦選映其二。九部作品如下,譯名據陳國富編的《希區考克研究》:

  .The Pleasure Garden (1925)…歡樂園
  .The Lodger (1926)…房客
  .The Ring (1927)…手環
  .Downhill (1927)…下坡路
  .Easy Virtue (1927)…放浪
  .The Farmer’s Wife (1927)…農家婦
  .Champagne (1928)…香檳
  .The Manxman (1929)…男人島的男人
  .Blackmail (1929)…敲詐

  當年,碧麗宮戲院偶然會選映舊片,以饗知音。有年夏季放映《後窗》,當時身在澳門,也有興趣進戲院看這種舊電影,但聽收音機的影評人說,多年後重看,再體味不到緊張大師的「緊張」氣氛,反而有點沉悶。

  首次看《後窗》,是在藝術中心一個課程上,在電視看錄影帶,由梁儂剛解說。好像從未在戲院看過希翁的作品,全都在電視看,但又看得很入迷。這次回顧展放映的,包括攝於1936年的《炸彈風雲》Sabotage。若沒有記錯,我應該在澳門電視台看的。已是八幾年的舊事,澳廣視實在沒什麼節目,偶有這些「估佢唔到」之選,另一是奧遜威爾斯演出的《港澳輪渡》Ferry to Hong Kong

  Sabotage的故事內容已不甚清晰,但小孩子蒙在鼓裡,拿著包裹登上雙層巴士,包裹內炸彈突然爆炸的情節,還有印象。當然,印象更深的,自然是主場景--戲院。大概是首次看到外國戲院的內外全貌,那是一間小型戲院,座位不多,情調古舊。那可能是佈景而非實景,只是,當時確實沒見過這種模樣的戲院。

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  1. 「後窗 」是懸疑多於緊張,最緊張的一幕是結尾女主角摸入疑兇的家探索,這時疑兇剛好回家,男主角在對面樓望見空著急。
    「港澳輪渡」是我記得看過的第一齣西片,50年代之末,拉著大人衫尾進戲院看的。英國蘭克公司出品,當年大多是黑白,這齣是彩色,很隆重的了。

  2. ……然後男主角按動閃光燈,擾亂兇手的視覺。希治閣的電影,確是好看的。昨天走過影視店,見到有粵語片《後窗》的DVD,售八十元。
    .
    看到你也在網誌上談及《港澳輪渡》,當年在澳廣視播出,我也沒有認真的看畢。翻查資料,該片於1960年1月,於利舞台和普慶放映。

  3. First of all please excuse me for writing in English since I don’t know how to do Chinese text input

    Since I didn’t hear it firsthand so it is hard for me to judge but if that film critic thinks “Rear Window” dull because it no long thrills him, then I have to say it seriously underscores his creditability as a film critic, not because he didn’t applaud the movie but because he only judge the movie from the thrilling angle.

    Sure Hitchcock was lauded as “Master of Suspense” but he is one of best director in history not because his movies are thrilling but because there are so much depth in it. “Rear Window” is important in Hitchcock career because more than any other movies it is so much more related to movie-making. Once he had famously compared movies making as voyeurism because you are filming someone (the actors) without their knowing. In that sense James Stewart in “Rear Window” is Alfred Hitchcock the director himself and the entire view out of his rear window is really the movie screen. Notice that the movie spent a lot of time explaining the relationship between James Stewart and Grace Kelly before a murder is suspected, where Grace Kelly wanted their relationship to become serious while James Stewart is being reticent about it. When you look at each of the household he saw in his rear window they are all at different stage of a relationship: an old maid who didn’t have any suitor, a dancer who had too many suitors, a newly wedded who were at the beginning of the marriage and most of all, the suspected victim and murderer whose marriage was on the rock. When the wife disappeared and James Stewart suspected a murder, you can say it is his (the director’s) fear of relationship being projected onto the big screen. Even more interesting is when Grace Kelly climbed into the building (his movie) and being menaced by the suspect, the director is actually losing control of his movie. It is a very witty statement of the role of a movie director.

    I don’t want to get too long wind about it but there are tons of essays and books written on “Rear Window” and I would suggested people should pick up one if they find “Rear Window” boring. I am sure that would open your eyes more on how to appreciate movie-making rather than whether it is thrilling or not.

  4. 謝謝你詳細的分享。
    .
    當年那節目是介紹該周上映的電影,關於《後窗》,僅淺談兩句,並沒有評論。他們以一個「娛樂性」來下那評語,言談間亦流露時代不同、對娛樂性要求有別的意思。我並不懂分析影片,但喜愛看舊電影,總會把時代變遷的考慮放進其中,看舊電影(也許,其他電影亦然),是要用多幾把尺。
    .
    的確,有關希治閣電影的專著不少,藉得對他電影感興趣的人士閱讀。

  5. 有一本:杜魯福訪問希治閣。

  6. 謝謝指出. 杜魯福訪問希治閣, 是影史上一件重要事件. 在陳國富編的《希區考克研究》也有節選其中一部份。


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