There are moments in life when the thought 'gosh, life is good' creeps into mind.
I had encountered such moments over the weekend - at Joanna Newsom's concert, then at Aphex Twin's.
Musically, and in stage persona, they can't be more different. They were both sublime.
March 21, 2011
March 07, 2011
Possible loves
Judging from Possible Loves (Amores Possiveis), Murilo Benicio is capable of everything: a hopeless yet absolutely adorable mother's boy who refused to grow up and had his mum to run his life; a man who was confused of his sexual orientation after a hot dance with his ex-wife; and a successful yet rigid lawyer who became guilt-striken after initiating an affair with a girl who stood him up 15 years ago.
OK, when we really look deep into all three characters, there might be a lack of depth in characterisation in that they are all more about a particular moment in life, but the performance is of such sublime quality from all involved (the chemistry between mum and son being the most best), Possible Loves outshines most of its competitors in this genre from around the world. I got a sense as well - which was not dispelled even after second viewing, Possible Loves is a possible sequel to... In the Mood of Love from HK. While the latter dealt with love that was strictly bounded by morals, the former beg the question of what if... and comes up with three different answers. Though there was a romantic ending to one of the stories in Possible Loves, the overall mood is sadness, as in In the Mood of Love.
Murilo Benicio is, I know I am biased, probably one of the best of actors. It was a sad surprise to realise that he stars also in Woman on Top, a film that completely failed to impress me, possibly due to its annoyingly sexist and silly poor scripts. I am expecting more from him.
PS: I borrowed Orfeu in my next visit to the library and put it on the first chance that I had. Murilo Bencio played a gangster in a baggy jacket and a tight hat. But probably because he was playing the third fiddle to the pop idol and his Indian beauty queen girlfriend, he seemed eclipsed in it.
OK, when we really look deep into all three characters, there might be a lack of depth in characterisation in that they are all more about a particular moment in life, but the performance is of such sublime quality from all involved (the chemistry between mum and son being the most best), Possible Loves outshines most of its competitors in this genre from around the world. I got a sense as well - which was not dispelled even after second viewing, Possible Loves is a possible sequel to... In the Mood of Love from HK. While the latter dealt with love that was strictly bounded by morals, the former beg the question of what if... and comes up with three different answers. Though there was a romantic ending to one of the stories in Possible Loves, the overall mood is sadness, as in In the Mood of Love.
Murilo Benicio is, I know I am biased, probably one of the best of actors. It was a sad surprise to realise that he stars also in Woman on Top, a film that completely failed to impress me, possibly due to its annoyingly sexist and silly poor scripts. I am expecting more from him.
PS: I borrowed Orfeu in my next visit to the library and put it on the first chance that I had. Murilo Bencio played a gangster in a baggy jacket and a tight hat. But probably because he was playing the third fiddle to the pop idol and his Indian beauty queen girlfriend, he seemed eclipsed in it.
January 03, 2011
Infernal affairs
In My Name Is Fame, when Lau Chingwan's character - in an intoxicating state - wonders out loud how come a certain HK film can claim to have a Hollywood remake, and that isn't it true that most HK films copy Hollywood products, what springs to minds to most of the cineasts could well be the Infernal Affairs series and its Hollywood remakes The Departed.
Indeed, for those who have followed the 'original' HK version, The Departed is not exactly a most anticipated experience owed to the lack of suspension, a crucial ingredient the crime/cop genre. It is a little bit too long and the leading actors are certainly less charismatic than their HK counterparts.
But overall, it is a good remake - and credits should be given to the screenwriter who has adapted it so well into the American (sub)culture. The major 'flaw' I can spot is the scene where Chinese are involved. In that scene where a 'Chinese official' is supposed to be present at the illegal arms deal, one of the two being used on screen is Cantonese rather than Mandarin, and it is obvious that the interpreter struggles a little bit with the pronunciation! By 'opting' for Cantonese rather than Mandarin at this scene (assuming it was not a random decision), one might argue that the remake pays tribute to its HK blueprint. However, if the film wants to sustain its credibility throughout, in this scenario, the illegal arms deal is to do with China's long term ambition to reclaim Taiwan, then the 'Chinese official'(presumably a high ranking one otherwise it is difficult to get funded) could hardly be a Cantonese speaker. The reason behind this is ostensible to most Chinese 'experts', and it is puzzling that this is allowed in a film of such calibre.
I enjoyed watching this remake, that is, despite the weakest link - that of the only female character and her relationships with two men. Her characterisation is not sufficiently developed, and like most fans of the originals, I think it an error to combine two female characters into one.
As a fan of its second sequel, Tony Leung and Francis Ng, I definitely believe the original is far more superior and original!
Indeed, for those who have followed the 'original' HK version, The Departed is not exactly a most anticipated experience owed to the lack of suspension, a crucial ingredient the crime/cop genre. It is a little bit too long and the leading actors are certainly less charismatic than their HK counterparts.
But overall, it is a good remake - and credits should be given to the screenwriter who has adapted it so well into the American (sub)culture. The major 'flaw' I can spot is the scene where Chinese are involved. In that scene where a 'Chinese official' is supposed to be present at the illegal arms deal, one of the two being used on screen is Cantonese rather than Mandarin, and it is obvious that the interpreter struggles a little bit with the pronunciation! By 'opting' for Cantonese rather than Mandarin at this scene (assuming it was not a random decision), one might argue that the remake pays tribute to its HK blueprint. However, if the film wants to sustain its credibility throughout, in this scenario, the illegal arms deal is to do with China's long term ambition to reclaim Taiwan, then the 'Chinese official'(presumably a high ranking one otherwise it is difficult to get funded) could hardly be a Cantonese speaker. The reason behind this is ostensible to most Chinese 'experts', and it is puzzling that this is allowed in a film of such calibre.
I enjoyed watching this remake, that is, despite the weakest link - that of the only female character and her relationships with two men. Her characterisation is not sufficiently developed, and like most fans of the originals, I think it an error to combine two female characters into one.
As a fan of its second sequel, Tony Leung and Francis Ng, I definitely believe the original is far more superior and original!
December 30, 2010
King of comedy
Watching films starring Stephen Chow is a depressing experience. True to his fame, he is talented in that he always manages to uncover something funny, new or even unusual in the most mundane scenario. But most of the time, even when you find yourself laughing with his characterisation, there is something repels like hell. His 'nonsensical humours', verbal or visual, usually appeal to the 'lower' taste of our normal self and, when repeated as a trademark, albeit always in dazzling forms or formats, can drive you mad.
December 13, 2010
Election 2 and Hong Kong after handover to China
After watching a disappointing My Left Eye Seeing Ghosts and Fulltime Killers, Election 2 was a great relief to his fans to see Johnnie To return to form when he handles one of his favourite genres - that of the underworld and triad who suck bloods like drinking milk. Though it does not have the austerely stylish presentation of his classic, The Mission (1999), the filming and subsequent success of the film itself is probably one of the best answers to the general concern before 1997: what would happen to the freedom of speech in Hong Kong after the handover to China by Britain.
Shot in 2006, the film closes with a dialogue between the handsome yet cold-blooded young head of an ancient triad and the weathered deputy director of a provincial (read as Guangdong Provincial) Public Security Department (played by a well-known mainland Chinese actor): now that the protagonist was an elected head of the triad (with bloods in his hands), he'd better make sure that he stayed that way (and hence destroyed the age-old election system of the triad). Prior to request, the vice director gave out the address where the presumably seal of power had been retrieved - that in the capital city near the actual municipal government in Guangzhou. The cold-hearted head of the triad was so infuriated by the demand that he hit the stout vice director with an armed bodyguard by his side on the head several times. He was however allowed to get away with his outbreak of rage: after all, the demand was made for the long term benefit of a more predictable future (because, the vice director said that they could trust him, a killer who doesn't mind his weapons in order to get what he wants).
The message here cannot be more explicit.
Election 2 epitomises the one country two systems policy: the HK filmmakers are allowed to get away with their cynical criticism to the Communist region.
Shot in 2006, the film closes with a dialogue between the handsome yet cold-blooded young head of an ancient triad and the weathered deputy director of a provincial (read as Guangdong Provincial) Public Security Department (played by a well-known mainland Chinese actor): now that the protagonist was an elected head of the triad (with bloods in his hands), he'd better make sure that he stayed that way (and hence destroyed the age-old election system of the triad). Prior to request, the vice director gave out the address where the presumably seal of power had been retrieved - that in the capital city near the actual municipal government in Guangzhou. The cold-hearted head of the triad was so infuriated by the demand that he hit the stout vice director with an armed bodyguard by his side on the head several times. He was however allowed to get away with his outbreak of rage: after all, the demand was made for the long term benefit of a more predictable future (because, the vice director said that they could trust him, a killer who doesn't mind his weapons in order to get what he wants).
The message here cannot be more explicit.
Election 2 epitomises the one country two systems policy: the HK filmmakers are allowed to get away with their cynical criticism to the Communist region.
A Passage of Madness/The Observatory
Mind-blowing, incredible, magnificent, experience of a lifetime... none of these can describe how I felt at this low-key event: the screening of A Passage of Madness, an avant-garde silent film made in 1926, lost soon after its completion and only found some 50 years later by its director. Without any inter-titles, the story was not the easiest to follow, but its decors, styles and performances are certainly the most experimental and ahead of its time, which reminisces that of the German surrealist cinema of the 1920s at the height of its power.
The film, mythical and challenging on its own right, served most of the time as a visual backdrop for the soundtrack composed and performed live by The Observatory in a small auditorium that holds about 500 audience. The musical performance started approximately 5 minutes prior to the start of screening, creating and building up an atmosphere, and transporting the audience to a misty, dark and isolated place not too different from those of the classic Chinese ink painting of the rocky mountain partially obscured by the cloud sea. Then as the story evolved, it became blurred as to who was the actual star of the night: the man who was trying to rescue his wife in a madhouse and being ridiculed by her inmates/doctors; the director who had been most adventurous in his styles of filming and representation; or the music that seemed to be part and parcel an organic part of the narration - albeit composed some 84 years after the shooting! For those like myself who had not had the slightest knowledge of what the film was about prior to the screening, it was largely the music that had guided me through the viewing of a silent film without subtitles. My mind was only drifted once or twice away when I was struck by the fact how marvelous the composition was and that how lucky I was to be one of the privileged few in the audience. In an interview published on Today two days before the screening, the band commented that this film had allowed them to explore the boundary of insanity, but their fans should still be able to recognise them in the soundtrack. While this is absolutely true, I would add that it had taken the indie band far well beyond their 'normal' soundscape into that of experimental and avant-garde. The soundtrack was imaginative, atmospheric, powerful and compared well with the best in the world in similar genre.
The screening and musical event, commissioned and organised by the National Museum of Singapore, has got to be one of the highlights, if not the highlight, of the Singapore art scene of recent years. It says how much Singapore can achieve if it puts its mind to it. It would be a great loss if the event was live recorded, and even worse, if the soundtrack is not recorded for the benefit of the general public.
Life is good when witnessing the performance of a lifetime.
The film, mythical and challenging on its own right, served most of the time as a visual backdrop for the soundtrack composed and performed live by The Observatory in a small auditorium that holds about 500 audience. The musical performance started approximately 5 minutes prior to the start of screening, creating and building up an atmosphere, and transporting the audience to a misty, dark and isolated place not too different from those of the classic Chinese ink painting of the rocky mountain partially obscured by the cloud sea. Then as the story evolved, it became blurred as to who was the actual star of the night: the man who was trying to rescue his wife in a madhouse and being ridiculed by her inmates/doctors; the director who had been most adventurous in his styles of filming and representation; or the music that seemed to be part and parcel an organic part of the narration - albeit composed some 84 years after the shooting! For those like myself who had not had the slightest knowledge of what the film was about prior to the screening, it was largely the music that had guided me through the viewing of a silent film without subtitles. My mind was only drifted once or twice away when I was struck by the fact how marvelous the composition was and that how lucky I was to be one of the privileged few in the audience. In an interview published on Today two days before the screening, the band commented that this film had allowed them to explore the boundary of insanity, but their fans should still be able to recognise them in the soundtrack. While this is absolutely true, I would add that it had taken the indie band far well beyond their 'normal' soundscape into that of experimental and avant-garde. The soundtrack was imaginative, atmospheric, powerful and compared well with the best in the world in similar genre.
The screening and musical event, commissioned and organised by the National Museum of Singapore, has got to be one of the highlights, if not the highlight, of the Singapore art scene of recent years. It says how much Singapore can achieve if it puts its mind to it. It would be a great loss if the event was live recorded, and even worse, if the soundtrack is not recorded for the benefit of the general public.
Life is good when witnessing the performance of a lifetime.
December 08, 2010
Eye in the sky
This is another HK film to look out for - a directorial debut by Johnnie To's long term collaborator, writer Yau Nai-Hoi, who was responsible for some of the classics like The Mission.
Kate Tsui certainly deserved the accolades for her performance as a newcomer in the police surveillance team. The story itself is fascinating and the documentary style also contributes to its realistic look.
Kate Tsui certainly deserved the accolades for her performance as a newcomer in the police surveillance team. The story itself is fascinating and the documentary style also contributes to its realistic look.
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