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Uncle Boonmee Who Can Recall His Past Lives (波米叔叔的前世今生, 2010)

Uncle Boonmee Who Can Recall His Past Lives (波米叔叔的前世今生, 2010)

導演
Apichatpong Weerasethakul
演員
Sakda Kaewbuadee, Jenjira Pongpas, Thanapat Saisaymar
連結
imdb link

 

 

簡介
現代, 泰國東北部鄉郊~ 患嚴重腎病的 Boonbee 叔 (Thanapat Saisaymar 飾) 在家中病危, 他早已逝世的妻子忽然現身, 在臨終前送他最後一程, 多年前失蹤的兒子, 也變成靈猿模樣回到他身邊~ Boonmee 回想他前世輪迴的往事, 與家人一起走進黑暗的洞穴, 重臨他出生的地方~

 

評語
泰國導演 Apichatpong Weerasethakul 在康城影展獲得金棕櫚獎的新作, 大概未必是初次認識這位奇想導演的最佳的入門作品~ 雖然此片依然充滿許多不解之謎和傳說神話, 但它沒有先前數部作品作為導演個人特色, 較明確的二段對比結構和主題上二元對立的設計 (文明vs.原始, 城市 vs. 自然), 拍攝風格上也不盡是導演慣常採用那種如幽靈般緩緩飄移的流動長鏡頭~

這裡有 Apichatpong 電影經常出現的森林, 動物, 病人, 還有不太稱職的僧人, 但 “Uncle Boonmee…” 對這位經常出人意表的導演來說無疑是一個新鮮的發展方向~ 一如導演在訪問頗詳細地解釋, 這部電影代表著他對舊日用菲林拍成的電影的懷念, 片中每卷菲林都按不同類型片風格演出和拍攝, 而每種類型片都跟導演小時候的觀影經歷息息相關~

事實上, “Uncle Boonmee…” 以至 Apichatpong 電影其中一點最有趣之處, 就是把這種通常只出現在實驗電影, 高度私人的素材和抽象非敘事的風格, 融合到劇情長片之中~ “Uncle Boonmee…” 就像一本沒有特定開始和結尾, 段與段之間沒有明顯連繫, 用暗號和隱語寫成的私人日記~ 患病在床的潘米叔叔, 小屋中的擺設, 穿梭時空的投影機等許多天馬行空的東西, 都是從導演的個人經歷, 他人轉述, 夢境, 小說, 神話等多方面得到靈感和啟發~ 一般看電影時觀眾至為關心之所謂 “故事情節”, 在這裡查實不太重要也無甚邏輯可言, 人鬼獸可以和諧共存甚至人獸雜交, 六個部分可以是六度輪迴, 前世今生從沒清楚分辨, 哪段孰真孰假實在不得而知, 甚至可能如片末暗示, 是發生在多個同時進行的平行宇宙~

這些不解之謎從來不是重點, Apichatpong 的電影一直嘗試表達一些非常直接的情感, 不用理性分析, 通過神秘而迷人的影像傳遞的單純感覺, 要求觀眾放棄既有的觀影期望, 採取開放的新角度看電影~ 在這裡, 謎團不用急著解拆, 也不用太在意生死真假, 要作政治或宗教解讀亦無不可, 但一般故事情節之所謂起承轉合, 簡直就像是種庸人自擾的執迷~

23 comments to Uncle Boonmee Who Can Recall His Past Lives (波米叔叔的前世今生, 2010)

  • 已決定要入場睇多次, 呢套認真境界開闊, 今年兩大影展大獎都屬於這種人和自然關係既影片 (呢套同埋蜜)

  • I’m rewatching this next week. Either I was in the wrong mood 2 weeks ago, but I find that the relatively more arratively-inclined structure is actually a distraction. I’m puzzled why it seems that a lot of people find Uncle Boonmee as Joe’s most accessible film- haven’t they seen Tropical Malady or Blissfully Yours?

    Whereas in Malady it’s two films/analogies and Syndromes’ reptitions, camera movements and detatched scenes has a creeping metaphyical and mysterious effect, I felt Boonmee was more of an ‘arthouse’ ghost story with the long shots and non-linear ellipses, ‘cliches’ that the (mainstream) cynics always complain about. Joe’s signature talent is obvious with numerous amazing scenes (catfish/woman, cave astronomy), but I have to admit I’m a bit surprised by the unanimous acclaim from hardcore cineastes when it won the Palme D’Or. Perhaps it’s just a feeling of vindication that Cannes has finally rewarded a ‘real’ filmmaker in their opinon, and not just anbother middlebrow mainstream ‘big message’ film?

    Anyway, maybe I’ll enjoy it a bit/lot more on the rewatch (like I did with Syndromes), and maybe it’s the mystery at the ending that’s nagging me- endings occasionally have a disproportional effect on my impression of a film, and I know that’s not a good thing….

    Btw have you watched 告白 yet? What’s your take on it?

    Also, it’s pretty disingenious that in the Assayas retrospective introduction in the French Cinepanorama booklet they praise his ‘triumphant, monumental Carlos (5.5 hours)’, and then go on to screen the shorter 165 minute theatrical cut in the festival. This was originally a must see for me this year, now I’m just going to get the DVD/download the original and longer TV version (already avaliable online).

  • One more thing, a clear departure in this film is the introduction of politics (however mild the inferences are). There’s some clear hints of an anti-military/authoritarian stance, particularly during the Marker-styled montage.

  • re: abjj
    兩大影展都把大獎頒給這種電影實在是好事, 這兩部電影即使在當今藝術電影圈中也屬於少數, 是真正用影像說話, 用豁然開朗的目光看世界~
    喂喂, 點解個個都話睇多次, 唔係場場爆滿喇咩??

    re: The Daydreamer

    I’m puzzled why it seems that a lot of people find Uncle Boonmee as Joe’s most accessible film- haven’t they seen Tropical Malady or Blissfully Yours?

    I can’t agree with you more~!! I think a lot of people and the majority of the press doesn’t really know how to begin to talk about this film~ It’s just SO different from most things you can find in mainstream and arthouse cinemas nowadays~

    To be honest, I am not as impressed by “Uncle Boonmee” compared with Joe’s previous works~ True, like all Apichatpong films, there are some beautiful revelatory moments like the cave astronomy and the jungle scenes, but I find the highly digressive narrative a little too loose and confounding~ Without his own exposition in interviews, the film would almost be impenetrably personal~ Perhaps a re-watch will change my opinion though~ The political references are so mild (and humorous with an hairy ape among the soldiers) that I don’t think they amount to anything substantial politically~

    The thing I admire the most about “告白” is that the director managed to make a mainstream film with highly stylistic MV-aesthetics yet able to keep it interesting throughout the film’s runtime~ The plot and the “message” are not as impressive though~

    As for this year’s French Cinepanorama, how come the tickets are being sold for a week now but the website is still not up? I’ll re-watch Assaya’s “Irma Vep” and “Demonlover”~ As for “Carlos”, I guess I’ll try to see both versions~

  • 加左場麻, 我睇9號bc那場…亞薩耶斯我冇睇過

  • re: abjj
    assayas的電影很有活力和現代感, 推介 “irma vep”, “demonlover” 和 “summer hours”~

  • 看多了一次, 我維持原判, 不知兩位怎樣, haha

    它的氛圍意境有像《蜜》, 不過蜜主要談人和自然的並存互依, 也要遵從自然法則, 起落有時聚散有時生死有時

    波米叔叔就還是從人出發, 人和自己、人與人、人與動物、人與神鬼、人和自然甚至人和過去將來都有談到, 它令我想起eason的不來也不去, 「可痛若驪歌, 樂如兒歌, 像你沒來過, 沒去過」 一件事可喜可悲, 都由你怎樣看, 公主恨自己的美麗都是水的倒影幻像, 但鯰魚說「那你不就是從倒影中看到自己的美麗嗎?」 進化論說人從猿猴進化, 但也有人為了追尋大自然奧秘而當猿猴…牛被束縛在樹旁想要逃脫, 卻發現無處可去, 人死前感覺時日無多, 但原來死後是沒時沒間的

    最愛還是兩公婆坐在床那場戲

  • I would like to see this movie but too busy in these days. What a pity!

  • “To be honest, I am not as impressed by “Uncle Boonmee” compared with Joe’s previous works~ True, like all Apichatpong films, there are some beautiful revelatory moments like the cave astronomy and the jungle scenes, but I find the highly digressive narrative a little too loose and confounding~ Without his own exposition in interviews, the film would almost be impenetrably personal~ Perhaps a re-watch will change my opinion though~ The political references are so mild (and humorous with an hairy ape among the soldiers) that I don’t think they amount to anything substantial politically~ ”

    完全同意。基本上,我也覺得uncle boonmee是Joe同志長片裏面最不好的一部,較之前面幾部,顯得有些刻意,匠氣太重(個人以爲syndrome也有類似的問題,但因爲結構“簡單”所以比這部顯得統一些)。雖然他自己解釋是每個段落有意反觀(泰國)影史上不同的類型片,但每個段落都沒有充分發展,感覺不停在跳tone,少了前幾部那種緩慢釋放開的“氣韻”(森林段落表現得尤其明顯)。從整體上講,也沒有呈現什麽特別深刻有力的東西,更像是來自另一個文化的parallel-universe通俗演繹(尤其比較不滿意結尾)。

    至於那個political reference,大概是因爲那一段是直接從之前primtive裝置作品裏面截取過來的緣故,顯得有點不明不白。在整部裝置作品中,發展得相對充分些。

  • “拍攝風格上也不盡是導演慣常採用那種如幽靈般緩緩飄移的流動長鏡頭~”

    這點也同意。前幾部很大程度上enjoy的是immersion的過程(但其實他的長鏡又不是特別長~),但這部盛載的東西遠遠多過immersion本身~

  • re: abjj
    你這樣理解亦很有趣, 我倒沒想到那麼多~ 這部片一直是充滿著不同的可能性吧? 死亡不一定是完結, 失蹤者亦會回歸, 結尾那個突如其來的分身則在指出在輪迴以外平行宇宙的可能性~

    re: BiBi
    let’s hope it will be shown again in the cinema some time soon~

    re: sonoko
    外國的影評人談他的電影經常提到他的裝置藝術作品, 我也很想看耶~! 嗯, 你說 “每個段落都沒有充分發展,感覺不停在跳tone” 也有同感~ 在你說的immersion之外, 我亦喜歡他的電影中那些突然豁然開朗的時刻, 這裡也有類似的moment, 但感覺沒之前的作品強烈吧~

    無論如何, 很高興康城把大獎頒給這樣的電影啊, 就算這不是導演的最佳作品, 推推這種另類東東也是好事~

  • 其實那結尾也不是完全突然…前一幕阿東睡不著覺, 看著窗口, 卻聽到不知何來的電視聲, 那是他的視點, 他心裡想著去酒店看他阿姨, 跟她們吃飯看電視, 那他就彷彿聽到那聲音…… 結尾也是一樣, 他們在談論要去吃飯, 還是要看電視, 在「想」之時, 那想像就visualize了

  • Let me add another comment to this lengthy thread…

    It definitely improved on the 2nd viewing for me. I still think it’s not his best or most accessible work, but it’s certainly no longer the ‘arthouse ghost story’ that I unfairly commented previously.

    Perhaps Uncle Boonmee, instead of being his strongest political work (a misleading assertion because the critics lump Uncle Boonmee with his Phantoms of Nabua installation), is his strongest Buddhist work. Human nature and reincarnation is at the core of the film. Reincarnation is evident, from the film’s title, from the mysterious other, from the monkey ghosts, from the reappearance of Huay (the wife) and Boonsong (the son), from the memories (or not) of being a princess, a servant, or a catfish. But the exposition truly reaches a metaphysical dimension with the masterful cave sequence. Is the journey into the ‘womb’ a return to the beginning (from cave paintings to the stars to darkness) or the beginning of a new cycle of life (fishes as a life form existing in the middle of nowhere, the moon and Boonmee’s eyes fitting the transformation in Boonsong’s recollection)?

    Though not as erotically charged as his previous films, love and lust is present, whether between Huay and Boonmee, the princess and the world, and perhaps Jen and Boonmee. Loneliness and being forgotten is another ongoing theme, whether in terms of intimacy and the ‘civil’ relations between man-to-man (which I think is the other political point hinted by the presence of rural young men in the Marker-inspired montage, and which like the cave sequence feels like it’s going backwards in time).

    The film ends on a wry note: Jen and Thong (the monk) ‘escapes’ to another ‘dimension’ (or a dream, or a memory?) away from their (physical?) selves that are worrying at the sights of military men and medical scares on TV. But they are no more relaxed in their new destination, the karaoke bar. abjj may be right too- maybe it’s a continuous series of ‘escapedes’ in Thong’s head that ultimately don’t comfort his restless and lonely self. It’s a fitting conclusion that recalls Huay’s words to Boonsong in the dinner table scene (I’m paraphrasing here): ‘Human matters never ceases to amaze me’.

    I think I should end my ramblings now and go to sleep…

    P.S. I’m sure 告白’s source novel is fantastic crime fiction (certainly better than an overrated Swedish contemporary), but I’m also sure at the hands of a better director we’ll get a darker, more aggressive and wrenching tale. Even if the bleached and bland color scheme is an artistic choice, the MV cinemathography smacks of a juvenile approach/compromise, too shallow and unambitious for a source material with huge psychological depths. This is the same with the adoption of the (admittedly faithful) monologue structure- all story, no exposition. And the convienent emo soundtrack- Boris (oh destruction), Radiohead (oh I’m so sad), The XX (what?!). The opening 30-40 mins 松隆子 monologue is fantastic, then it goes downhill.

  • Correction: all exposition, little description.

  • 是的, 最具佛學意味的一套, 也肯定不是most accessible, 很多人會覺得好散修修… 關於結局那個point, 我想你說得對, 其實就是去吃還是不去吃, 都是一樣。這片除了談輪迴, 談人和自己以至外界各樣事物的關係外, 很重要一環是…他的大氣不是因為他在影片中涉獵到這麼多的層面, 而是他看事物的方法, 像我上面說的…那是無可無不可, 看破的態度, 一件事孰好孰壞全在自己心上

    而兩公婆坐在床, 又或者huay看著jen睡覺然後慢慢消失這些戲特別好看, 就在於看破又不等於無情, 不等於全然放棄人類情感, 只是當你個人都咁化既時候, 仲可以從中煉出感情感覺的話, 那必然是最真摯的感覺

    附eason concert唱《不來也不去》… 我覺得有點異曲同工的, 尤其最尾… (夕爺都係佛教徒來麻haha)
    http://www.youtube.com/watch?v=tdN13VbvIE8

  • re: The Daydreamer and abjj
    Thank you both for your lengthy comments!! It certainly is rewarding to have a good discussion after seeing a mysterious and fascinating film like “Uncle Boonmee”~ I’m not too sure how close the film is to Buddhist ideas coz I know very little about Buddhism as a religion myself, but the themes of reincarnation, afterlife, and nature-human relations are surely all there for the audience’s interpretation~ abjj suggested that the film is expressing a world-view that is like “看破世情” without severing earthly emotions and connections, which I generally agree, and I am particularly impressed that Joe presented all these ideas formally by indefinite implications and endless digressions instead of throwing it all at your face~ One thing I am sure: I must see it again in the future~

    As for “告白”, I guess you’re right that this MV-style smacks of a juvenile taste, but I’m not sure this is because of its innate deficiencies, or only because such style is usually adopted by poor directors making silly films~ I tend to believe it is the latter case, and I’m glad to see Nakashima tried to explore new ground with this (generally denounced) style~ Some complain that the film is lacking in psychological depth and the plot is not convincing, but I think it would be more enjoyable (and appropriate) to see this film simply as a stylish suspense story full of twists instead of exepcting it to be a realistic psychological drama or a parable of the modern society~

  • 告白我不同意呢其實~ 我倒覺得它刻劃人物內心, 談人性算是深入的, 主要是說人如何自欺欺人, 將責任推卸在別人身上, 做了自覺羞愧的事後要百般解窘, 為自己解釋…但這些所有, 都只將自己推入更深淵, 不能解脫…告白 confess是反諷, 各人物好像都是在剖白自己, 但其實每每都只是在自圓其說

    在云云我常看的film blog友中, 好像真的沒有人愛這套告白呢, haha, 但我覺得它不是那麼壞, 起碼在深意上, 我覺得是不缺的

  • abjj :
    在云云我常看的film blog友中, 好像真的沒有人愛這套告白呢

    Really? There seems to many people online and offline who think 告白 and Inception (equally overrated imo) are the films of the year. I saw this at bc, at the end of the film someone said quite loudly 好耐未睇過咁有戲味嘅戲…

    gar~*:One thing I am sure: I must see it again in the future~

    Fly to Taiwan. The fact that a Chinese and ‘less Westernised’ society can accomodate a limited release speaks volumes about the state of cinemagoing in Hong Kong.

  • re: abjj
    其實我是頗喜歡《告白》啦, 不過喜歡的原因是欣賞導演夠膽而又成功地用這種新生代的MV風格(而且是重口味版本), 令許多冗長的獨白一直保持可觀, 這樣的嘗試在商業電影中頗為新鮮~ 《告白》另一有趣之處是諷刺少年法的不合時宜和非常日式的熱血精神, 這兩點我亦覺得頗有意思~ 片中的角色都邪惡扭曲得有點失真, 不過劇情需要也就沒關係, 你說他們一直在自圓其說當然也沒錯啦, 這電影黑暗得幾乎沒有一個好人, 比較 “正常” 的人都是受害者~

    re: The Daydreamer
    Actually what does “有戲味” mean? I often come across this word of praise but I really don’t have a clue what constitute “the taste of cinema”~ Perhaps this can be the subject of another post…? =]

  • Daydreamer, gar: 告白係多人讚, 但反為我覺得平常判斷跟我差不多的blog友, 多數都唔鍾意呢套戲, 比如你啦haha, mv手法、暴力場面、扭橋等等我覺得都用得恰可
    1. 用mv手法是因為它有極強的narrative, 平常我們多批評mv手法令人不假思索, 不留白亦不深刻, 但《告白》是由各人物的內心世界獨白組成, 他們都極其偏執, 所以也該用極強, 極具排它性的narrative去表達
    2. 暴力場面的誇張賣弄, 但這些場面並沒有令執行暴力的角色有感到很爽, 相反他們立即便感到後悔、崩潰、苦於要為自己的行為圓說, 本來他們以為對付了別人, 遷怒於別人就會得解脫, 但其實並不然, 我覺得這是本片的最大重點
    3. 扭橋也是為了突顯角色的觀點極其偏執, 完全不能以他們的想法去理解事件

    今年最愛影片, 我想我會選謎情追兇和波米叔叔~

  • 我是說daydreamer不喜歡這片, 像多數我會看的blog友一樣, gar在這裡倒算是例外的, 但他欣賞這片的角度跟我亦頗不同

  • 我很喜歡此片
    亦頗喜歡告白 :)
    小小想法如下~

    談及生死,輪迴,宗教,記憶和夢……深陷難以形容的獨特氛圍,靜靜發展頻頻斷裂,結尾的靈肉分離,彷彿象徵精神活動的永恆,足以取代人生的短暫。

    時空穿梭自如,人/鬼/紅眼猩猩共桌重逢,場面調度令人嘖嘖稱奇,深刻鮮明。

    漸漸體會到阿比查邦作品對我的意義:彷彿摯友,見面即溫暖。不論他說什麼,甚或不發一語,都是難忘的美好時光。

    定鏡與空鏡錯落有致,動作的不斷凝視,實無法再與蔡明亮完全切割,幸而,導演果敢的風格仍強烈,頗富饒趣的結局餘韻無窮,前世今生的隱約呼應(牛/公主),轉場的巧妙動人(水底世界/燈旁捕蚊、遠山/森林、洞裡觀月/洞外日照……),完滿的融合。

  • re: 洋洋
    嗯嗯, 我一向認為 阿比查邦 的電影總能非常直接地觸動觀者的感覺, 繞過一般電影執迷的敘事和對白, 當中那些耐人尋味的對照和出人意表的場景轉換起初或會讓人感到迷惘, 但只要開放一貫的觀影標準, 那他的電影確如你所言, 是窩心的摯友~

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