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As Tears Go By (旺角卡門, 1988)

旺角卡門 (As Tears Go By, 1988)

導演
王家衛
演員
劉德華, 張曼玉, 張學友, 萬梓良
連結
imdb link

 

 

簡介
八十年代, 香港~ 黑幫大佬 華仔 (劉德華 飾) 過著朝不保夕的潦倒生活, 表妹 阿蛾 (張曼玉 飾) 因病到他家中暫住, 二人互生愛意~ 華仔 一直以來非常照顧到處闖禍的黑幫小混混 烏蠅 (張學友 飾), 一次 烏蠅 欠債無力償還, 令 華仔 與另一黑幫大佬 Tony (萬梓良 飾) 交惡~ 華仔 屢勸 烏蠅 改行從良, 自己亦打算退隱江湖, 奈何 烏蠅 竟衝動接下謀殺線人的危險工作, 華仔 只好再次助他一臂之力~

 

評語
王家衛 首部執導兼編劇的電影, 雖然在個人風格上未及後來的作品強烈, 但導演對影像和色彩處理的細緻用心, 主角想愛但不能愛的無奈, 被賦與特殊意義的小道具 (在這裡是一隻被藏起來的玻璃杯), 足成經典的浪漫金句和場面, 全都可以在這裡找到蹤跡~

八十年代港產電影警匪片大行其道, 但這部導演自稱受 “Mean Streets” (窮街陋巷, 1973) 啟發的 “旺角卡門”, 並不太關心誰勝誰負, 亦沒有渲染動作場面的血腥和暴力, 只詩意地描寫一位邊緣黑幫人物面對愛情和兄弟情誼的困難和掙扎~ 片中幾幕黑幫曬馬講數和集體打鬥場面, 往往是進行風格化實驗的時候: MV式的手提拍攝, 快速剪接, 特寫和慢鏡, 泛起一片紅光或藍光的詭異色調, 都在強調影像的美感~ 桌球室一幕精彩的快速推鏡, 大排檔一幕充滿逼力的主觀鏡頭運用, 及至片末槍殺污點證人一幕有如 “俠女” (A Touch of Zen, 1971) 決鬥場面對四周環境的捕捉, 效果都非常悅目~

流行曲配樂最能指示一部電影所屬的年代, 用上大量歌曲配襯的 “旺角卡門” 亦不例外~ 片中頗為煽情俗套的鋼琴曲和八十年代電子樂曲, 還有 林憶蓮 改編自名曲 “Take My Breath Away” 的 “激情”, 劉德華 的主題曲 “痴心錯付”, 及至另一版本結尾用上的 王傑 歌曲 “忘了你, 忘了我”, 都讓電影染上一陣濃厚的八十年代情懷~

3 comments to As Tears Go By (旺角卡門, 1988)

  • Seeing this with 殺手蝴蝶夢 in the same night, it really brings a lot of interesting questions on who exactly is the mentor and the mentee. I’m not only talking about 王家衛 and 譚家明, but also Chris Doyle and 劉偉強.

    I still think 旺角卡門‘s script is pretty flawed (I find 張學友’s character extremely annoying). At least 殺手蝴蝶夢’s script is rather tounge in cheek (although nothing particularly out of the ordinary). I really love the stylistic choices that 譚家明 made too: love the frequent cuts-to-faces staring at camera that edges toward breaking the fourth wall.

    Still, I got a lot of kick enjoying the visual pleasures of 旺角卡門 on the big screen: the fights as you mentioned, but also the scene where they kiss in the telephone box. Few films (let alone HK ones) dare to hold our attention to a moment of romance for so long.

    What else have you caught in Le French May? 第一類型危險 is daring for its time but honestly this was disappointing- adding some undercurrents about 1967 riots, American military imperialism and Hong Kong as a transit point does not make it political cinema. The Tsui Hark Q&A here at best shows him as a conflicted auteur. Similarly disappointing was 亡命鴛鴦: a pretty 夏文汐 doesn’t make up for the standard-and-short action and a rather pisspoor script (corny lines, very gratuitous pre-1997 Handover anxiety). No wonder 張堅庭 went on to make comedies.

  • re: The Daydreamer
    I think Chris Doyle dares to go further than 劉偉強, just as 王家衛 went a lot further than 譚家明, who often randomly throws lots of French new wave-influenced visual tricks into a film~

    “旺角卡門” doesn’t date very well imo, it clearly belongs to the 80s and lacks the transcending quality of his later works~ partly because the music used here is simply very outdated (or “娘” in cantonese)~

    I saw “第一類型危險” on dvd before so I didn’t see it on the big screen~ yeah I agree with you, the film is pretty opportunistic, and it doesn’t amount to a political statement~

    I missed “野玫瑰之戀” due to work committment and I’ll be seeing “瘋劫” next week~ Just saw “The Red Circle” yesterday, while I quite like the characters in the film, I don’t think the story and the heist sequence date very well…

    I am writing a review of “殺手蝴蝶夢”, let’s discuss it further later~ =)

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