Friday, November 20, 2009

Dubai Nobu


最近去了杜拜一趟,全程68小時,其中十幾小時坐在飛機上,其餘不是睡覺便是在酒店會議廳聽人開會,沒有自由時間,感覺像坐監,再加上不斷想著某人,更加辛苦。

有一晚開完一整天會後去了Palm Island 的商場,的士經過一排排十室九空的豪宅,像鬼城,幸好商場人流不錯。我們在Nobu吃飯,這一餐比較印像深的菜色有yellow tail with jalapeno pepper, 薄薄的yellowtail shashimi加上醬汁和一小片辣辣的jalapeno pepper,很開胃。另外招牌菜black cod with miso,吃進去味道很熟悉,原來在加拿大拍《只愛陌生人》時常常在家弄,做法超簡單:用甜米酒mirin加sake加白麵鼓醬醃魚塊一晚,也不用太理會份量,反正把魚完全浸在醬汁中,第二天淋少量醃汁在魚上放進焗爐焗七至十分鐘便可以。最後有澳洲Wagyu牛肉,不過我最感興趣是旁邊那pat 薯蓉,creamy中有輕輕的wasabi味,配搭得剛剛好不太「陋」,我幾乎一個人包辦了整pat。

曾幾何時很不屑這種fine dining,覺得憑什麼吃一頓飯等於很多國內同胞一個月的薪金,太折福。長大後看開了點,一來不是真的那麼貴,而且反正這些人不吃這一頓也不會把錢捐出來,又或者他們同時豪吃又幫助很多窮人也說不定!

Sunday, November 15, 2009

《阮玲玉》和《胭脂扣》

有一晚與關錦鵬吃飯,席間有陳自強。他們兩人相識多年,也合作過多部電影。他們談起拍《阮玲玉》和《胭脂扣》時發生的趣事,我覺得頗值得寫下來,不是因為八卦或炫耀,而是兩片都已成經典,這些事情是香港電影史的一部分,是屬於大眾的。

阿關說拍《阮玲玉》最辛苦的一場,schedule連續拍36小時,大家困在一個密封的影廠,室外氣溫三十多度,裡面更加熱得像焗桑拿,導演穿著背心已大 汗淋漓,演員穿著戲服更辛苦,旗袍不足幾分鐘便被濕透,要用風筒吹乾。這場戲演員眾多,他們都快受不了。其中四位主要演員:張曼玉、梁家輝、葉童和吳啟華 當時都是陳自強旗下藝人,他們對阿關說:「我打電話給陳自強叫他容許我們分三天拍吧,老豆疼我們,一定會答應。」於是這些大名星輪流打給陳自強說項,但都碰釘子,被他一一回絕。原來何冠昌早已下令:一毛錢也不再給,陳自強也只得硬起心腸。最後他們只得硬著頭皮熬下去。多年之後,葉童有一次跟陳自強吃飯,談起拍電影的苦樂,也提起這場戲,但她早已忘記誰是這部電影的監製,還駡這部片的監製多沒人性,陳自強說:「我就是那個監製呀!」


我猜:「是舞會那場吧。」阿關點頭。我忍不住問,「張曼玉的那個波浪舞是怎麼想出來的?」「是我教她跳的。」阿關拍戲甚少示範動作,這場戲有交際舞老師,但曼玉總是跳得很僵硬,於是阿關現場示範,她馬上明白:「這隻舞要有點暗姣。」這場戲她在公眾場合和吳啓華flirt,要的正是一種又camp又姣的嫵媚,要基佬先get得到那種神韻。


《胭脂扣》的監製是成龍,但他看毛片時竟睡著了,之後還打算把電影重剪和補拍,把小說中一些神怪的情節拍出來。阿關得知此事,氣沖沖跑到剪接室,果然見到剪接師在剪他的作品,成龍站在後面發施號令。阿關指著成龍大喝:「你不能這樣做!」然後一個轉身離去,走到廁所痛哭!之後他打電話給陳自強說:「
Willie,是你找我來拍這部電影的,若你容許他們補拍一場戲或剪掉一格菲林,便請把我導演的名字除去。」陳自強不知跟成龍說了甚麼,但這時金馬獎提名公佈,《胭脂扣》獲十項提名,於是重拍的事情便擱下,結果這部電影贏得最佳攝影和最佳女主角兩個金馬獎,之後在871月乘勢推出,票房一千八百多萬,是至令為止阿關最賣座的電影。後來何冠昌對阿關說,「若我們補拍和重剪,票房可能更多!」

Wednesday, November 4, 2009

This is it?


I have no idea why people rave about this film so much, as if they've never seen MJ in action before. Don't get me wrong. This is it proves once and for all that MJ's talent was massive and undeniable, and at 50 years old, he still had it. His moves were still sharp and his voice was beautiful. But it's nothing we haven't seen or heard before. His dance moves are exactly the same as in his hayday--the spins, the pelvic thrust, the moonwalk, the sideway sweeps, even the choreography to particular songs are the same. The 'new' visual elements are based on concepts from the old videos--Thriller is still set in a graveyard, except with different ghouls, and Smooth Criminal is still Chicagoland of the 1920s, just with a different set. The only part of the film I found moving was I'll be There because no one could sing this much-covered song like him--even though that whole shtick: calling out the names of his brothers, flashing old images of the Jackson 5 on screen, has also been done before at his previous concerts.

I wish we could have seen a personal side of MJ, but he remained elusive, as he had been throughout his career (except for a few awful, embarrassing moments in that BBC documentary ). His interactions with all the people working on the concert--musicians, dancers, the director, are distant and one-sided, with everyone bending over backwards to cater to his wishes. Did they bitch about him when he showed up hours late at rehearsals? Did they marvel at his surgically-abused face? Most of all, I want to know if MJ knew the O2 shows will never happen, that this is the final record of him that he leaves to the world, would he have done it differently?