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蘑菇影视

不一样的月光
台湾其它2011
  第一部原住民觀點電影  一個日據時代發生在黑皮部落的故事-泰雅少女落難的事件,吸引外地拍攝劇組前來探勘,想要拍攝以黑皮部落為主的電視劇。尤幹始終搞不懂,一個鐘、還有一個已經快要破掉的石碑,會讓這幾個外地人,沒幾天就跑來部落,他們說是為了工作,尤幹倒覺得他們是無所事事。不像他,要打獵還要兼顧學業。他下了課,有機會就往山裏跑。  尤幹,黑皮部落的泰雅青年,一個被劇組企劃人員小茹稱讚「連穿一條一百塊的運動褲,都看起來帥地發光」的高中生,他是小茹和劇組第一次到部落探勘,在國小對面,部落所搭建的拱型籃球場上遇見的,16 歲的他,自稱是學校、山林兩邊跑的忙碌青年,是部落跟學校的風雲人物,籃球打的出色,卻因為下課總是缺席校隊的練習,而讓一心栽培他的學校頭痛。  小時候跟過父親去打獵的尤幹,一心覺得長大後也要像父親一樣厲害,他總說打獵是興趣,但其實這也是他的精神寄託-只要高三的慧貞學姊一不理他,尤幹便跑上山。慧貞學姊是尤幹在學校愛慕的對象,功課好,今年正準備考大學,她的泰雅名字叫莎韻,幾十年前落難的少女也叫莎韻,算是是慧貞家族過世的長輩。  劇組鎖定尤幹為拍攝對象之一,想融合過去與現在黑皮部落的青年,來拍攝這個東部靠山面海的泰雅部落。企劃小茹和工作人員,知道尤幹喜歡慧貞,有時會約她一起。雖然尤幹有時裝酷,但心裡是高興的。  一場喪禮,讓尤幹的舅舅,也是部落裏最大雜貨店的老闆尤命,在部落裡長期留了下來。身上掛著一堆頭銜的尤命,是國會議員助理,本是三天兩頭往臺北跑,但因部落初戀情人的丈夫意外身亡,決定留下來多幫一點忙。劇組透過尤命在部落蒐集資訊,找尋相關的人事物,尤命好客的性格,總是盡其所能不斷地提供,任何他們想要的線索。  不論認識不認識、知道不知道,大家口中對那永遠長不大的泰雅少女莎韻,都各有說詞。有人說是因為她與日本老師戀愛,因為老師臨時被徵召從軍,一想到跟愛人離別,因而太傷心,而不注意的掉進水裏。亦有人說當時那條溪流,住著水鬼,莎韻有可能看見水鬼招手,而自己跳了下去。也有人說那天的風雨太大了,莎韻抓不牢同伴的手,所以被大水沖走…它到底是個淒美的愛情故事,或是一個泰雅部落耐人尋味的傳說,無論如何,都加深了劇組對這個事件的好奇。  尤命的祖父哈勇,是唯一看過莎韻的人,她是他日據時代、番童學校時期的小學姊。劇組拿起一些村子裏提供的莎韻舊相片,都被老人家打回票,就連慧貞家的長輩,都沒親眼見過莎韻本人。於是劇組更是不放棄訪問老人家的機會,種香菇、養豬、甚至採野蜂,劇組也硬著頭皮跟去。老人家話不多,想起來就說,要不就自顧自地忙著。  這一陣子,哈勇老唸著想回舊部落看,上舊部落,是劇組唯一還不敢嘗試的工作,那是三千公尺的高山。小茹堅持要跟去,自己便帶了小機器就上山,尤幹約了一群年齡一樣大的年輕獵人,帶著祖父一起上山。過程的驚險,讓小茹以為自己再也回不來,但尤幹的細心照料,甚至為了救失足的小茹,差點命都陪上。一夥人安全回部落後,大家都說這一趟有祖靈的保佑,因為知道晚輩走了三天三夜,是為了回家看祂們…  小茹歷經生死歸來,趕著回臺北,說是要帶導演下來確定拍攝部落的行程。劇組大批人到部落後,第一件事竟是到哈勇阿公的靈前祭拜。哈勇下山沒幾天,就在睡夢中過世了。「你們還要拍什麼?故事已經演完啦!」告別式當天,尤幹看著哈勇阿公掛在靈堂的照片,轉頭小聲地跟小茹說。這個微笑似曾相識,就像小茹那天過不了河,尤幹投以的頑皮笑容…

蘑菇影视

不安分的年轻人们
法国法语1958
  Middle class student Bob Letellier enters a new world when he meets Alain, a free-thinking rebel who, along with his group of young Parisians, has opted for a life of instant gratification instead of work and commitment. At a party, Bob meets a young woman, Mic, who appears to be just as carefree and cynical as Alain. Mic's only dream is to own a luxury car, and with Bob's help, she manages to find the money to but it. Mic's friend Clo discovers she is pregnant and, not knowing who the father is, she asks Bob to marry her. When they next meet at a party, Bob and Mic deny that they have any feelings for one another - a declaration that soon leads to tragedy...    Marcel Carné is widely regarded as one of the standard bearers of French quality cinema of the 1930s and 1940s, responsible for such masterpieces as Quai des brumes (1938) and Les Enfants du Paradis (1945). How ironic then that, in 1958, towards the end of his film-making career, he should make a film which dared to portray the attitudes and behaviour of the 1950s youth, in a way that effectively captures the mood and sentiment of the time.    Les Tricheurs was a hugely controversial film, not least because of its blatant depiction of adolescent free-love, and was even banned in some regions of France. It also received some intensely unfavourable reviews, most notably from the young hotheads on the Cahiers du cinéma such as François Truffaut who cited this film as a prime example of the decline of French cinema into mediocrity. In spite of all this negative press, the film proved to be an astonishing commercial success, attracting five million cinema-goers, and was awarded the Grand Prix du Cinéma français in 1958.    Whilst Les Tricheurs is not as flawless as Carné's earlier masterpieces, it is nonetheless a significant work, having the power to both shock and move its audience, whilst having great entertainment value. It evokes the mood of its time in a way that few French films of this period did, depicting young people as pleasure-seeking rebels, rejecting the austerity and discipline of the previous generation whilst pursuing a life without cares, responsibilities or love. Similarities with James Dean's films of the 1950s (most notably Rebel without a Cause) are apparent, although Carné's treatment of young people is far more abstract - in his film they merely symbolise a world that has lost its way, more or less victims of post-war prosperity. Although the young people in Les Tricheurs lack the authenticity to be totally credible, the film does make an important, and indeed quite disturbing point, about where the permissive society may be heading.    Much of the pleasure of the film is in the performances from its four lead actors, Jacques Charrier, Pascale Petit, Laurent Terzieff and Andréa Parisy, although only Terzieff is really convincing in his role. Marcel Carné originally considered Alain Delon and Jean-Paul Belmondo for the parts of Bob and Alain respectively, before opting for Charrier and Terzieff. As a consolation, Carné offered Belmondo a smaller part in the film - alas too small for the actor to be noticed by the public. Belmondo's breakthrough had to wait until the following year when he starred in Jean-Luc Godard's revolutionary A bout de souffle, a film which offers a very different perspective of the youth generation.

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