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王家卫和蔡明亮,两个对中文老歌着迷得无可救药的大牌导演。前一个钟情于上世纪三四十年代上海滩浮华轻婉的“靡靡之音”,就连[花样年华]这样的片名,也是出自金嗓子周璇之口的歌名。后一个死忠于上世纪四十至六十年代香港的老国语歌,那种流动的翩跹雍容,与老上海音乐一脉相承。只是王家卫的音乐是镶嵌在电影中的,是那些老阁楼和弄堂里伴着熏香散发出的背景,而蔡明亮却是将它们单独提炼出来,作为类似歌舞电影的元素。今年他们又几乎同时捧出了新作,只是,除了情色和音乐之外,八竿子也把他们的电影打不到一起。这次只说王家卫的这部[爱神之“手”篇]的音乐,老上海的悱恻加上皮尔·诺班混合型的音乐,竟然在电影略偏暗灰的调子中,游走出一丝丝新鲜气味交混的味道。
Wong Kar Wai and Tsai Ming-liang, two big-name directors obsessed with Chinese oldies. Former love in the 1930s and 1940s on the beach flashy light of “extravagant sound”, and even [Mood for Love] this title, but also from the mouth of the voice of Zhou Xuan song title. The latter loyal to the old Mandarin songs of Hong Kong in the 1940s to the 1960s, the flowing grace of grace and tradition of old Shanghai music. Only Wong Kar-wai’s music is inlaid in the movies. It is the background of the old loft and alley accompanied by incense. Tsai Ming-liang, however, extracts them separately and acts as an element of a song and dance movie. This year they have almost completed the new work this year, except that in addition to eroticism and music, the eight-pole also hit their films together. This time I only talk about Wong Kar-wai’s [Love God’s “Hand” articles] music, old Shanghai shackles and Pierre Noble mixed music, even in the film a little tone tone, swim out of a trace Silk fresh smell mixed taste.