序言

文:崔允信

過去幾年,不少香港電影都直面當下社會狀況,尤以年輕新導演的作品最為引人注目,當中不乏專業的製作水平,而且能四平八穩地將所要劍指的議題透過影像傳遞給觀眾。云云作品中,無論是獨立或商業製作,文藝清新有餘,卻總欠缺一份新導演的「輕狂」。

若松孝二開始拍電影的時候,正值日本戰後經濟迅速發展,也是火紅的年代。抗爭結束後,叛逆的一代感到迷惘、無助。若松拍粉紅電影,是因為當時以情色片較容易獲到資金,從他訪問得知,只要有若干比率的色情戲份,其他內容投資者一概不干涉。如此看來,若松以情色片作包裝的作品,內裏充滿他輕狂暴烈的個人風格。不過,即使他有很鮮明的政治立場,卻不在電影中直接回應當下社會的政治議題,只是在影像上一點都不妥協,喜運用鏡頭、剪接風格和演出去表達一代日本年輕人的鬱悶、壓抑和反叛的狀態。2000年後,作品如《赤軍殘酷內鬥暗黑史》(2007)才直面當年的歴史,當中一些抗爭路線的爭論,在今天的香港隨處可見,作品亦添加了不少人物的描述,一切都來得有血有肉。

若松的作品因色情和暴力離經叛道,成名作《隔牆有秘》(1965)入圍柏林國際電影節,並沒有令他受到國內業界或文化界歡迎,反而常遭唾罵。但若松不以為然,他認為電影就是要挑動觀眾神經,引起爭議才能令觀眾思考和回應。同時他有感當時電影工業對他這類獨立製作毫不重視,連找影院播放也困難重重,這除了驅使他自立門戶以獨立模式繼續製作外,後來他更在名古屋開設獨立戲院,由構思、製作到發行都是一種抗爭。

對比當年的日本,近年香港根本算不上有過暴動,但跟若松當時身處的時代有着相似的氛圍,這一代年輕人的無力、壓抑,也能從若松的電影中感應得到。有些年輕導演的作品,即使受到海外影展的肯定,受到觀眾的歡迎,卻難以在商業戲院公映,也不被業界所認同。面對這困局,我們應如何迎難而上?也許該效法若松的獨立精神,以不妥協的影像風格拍攝自己的電影,亦不妨摒棄對傳統工業的幻想,繼續電影革命!

年初的香港獨立電影節因資源所限,沒能舉辦焦點導演環節,作為延續,現把若松和足立正生的作品帶給各位觀眾。他們的電影未必適合大眾的口味,但喜歡電影的人都應該要嚐一嚐。

FOREWORD

Written by Vincent Chui, translated by Jaspa Tang

Quite a number of films that confront current Hong Kong society emerged in recent years. Among these works, young directors especially presented striking creations. They managed to address the concerned issues precisely, along with techniques up to professional standard. All these films, no matter by independent or commercial filmmakers, are a bit too airy, we have yet to find a wild spark in the greens.

Koji Wakamatsu starting rolling his camera at the time of rapid economic growth in post-war Japan and social movements inflamed. The aftermath of the wildfire was a heavy fog prevailing the lost, helpless youth. Wakamatsu started on pink films because of the easy fortune ─ Investors only cared for the portion of pornographic scenes but nothing about rest of the content, according to an interview of his. If every film was a gift box, Wakamatsu would be one who filled his ferocity beneath the pink wrap. Nonetheless, Wakamatsu’s apparent political stance seldom made him deliver an explicit social agenda in his film. He rather presented his defiance through the lens and image sequence, in order to assert their cruel and suppressed youth. Until 2000s, his film United Red Army(2007)portrayed true historical events with vital arguments and commanding struggles in the movement, which appear into controversies likewise in today’s Hong Kong. What makes his film distinct and penetrating was the lifelike portrayal of the characters.

Wakamatsu’s films were such rebels at the time, because of pornography and violence in his works. His masterpiece Secrets Behind the Wall (1965) was selected into the Berlin International Film Festival, but the glory did not return to Japan with him. The Japanese film industry and cultural sector denounced his detour instead, which he never found it critical. Wakamatsu clearly intended to get on audience’s nerves, as he believed film is to stimulate thoughts and reflections by making dispute with viewers. At the same time, he noticed the film industry’s cold attitude towards his independent productions. Facing difficulties in searching cinemas to show his works, Wakamatsu was drove to take a self-sufficient road: at first he continued on independent creations, later he established a cinema specially for independent films in Nagoya. He was almost a radical who demonstrated resistance throughout his film ideologies, productions and distributions.

Looking back on today’s Hong Kong, the movements we have made were far from a riot’s doing compared to those in Japan. What we share is the mood from the times Wakamatsu lived. His films certainly resonate with our youngsters by the same sense of inability and refrained acts. We saw young directors gained appreciation from overseas film festivals and audiences, still the commercial world seldom opened a welcoming door. The point is, how can we swim against the tide? Perhaps this is the time to echo Wakamatsu’s independent spirit: to present our films with uncompromising imagery, and to endure the cinematic revolution opposing this so-called conventional industry.

Early this year, the Hong Kong Independent Film Festival separated the ‘Indie Focus’ section due to limited resources. Now as an extension, here we bring the works by Wakamatsu and Masao Adachi. Their film may not be everyone’s cup of tea, but one should at least take a sip.

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