西鶴一代女、阿遊小姐

田中絹代堪稱日本國寶級演員，與溝口健二惺惺相惜，多次演出溝口作品，在《阿遊小姐》表現出塵的美，《西鶴一代女》更演活了宮廷侍女阿春被封建社會宰制的顛沛命運，影片亦廣被視為溝口最佳作，把東方畫卷式美學發揮到極致，據說高達看了無數次，拍《她的一生》便深受影響。 在11月20日的映後座談會，李焯桃、張偉雄談到溝口健二本是繼黑澤明之後最早揚威國際的日本導演，1952-54年連續三年勇奪威尼斯影展銀獅獎，可謂空前絕後。溝口將東方古典文學與傳統戲劇融匯成獨特的風格，其別樹一幟的、幾乎完全迴避特寫的全景長鏡頭美學極富感染力，令歐陸新浪潮導演為之傾倒，其對電影的深遠影響儼如莎士比亞之於文學。

《西鶴一代女》：http://cinefan.com.hk/cms/film/life-of-oharu/?lang=zh 《阿遊小姐》：http://cinefan.com.hk/cms/film/miss-oyu/?lang=zh

Mizoguchi Kenji, 60th Anniversary: LIFE OF OHARU and MISS OYU　

Mizoguchi always showed his dedication to those women driven to the margins of society — actresses, geishas, prostitutes — by the hypocrisy of men in his films. Tanaka Kinuyo, Mizoguchi’s muse and favorite actress, vividly portrayed the image of a fallen woman who struggled to escape the stigma of fate in LIFE OF OHARU, as well as a widow whose beauty mesmerized her sister's husband in MISS OYU.

In the seminar on 20 Nov, critics Li Cheuk-to and Bryan Chang mentioned that Mizoguchi was one of the first Japanese directors to gain international recognition. In 1952-54, he won the Silver Lion award at the Venice Film Festival three years in a row. The French New Wave directors were blown away by the immense beauty of his films, and the mise-en-scene, in particular his famous wide shots and long takes, that highlight the connection between the characters and their surroundings.

LIFE OF OHARU: http://cinefan.com.hk/cms/film/life-of-oharu/ MISS OYU: http://cinefan.com.hk/cms/film/miss-oyu/

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