夏日國際電影節2016 向荷里活歌舞片致敬：花都艷舞、金粉世家、女人就是女人

談到荷里活歌舞片，怎能漏掉雲仙明尼里？由他執導的《花都艷舞》與《金粉世家》均贏得奧斯卡最佳影片獎。前者是真基利在《萬花嬉春》巔峰前的作品，電影高潮的十七分鐘純舞蹈精彩絕倫。後者可說是《窈窕淑女》姊妹篇，曲詞班底一樣，更是當年奧斯卡大贏家，九項提名全中。說到致敬，當歌舞片類型來到法國新浪潮的高達手上，肯定別開生面，《女人就是女人》讓安娜卡蓮娜載歌載舞，以音樂及意想不到的玩笑，徹底戲謔歌舞片傳統。

在8月22日的映後座談會上，影評人劉嶔及王勛談到歌舞片早在聲片面世時便大行其道，四十年代更達至高峰，成為了主流娛樂，也是逃避主義的象徵。舞蹈家如Busby Berkeley、Ginger Rogers及Fred Astaire等，都在銀幕上大放異彩，成為家傳戶曉的巨星。及後的《星海浮沉錄》和《歌廳》等，則在歌舞片熱潮漸退時，解構歌舞片類型，揭開舞台背後的華麗面紗。

《花都艷舞》：http://cinefan.com.hk/cms/film/an-american-in-paris/?lang=zh 《金粉世家》：http://cinefan.com.hk/cms/film/gigi/?lang=zh 《女人就是女人》：http://cinefan.com.hk/cms/film/a-woman-is-a-woman/?lang=zh

SummerIFF16: AN AMERICAN IN PARIS, GIGI and A WOMAN IS A WOMAN

As one of the most important icons of Hollywood musicals, director Vincente Minnelli won the Best Picture award at the Oscars twice for AN AMERICAN IN PARIS and GIGI. French New Wave director Jean-Luc Godard paid tribute to the genre with A WOMAN IS A WOMAN, showcasing a dizzying compendium of color, humor, and music, with his wife Anna Karina in the lead.

In the post-screening seminar on 22 Aug, Lau Yam and Geoffrey Wong talked about the genesis of Hollywood musicals in the late-1920s, when sound films kicked into gear. The 1940s is the golden era of Hollywood musicals with stars like Busby Berkeley, Ginger Rogers and Fred Astaire. In the 70s, classical musicals has become old fashioned and films like CABARET began to deconstruct the genre and place emphasis on the gritty realism.

AN AMERICAN IN PARIS: http://cinefan.com.hk/cms/film/an-american-in-paris/ GIGI: http://cinefan.com.hk/cms/film/gigi/ A WOMAN IS A WOMAN: http://cinefan.com.hk/cms/film/a-woman-is-a-woman/