台中盆栽村 何國銘+何永裕+MH

The Criterion Collection - Movies in Bloom

April showers have brought May flowers. To celebrate, we’ve collected a bouquet of images from movies in our collection. 

 1949 晚春 Late Spring

 導演: 小津安二郎 Yasujiro Ozu

One of the most powerful of Yasujiro Ozu’s family portraits, Late Spring (Banshun) tells the story of a widowed father who feels compelled to marry off his beloved only daughter. Eminent Ozu players Chishu Ryu and Setsuko Hara command this poignant tale of love and loss in postwar Japan, which remains as potent today as ever—and a strong justification for its maker’s inclusion in the pantheon of cinema’s greatest directors.

這是戰後小津派電影進入日本電影史的重要出發點。本片的主人翁是住在裏倉的一對相依為命的父女，片中這對父女相依為命的情感，不管現實的世界如何演變，永遠不會改變，一幕詳和的親子圖直指人心中最珍貴的親情。

全片重點著重於女兒不願丟下老父，獨自追求自已婚姻幸福，且又不願父親再婚的矛盾衝突中；而父親寧願放棄自已的幸福，完全以女兒的幸福為前提，表達出傳統父慈子孝的理念。

全片所描述的主題均為"天下沒有不散的筵席"的心境。小津以其一慣平靜溫和的手法，以最生活化的場景，最平淡的對白與表情，表達出人類最深沉的情感，讓人看後不禁玩味低徊，久久不能釋懷。這種種不但可清楚的看見小津在運鏡及導演上的功力，其人道主義的胸懷更是不言自喻。

 1965 幸福 Le bonheur 

導演: 安妮‧華達 Agnès Varda

Though married to the good-natured, beautiful Thérèse (Claire Drouot), young husband and father François (Jean-Claude Drouot) finds himself falling unquestioningly into an affair with an attractive postal worker. One of Agnès Varda’s most provocative films, Le bonheur examines, with a deceptively cheery palette and the spirited strains of Mozart, the ideas of fidelity and happiness in a modern, self-centered world.

劇情描述一個生活看似幸福美滿的木匠，擁有溫柔的太太，可愛的孩子，但某天他又愛上了另一個女人，卻不想放棄現有的家庭，於是他跟妻子協議，希望讓他同時擁有她們。妻子答應了，但後來卻選擇了自殺以終，然而「幸福的生活」則繼續下去，只不過女主人換由原先的「第三者」扮演。

安妮．華達既不把愛情裡的三角關係完全怪罪於所謂的「狐狸精」，又彷彿暗示任何女人都能輕易取代另一個女人的地位，而轉而對男性（父權）提出質疑與批判。慧黠、犀利的觀點，不僅令當年觀眾大受震撼，也對後代女性導演產生強烈的啟發。而選擇銀幕下真實的一家人來扮演銀幕上的家庭，真偽之間，也引發了不小的爭議。

1947 黑水仙 Black Narcissus

導演: 麥可鮑威爾 Michael Powell and 艾默瑞克普萊斯伯格 Emeric Pressburger

This explosive work about the conflict between the spirit and the flesh is the epitome of the sensuous style of Michael Powell and Emeric Pressburger. A group of nuns—played by some of Britain’s finest actresses, including Deborah Kerr, Kathleen Byron, and Flora Robson—struggle to establish a convent in the Himalayas, while isolation, extreme weather, altitude, and culture clashes all conspire to drive the well-intentioned missionaries mad. A darkly grand film that won Oscars for Alfred Junge’s art direction and Jack Cardiff’s cinematography , Black Narcissus is one of the greatest achievements by two of cinema’s true visionaries.

邁克爾．鮑威爾導演，劇情講述印度加爾各答修道院的克羅塔修女奉調到納普修道院當院長，納普修道院在印度北方海拔8000尺高山上，常年刮著強風。克羅塔建立學校和醫院，連小將軍都來受教育。克羅塔雖從百廢待興中辛勤工作，治理得有條有理，但年輕的修女們在偏遠高山上全憑自律修持，唯美的環境使精神受到挑戰，在不斷的誘惑下，無法把持者只有放棄聖職。在此中有如智者所言，只有聖者和俗人可能生存——因為生活在大自然中只有修身養性或是隨波逐流。後來，發生了幼兒病死及露絲修女因愛恨還俗並欲殺害院長反墜入深谷等事件，克羅塔也因此離開納普修道院以彌平心中的傷痕。本片表現出人性在環境的影響下可以改變的不爭事實，在人性脆弱的時候，就不能抗拒環境帶給它的壓力，和抵抗外來環境的影響的自製。影片在表現角色內心掙扎的細微活動細緻，演員在詮釋各種角色的角度也把握得非常好。

1951 大河 The River

導演: 尚雷諾 Jean Renoir

根據魯茂·戈登的原作改編，讓·雷諾阿的首部彩色長片，是他和他的侄子攝影師在印度境內拍攝的影片，也是讓·雷諾阿的一次感官與視覺之旅。
故事圍繞三個年輕女孩的成長憂傷出發，讓·雷諾阿以細緻的筆觸敘述古老孟加拉河流域的傳奇故事。影片直接啟發了一代印度大師薩蒂亞吉特·雷伊投入電影創作。

Director Jean Renoir’s entrancing first color feature—shot entirely on location in India—is a visual tour de force. Based on the novel by Rumer Godden, the film eloquently contrasts the growing pains of three young women with the immutability of the Bengal river around which their daily lives unfold. Enriched by Renoir’s subtle understanding and appreciation for India and its people, The River gracefully explores the fragile connections between transitory emotions and everlasting creation.

1965 鬼迷茱麗葉 Juliet of the Spirits

導演: 費里尼 Federico Fellini

一位有錢的中產階級女士──茱麗葉。在婚姻週年紀念日時，他的丈夫不但忘記，還帶了一大群朋友來家中作客。在眾人的起鬨下，她參加了召靈會，結果召來的鬼魂不斷出沒，茱麗葉也開始懷疑丈夫有外遇，她還向私家偵探求助，而最後她的惶恐不安讓她陷入了精神錯亂…

費里尼在《八又二分之一》之後，顯然覺得剖析自己還不夠，於是另一部具有自傳色彩的電影出現了，《鬼迷茱麗葉》是他的第一部彩色電影，仍由費里尼的妻子瑪西娜主演，這部電影被稱作女性版的《八又二分之一》，荒誕的幻境比起《八又二分之一》有過之而不及，為了表現這種氣氛，費里尼經常去造訪靈媒和所謂通靈人士。

費里尼在片中繼續了他對女性肆無忌憚的幻想，片中對外遇的解釋更是讓人瞠目結舌，所謂偷情只是把自己的性器官借給別人用一下而已。

Cinematographer Gianni di Venanzo’s masterful use of Technicolor transforms Juliet of the Spirits, Fellini’s first color feature, into a kaleidoscope of dreams, spirits, and memories. Giulietta Masina plays a betrayed wife whose inability to come to terms with reality leads her along a hallucinatory journey of self-discovery. The Criterion Collection is proud to present the fully restored version of one of Fellini’s most dazzling dreams.

1954 地老天荒不了情 Magnificent Obsession

導演: 道格拉斯‧塞克 Douglas Sirk

Reckless playboy Bob Merrick (Rock Hudson, in his breakthrough role) crashes his speedboat, requiring emergency attention from the town’s only resuscitator—at the very moment that beloved local Dr. Phillips has a heart attack and dies waiting for the life-saving device. Thus begins one of Douglas Sirk’s most flamboyant master classes in melodrama, a delirious Technicolor mix of the sudsy and the spiritual in which Bob and the doctor’s widow, Helen (Jane Wyman), find themselves inextricably linked amid a series of increasingly wild twists, turns, trials, and tribulations. For this release, Criterion also presents John M. Stahl’s 1935 film version of the Lloyd C. Douglas novel, starring Irene Dunne and Robert Taylor.

1990 特寫鏡頭 Close-up

導演: 阿巴斯 Abbas Kiarostami

德黑蘭，記者法拉茲曼德前去報導年輕人霍塞·薩布齊恩因詐騙被捕的事件。原來，失業的油漆工薩布齊恩是一個影迷，他自稱是著名導演穆赫辛·馬克馬爾巴夫，取得闊綽的阿漢卡赫一家信任，向他們藉錢拍片。事發後，薩布齊恩被抓。導演阿巴斯·基亞羅斯塔米就此案展開了紀錄片似的跟踪調查，他採訪了警察，阿漢卡赫全家，以及薩布齊恩本人。

審訊過程中，薩布齊恩為騙取了阿漢卡赫一家的感情而後悔，但他說之所以這樣做是因為對藝術的熱愛，如果有錢，他真地會拍攝自己的電影。而且，假扮導演馬克馬爾巴夫賦予了他自信。最後，原告阿漢卡赫家撤銷了起訴，而薩布齊恩也見到了真正的馬克馬爾巴夫，後者騎小摩托帶這個年輕人重訪阿漢卡赫。

Internationally revered Iranian filmmaker Abbas Kiarostami has created some of the most inventive and transcendent cinema of the past thirty years, and Close-up is his most radical, brilliant work. This fiction-documentary hybrid uses a sensational real-life event—the arrest of a young man on charges that he fraudulently impersonated the well-known filmmaker Mohsen Makhmalbaf—as the basis for a stunning, multilayered investigation into movies, identity, artistic creation, and existence, in which the real people from the case play themselves. With its universal themes and fascinating narrative knots, Close-up has resonated with viewers around the world.

1992 此情可問天 Howards End

導演: 詹姆士艾佛利 James Ivory

瑪嘉烈和海倫兩姊妹，認識了保守而富有的威郭斯家族，海倫更和家族幼子談起戀愛，可惜二人最後不歡而散，兩家人也因此不再來往。

但威郭斯太太臨終前把豪宅留給她的好友瑪嘉烈，而瑪嘉烈又和威郭斯先生發生感情，究竟如何是好？

The pinnacle of the decades-long collaboration between producer Ismail Merchant and director James Ivory, Howards End is a luminous vision of E. M. Forster’s cutting 1910 novel about class divisions in Edwardian England. Emma Thompson won an Academy Award for her dynamic portrayal of Margaret Schlegel, a flighty yet compassionate middle-class intellectual whose friendship with the dying wife (Vanessa Redgrave) of rich capitalist Henry Wilcox (Anthony Hopkins) commences an intricately woven tale of money, love, and death that encompasses the country’s highest and lowest social echelons. With a brilliant, layered script by Ruth Prawer Jhabvala (who also won an Oscar) and a roster of gripping performances, Howards End is a work of both great beauty and vivid darkness, and one of cinema’s best literary adaptations.

1931 城市之光 City Lights

導演: 卓別林 Charles Chaplin

他是一個流浪漢（查理·卓別林Charles Chaplin 飾），身無分文，遇上了雙目失明的賣花女，卻不忍袖手旁觀。他想盡辦法去湊夠費用，供賣花女治病。一天，他搭救了一個富翁，富翁當晚和他稱兄道弟，第二天卻翻臉不認人。本來打算向他求助的主意行不通了。流浪漢去參加拳擊比賽，以圖獲得獎金，卻輸得一敗塗地。誰知這時重遇富翁，二人不計前嫌，富翁答應出錢資助賣花女。但那一千塊錢卻被強盜搶走。流浪漢奮不顧身奪回錢，讓賣花女重見光明，自己卻因為誤會被警察押回警局坐牢。出獄後，他竟然重遇了認出自己的賣花女...

City Lights, the most cherished film by Charlie Chaplin, is also his ultimate Little Tramp chronicle. The writer-director-star achieved new levels of grace, in both physical comedy and dramatic poignancy, with this silent tale of a lovable vagrant falling for a young blind woman who sells flowers on the street (a magical Virginia Cherrill) and mistakes him for a millionaire. Though this Depression-era smash was made after the advent of sound, Chaplin remained steadfast in his love for the expressive beauty of the pre-talkie form. The result was the epitome of his art and the crowning achievement of silent comedy.

《城市之光》是卓別林身兼編劇、導演、作曲與主演於一身。這部片是卓別林第一部運用音響效果的影片，但無對白，因為當時他仍認為對話會破壞演員的表演。

影片描述了一個小流浪漢愛上一位雙眼失明的賣花阿妹，為了醫好她的眼睛，小流浪漢拼命賺錢，參加拳擊比賽，在夜店裡當打手等。治好眼睛的賣花女，通過雙手的觸摸而明白了流浪漢的真面目。

片中小流浪漢為了幫助雙眼失明的賣花女，以掃街工人、拳擊手、富有的花花公子等各種逗趣造型與橋段出現，然而在流浪漢與賣花女的浪漫故事中，卻同時包含對當時社會環境與階級不平的嘲諷與批判，使得笑中帶淚的《城市之光》成為卓別林在商業上及藝術上最為成功的傑作。

1983 細雪 The Makioka Sisters

導演: 市川崑 Kon Ichikawa

原著為名作家谷崎潤一郎同名小說，為小說家寫作後期暢銷代表作，由市川崑、日高真也共同編劇。關西地區蘆屋之蒔岡世家，大姊高傲強勢；二姊體貼務實；三妹優雅曖昧；四妹熱情奔放，以四姊妹為中心開展之愛恨情仇。電影雖與原著有所差異，但對日本傳統之典雅與時代感，皆有鮮明的呈現。岸惠子、佐久間良子、吉永小百合、古手川祐子四大美女明星同片競演，成為一時熱門話題。

This lyrical adaptation of the beloved novel by Junichiro Tanizaki was a late-career triumph for director Kon Ichikawa. Structured around the changing of the seasons, The Makioka Sisters (Sasame-yuki) follows the lives of four siblings who have taken on their family’s kimono manufacturing business, in the years leading up to the Pacific War. The two oldest have been married for some time, but according to tradition, the rebellious youngest sister cannot wed until the third, conservative and terribly shy, finds a husband. This graceful study of a family at a turning point in history is a poignant evocation of changing times and fading customs, shot in rich, vivid colors.

隨著新時代的來臨，曾一度顯赫的京都蒔岡家慢慢開始衰敗，而家中的四個女兒卻仍是城中一道美麗的風景。大姐鶴子（岸恵子飾）固守祖屋，時刻維護著家族的聲譽；二姐幸子（佐久間良子飾）性格剛烈強勢，使得上門女婿貞之助（石坂浩二飾）相形見絀；老三雪子（吉永小百合飾）溫柔賢淑，然對於自己的婚事卻總遲遲未決；老四妙子（古手川祐子飾）個性張揚開放，是一個比較西化的女孩。
妙子的緋聞鬧得滿城風雨，煩惱的鶴子和家人商量，決定儘早為雪子找到如意郎君，以維護門風。不過說起來容易，一向沉默不語的雪子卻接連回絕了數門婚事，這倒讓欣賞雪子的貞之助暗暗歡喜……
改編自谷崎潤一郎同名小說，東寶映畫50週年紀念作品。

1970 仙履奇緣(又名 驢皮公主) Donkey Skin

導演: 賈克‧戴米 Jacques Demy

影片講述了一個傳說中仙母如何幫助一位美麗公主擺脫皇室包辦的婚姻，因為那個指定的貴族未婚夫不是公主的心上人，所以仙母將公主變成了“驢頭人身”，並最終使一對有情人終成眷屬。

French director Jacques Demy didn’t just make movies—he created an entire cinematic world. Demy launched his glorious feature filmmaking career in the sixties, a decade of astonishing invention in his national cinema. He stood out from the crowd of his fellow New Wavers, however, by filtering his self-conscious formalism through deeply emotional storytelling. Fate and coincidence, doomed love, and storybook romance surface throughout his films, many of which are further united by the intersecting lives of characters who appear or are referenced across titles. The works collected here—made from the sixties to the eighties and ranging from musical to melodrama to fantasia—are triumphs of visual and sound design, camera work, and music, and they are galvanized by the great stars of French cinema at their centers, including Anouk Aimée, Catherine Deneuve, and Jeanne Moreau.