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標題: 太平輪(下) 定名<彼岸>, 於7月30日中國上映
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發表於 2015-8-1 21:06  資料 文集 短消息 
《太平輪·彼岸》正片片段10分鐘現沉船生死一瞬
http://www.letv.com/ptv/vplay/23206294.html





[ 本帖最後由 阿管 於 2015-8-1 21:45 編輯 ]
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發表於 2015-8-1 21:15  資料 文集 短消息 






[ 本帖最後由 阿管 於 2015-8-1 21:49 編輯 ]
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發表於 2015-8-1 21:17  資料 文集 短消息 
有船!《太平輪·彼岸》曝十分鐘正片
北京新浪網 (2015-08-01 16:50)
http://news.sina.com.tw/article/20150801/14883157.html

  新浪娛樂訊 由吳宇森執導的《太平輪·彼岸》正在熱映中,片方重磅發佈了影片最為驚心動魄的太平輪船難視頻,長達十分鐘展現沉船生死一瞬的正片片花,讓還沒走進電影院的觀眾「先睹為快,先看后買」,製片方同時打出了「良心電影,拒絕忽悠」的宣傳語擊。

  此次發佈的正片片段中,太平輪終於啟航駛出港口,然而出發不久便與一艘貨輪突然相撞,船身損壞后失控的巨輪隨即慢慢傾覆,直到最終徹底翻扣沉沒於驚濤駭浪之中。章子怡[微博]與佟大為[微博]、金城武的三人對手戲細膩感人,賺足觀眾眼球。整場沉船戲更是震撼至極,衝擊力強勁、帶入感十足的特效令險象環生的船難場景更具緊張刺激感。無論是兩船相撞、太平輪傾覆沉沒,還是乘客落水掙扎的情景都讓人彷彿身臨其境一般,切實體會了一把生死一刻的壓抑和絕望。

  為了呈現一場震撼人心的視覺盛宴,《太平輪·彼岸》在場景和特效方面可謂是斥資巨大。電影中的重要角色「太平輪」便是按照1:1的比例,耗時三個月製作出的真實模型。為了拍攝效果,劇組還在攝影棚內搭建了不同類型的船艙、甲板,甚至還原了船體中一部分的設施和功能。吳宇森導演在構想這場船難水戲的時候就曾向李安取經,借鑒《少年派》的製作方式,並計劃使用其拍攝場景來打造太平輪海難。然而由於中途患病,拍攝計劃一再耽擱,也錯過了這一最佳場地。但吳宇森並未放棄,而是在北京懷柔攝影基地搭建出半個足球場大小的水池,用劇組自製的造浪機製作了100餘種不同的浪花。除此之外,在片中出現的上海碼頭和基隆碼頭佔地8000平米,耗時半年搭建而成。小到碼頭中的月份牌,大到貨倉陳設都經過大量典籍考究,按照當時原貌復原。年近7旬的吳宇森將老一輩導演對畫面精雕細琢的本領融入到電影的每一幀,也讓《太平輪·彼岸》擁有了全新的視效體驗。

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發表於 2015-8-1 22:02  資料 文集 短消息 
七月中國電影票房首破50億元
http://news.qoos.com/%E4%B8%83%E ... %85%83-1938057.html

截至七月三十日凌晨,中國電影市場七月纍計票房已高達五十點九一億元人民幣,同比增長超過百分之三十五,成為中國電影史上首個單月破五十億元的月份。其中,華語片貢獻比例高達百分之九十四點七二。

 《捉妖記》上映僅十三天,便以十五點一億元的票房擊敗《復仇者聯盟2》的十四點六億元和《侏羅紀世界》的十四點二億元,成為今年暑期檔票房冠軍。另外兩部國產影片《煎餅俠》和《西遊記之大聖歸來》也取得不俗成績,分別斬獲九億元和七億元。動畫電影方面,票房擊敗《功夫熊貓2》的《大聖歸來》無疑給中國動畫電影注入強心劑。

 北京大學藝術學院影視學系副教授陳宇認為,《捉妖記》等國產電影票房大賣並不是偶然現象,「之前荷里活電影產品在視聽衝擊、劇情構置等方面超越中國電影太多,因此具有市場的統治地位。但近幾年來,國產電影,特別是國產商業電影在迅速提高,而荷里活所佔份額在退化。」

 在賀歲檔、國慶檔之後,暑期檔是第三個伴隨中國電影成長的影片檔期。在中國電影剛剛產業化之初的頭幾年,二00四年的暑期檔票房僅為二點一億元,而當年的總票房不過十五億元,暑期檔佔據約百分之十的份額。二0一0年國產電影票房首次過百億元時,當年的暑期檔票房達到二十三點三億元,暑期檔所佔份額超過百分之二十。二0一四年國產電影全年票房近三百億元,暑期檔超過一百一十二億元,所佔比重超過百分之三十。

 陳宇認為,國內電影票房飈昇對中國電影市場的發展具有決定性影響,「之前中國電影的票房體量顯然與這麼大一個國家是不相稱,現在這種翻倍增長的態勢是正常的。」

 為了迎合學生放暑假的消費需求,青春、歡快的影片類型成為主打。《小時代》連續三年選擇在暑期檔上映,就是瞄準了大中學生這一主力觀影人群。二0一三年,以《小時代》和《致我們終將逝去的青春》為代表的校園愛情片逐漸增多,雖然褒貶不一,但以中小成本獲得高票房回報為投資人開啟了另一扇窗。但二0一三年之前一直是大片當道,從吳宇森的《赤壁》到姚樹華的《白銀帝國》,從陳可辛的《武俠》到陳凱歌的《搜索》,大製作、大明星、高成本、低收益,讓投資方苦不堪言。

 北京大學文化產業研究院副院長向勇對中新社記者說,無論是故事叙述、拍攝技術,還是後期製作,《捉妖記》和《大聖歸來》綜合水平都達到一定高度,可以說是里程碑式的作品。從過去文化消費方式單一,到後來文化消費多樣化,再到如今回歸影院觀影的消費形式,儀式感凸顯,這是一種積極的姿態,而好電影在其中功不可沒。

 雖然今年七月表現搶眼的三部影片口碑不俗,但整體看來中國電影的質量仍然不容樂觀,為了迎合年輕觀影群體,無論是暑期檔還是賀歲檔,電影瘋狂扎堆喜劇和愛情劇,越來越缺乏厚重感和責任感。今年,吳宇森的又一大手筆《太平輪•彼岸》於七月三十日上映,截止到三十一日凌晨,票房為六百萬元。而陳凱歌的《道士下山》雖然票房尚可,但由於成本近二億元,收益頗顯單薄。受到熱捧的電影題材從某種程度上也反映了觀眾的娛樂狀態。

 陳宇說,暑期檔的電影類型尚未固定,任何類型的影片都可以嘗試,前提是得讓更多的觀眾進入影院。針對不同的觀影群體,分銷不同的類型片,未來中國電影產業發展應當理清各種類型片,最終使得電影經營進一步符合經濟學規律。

[ 本帖最後由 阿管 於 2015-8-2 11:47 編輯 ]
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發表於 2015-8-2 11:51  資料 文集 短消息 
http://variety.com/2015/film/rev ... ohn-woo-1201554194/

Film Review: ‘The Crossing II’

John Woo's attempt at a 'Titanic'-scaled epic founders completely in its misbegotten second half.
Maggie Lee
Chief Asia Film Critic @maggiesama       

Like passengers who overpaid for tickets to escape war-ravaged Shanghai on the Taiwan-bound liner Taiping in 1949, only to end up on a sinking ship, audiences get a pretty lousy deal with John Woo’s “The Crossing II,” an inert follow-up that doesn’t deliver enough visual or emotional payoff in its overdue yet short-lived shipwreck climax. Released eight months after the first film opened in December, the pic features no intriguing new turns and has nothing meaningful to say, indisputably proving that the production would have been better off trimmed and presented as one film. Considering how “The Crossing” tanked at the box office worldwide, it’s unrealistic to expect a huge B.O. turnaround here, though an older demographic may still give it a chance.

Originally written by Wang Hui-ling (“Crouching Tiger, Hidden Dragon,” “Lust, Caution”) and later doctored by Su Chao-pin, Chen Ching-hui and Woo (all credited as writers), the screenplay has some intrinsic defects that only become more obvious here. Two-thirds of the 114-minute film are padded with rehashed scenes, with a smattering of new content woven in. The effect is a severe case of deja vu for those who’ve seen the first film and a sense of elliptical obtuseness for those who haven’t. Disparate characters who are supposed to come together on the ship do so in an only functional way, without generating strong emotional currents. In fact, their crucial moments are spent bobbing or flailing about in water, an apt metaphor for the floundering storyline.

The first installment culminated with the Kuomintang’s defeat at the decisive Huaihai Battle in 1948, spelling the beginning of the end of its rule over China, then concluded with screen titles naming characters who would eventually make the fateful voyage on the Taiping. The sequel opens with a quick voiceover run-through of how, on Jan. 27, 1949, after setting sail from Shanghai for the Taiwanese port city of Keelung on the eve of Chinese New Year, the liner sank after colliding with the freight ship Chian Yuan near Chou Shan Archipelego — a disaster that claimed nearly 1,000 lives and left about 50 survivors.

The yarn then shifts back to 1948, replaying scenes from part one. At first, this looks like a quick recap to reacquaint viewers with key plot points and characters, but after 30 minutes, it dawns on us that we are being saddled with the same film we’ve sat through once already, except that the familiar scenes have been stretched out even longer with some new material tacked on, little of which enriches the characters or raises the dramatic stakes.

Of some significance are new details on the family background of Taiwanese doctor Yan Zekun (Takeshi Kaneshiro), relating how his father and elder brother’s assertion of their Chinese identity caused only grief in times of violent historical transition. Yet a comparison with Hou Hsiao-hsien’s “Good Men, Good Women,” which encapsulated the pain of having one’s political ideals betrayed, instantly shows up the film’s shallow understanding of the milieu.

Zekun’s youngest brother, Zeming (Tony Yang Yo-ning), emerges as a leftist student activist, triggering events that puts Zekun back on the deck of the Taiping. Beyond that, however, Zeming is just another stock character bolstering the communists’ impending victory. Zekun’s role is allowed enough humanity to make him more than a mere ideological signpost, but he depicted as too much of a Boy Scout — stoical toward his family, undyingly faithful to his lover, altruistic to the sick or injured. While the first film at least featured some idyllic love scenes with his childhood sweetheart Masako (Masami Nagasawa) set against the lush nostalgic colonial backdrop, here, the characters have no physical encounter, while visions of her half-submerged are risibly surreal.

As Yu Zhen, a nurse desperate to get on the Taiping to find her soldier lover, Zhang Ziyi gave the interlocking relationships heart and helped drive momentum in the first “Crossing.” There’s not much more she can do to embellish her original performance here, since she’s still struggling to get a ticket, even resorting to sell her body to do so. (But wait, she already did that in part one!) Still, she animates the film with her strong will, especially in later scenes when Yu’s resilience provides a positive outlook on the bleak experience.

Yu’s reunion with foot soldier Tong Daqing (Tong Dawei, “American Dreams in China,” “Hollywood Adventures”), an anticipated development in the story, does add some emotional heft. However, Tong, who cultivated the most simpatico persona in the previous installment as an Everyman figure, is so heavily bandaged for most of his voyage, it’s like watching a mummy trying to emote.

Although the tragedy was not widely known or written about, Chang Tien-wan’s book “Taiping Lun 1949,” published in 2014, offered detailed, well-researched chronicles through interviews with survivors and their descendants. As the book revealed, the disaster was the result of multiple factors that reflected the desperation of the times: They sailed in darkness to evade the curfew; the sheer number of passengers bribing their way onboard caused the ship to exceed its capacity, as did its cargo, which included everything from Central Bank gold bars and classified documents belonging to the nationalist government to steel and printing paper. This is the stuff of real historical interest as well as timeless human drama, but the film, without officially citing Chang’s book as a source, covers the facts but in a mechanical, unengaging manner.

Perhaps due to budgetary restraints, the climax feels very rushed; it’s already 85 minutes in when everyone boards the ship, and while the finale of part one afforded a glimpse of the Taiping in its full glory, most of the action here is set among cramped berths in steerage, with just passing shots of the upper deck. There’s not much room for human interaction before the collision — a spectacle that seems to last for a split second. The visual effects are generally convincing, especially in the water, but the color grading of key scenes is too murky.

More tension could have been generated during the period before anyone realizes they’re in trouble; the subsequent scenes of rescue attempts and mass panic are not especially moving. There’s even a generic feel to the family saga of Yu’s landlady and her husband, Capt. Gu (Wang Qianyuan), which is suddenly given screen time because, hey, all disaster films need endangered tykes.

Tech credits are well appointed (the 3D conversion looks fine), with Horace Ma’s classy production design upholding the first film’s elegant period look. Taro Iwashiro’s score, which sounded too grandiloquent and sentimental in the first half, now serves primarily to keep audiences awake. Giddy montages provide a sense of activity and energy, but also make the already disparate plot strands feel even more jumbled; not aiding matters is David Wu’s editing, which has too many pacing lulls to generate excitement, yet rushes through the climax.

The Chinese titles mean “The Taiping: The Other Shore.”



Production
(China-Hong Kong) A Beijing Galloping Horse Film Co. (in China) release of a Beijing Galloping Horse Film Co., Le Vision Pictures Co., China Film Co., Huayi Brothers Media, Yoozoo Entertainment Co., Beijing Cultural and Creative Industry Investment Fund Management, Dongyang Mighty Allies Movie and Culture Co., Huace Pictures (Tianjin) Co., Beijing Phenom Films Co., China Movie Channel, Galloping Horse Culture and Media presentation of a Lion Rock production. (International sales: Semantic Culture, Beijing.) Produced by Terence Chang. Executive producers, Li Ming, Zhang Zhao, La Peikang, Wang Zhongjun, Titan Lim, Zhou Maofei, Xu Jiaxuan, Zhao Yifang, Chang Hong-sang, Cao Yin, Jin Yan.

Crew
Directed by John Woo. Screenplay, Wang Hui-ling, Su Chao-pin, Chen Ching-hui, Woo. Camera (color, widescreen, HD), Zhao Fei; editor, David Wu; music, Taro Iwashiro; production designer, Horace Ma; costume designer, Chen Tongxun; sound (Dolby Atmos), Tu Duu-chih; supervising sound editors/re-recording mixers, Tu, Wu Shu-yao; special effects supervisor, Bruce Law; visual effects supervisor, Leslie Ecker, Douglas Hans Smith, Park Young-soo, Jeong Seok-jae; line producer, Yang Dong; assistant director, Thomas Chow; second unit directors, Patrick Leung, Bruce Law; casting, Xing Hanqing.
With
Zhang Ziyi, Takeshi Kaneshiro, Song Hye-kyo, Bowie Lam, Yang Kuei-mei, Angeles Woo, Tony Yang Yo-ning, Tong Dawei, Masami Nagasawa, Huang Xiaoming, Amanda Qin Hailu, Faye Yu, Wang Qianyuan, Yu Zhen, Cong Shan, Lin Mei-hsiu, Jack Kao, Denny Huang, Johnny Kou. (Mandarin, Taiwanese, Japanese, Shanghainese dialogue)
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發表於 2015-8-2 23:57  資料 短消息 
回復 #177 阿管 的帖子

Thank you very much for welcoming me.

I have been following the Crossing production since 2013.  Now it does look like the vast majority of comments regarding Takeshi-san's performance has been positive.  Even if the box office is less than ideal, Takeshi-San has earned a lot of respect for his acting.  I observed equal praises about his acting and his looks.  I think the public is finally catching on to something that we serious fans have always known.  He is a very thoughtful actor with a natural style.  More importantly, he has worked hard on his craft.  As he gains life-experiences and more insights into human relationships, his acting has gotten better.  For a time I was a little worried that if he makes less than one movie a year, will he get enough practice?  But now I see he has spend more time thinking about his character and achieved a higher-level.  Honestly, it's very hardto play such a passive but ethical person as Yan. So chin-up, Takeshi-San!

About box-office...  The marketing really lacked insight.  I think they don't understand how to market a movie like this.  Opposite to how the movie was made, the marketing department gave it little thought!  They should have gone for a slightly older demographic, people born in the 70s and earlier.  Then with the younger demographic, my insight is that this movie may appeal to the more educated and sophisticated group.  For the rest younger demographic, they still aspire to be elegant and sophisticated, and some will come to the movie just so that they can talk on social media.  So who says this movie cannot be marketed w Social media?  of course, if they can go to an international film festival, that would also helped.  So it is interllectually lazy to just say that the movie going demographic has changed...  

This movie is meant to be a piece of art, more than mere entertainment or spectacle of disaster like many movies are.  A movie like this can "carry us to another land, another age, another set of culture values."  Through the imagination of creators and artists, we can "escape the limitation of our bodies and circumstances, and fill us with wonder." My aunt told me this before about art.  The stories showed many sides of human nature, but also reaffirms our humanity through the positive main characters.  it may not be popular for now, but there will be enough audience who will discover that being in touch with one's own humanity is really good for their wellbeing...  A fine piece of art will endure.  Thank you Director John Woo and Takeshi-San for taking the movie art-form seriously!

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阿管   2015-8-3 17:31  武氣  +15   Nice post, very well written!




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發表於 2015-8-3 14:49  資料 文集 短消息 
評:《太平輪》的沉沒 大時代的悲歌
北京新浪網 (2015-08-02 20:46)
http://www.takeshikaneshiro.net/ ... amp;replysubmit=yes

徐霞客1986/文

  《太平輪·彼岸》上映了,吳宇森導演、一部堪稱精良製作的鴻篇巨製、群星輝映,面對《捉妖記》《煎餅俠》幾部先期上映的大熱影片、三天的票房還沒過3000萬,沉沒趨勢比1949年太平輪與貨船相撞后的災難蔓延還要快!到底是什麼撞沉了它?是同期上映的影片嗎?

  相比於那些歷史經典,《太平輪》該是誰?

  「等待,比離別還痛苦」是這部影片里讓我最難以忘懷的一句台詞。

  如果、這是影片的魂兒,那麼在1949年亂世浮生的大時代背景下、展現眾多悲慘命運女性形象的《太平輪》,它所承載的應該是中國版的《亂世佳人》。

  就像宋慧喬在片尾念出台詞時、鏡頭閃過片中一個個不同身份、階層的女性身影,「在這個時代里,每個女人都在奔波中堅持,你是、你是、你是......」。影片中展現了多條故事線索下的亂世佳人「們」,最突出的是宋慧喬飾演的從不諳世事的千金小姐蛻變成身懷遺孤的雷軍長夫人、章子怡飾演的為尋找傷兵丈夫從單純平民淪落為任由摧殘的夜晚妓女(白天護士)。她們的階層不同但卻都同樣堅強,任由時代與命運的折磨,「只要想活,就一定會活著」!

  因為宋慧喬這條線索的故事,也因為吳宇森導演心中一直有的英雄夢、以及他一貫擅長導演以男性為中心的英雄電影,所以黃曉明(雷軍長)的戲份長度足以達到一部單獨的影片,當我看完《太平輪·上》、看著結尾戰火紛飛中黃曉明戰死沙場還絕帥的身影,我已經忘了宋慧喬和章子怡的角色都說了什麼,她們都幻化成了虞姬、是陪襯,我恍惚覺得是剛看完了一部年代版的《西楚霸王》。直到《太平輪·彼岸》的上映,本來應該是主角的那些女性角色才將故事主題拉回了《亂世佳人》。

宣傳為中國版《泰坦尼克》,實在是棋差一招

  因為章子怡這條線索的故事,她即便不知道「就算睡遍了上海所有的男人,能否換得一張去台灣的船票?」,把恥辱摳進木板、也要堅持,只為去台灣找尋可能在那裡的傷兵丈夫。因此!她上了那艘類似於泰坦尼克、最終也沉了的太平輪。但無論太平輪的場景如何恢宏、沉船的特效多麼逼真,都無法比章子怡在被踐踏時透過木板縫隙望向太平輪的堅定眼神更震撼,更無法比她在沉船后信守承諾冒死去捕撈雷軍長絕筆日記時的人性善良更動容。所以從影片時代背景、深刻程度與人性展現來看,《太平輪》的魂兒根本就不是一部愛情災難片,也根本就不是前期宣傳中所強調的中國版《泰坦尼克》。色調不同!

  到此、答案很明顯了。或許是那個大時代里可以被挖掘和展現的故事情節太多,導演和編劇一定程度在故事主線與主旨上失控、模糊了影片的焦點?或許是明明太帥了、吳導的男人槍戰戲太熱血了、讓出品方覺得幹嘛不單獨剪一部上集出來賣錢?或許是「愛情+沉船」的中國版《泰坦尼克》宣傳定位,更容易達到針對所謂小鎮青年主流受眾的易於理解。影片上下集兩部的處理方式與《泰坦尼克》式「青春愛情+極致視覺」大眾傳播方向,表面上多了機會來展現製作精良的多條故事主線與分攤高昂的製作成本、和吸引更多年輕受眾,但實際上卻讓觀眾們產生了到底是來看什麼的疑問?

  上集都沒上船還宣傳為中國版《泰坦尼克》?下集有四十分鐘在做上集精彩回顧,那之前為何不乾脆聚焦主線做一部中國版的《亂世佳人》?
在一個「小時代」,《太平輪》註定沉沒?

  失去了第一批核心觀眾的口碑支持,因此《太平輪》沉沒了。

  相比於大行其道的青春粉絲片、IP片、合家歡片,這樣深刻主題的大時代巨制拍給誰看?

  這個話題其實沒法多談,在關注商業回報、資本市場、年輕用戶、飛速變革與互聯網思維的當下大時代里,大家關注的只是「小時代」的故事格局。拍《太平輪》這樣「大時代」主題、主流價值觀引導的影片該是誰的責任?

  年輕受眾都這麼急著成功、口乾舌燥、速食消費,觀點交流基本都已控制在140字之內,展現陰謀宮鬥、詼諧幽默的影片都已晉陞為更加直接的暗黑撕逼、肥皂大笑。讓年輕人關注人性、變遷與不變這樣的話題,或許只能把重任留給《大聖歸來》和《三體》了,「陪伴型成長」的作品內涵或許在觀眾長大後會發酵。

  中年受眾在忙著賺錢拼事業、忙著讀完機場中信書店成功TOP10書籍、忙著掃完朋友圈自媒體熱門文章不落伍之後,還能抽時間看部深刻主題影片真的已經不易。影片必須做的天衣無縫、完美無缺,讓「自來水」推動口碑,他們才有動力把孩子擱家、把iPad丟一旁邁進影院。

  標題說這是「大時代的悲歌」,是要感謝不太了解內地市場趨勢、堅持夢想的吳宇森導演,和敢於冒險以小馬奔騰為首的投資方。也感慨依然有於冬這樣的電影人,不僅出來吶喊還儘力安排自家院線提升排片率。但這一切的夢想、冒險、吶喊還是要從影片的魂兒出發,不能有閃失、在製作與宣發上抓住僅存不多願意耐心品味的觀眾。

  失去了有耐心品味影片的觀眾群體規模,因此《太平輪》沉沒了。

  但我始終心存陽光,用戶選擇、價值取向和市場方向都會逐步改善、儘管不易。就像片中鬧革命的青年學生楊佑寧的台詞 「我相信只要堅持,理想就一定會完成」!也好像章子怡在片中的情節,沉船墜海、奮力求生、終達彼岸。

  最後我想說,紀念反法西斯月就要來了,和重點影片《百團大戰》一起做年輕人教育素材的,其實可以是《太平輪·彼岸》。
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發表於 2015-8-3 14:53  資料 文集 短消息 
北京新浪網 (2015-08-03 02:39)
http://news.sina.com.tw/article/20150803/14887176.html

北京晨報8月3日報導 7月30日18點,吳宇森執導的《太平輪·彼岸》正式上映。儘管在品質上絕不遜色於同日上映的其他幾部國產片,陣容上甚至還要遠勝一籌,試映的口碑也逆襲上揚,但《太平輪·彼岸》的影院排映場次卻少得可憐,首日排映率只有13%,首周末票房只有3000多萬。《太平輪·彼岸》在市場上遇冷,或許是受到《太平輪(上)》的口碑拖累,也可能是如博納總裁於冬所言——被發行方放棄了,更大的可能是身為觀影主力軍的年輕觀眾對該片失去了興趣。記者注意到,有不少年輕觀眾在網上留言說,《太平輪·彼岸》的節奏太慢,也不搞笑,根本不是他們的菜。誠然,《太平輪·彼岸》不是吳宇森早期那種展現暴力美學的快節奏動作片。相反,這是他在經歷過生死大劫之後拍的一部以女性為主角的愛情史詩片,畫面唯美、節奏舒緩,片中充滿了他對浪漫愛情的解讀和他個人對家國情懷的展現。只可惜,在這個急功近利的時代,吳宇森柔腸和情懷並沒有多少人願意去懂。不過,吳宇森始終對觀眾抱有一份信心。他日前接受北京晨報記者專訪時說:「我不主張電影為了適應某種固定觀影模式而改變節奏。因為,我總不願意相信,人再不願意思考。」

  觀眾不滿分集和3D

  ——《太平輪》本該是2D愛情長片

  記者注意到,觀眾對《太平輪》的不滿主要集中在兩個方面。第一,不滿上下集的設置,認為這是騙錢行為,尤其是《太平輪(上)》結束的時候主角還沒上船,更讓觀眾有很深的受騙感;第二,不滿電影的3D效果。對吳宇森而言,把《太平輪》分為上下集、拍成3D版本都是跟他最初的設想相悖的。只不過是投資方提出了這些要求,在商討之後他也沒有拒絕而已。「我最開始只是想拍一部3小時左右的2D愛情史詩片,從來沒有想過要分上下集。」吳宇森說,他自己對3D電影不熱衷,也認為愛情史詩題材的電影不適合做成3D。「我認為3D電影其實不像電影,更像是玩具。因為它要求每一個細節都清楚。這樣導演就不能把焦點放在某一個演員身上。比如,兩個演員在畫面里,後面的一位在流淚。我就會把焦點放在後面演員的身上,找到情感表達的點。如果是3D的話,可能觀眾會只注意到前面的演員,這樣就會錯過感情點。」在吳宇森看來,電影就是導演用攝影機在作畫。作畫就有構圖,而採用3D拍攝的話,每一細節都清楚,那就不是構圖了。然而,在投資方的勸說之下,吳宇森還是接受了拍3D《太平輪》的建議。「3D拍攝不適合愛情電影。我接受做成3D版本有一個條件:《太平輪》感情戲的部分,我用2D的正常拍攝剪輯手法來做,到了動作場面才用3D的方式。」接受了3D的建議之後,吳宇森就不得不接受第二個建議——上下集。「既然是發行3D版本,那麼3個小時的電影就太長了,觀眾眼睛忍受力沒有那麼長久。而劇本里的三個愛情故事都非常精彩,刪掉任何一個都覺得可惜。投資方計算下來,認為可以分成上下兩集。第一集拍戰爭,第二集看『太平輪』的沉沒,我也沒有反對。」吳宇森說,他原本建議只有下集叫「太平輪」,上集另外起一個文藝一些的名字,也沒有得到認同。

  下集女性角色突出

  ——最愛不接受命運擺弄的於真

  吳宇森以往的電影特別擅長展現男人之間的兄弟情,而《太平輪(上)》的女性角色同樣出色,《太平輪·彼岸》更是完全以女性角色為主的一部電影——章子怡扮演的亂世尋夫的於真、宋慧喬扮演的將軍遺孀、俞飛鴻飾演的軍官太太、楊貴媚扮演的母親,甚至吳宇森女兒吳飛霞出演傳統的家庭女性,幾乎每一個女性角色都出彩。儘管票房未能達到「彼岸」,但《太平輪》的女性角色抵達了觀眾心中的「彼岸」也讓吳宇森感到很高興。他對北京晨報記者說:「一直以來我都被人家說成只適合拍男性電影、拍英雄電影的導演。我不服氣。生活中我對女性非常尊敬,一直想拍一部以女性為主角的電影,拍堅強的女性,要拍得和我的那些男性電影一樣好。因為我覺得女性的勇氣、愛有時候比男性來得更加堅持也更加堅強。後來我見到了《太平輪》的劇本就非常興奮,感覺就像根據我的要求打造的一樣。每個導演心中都有一部史詩,而我心目中的就是《太平輪》這樣子的。」片中形形色色的女性角色,每一個都有自己的特點。被問起現實生活中最欣賞哪一種,吳宇森笑著回答:「我都欣賞,但我最欣賞的是章子怡扮演的於真。雖然迫於亂世、迫於環境,她做一些被別人看不起的事,但我覺得她很堅強,在艱難中活出了一份尊嚴。她對愛的堅持、不接受命運擺弄的勇氣,我都很佩服也很欣賞。」

  年輕觀眾只愛喜劇?

  ——都沒有機會看到真正的電影

  《太平輪·彼岸》里有一個鏡頭,太平輪沉沒的時候,倖存者為了爭搶浮板廝殺,而不是像泰坦尼克號沉沒時那樣讓兒童、婦女先上救生船。有觀眾評價說,這個細節讓人看到了真實與殘酷,反而泰坦尼克號里的那種紳士風度絕少可能發生在我們身邊。吳宇森表示,他並沒有刻意抨擊人性,但這確實是他對現實的觀察。「電影除了是歷史,也是導演對現實的觀察。我的確有些感慨,危難的時候能夠顯示出人的自私和無情,也能凸顯人的同情心。急速變化的社會讓更多的人更加急功近利了,現在的社會變得沒有以前那麼寬容。為什麼我喜歡懷舊?上世紀五六十年代的香港雖然很艱苦,但人與人之間有一份信任和關愛在。哪一家有生老病死,大家都去幫忙。貧窮並不是羞恥的事情,只是人生的過程。」

  具體到兩部《太平輪》電影的經歷,吳宇森也有很多感慨。不少人批評《太平輪》的節奏太慢,不適應年輕觀眾的觀影習慣。吳宇森對此並不認同,他認為這是過分低估了年輕觀眾欣賞電影的能力。「別人跟我說,年輕人不會有耐心去看這樣的電影。我不相信年輕人沒有感情。可一直以來,這個圈子知道他們喜歡看喜劇,就一窩蜂拍喜劇,然後他們就真的只會看喜劇了。在我看來,不少年輕人都沒有機會看到真正的電影。」吳宇森認為,中國電影人應該趁著現在大家都熱愛電影的時候,拍出不同類型的電影給觀眾看,而不是一窩蜂去追某種類型。儘管如此,吳宇森對觀眾、尤其是年輕觀眾的欣賞能力依然抱有信心:「我不主張電影為了適應某種固定觀影模式而改變節奏,因為,我總不願意相信,人再不願意思考。」
北京晨報記者 楊蓮潔/文
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發表於 2015-8-3 14:55  資料 文集 短消息 
佟大為曬《太平輪》燒傷妝博眼球 票房滑鐵盧幾成定局

Yes娛樂 8月3日綜合報導  近日,吳宇森歷時6年的巨制電影《太平輪》下篇《太平輪彼岸》終於上映。在競爭激烈的暑期檔上映,《太平輪彼岸》的票房表現卻只能以慘淡來形容,上映首周的票房僅3100萬,這與集結了章子怡、黃曉明、宋慧喬、金城武等大咖明星的超明星陣容反差巨大。

《太平輪彼岸》的宣傳力度明顯遜於上篇,此輪宣傳僅有吳宇森、佟大為、楊佑寧撐場。章子怡、宋慧喬等均未出現。明星方面也只有佟大為不遺余力為《太平輪》吆喝,微博幾乎被《太平輪》相關刷屏。

近日,佟大為接連在微博曬出自己在電影中的老年妝和燒傷妝,老年妝化了化了7個多小時,最后慘遭剪輯,無緣與觀眾見面;而佟大為的燒傷妝,也在他的分步拍照下,讓粉絲毛骨悚然,膽小的慎入。如此犧牲自我,卻沒能換來電影的票房,也是演員的無奈。

據推測,《太平輪》兩部電影的累計票房恐怕在2.5億,兩部破10億的華語電影《捉妖記》和《煎餅俠》仍以不錯的院線排片表繼續累加票房成績,這無疑也加速了《太平輪》系列慘遭滑鐵盧的行程,不排除票房不佳遭院線提前撤檔。

http://ent.starsyes.com/Content/20150803/kkkofzq2y5vm1.shtml
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發表於 2015-8-3 15:07  資料 文集 短消息 
劣幣逐良幣!!!
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發表於 2015-8-3 18:14  資料 文集 短消息 
回復 #186 Rui 的帖子

It’s great to read you wrote of all the wonderful qualities that Mr Kaneshiro possesses. He’s so much more than a gorgeous face!! His talent and temperament have kept him working. I have always known that Takeshi was an awesome actor. Even though people don’t give him credit, I do believe he is smart, he’s just not the type to go around showing off. I like how he is private.

He is a great actor with a lot of emotional range. There was a scene where he had to cry and he did it so convincingly that their wasn’t a dry eye in the entire viewing audience. Takeshi has such a genuine, charming likeability about him. I think that’s a big part of his appeal. There was a point in the movie that his character had to truly break down in tears. Talk about convincing. I believe a lot of fans wanted to jump through the screen to console him.

I do believe Takeshi is a thoughtful actor who finds nuances in the roles he chooses to do. Loved him in ‘The Crossing II’. He was the soul of the movie.
Looking forward to the Director's Cut on Blu Ray.



[ 本帖最後由 阿管 於 2015-8-3 20:23 編輯 ]
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發表於 2015-8-5 01:36  資料 短消息 
回復 #191 阿管 的帖子

Thank you for your kind words.  
Yes, I think Takeshi-San is intelligent, more specifically he is a creative original thinker.  From what I can observe through his work and interviews, he likes to think things through from various angles.  On the other hand, I just know that despite his great composure, he is a humorous, empathetic and sensual person.  All these qualities when channeled into different roles give his characters depth and charisma.  Even with his undeniably handsome looks, I always thought him a thinking person's movie star.
I apologize for not writing in Chinese.  I can read Chinese all right, but writing is a lot harder.  And I am often lost for the exact expression/word...

Through his movies and TV shows, I felt I grew up with him.  When I have some time, I'd like to write some reviews on his past works.  Just want to do something for his fans...   best, Rui




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狀態 離線
發表於 2015-8-8 12:27  資料 文集 短消息 
回復 #192 Rui 的帖子

Dear Rui,
It is alright to write in English, as our members come from around the world.
However, I am so glad that you can also read Chinese.
I would like to share the picture with you.



https://www.facebook.com/GQTaiwan/photos_stream
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狀態 離線
發表於 2015-8-8 23:50  資料 文集 短消息 
這個金城先生流淚的鏡頭, 看得我心碎

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發表於 2015-8-9 00:10  資料 文集 短消息 
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