In Love for the Mood (Chinese)

In Love for the Mood华样年花


这是黄汉明(Ming Wong)代表新加坡参加第五十三届威尼斯双年展的个人展《一生模仿》(Life of LImitation)的三件作品之一。这部短片灵感来自于知名香港导演王家卫的电影《花样年华》,一部讲述了一段发生于六十年代香港的爱情与背叛的经典之作。


“虽然花样年华是一部描绘六十年代风雅香港的粤语片,但影片刻画的有情人无缘再叙激情的爱情故事在全球都引发了强烈的共鸣,张曼玉高雅的发髻和精美 的旗袍造型也永成经典。而黄的版本则用一位在新加坡学习的新西兰白人女演员同时饰演了张曼玉和她剧中的情人梁朝伟。在导演的提词帮助下,女演员需要以她并 不理解的粤语演出,而她的表演被记录下来在三个屏幕上同时循环播出。每个屏幕使用了不同语言的字幕:排练较少的第一屏使用粤语字幕;第二屏中演员能够更好 的适应粤语演出并放松的融入角色,使用了英文字幕;第三幕当演员熟练掌握了对白可以专心演绎角色,字幕使用的是意大利语。在最初的场景中不适应与尴尬显而 易见,而导演在剪辑中也保留了演员的失误和道歉。在原本电影的场景中,周先生(梁朝伟饰)在帮苏丽珍(张曼玉饰)演练一段质问她丈夫的戏,这描述彩排的一 幕也加强了这个短片自我指涉嫌性。 虽然黄拍摄时的技巧刻意加入了渐离效果,尽管女主角并不理解她所说的台词的语言,但电影在传达情感领域上的优势使短片所蕴含的尖锐张力得到完美的表达。“

Russel Storer, Repeat After Me (展览目录)

In Love for the Mood

In Love for the MoodIn Love for the Mood

3 channel video installation
4:00 mins loop


Originally commissioned for the 53rd Venice Biennale for the artist’s solo exhibitioin Life of Imitation at the Singapore Pavilion, this work is inspired by Hong Kong filmmaker Wong Kar-Wai”s meditation on love on and infidelity set in Hong Kong in the 1960s, In the Mood for Love (2000).

A Caucasian actress plays both the leading man and woman, attempting to deliver her lines in Cantonese, by repeating after the artist/director’s offscreen voice.

“Despite its Cantonese language and exquisitely mannered vision of 1960s Hong Kong, the film’s narrative of unconsummated passion has resonated globally, and Maggie Cheung’s beehive hairdo and vast wardrobe of high-collared cheongsams have become iconic.
Ming’s version replaces both Cheung and her object of desire, played by Tony Leung, with a Caucasian actress from New Zealand who is studying in Singapore. Her attempts to speak the lines in Cantonese, repeating Ming’s prompts off-camera, are recorded in three loops, played simultaneously on three screens. Each is subtitled differently: for the first and most unrehearsed scene, it’s Cantonese; for the second, as she begins to relax into the character and the language, it’s English; and for the third, it’s Italian, where she has mastered her lines and is able to concentrate on acting. The actress’s discomfort and embarrassment in the earlier scenes is clear, with her slip-ups and apologies retained in Ming’s final cut.
This self-referentiality is intensified by the fact that the scene being performed is one in which Cheung’s character Mrs So is herself rehearsing, using Leung’s Mr Chow as a stand-in for her husband as she accuses him of adultery. Despite Ming’s distancing techniques, and even though we know that the actress can’t understand the language she is speaking, the scenes are still remarkably poignant, proving the power of cinema to suck us into its affective realm.”

Russell Storer, Repeat After Me (Exhibition catalogue)

Cast: Kluane Saunders
Cantonese transcription: Carrie Poon Ka Wai