香港人看土地，普遍局限於城市人的觀念，簡化為「地產」、「置業」的生活保障命題，

認為土地問題就是房屋短缺，被誤導相信問題是地少人多，卻不問人口管理政策，認為填海是錦囊妙計，其實急功近利忽略環境生態考量。從「天地無垠」六部經典電影中找尋啟迪，我們或許可以灑脫一點，暫時放下憂戚舉目遠望：當每個人厲行人生契約，體認天命時，必可找到心安一席之地。

對於一直支持「影評人之選」的影迷，「天地無垠」可視為對第一年「說影生花」（2010）的 遙 相 應 和。 尊 福 的《 怒 火 之 花 》（1940） 改編自史坦貝克經典小說《憤怒的葡萄》，記錄美國大蕭條年代一個家族的跨州遷移；中國「第四代 」 導 演 顏 學 恕 的《 野 山 》（1985） 則 改 編 自賈平凹的《雞窩窪的人家》，故事發生在峽西秦嶺的貧苦村落，適逢農村改革兩對夫妻也互換一下。換個角度，這次也具有 2015 年「人在旅途」

節目的影子，楊特魯爾的《大移民》（1971）的遷徙路線比《怒火之花》更艱鉅，務農族群從瑞典南部貧瘠的斯莫蘭山區，越洋往新大陸美國的明尼蘇達州；而卡路斯雷加達斯的《天地悠悠》（2002）則跟着一個喪志男人在陌生的墨西哥深山自我流放。以土地為主題，我們的眼界勢必要越過城市煩囂，洞見蒼穹下大地的襁褓。內田吐夢的《土》（1939）及伊士溫卓兹的《雪上行走的人》（1942）皆叩問人性與自然的關係，無論在日本茨城鬼怒川沿河的莊稼人，抑或坦夕凡妮亞高山的伐木族群，面對困厄的命運，始終磨鍊出非凡的人文氣質。

六部電影各自承載特定時空的風土人情，以四方之內的銀幕體察無垠大地。踏地的人，以崇敬的心靈跟大地之母對話：流離轉徙、還淳反樸、尋根溯源、知命安身等人文題旨，一一翻土而出。

香港電影評論學會

前言 Foreword

Hong Kong people tend to have an urban notion towards land. They confuse “land” with “housing” and “property”. To them, a failed land policy is just a shortage of housing, while ignoring demographic policies. Man-made islands are totally oblivious of environmental concerns. From the six films of this series we may take a more aloof view. When humans fulfill their life missions they’ll find a place called home.

Our longtime supporters would definitely notice the proximity of this series with our first in 2010, which was about literary adaptations. The Grapes of Wrath (1940) is based on John Steinback’s Great Depression classic of a migrating family. In the Wild Mountains (1985) by Yan Xueshu is based on Jia Pingwa’s novella Two Families in the Chicked Nest Village. Jan Troell’s The Emigrants (1971) isn’t just based on a Swedish bestseller

but also echoes one of our previous series on travelling. But this journey from a Swedish village to Minnesota is a torturous and perilous one. Carlos Reygadas’ Japón (2002) follows a disheartened man exiling himself on a remote Mexican mountain. Our hymn to land would surely endear us to the cradle of the soil. Tomu Uchida's Earth (1939) and Istvan Szőts’ People of the Mountains (1942) both look on the nourishing power of the earth towards the human spirit. Human resilience is one of numerous qualities that contributes to humanity.

The films featured here have slightly different focuses but similarly explores the eternal dialogue between mankind and the earth, be it displacement and settlement, a return to innocence and roots, or simply knowing one’s place and destiny.

Hong Kong Film Critics Society

明治時代，關東茨城農夫勘次一家五口，雖然夫妻兩人終年辛勞不已，依然生活貧困無着，被高額的田租壓在地下，勘次相信是外父欠債導致這般景況。當勘次的妻子意外離世，一家的命運也面對轉折……。日本電影巨匠內田吐夢的戰前經典，《土》是日本傳統農村社會的忠實寫照，四季美景背後沒有田園牧歌，而是生存的搏鬥和地主的壓榨。作品以社會批判見稱的內田，交出了生涯的傑作。失而復得的幻之名作，更讓這部電影成為日本影史的傳奇。

Meiji-era Japan. Kanji is a farmer in Ibaraki, with a family of five. Kanji sweats and toils but finds himself left with hardly anything. He knows he’s being heavily charged by the landowner yet he believes this is due to the debts of his father-in-law. Kanji’s wife dies suddenly and throws the family in disarray. Earth is Tomu Uchida’s best known prewar work and shows the real Japanese agricultural society in its direness and cruelty. The seasons come and go but this is no song of the earth. Instead it’s a struggle for survival against the greed of the landed class. Earth is Uchida’s magnum opus and reveals why he was famous for his militant social critique. Once lost, Earth’s recent rediscovery added further glamour to its legendary status.

鄭傳鍏之選Choice of Cheng Chuen-wai

1939 | 日本 Japan | 黑白 B&W | 117min | 35mm日語對白，中、英、德文字幕In Japanese with Chinese, English and German subtitles

導演 Director  內田吐夢 Tomu Uchida 原著Original author  長塚節 Takashi Nagatsuka 編劇 Screenplay  八木隆一郎 Ryuichiro Yagi   北村勉 Tsutomu Kitamura 攝影 Cinematographer  碧川道夫 Michio Midorikawa 音樂 Music  乘松明廣 Akihiro Norimatsu演員 Cast  小杉勇 Isamu Kosugi   風見章子 Akiko Kazami   山本嘉一 Kaichi Yamamoto   見明凡太朗 Bontarô Miake

1939 年《電影旬報》十大日本電影第一位#1 in Kinema Junpo’s Top 10 of 1939

Earth

Print and still courtesy of the National Film Archive of Japan

看 五 六 十 年 代 的 日 本 電 影， 尤 其 是 木 下 惠 介 的 作品，不乏二戰結束後主人翁因為土地改革而家道中落的故事。只是，這些電影往往從地主家的視點出發，那麼戰前的日本農民，那些真正在田間耕作的佃農，生活到底是怎樣的？能解答這個問題的電影，可能只有內田吐夢 的《 土 》。 這 部 電 影 以 勘 次 一 家 的 生 命 轉 折， 展 現二十世紀初日本農村生活的面貌，有力的影像撼動了當時的觀眾。

《 土 》 其 實 從 一 開 始 就 是 不 合 時 宜 的 電 影。 在 侵華戰爭爆發，戰意高揚的宣傳電影紛紛登場之際，導演開拍明治年代的農民小說，講佃農的悲慘生活。主題灰暗不受歡迎可以預見，公司高層於是下令停拍。但在整個片廠陽奉陰違之下，內田以一年時間捕捉日本農民的生活和四季景象，用其他劇組轉讓的物資拍成了一部大片。公映之後出乎意料地票房大收，映期一展再展。在該年《電影旬報》十大日本片評選，《土》壓倒溝口健二的力作《殘菊物語》登上第一位，名副其實叫好叫座。只是，這部電影的背運並未就此結束。日活片庫在四十年代發生大火，加上戰爭的混亂，《土》一度失傳，成為傳說中的名片。直至 1968 年在東德尋回一個九十多分鐘的殘本，然後事隔三十年，又在俄羅斯出土另一拷貝，多出二十四分鐘，終於讓這部曾經打動青年黑澤明的經典之作，以接近原貌的姿態示人。

鄭傳鍏

Many Japanese films in the 1950s and 1960s, especially those by Keisuke Kinoshita, show the downfall of landowners following the post-war land reforms. Yet this is the viewpoint of landowners, how about those pre-war tenant farmers who actually worked the land ? The cinematic answer might only be found in Tomu Uchida’s Earth. Through the misfortunes of Kanji’s family Uchida showed us what it was like in Japan’s agricultural countryside. Viewers at the time were also moved by the film’s striking visuals.

From its conception Earth was an anomaly of the times. Japan was then at war with China, movies were to align with the patriotic cause, but Uchida opted to make a film out of a Meiji-era novel that showcased the sufferings of tenant farmers. Foreseeing a bleak film which would be shunned by viewers, Uchida’s studio Nikkatsu vetoed the project. Yet Uchida went ahead and made the film secretly throughout a year and documented the hard work of farmers and the sceneries of the seasons. Such clandestine filming was made possible because other filmmakers at Nikkatsu shared their resources with Uchida. A surprise hit, Earth was voted #1 in Kinema Junpo’s Best 1939 Films, beating Kenji Mizoguchi’s Story of the Last Chrysanthemums to the second place. But Earth was once lost following a fire in Nikkatsu’s film vaults in the 1940s and the postwar chaos certainly didn’t help matters. In 1968 it was finally rediscovered in East Germany as an incomplete print which was slightly more than 90 minutes. It took an extra 30 years until Russia unearthed a much longer print that stretched the run time to its present length. We can now savour this classic which moved the young Akira Kurosawa in a near-complete status.

Cheng Chuen-wai

務農生涯悲歌，東亞土地問題終極批判！

An elegy on the farmer’s lot. A sharp critique on Japan’s land policy.

25/5（六 Sat）2:00pm#香港電影資料館電影院 Cinema, Hong Kong Film Archive

15/6（六 Sat）7:00pm*香港電影資料館電影院 Cinema, Hong Kong Film Archive

# 設映後開幕座談會，講者：  鄭傳鍏、登徒、傅慧儀、鳳毛、喬奕思、劉嶔，粵語主講  Post-screening seminar with   Cheng Chuen-wai, Thomas Shin, Winnie Fu,   William Cheung, Joyce Yang and Lau Yam in Cantonese

* 設映後座談會，講者：陳麗娟、鄭傳鍏，粵語主講  Post-screening seminar with Chan Lai-kuen and   Cheng Chuen-wai in Cantonese

登徒之選Choice of Thomas Shin

2002 | 墨西哥 Mexico、西班牙 Spain | 彩色 Colour | 135min | 35mm西班牙語對白，中、英文字幕In Spanish with Chinese and English subtitles

導演 Director  卡路斯雷加達斯 Carlos Reygadas編劇 Screenplay  卡路斯雷加達斯 Carlos Reygadas攝影 Cinematographer  迪亞高維拿迪 Diego Martínez Vignatti演員 Cast  阿歷恩曹費里迪斯 Alejandro Ferretis  瑪德蓮娜科莉絲 Magdalena Flores

雷加達斯一鳴驚人的首齣長片，驚艷國際影壇。一位殘障畫家離開墨西哥城往郊區荒野，他被嚴重的抑鬱症所折騰，輾轉來到荒蕪的村落，寄居在印第安老婦家中。小屋俯瞰荒涼大峽谷，荒漠景色蒼茫。慢慢過着洗盡鉛華的生活，漸受老婦的強韌生命力所感染，兩度自尋短見的畫家竟重新尋回生存意志。除了畫家、老婦，及意圖侵吞農莊的親戚，原始粗獷的大地黃土也是電影的主角。透過來自城市的畫家的眼睛，瞧見一望無際的高原地貌。伴隨悠揚的配樂，映襯周邊的山脈，頓覺人是多麼渺小，而天地何其悠悠，容納人的脆弱和迷失？腳踏實地，回歸黃土，療癒的力量油然而生。

Reygadas’ stunning debut takes a handicapped and severely depressed painter out of Mexico City to the wilderness. In a tiny hut overlooking a massive canyon, the suicidal painter lodges with an indigenous Indian old lady and gradually finds the courage to live on. Apart from the duo and the lady’s relative who covets her farm, the raw and yellowish land is yet another protagonist. In this vast and desolate landscape, the sorrows of an urban person is nothing. Get up and feel the earth with your feet. And the healing has begun.

2002 年康城影展金攝影機獎特別提名Golden Camera - Special Mention, Cannes Film Festival 2002

2004 年墨西哥阿里爾獎最佳原創劇本、最佳首部電影Best Original Screenplay, Best First Work, Ariel Awards (Mexico) 2004

影像詩意瑰麗又充滿逼力，訴說人與土地重建聯繫的療癒之旅，過目不忘。Poetic and dazzling images. An unforgettable healing voyage rebuilding the ties of humans and earth.

25/5（六 Sat）7:00#香港電影資料館電影院 Cinema, Hong Kong Film Archive

15/6（六 Sat）2:00pm*香港電影資料館電影院 Cinema, Hong Kong Film Archive

# 設映後座談會，講者：登徒，粵語主講  Post-screening seminar with Thomas Shin in Cantonese

* 設映後座談會，講者：鄭政恆、登徒，粵語主講  Post-screening seminar with   Matthew Cheng and Thomas Shin in Cantonese

只准 18 歲或以上人士觀看 Persons Aged 18 and Above Only

出自墨西哥導演雷加達斯之手，本片對人性和大自然的詩意刻畫，對山野氣魄的樸實描繪，以至簡約而富有活力的敍事，皆令這齣首作予人深刻印象。電影開首由一連串蒙太奇鏡頭組成，由車水馬龍的都市出發，穿過黑暗的隧道、霧鎖的市區，慢慢來到山野，最後由一組火車軌上的搖鏡作結，標示有始有終的旅程，乃一趟靈性之旅。

時間恍若可治癒所有頹憊，望向荒野蒼茫的景色，畫 家 的 感 官 慢 慢 甦 醒。 而 小 村 莊 和 大 峽 谷 儼 如 戲 中 主角，老婦宛如鄉土的化身，不知不覺間讓五感盡失的城市畫家，找到自己心靈的救贖。戲裏不乏具爭議性的場面，諸如涉及動物死亡的畫面，可能使觀眾不安；或是最後一場，老婦答應畫家的不情之請，讓觀眾訝異復又深思，教人想起今川昌平導演的《楢山節考》（1983），重新肯定人的生之慾和動物本能。

戲內對白少之又少，默默無語只用影像說故事，節奏不徐不疾，盡顯導演對抒情夾敍事的掌控力。全片以16 米厘拍攝，導演與攝影師迪亞高維拿迪捕捉荒土曠野之美，配合褪色的影像處理，廣角鏡和長鏡頭的運用已流露大將之風，加上非職業演員的表演，合成過目不忘的影像詩。

登徒

Reygadas’ debut is a visual poem depicting the unadorned charms of the fields and mountains. The striking images were coupled with a minimalistic yet vibrant storytelling. The film starts with a montage sequence. It commences with the city landscape with its heavy traffic, then takes us through the dim tunnels and foggy urban area to the mountains. It ends with a pan shot across the rail tracks, making this a spiritual journey.

Time seems to be ultimate antidepressant. The desolate landscape revives the painter’s senses. The village and the canyon might be the true hero of the film. The old lady is somehow the incarnation of the earth, redeeming the soul of the painter whose senses has been lost. There are controversial scenes that might be unbearable, such as those with the death of animals and the final scene in which the old lady granting the painter what he wants. But shock value apart, they will allow you to ponder on their meanings. They remind me of Shohei Imamura’s The Ballad of Narayama (1983) with its acknowledgement of the will to live and humans’ beastly instincts.

With dialogue reduced to a minimum, Japón strives to tell its story with visual means. Its moderate rhythm shows Reygadas’ lyrical and narrative powers. Shot on 16mm film stock, Japón’s washout images reflect the true beauty of the wilderness. Reygadas and his cinematographer’s mastery of wide-angle shots and long takes is hard to miss. The performance of nonprofessional actors is another unforgettable component of this visual poem.

Thomas Shin

Cou

rtes

y of

NoD

ream

Cin

ema

鳳毛之選Choice of William Cheung

1971 | 瑞典 Sweden | 彩色 Colour | 192min | DCP瑞典語對白，中、英文字幕In Swedish with Chinese and English subtitles

導演 Director 楊特魯爾 Jan Troell原著Original Author 韋咸慕堡 Vilhelm Moberg編劇 Screenplay 楊特魯爾 Jan Troell 賓科士隆 Bengt Forslund攝影 Cinematographer 楊特魯爾 Jan Troell音樂 Music 艾歷諾格倫 Erik Nordgren演員 Cast 麥士馮西度 Max von Sydow 莉芙烏曼 Liv Ullmann 艾迪雅斯堡 Eddie Axberg 莫妮卡柴德蘭 Monica Zetterlund

十九世紀末，瑞典南部小鄉村住着一個淳厚的農民家庭。卡爾（麥士馮西度飾）與姬絲汀娜（莉芙烏曼飾）夫妻恩愛，遭逢惡劣天氣收成不佳，歲月荒涼。弟弟羅拔懷着遠闖加州淘金的美好幻想，牧師叔叔深信神恩會眷顧他們到達自由的彼岸。面對土地貧瘠、糧食不足、地主不仁和宗教權威壓迫的絕境，卡爾一家決意孤注一擲，冒險遷徙到夢想的新世界：美國明尼蘇達州，一個未開發的土地。波瀾壯闊的北歐移民史詩，導演楊特魯爾超絕不凡的攝影捕捉了大地自然的美感和農民奮鬥求存的精神，同時叫觀眾反思鄉愁和流徙不定的身份問題。

Late 19th century, a village in southern Sweden. Karl and his loving wife Kristina are peasants trying to eke out a living on their infertile land. But poor weather reduces their efforts to nothing. Karl's brother Robert is lured by the tales of abundance in America, in particular California. Kristina's uncle, a very devout Christian and an unorthodox preacher, believes God will bless their exodus into a new haven. Cornered by imminent starvation, religious persecution and insatiable landowners, Karl decides to take the plunge with his kin. Their destination is Minnesota, then mostly undeveloped. The ultimate epic on Nordic emigration to America, The Emigrants evokes the breathtaking beauty of nature and the grit of farmers. The memorable photography was done by none other than writer-director Troell. The sense of nostalgia and diaspora will also strike a chord in the hearts of modern viewers.

1973 年金球獎最佳外語片、最佳劇情片女主角Best Foreign - Language Foreign Film, Best Actress in a Motion Picture – Drama, Golden Globe Awards 1973

1973 年奧斯卡最佳電影、最佳導演、最佳女主角提名Nominee: Best Picture, Best Director, Best Actress, Academy Awards 1973

The Emigrants

史詩式移民題材的瑞典鉅製，兩大英瑪褒曼愛將鬥演技之作。The Swedish epic on emigration starring two masterly actors best known for their Ingmar Bergman films.

1/6（六 Sat）2:00pm#香港電影資料館電影院 Cinema, Hong Kong Film Archive

16/6（日 Sun）2:00pm*香港電影資料館電影院 Cinema, Hong Kong Film Archive

# 設映後座談會，講者：劉偉霖、鳳毛，粵語主講  Post-screening seminar with   William Lau and William Cheung in Cantonese

* 設映後座談會，講者：鳳毛，粵語主講  Post-screening seminar with William Cheung in Cantonese

這是瑞典電影有史以來製作費最貴的電影，曾先後獲五項奧斯卡提名，包括最佳電影及最佳女主角。電影改編自瑞典暢銷作家韋咸慕堡的「移民四部曲」小說，1972 年導演再拍續集《開拓新家園》，兩片合共長六個半小時，的確可稱得上移民史詩電影。

《大移民》內容分三部分：第一部分描繪農民的耕作辛酸和朝不保夕，生存問題迫使他們決定要尋找他鄉。第二部分描述流徙途中的艱苦掙扎，包括舟車勞累、疾病、生死等。第三部分關於移民到達新土地的陌生及適應。導演楊特魯爾集編、導、剪接和攝影於一身，運用很多長／遠鏡頭和大特寫去捕捉人對土地的感情。在攝影的寫實詩式的光影下，再次呈現出像陶淵明「歸園田居」的詩意，儘管生活艱苦，卻孕育出回歸自然的美感。正如女主角莉芙烏曼在訪問中說：「如果要我說兩位導演大師有何不同的話，我 認 為 英 瑪 褒 曼 是 天 才， 楊 特 魯 爾 是 藝 術家。」

移 民， 除 了 代 表 追 求 新 世 界 和 生 活 之外，亦含有離鄉別井的意思，不同世代和社會都出現過大量移民：逃難、掙錢、追夢、求生、迫害、疾病、團聚……。正所謂人離鄉賤，在求生最基本的滿足下，遷移他鄉最能體現人類「鄉愁」的痛苦抉擇。《大移民》雖是十九世紀瑞典農民的大遷徙故事，但人類對家鄉的感情，都具有普遍性。電影透過光影，亦捕捉了自然對人類的關顧和威脅。

鳳毛

The Emigrants is the most expensive film in Swedish cinema and was nominated for five Oscars including Best Picture and Best Actress. Based on the Emigration Tetralogy by bestselling author Vilhelm Moberg, The Emigrants is followed by an equally weighty sequel The New Land (1972). Their mammoth runtime (6.5 hours) speaks for their epic qualities.

The film is made up of three parts, the first depicts the Sisyphus-like nature of farming. When even survival can't be guaranteed, the farmers decide to leave. The second part shows us the torments and perils of the journey to America. People get sick and some die on the way. The final part shows our characters adapting to their new homeland. Troell didn't just write and direct but took on the photography and editing as well. Man's devotion to the earth is captured by Troell's array of long takes, long shots and close-ups. Simply put, this is the quintessential poetic cinema. The Emigrants reminds me of the Chinese poet Tao Yuanming who vividly characterised the Chinese yearning for nature. Under Troell's lens, the peasant life is full of hardship but also full of natural beauty. When made to describe what differed Bergman from Troell, Liv Ullmann declared Bergman a genius, Troell an artist.

Migration is two-sided. The search for a new land and life is contrasted by the pain of leaving one's home. Different races in different eras have experienced massive waves of emigration for various reasons. For fear of death and persecution, the urge for a better life, or simply the reunion with the loved ones. A Chinese dictum goes "Woe to those who leave their homes" but for many, it is simply the choice of leaving or dying. It is precisely the loss of one's home that gives life to nostalgia. More than a tale on Swedish migrants, The Emigrants' appeal is universal and timeless. The film not just shows us the blessing of the earth but its threats as well.

William Cheung

土Images co

urte

sy o

f Par

k C

ircus

/War

ner

Bros

.

傅慧儀之選Choice of Winnie Fu

1942 | 匈牙利 Hungary | 黑白 B&W | 90min | DCP匈牙利語對白，中、英文字幕In Hungarian with Chinese and English subtitles

導演 Director 伊士溫卓茲 István Szőts編劇 Screenplay 約瑟夫尼路 József Nyírő 伊士溫卓茲 István Szőts攝影 Cinematographer 費蘭斯費吉狄 Ferenc Fekete音樂Music 費蘭斯法卡斯 Ferenc Farkas演員 Cast 愛麗絲石莉 Alice Szellay 贊奴斯哥拔 János Görbe

懾人心魄的喀爾巴阡山脈，山清水秀。鏡頭調度下，雲煙繚繞的雪地山林好比天賜神殿，織成扣人心弦的畫幅。這裏住着格戈里和安娜一家三口，他們對大自然所賦予的一切既敬且畏。在平凡不過的一天，伐木的車軌和鐵鋸進駐山林，誰想到會為寧靜的山區帶來剝削、暴力和厄運？伊士溫卓兹細緻描摹高地人民的生活細節，大膽運用破格的仰攝，把渺渺蒼穹充作主角的背景，彷彿為即將來臨的苦難作預警：人在動，天在看！導演拍這部首作時才廿九歲，帶着七人拍攝隊穿山踏雪實景拍攝，演員多「就地取材」，被譽為啟蒙意大利新寫實主義的先鋒作。

In the hands of director István Szőts, the breathtaking scenery of Transylvania’s Carpathian Mountains became a heavenly palace on earth. There dwell Gergely, his wife Anna and their son Gergo who revere all that nature offers them. But then comes the rail tracks and saws of the timber industry which bring exploitation, violence and tragedy to Gergely’s idyllic life. Szőts let no details slip by his portrayal of the mountain people. He tilts the camera upwards and treats the sky as the protagonist who warns of the sufferings ahead. Do what you like but heaven is watching. The 29-year-old Szőts fearlessly led a crew of seven and shot on the harshest locations. Many performers were actual inhabitants and it was no accident that People of the Mountains was hailed as a herald of Italian Neorealism.

1942 年威尼斯影展雙年獎Biennale Award, Venice Film Festival 1942

1/6（六 Sat）7:30pm#香港電影資料館電影院 Cinema, Hong Kong Film Archive

26/7（五 Fri）7:30pm*香港電影資料館電影院 Cinema, Hong Kong Film Archive

# 設映後座談會，講者：傅慧儀，粵語主講  Post-screening seminar with Winnie Fu in Cantonese

* 設映後座談會，講者：陳智廷、傅慧儀，粵語主講  Post-screening seminar with Timmy Chen and   Winnie Fu in Cantonese

People of the Mountains

奇觀式的山林影像與啟蒙新寫實主義的人文關懷！Spectacular capture of the mysterious Transylvanian mountains. Its humanism is hailed as the herald of Italian Neorealism.

《雪上行走的人》於 1942 年威尼斯國際影展獲獎，其影像的感染力深受同期歐洲導演的重視，更有人認為對意大利新寫實主義有啟蒙作用，影響到後來的第昔加和維斯康堤。電影亦於 2000 年獲選為匈牙利最佳十二部電影之一，因其保存了他們祖父輩的生活實況，好比隔代相逢。

更重要的是此片所涉獵的國族身份，及第一至第二次世界大戰期間匈牙利所經歷的疆土變化。一戰之後奧匈帝國解體，匈牙利的坦夕凡妮亞地域被撥入羅馬尼亞，包括這部電影所取景的喀爾巴阡山區。直到 1940 年，匈牙利政權與德國友好，山林才再歸入匈牙利國境。伊士溫卓兹1942 年到此山區拍攝，實有重踏故土和尋根的意義。

山地人民以牧羊和砍木維生，由出世開始，便須面對極地生存的各種考驗。格戈里帶着妻子安娜和新生嬰兒，向山中樹、河中魚和村民們逐一介紹他的兒子，彷彿誠請大地保佑他的小兒。然而好景不常，伐木工廠不單奪走了原住民的地權，還使出各式剝削手段，威迫利誘格戈里遠離家鄉到山下工作。影片由這裡開始急轉直下，妻子被侵犯，房子被燒毀。一家三口於是踏上朝聖之路，想不到這個旅程在多番轉折後，竟成為步上死亡之旅。導演關注的，是人物的心靈創傷和面對逆境所抱持的信念，看山民如何與天地萬物尋求共存。

傅慧儀

People of the Mountains received an award at the 1942 Venice Film Festival. The emotional power of its images left an impression on many European directors of the time. It was believed that it left an example for Italian Neorealism and directors such as De Sica and Visconti. In 2000, People of the Mountains was selected as one of the greatest 12 films of Hungarian cinema. One of the reasons is that it preserves the way of life that even the older generation wasn’t aware of.

More crucially is the film’s exploration of nationalist identities. Hungary underwent drastic territorial changes in the interwar period. Following WWI the Austro-Hungarian Empire was dismantled. Transylvania, long considered to be Hungarian, was handed over to the newly independent state of Romania. The Carpathian Mountains featured in this film were part of this contested region but it was returned to Hungarian rule in 1940, following the Hungarian coalition with the Nazis. István Szőts shooting the film there in 1942 was a homecoming of sorts.

The mountain people make their living by sheep rearing and woodcutting. Their lives are never easy on such extreme terrains. Following the birth of Gergo, Gergely and Anna take and introduce their baby to the trees, fishes and villagers, as if asking for the earth’s blessings. But the mountain people are stripped of their land by the timber industry who then cajoles and coerces Gergely into working away from the mountains. Things go on a downward spiral, Anna is raped and their home is burnt down. Gergely then takes Anna and Gergo on a pilgrimage that ends in death. The director is most concerned with human resilience in the face of trauma and adversity, and how the mountain people seek peaceful coexistence with their surroundings.

Winnie Fu

© T

ibor

Inke

y

喬奕思之選Choice of Joyce Yang

1985 | 中國 China | 彩色 Colour | 95min | DCP普通話對白，中、英文字幕In Mandarin with Chinese and English subtitles

導演 Director  顏學恕 Yan Xueshu原著Original Author  賈平凹 Jia Pingwa編劇 Screenplay  顏學恕 Yan Xueshu 竹子 Zhu Zi攝影 Cinematographer  米家慶 Mi Jiaqing音樂 Music  許友夫 Xu Youfu演員 Cast  岳紅 Yue Hong 辛明 Xin Ming  杜源 Du Yuan 徐守莉 Xu Shaoli

八十年代中秦嶺深處，灰灰與桂蘭，禾禾與秋絨，這兩對農民夫妻的小日子起了風波。禾禾當兵歸來，一心想以小農經商致富，屢屢受挫，只有嫂子桂蘭支持他。媳婦秋絨帶着孩子跟禾禾分開過，認為踏實種田的灰灰才懂得過日子。留守群山，抑或往城裏去？改編自賈平凹小說，《野山》與《紅高粱》（1987）、《黃土地》（1984）同屬西安電影製片廠輝煌八十年代經典作品。導演顏學恕以現代眼光關照鄉土，既在性別、道德觀念上膽色過人，又對城鄉之別、轉型之痛有深刻洞見。米家慶的攝影讓遠山厚土呈現豐富的靜默之美，與小村屋裏閃耀的煤油燈火互為映襯。時隔多年，本片新寫實主義的力度依然震撼。

Huihui and Guilan, Hehe and Qiurong are two peasant couples up on the Qinling Mountains. After a stint in the army, Hehe is determined to get rich by becoming a trader. His dreams are deemed impractical, so Qiurong leaves him and goes to live with the more pragmatic Huihui. But Hehe finds a kindred soul in Guilan… In the early years of China’s economic reforms, the peasants are facing the choice of staying on their farms or heading to the cities. In the Wild Mountains is another classic produced by the Xi’an Film Studio that shook the world with Red Sorghum (1987) and Yellow Earth (1984). Director Yan Xueshu took a modernist look on the Chinese countryside and probed into gender and moral issues with a daring eye. His analysis on China’s transitional challenges proved to be precise and prophetic. The picturesque Chinese mountains and the farmers’ gaslights shone through Mi Jiaqing’s iconic camerawork. Three decades on, In the Wild Mountains’ neorealist charms are still there for all to see.

1986 年中國電影金雞獎最佳故事片、最佳導演、最佳女主角、最佳男配角Best Feature Film, Best Director, Best Actress, Best Supporting Actor, Golden Rooster Awards 1986

1986 年法國南特電影節最佳電影Golden Montgolfiere,  Festival of the 3 Continents in Nantes 1986

In the Wild Mountains

以現代性觀照中國鄉土，八十年代中國新寫實主義的里程碑。A modernist look on the Chinese countryside. A landmark achievement of 1980s Chinese Neorealism.

16/6（日 Sun）7:30pm#香港電影資料館電影院 Cinema, Hong Kong Film Archive

18/8（日 Sun）7:00pm*香港電影資料館電影院 Cinema, Hong Kong Film Archive

# 設映後座談會，講者：羅卡、喬奕思，粵語主講  Post-screening seminar with   Law Kar, Joyce Yang in Cantonese

* 設映後座談會，講者：喬奕思，粵語主講  Post-screening seminar with Joyce Yang in Cantonese

《野山》的好，嵌入到時代的圖景中看，就愈發璀璨。八十年代的社會風潮都能在《野山》之中找到影子：銀幕上嘗試突破「性」的禁忌，於是有炕上戲；傳統的婚姻道德開始鬆動，於是兄弟之間大膽換妻，而且還是名正言順的去糾正「價值觀錯配」；女性甚至比男性形象更具衝擊力，於是有桂蘭的獨立與潑辣，完全突破了她在農村小家的門框，躍然於銀幕之上。《野山》集新寫實主義的大成，將山窪裏的小農婚姻故事拍出時代特性，既有俗趣，也有雅意。

十多年前看《野山》，只覺土味濃；如今再看，忍不住慨歎八十年代的中國電影朝氣蓬勃，也曾如此野過！禾禾與灰灰，一個經商，一個務農，兩人之間的分野並沒有「村支書」的指導，個人選擇坦坦蕩蕩。桂蘭與秋絨，一個「生不出娃」依然張揚自信，一個固守相夫教子任勞任怨的傳統，對男人都不卑不亢。所有人物的苦惱，在於找到適合自己的路，卻不壓抑他人的選擇。

導演顏學恕談賈平凹的原著小說道：「不取居高臨下的姿態，沒有概念化的說教。對於山鄉的這些普通農民，既懷着深切的理解和摯愛，又有一種冷靜的批判眼光。」《野山》留住了這種樸實之美。電影所呈現出的思想開明，就像是那野山土房子裏跳躍的煤油燈火，儘管四壁是貧窮、落後，人性卻是坦誠的、被尊重的，毫無扭曲之感。

喬奕思

In the Wild Mountains is even more enjoyable if you consider its times. The social changes of 1980s China can easily be found in it. The rigid sexual mores of Communist China are coming apart, the film’s couples swap their partners in an attempt to fix a “mismatch in values”. The heroines make more impact than their males, especially the independent and sassy Guilan who breaks the confines of her rural surroundings. In the Wild Mountains is a summation of Neorealist values and raises a provincial and rural story to an epoch-making and artistic plateau.

I first saw this film more than 10 years ago and I found it stank too much of soil. But now I came to realise its raw energy and rebelliousness. The career choices of Hehe and Huihui are their own, free from the meddling of village officials. Guilan has her chin up even she’s barren while Qiurong is content to be a diligent farmer’s wife. But both women treat their men on equal footings. The four characters suffer for their life choices but refuse to interfere with the choices of others.

Here’s what director Yan Xueshu said on the Jia Pingwa’s novel, “Jia chose not to preach on his characters and readers. He understood and cherished these ordinary farmers yet looked at them with a sober but critical eye.” In the Wild Mountains preserved the plain charms of the Chinese peasantry but its enlightened spirit is free from distortion. Out of the flickering gaslights of the impoverished farmhouses we see the frank and dignified souls of men and women.

Joyce Yang

土

史坦貝克的寫實巨著一出版即成經典，尊福的荷里活演繹同樣被譽為富美國歷史文化意識的里程碑。三十年代經濟大蕭條，主角一家農民如許多奧克拉荷馬州同鄉，被沙塵暴和官商侵權趕離家園，盼望往加州開展新生活，長途跋涉中不斷遭受驅趕、虐待、剝削，漫漫長路，似無盡頭。開疆拓土是美國精神樑柱，這裏卻見土地淪為權貴資本，與其真正血脈相連的農民無立錐之地。電影減少小說的政治元素，比較樂觀，但尊福給予無懈可擊的藝術風格，也是攝影大師托蘭又一典範。寫實簡練的造型動態，沉穩冷靜的構圖調度，亨利方達和珍達維爾的表演渾然天成，共同為人間的苦難和奮鬥織就天地場景，在黑暗中清明昇華。

John Steinbeck’s realist novel was an instant classic, the same can be said of John Ford’s film adaptation. During the Great Depression, Oklahoma farmer Tom Joad is forced out of their land like many other farmers of the region. The sandstorms aren’t the only culprit and there are oppression from businessmen and the authority. Tom Joad and others head out to California and encounter endless expulsions and exploitation along the way. Exploring new territories is one of the pillars of the American Dream but here, land is appropriated as capital, leaving those who actually farm it desolate and homeless. The adaptation toned down the politics of the original but John Ford infused it with much artistic favour. The Grapes of Wrath was yet another staple of director of photography Gregg Toland, this time showcasing his simple and steady side. Henry Fonda’s and Jane Darwell’s performances complemented each other. Taken as a whole, they revealed the uphill struggle against an unforgiving environment, or a candlelight flickering against the pitch darkness.

劉嶔之選Choice of Lau Yam

The Grapes of Wrath

1941 年奧斯卡最佳導演、最佳女配角Best Director, Best Supporting Actress, Academy Awards 1941

1940 年紐約影評人協會最佳電影Best Film, New York Film Critics Circle Awards, 1940

Mot

ion

Pict

ure

© 1

940

Twen

tieth

Cen

tury

Fox

Film

Cor

pora

tion.

Ren

ewed

196

7 Tw

entie

th C

entu

ry F

ox F

ilm C

orpo

ratio

n. A

ll rig

hts

rese

rved

.

1940 | 美國 USA | 黑白 B&W | 129min | DCP英語對白，中、英文字幕In English with Chinese and English subtitles

導演 Director  尊福 John Ford原著Original Author  約翰史坦貝克 John Steinbeck編劇 Screenplay  蘭拿利莊遜 Nunnally Johnson攝影 Cinematographer  葛里格托蘭 Gregg Toland音樂Music  阿弗列紐曼 Alfred Newman演員 Cast  亨利方達 Henry Fonda  珍達維爾 Jane Darwell  查理嘉納文 Charley Grapewin  尊卡拉甸 John Carradine

土地，在《怒火之花》中的彰顯幾乎是以「缺席」來呈現，除了接近片末幾個人為鋪設管道挖地外，我們看不到農民在田裏辛勞耕種、收割，甚或如其期望在加州果園為五毫子採摘橙梨。農民賴以傳宗接代的土地，已被沙塵暴侵蝕和更厲害的城市資本家奪去，家園遭推土機壓扁，農民成為流民。本來沾滿泥濘踩在農地的雙腳，如今踡縮在破貨車上穿州過省。於是在尊福和托蘭的畫框裏，只見少許荒廢農地，卻有大量州際公路、城市街道、流民收容營地，有實景有廠景。人物世代在土地紮的根拔起後，他們只能流亡，找尋落腳生存之地，可是現實不容許停下安樂生活，他們便在不同的地面上奔波，稍息，再不得不上路。

亨利方達眼泛靈光的面孔，乃美國電影史的經典肖像。電影中，這張臉來自許多衝擊。傲氣偏執的本色，不斷添上失望疑惑，以及血肉傷痕，最後堅毅地追求平等和權力，即使生命可能很快消逝。不僅是他的臉，全片整體構圖和人物形態，形成影片重要的美學。尊福節制地運用寬廣鏡頭，大多是拍中鏡和全身鏡頭，鏡頭常容納多人，配以平穩的鏡頭角度、長度及剪接節奏。死亡有時在鏡頭前一下子發生，有時生死都省略，偶有衝突的場面，很快結束，不拖長渲染。尊福是徹底的風格家，《怒火之花》如莊重樸實的葬禮，哀悼土地和人性的遺喪，大悲大靜，默默遠走尋回。

劉嶔

Land is practically absent in The Grapes of Wrath. With the exception of the pipe-laying scene, it’s impossible to see farmers working their land or harvesting from it, not even picking the fruits on the California groves for a mere 50 cents as they have expected. The land inherited from their ancestors has been eroded by sandstorms or taken from urban capitalists. Uprooted from their land, farmers are now migrants. Their feet, which should be working on their fields are now on the road. Ford and Toland’s film frame only occasionally show us abandoned fields. In contrast, images of interstates, urban streets, and migrant camps are abundant. Some of these were reconstructed in studio but some were real. Their land lost, the farmers must find another place to call home but they’re not to find it. They’re allowed a brief moment of repose before hitting the road again.

Henry Fonda as Tom Joad is one of the most iconic character in American cinema. But this face with such a spiritual glare is the result of much distress. Tom Joad’s soul is arrogant but it’s repeatedly dealt with blows of disappointment. It suffers wounds and life-threatening mishaps but the quest for equality and justice is unshaken. The framing and movement of characters is indeed the most important aesthetic aspect of The Grapes of Wrath. John Ford was economical with wide shots, he chose to use mostly medium or full body shots and framed many shots with multiple persons. He also favours moderate camera angles and durations, and editing rhythms. Deaths occur instantly and sometimes done away with. Confrontations are rare and instantly over. Ford being the absolute stylist, The Grapes of Wrath is like a low-key funeral. Outwardly calm, but the sadness towards lost land and humanity are deeply felt.

Lau Yam

電影大師為被傷害的土地和人樹碑，肅穆的風格，均衡的結構，記念失落的純真。John Ford’s memorial of traumatised land and people. Lost innocence immortalised by utmost solemnity and a most balanced structure.

18/8（日 Sun）2:00pm#香港電影資料館電影院 Cinema, Hong Kong Film Archive

31/8（六 Sat）2:00pm*香港電影資料館電影院 Cinema, Hong Kong Film Archive

# 設映後座談會，講者：家明、劉嶔，粵語主講  Post-screening seminar with   Ka Ming and Lau Yam in Cantonese

* 設映後座談會，講者：劉嶔，粵語主講  Post-screening seminar with Lau Yam in Cantonese

放映地點  香港電影資料館電影院 Cinema, Hong Kong Film Archive Venue  （香港西灣河鯉景道 50 號 50 Lei King Road, Sai Wan Ho, Hong Kong）

折扣優惠 Booking Discounts全日制學生、六十歲或以上高齡人士、殘疾人士及看護人及綜合社會保障援助受惠人士可獲半價優惠。綜援受惠人士優惠票數量有限，先到先得，額滿即止。優惠票持有人士入場時，必須出示可以證明身份或年齡的有效證件。Half-price tickets for full-time students, senior citizens aged 60 or above, people with disabilities and the minder and Comprehensive Social Security Assistance (CSSA) recipients. Tickets for CSSA recipients available on a first-come-first-served basis. Concessionary ticket holders must produce evidence of their identity or age upon admission.

放映節目 Film Screeningi. 每次購買 4 至 9 張正價門票，可獲九折優惠 10% discount for each purchase of 4-9 full-price ticketsii. 每次購買 10 張或以上正價門票，可獲八折優惠 20% discount for each purchase of 10 or more full-price tickets

本節目內容並不反映康樂及文化事務署的意見The content of the programme does not represent the views of the Leisure and Cultural Services Department

如遇特殊情況，主辦機構保留更換節目的權利The presenter reserves the right to change the programme should unavoidable circumstances make it necessary

備註 Special Notes購買每張門票，只可享用以上其中一種折扣優惠。購買半價優惠票的顧客，請於購票時將適用的優惠種類（如：全日制學生）通知票務人員。Patrons can enjoy only one of the above discount schemes for the purchase of each ticket. For purchase of concessionary tickets, please inform box office staff of the eligible discount type (e.g. full-time student) at the time of purchase.每張正價門票折扣後的票價將計算至個位數，不足港幣一元亦作一元計算。The price of each discount ticket will be rounded up to the nearest dollar.香港電影資料館售票處提供發售及領取電影節目門票之服務。選擇領票服務的顧客可於館內的自助取票機領取門票。The Hong Kong Film Archive box office provides counter sales and ticket collection services for film programmes. Ticket collection service is available at the Ticket Dispensing Machine in the Archive. 香港電影資料館滿座場次將於開場前 30 分鐘發售少量企位票。 A limited number of standing tickets are available 30 minutes before the start of sold-out screenings at Hong Kong Film Archive.

所有放映場次均設映後座談會，粵語主講  Post-screening seminars in Cantonese after all screenings

信用卡電話購票 Credit Card Telephone Booking: 2111 5999網上購票 Internet Booking: www.urbtix.hk流動購票應用程式 Mobile Ticketing App:

票務查詢 Ticketing Enquiries: 3761 6661節目查詢 Programme Enquiries: 2734 2900 / www.lcsd.gov.hk/fp

門票於 4 月 25 日起在城巿售票網發售 Tickets available from 25 April onwards at URBTIX

25/5 六 Sat 2:00 pm 土 Earth25/5 六 Sat 7:00 pm 天地悠悠 Japón1/6 六 Sat 2:00 pm 大移民 The Emigrants1/6 六 Sat 7:30 pm 雪上行走的人 People of the Mountains15/6 六 Sat 2:00 pm 天地悠悠 Japón15/6 六 Sat 7:00 pm 土 Earth16/6 日 Sun 2:00 pm 大移民 The Emigrants16/6 日 Sun 7:30 pm 野山 In the Wild Mountains26/7 五 Fri 7:30 pm 雪上行走的人 People of the Mountains18/8 日 Sun 2:00 pm 怒火之花 The Grapes of Wrath18/8 日 Sun 7:00 pm 野山 In the Wild Mountains31/8 六 Sat 2:00 pm 怒火之花 The Grapes of Wrath

放映時間表 Screening Schedule

票價 Tickets $60

只准 18 歲或以上人士觀看 Persons Aged 18 and Above Only