都說勇者無懼。輕歌劇原是當年已然式微的物事，劉別謙逆流而上一再帶到水銀燈下，竟成為開創荷里活歌舞片的大功臣。第二部司花利亞與珍娜．麥當奴的鑽石組合，重拍已成經典的《迴轉姻緣》。劉別謙原意只充當監製，導演筒假手佐治寇克。開拍不到一周，節奏亂套的毛片沒法通過我們超高班監製的關口，一聲令下劇本重寫影片自己…都說勇者無懼。輕歌劇原是當年已然式微的物事，劉別謙逆流而上一再帶到水銀燈下，竟成為開創荷里活歌舞片的大功臣。第二部司花利亞與珍娜．麥當奴的鑽石組合，重拍已成經典的《迴轉姻緣》。劉別謙原意只充當監製，導演筒假手佐治寇克。開拍不到一周，節奏亂套的毛片沒法通過我們超高班監製的關口，一聲令下劇本重寫影片自己接手重拍，演員與編劇不但沒怨言甚至還皆大歡喜。故事與原作大同小異，形式卻南轅北轍，司花利亞的演繹更傳神抵死，一曲＜美芝＞妙得神魂絕倒。大小配角心思中見豐富血肉，劉別謙與編劇拍檔拉弗遜的化學作用開始顯現。 This oscar-nominated musical remake of The Marriage Circle was originally George Cukor's baby, but Lubitsch took over the helm, resulting in a famous lawsuit. However, Cukor later conceded: "I could never make a Lubitsch film." The scene is transposed from Vienna to Paris, and focus shifted from the unhappily married "philanderess"' schemes to steal her best friend's husband, to revel in the sheer verve and sexual desirability of Chevalier and MacDonald - both to others and to each other. Overlapping lines, recitative song interludes and Chevalier's direct address to the camera invite audience complicity in the characters' transgressions and set the film apart from "all-singing" Hollywood musicals. Source: 28th HKIFF詳情
