Lion On Films (Volume 5)

“Like Someone in Love”, the 2012 Cannes Palme d’Or nominated film directed by Abbas Kiarostami, is trying to express the quite similar thought as Tsai Ming-liang’s “Vive L’Amour”: That no one was able to achieve the real love in the so-called “emotional relationship”. Tsai showed this idea with the entangled struggle within one woman and two men in a roomspace which belonged to none of them. And so did Abbas, however he was emphasizing on both the disparity and difference to characterize the deceptive and lamentable “owned/ownership” during the film-making.

“Film begins with DW Griffith and ends with Abbas Kiarostami”, as once Jean Luc Godard had defined. Abbas Kiarostami is succeed to cancel the separating boundary between the film art and the real life. The normal daily-routines with nothing extraordinary are repesented vividly in all of his films, but he manages dealing this kind of mundane things with his outstanding intelligent. The expanse and depth of thinking are retained for the viewers through his ingenious arrangement back to basics completely.

*The film criticism was written by Simplified Chinese at first (which is my mother tongue), then I translated into English for your reading convenience. And down there is the original version.

阿巴斯的近作《如沐爱河》在一定程度上与蔡明亮的《爱情万岁》所要传达的是非常相似的思考：在所谓的情感关系中，其实并没有人能够获得真正的爱情。蔡明亮用两男一女在不属于他们中任何人的空间中纠缠不休来表现；而阿巴斯也是类似，然而他将差距感与差异性作为了主旨来刻画这虚幻可笑的占有与被占有。

戈达尔曾经如此评述到：“电影开始于格里菲斯，结束于基亚罗斯塔米”，阿巴斯把原本横亘在电影艺术与现实生活之间的分界线彻底抹去了。在他的电影中所表现的是近乎平凡的日常生活即景，然而他却用智慧去处理这些极易被忽略的场面，通过其返璞归真的编排处理，从而将思考的空间与深度完全保留给了观者。

Lion On Films (Volume 4)

The recent film “Blue Jasmine” directed by Woody Allen is always regarded as the modern version of “A Streetcar Named Desire”, which was adapted by Tennessee Williams’s famous play with the same name. Both of the two films are trying to analyze the subordination position of women to men. With the rapid development through the time, the realistic circumstance remains the same yet. As it was mentioned, the last shot stopped at the scene of the shabby group-renting apartment, which symbolized the inescapable inner-desire and piteous self-limitation that can be found from the bunch of women in the living manifestly.

And another topic, when talking about the films with some similar plots, the lawsuit between the two famous directors — Sergio Leone and Akira Kurosawa had to be mentioned here. ” Here is the brief story: Sergio Leone’s bestseller “A Fistful of Dollars” was remade from the film “Yojimbo”, which was created by Akira Kurosawa. “He did a great job”, Akira said after seeing the Sergio’s work-piece, “but this is my film”, however he also added offendedly. So obviously, the lawsuit was inevitable… After that, Akira Kurosawa didn’t froget to show his gratitude to Sergio Leone’s “recreation”, because the money that he earned from the lawsuit had already exceeded the box-office earnings of his shooting of “Yojimbo” numerously.

*The film criticism was written by Simplified Chinese at first (which is my mother tongue), then I translated into English for your reading convenience. And down there is the original version.

伍迪·艾伦的《蓝色茉莉》常被认作为现代版的《欲望号街车》，后者改编自田纳西·威廉斯的著名剧作。两部影片都旨在探讨两性关系中女性之于男性的从属地位。迅速发展的时代，近乎相似的情节。正如在《欲》片的最后，镜头被定格在那栋破旧的群租公寓，象征着像那群女人一般永远逃脱不出的欲望与自身局限。

再要说起故事情节相类似的电影，就不得不提到赛尔乔·莱昂内与黑泽明的官司。《荒野大镖客》翻拍自《用心棒》，黑泽明看过以后也表示“拍的不错”，但表示“不过这是我的电影”；事后，黑泽明也不忘感谢赛尔乔·莱翁的“翻拍”，因为他从这部电影里得到的金钱远远超过了他自己拍摄《用心棒》赚得的票房。