菲律賓發生香港旅行團旅遊車被持挾，最終流血結束的慘劇，造成了八死七傷，當有關事件餘波未了之時，卻有報章去問數名導演會否拍攝有關題材的電影，結果當然沒有導演敢去沾手。
其實，報章問起這個問題，真的有點戇居。
曾幾何時，香港也曾出現慘劇或奇案改編成的電影，不過有關事件改編大致可分為兩個類型。當中類型之一就是跟香港距離甚遠發生的故事，香港觀眾對有關的慘劇沒有太大的共鳴感，如以英國多佛爾港中國人蛇被困致死的《驚天大逃亡》。
至於另一組素材，就是九十年代流行的「奇案式電影」，該等案件的一個特色，就是案件已被材決，而觀眾對於有關話題雖然熱烈討論，但是本質上大都以八卦心態居之，故此才能成為娛樂的材料。
看回是次發生的慘劇，不少觀眾看到電視台的現場直播，令人神傷。二來，事件對於香港及香港人而言，是極為痛心之時。當香港人不想提起，死者家屬仍驚魂未定之時，拿著這個心態去開戲，可以說是只為商業原則的冷血之人，強行在受害人傷口上灑鹽，對任何香港觀眾來說，既不想見到，也不希望會發生。
基本而言，這句問題其實連問也不用問，因為答案根本呼之欲出。
拍戲是給觀眾看，要看的也要看觀眾基本上對事件的反應。
Ken
I do not rule out that a life-inspiring heroic movie could be make out of this incident.
If the US can make UNITED 93 or WORLD TRADE CENTRE, then why can’t HK make a movie inspired by this hostage massacre? It can turn negative into positive.
I think the media just need to rephrase the question, for example,
as long as a non-exploitative movie is made, will any directors consider?
Unfortunately, we know how ‘low-level’ most of HK media is.
A lot of people already have the forgone conclusion that anybody making a movie relating to this incident must be exploitative. And that is wrong.
If there is a filmmaker who can turn this incident into a sincere movie, I would trust Ann Hui to direct it.
jerrychan
美國著名女諧星Carol Burnett曾經講過：Comedy is tragedy plus time.
美國校園槍擊案之後，導演Gus van Sant也拍了《elephant》，並奪得金棕櫚獎。
問題不是有無人在受害人傷口上灑鹽，而是電影本是其實不需要灑鹽。
不過以上說話都係癈話，因為中國人拍既戲都係越多鹽越好。
明
問題係依家風頭火勢﹐就算真係有心想拍﹐唔係獵奇果種﹐都唔敢諗﹐更加唔會講。
再者﹐現在本地傳媒都喜斷章取義﹐如果有人話拍﹐即使佢同記者洋洋解釋數千個理由﹐甚至話明唔係依家即刻拍﹐我敢肯定報導出街﹐只會話”某某導演竟然要拍這個故事…”呢D文章一出﹐即使遍報導無用刻薄字句或負面形容﹐已足夠俾人亟其負面印象﹐果位某某導演肯定水洗都唔清…
力高
香港既導演感覺上比較唔擅長拍呢類型既電影如果由外國人拍，效果應該會好d
就算真係拎返呢個case泥拍，無三五七年丟淡件事，香港人都應該幾難接受得到。
Ken
It takes UNITED 93 and WORLD TRADE CENTRE just 5 years after September 11th to be made.
Then again, I sense most of us just refuse to believe HK is capable of making a life-inspiring movie out of this incident.
Guess we will almost remain skeptical to our past track record of making commercial movies.
Ken
As I mentioned, HK media is mostly low level, tabloid-oriented. But then again, many HK people like to read these stuff, so perhaps the question is, even if a sincere movie is made, will people go to watch an unbearable movie?
The success of AFTERSHOCK may hint that there is a potential.
There are many people in the movie business who meant well, and should be capable to do this type of film.
I seriously think Ann Hui is the ideal director to do such a project if it ever materialize.
CG人
拍呢類題材好考功夫, 用咩角度? 咩手法? 有咩野值得表揚重拍? 如果內容係講親情, 危難中點樣同舟共濟都叫比較正面. 但整個過程只有入面當時人先知, 翻拍一定會訪問收害者佢地, 咁樣會對佢地做成二次傷害. 拯救過程又唔見得好, 重提往事只會令人無名火起.
如果係講反思, 我相信係菲律賓政府及警方問題多…香港可以點拍?
HOYIN
如果拍梁生 領隊 必是主角
將拍梁生 領隊 梁小妹妹 成英雄
加上成本唔高,相信好多導演想拍
Rat
生果報那些3d動畫已經 “拍左”
Paul ng
這次事件亦反映予不少值得香港人深思的問題 (ie. 香港人對菲律賓人的態度, 中央政府對事件的態度, etc….)
如果有好導演要以菲律賓慘劇為題材拍攝紀錄片,並參加國際影展, 我絕對支持.
Paul ng
如果有好導演要以菲律賓慘劇為題材拍攝紀錄片,並參加國際影展, 我絕對支持. 因為此慘劇所引伸出來的社會,政治和種族問題,絕對值得所有人類借鏡和引以為戒(特別是政治家).
Fahrenheit 9/11和Bus 174是同類電影的好例子;它們能夠以慘劇作為引子, 探討深層次的社會和政治問題(並不是只利用慘劇來賣弄低級搧情).
港片不死心
今次悲劇香港人一樣可以反思好多
eg悲劇後點樣走出陰影,努力向前;香港同菲律賓能否打破因事件帶泥既芥蒂同心結
未必要照板煮碗講今次事件,可以用其他題材同方式帶出,好似03年sars之後好多港產勵志片,金雞2,忘不了等等
最佳例子係05年慕尼黑,暗示911後美國既以暴易暴,冤冤相報
Ken
What you are saying is reinforcing my assumption that HK people do not think HK movie industry is capable of doing a non-exploitative movie of this subject.
Thanks Paul Ng for pointing out that there are a lot of ways we can do this and actually pay tribue to the victims. Maybe a documentary will do justice, but Hong Kong movie-goers do not watch documentary, or consider it to be another type of movie!
With so much bias and negative vote of confidence shown here, no wonder HK cinema can no longer take off.
shtmanhk
借題發揮略作修改較可行,一如早幾年香港魔警案的改編方法.
shtmanhk
有一部正在上映中
HOYIN
係咪過６憶果部
球証
如果要拍,除非拍到當年”人民英雄”的水準,否則肯定會俾人小到反肚…
Ken
Obviously you are mentioning about AFTERSHOCK. Actually audiences everywhere are so buying this movie.
shtmanhk
慕尼黑 (Munich) 主題’寃寃相報何時了’固之然人人心領神會,史匹堡由以巴衝突拉扯到後911的世界借古喻今(ending世貿出現呼之欲出),表達了對和平世界遙遙無期,殺戮永無停止世人無能為力的一闕哀歌.
世貿中心 (World Trade Center) slogan:
The World Saw Evil That Day. Two Men Saw Something Else.
復仇
我覺得影音使團會去拍…
CG人
原來有字數限制, 所以冇 quote 哂
之前都有發生中國留美學生殺人事件, 亦引發美國對中國人既仇視情緒. 香港, 美國成日話係國際都市, 其實都有種族歧視問題.
種族歧視方面, 我覺得香港冇美國咁嚴重, 但網上世界/討論區似乎過左火.
CG人
商業製作唔可行, 我反而覺得小本/學校可行, 當然要小心取材, 多聽意見.
路邊
那些記者不戇居, 問一兩句就可以交犒.
在傷口上灑鹽是某一類狗仔的開飯本能.
要是找著成生來問,肯定寫到成個星期.
不過日前看報導指曾志偉廿幾年已拍了套”安樂戰場”又是挾持事件. 上網看了一些影片介紹及影評, 不感感嘆, 當年的菲治安已經是這樣, 他國的人民也不好受.
我不會想看這類恐怖片, 令人不安.
故意搧情, 抽水的也不要.
The Daydreamer
I won’t find anything morally abhorrent if someone decides to film this incident (I admit I’m the liberal/not-so-sentimental type of person). If I do find the film repulsive, that depends on the execution of the film.
Commentators to this thread have already pointed out that directors have portrayed sensitive/tragic incidents before with varying success. I still remember physically shaking at the end of United 93, actually wishing that the passengers will succeed in recapturing the plane. The director and scriptwriter’s craft and direction is crucial in convincing the audience that they’re genuinely trying to explore the incident dramatically/artistically, and not just trying to make a quick buck by using an ‘existing script’. Track records matter here: if you tell me 王晶 is going to helm a film, I won’t bother heading to the cinema (regardless of how wrong this on-the-spot judgment may be).
Of course, you can say that everyone expects these qualities in any film (even though the average moviegoer’s tolerance of crap nowadays is surprisingly high). But because you’re asking people to pay up and revisit an inevitable tradegy, you have to make sure at the very least you don’t seem exploitative. Those with higher expectations may deem a simple recreation of events + a lot of crying and suffering as exploitative because it doesn’t attempt to say something ‘new’ or ‘meaningful’.
But I have to question how strong this incident will be ingrained in our collective memory. People’s potential to recover and move on is always underestimated. Will this incident have such painful resonance in a few years time? Is our grief over the past week partly due to the constant bombardment of headlines and visuals in the media? And if a film about this incident fails miserably at the box office, does it mean it’s a crap film, that people think it’s exploitative, or simply because people prefer to see something undemanding and fun, and not sad and serious?
Ken
Great response.
There are a lot of negative thoughts in Chinese people’s mind.
I have read enough negative things about Hong Kong movies in this blog, more than I need to know.
I quickly realize, this blog is not made to help HK film industry, but to trash it.
Things are written with a negative point of view no matter what.
Even the title of this article, it assumes that we should not make a film based on this incident.
Sigh.