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香港的“笑片”是我们这一代人成长记忆中一个很重要的部分:从录像厅里那些片名模糊但一路屎尿屁的淋漓痛快,或者石斑喻为星爷配上的标志性的哈哈大笑,到电视台每年都会重播N次的《东邪西毒》、《家有囍事》、《花田囍事》,那些不太叫得上名字的熟悉面孔,夸张的表情动作最惹人发笑,只要模仿到七八分,就能在同伴面前出足风头。那时候内地还没有所谓“贺岁片”一说——这个抢钱的片种也是后来我们从香港同胞那儿批发过来,异地概念的本地生长没有水土不服,待到香港影人们再打着这个旗号而来,却又要适应三五年。能看到的港片多了,我们知道香港喜剧不止从前看到的那几种:除了过火癫狂的无厘头之外,还有嬉笑怒骂的市井喜剧(从楚原的《七十二家房客》到叶念琛/曾志伟的《72家租客》)、冷面笑匠许冠文针砭时弊地讽刺喜剧,香港人的幽默感根植于“抵死”的草根豁达、民间智慧。80年代香港经济起飞后,“二友”(张坚庭、陈友)和UFO的中产轻喜剧也成为香港喜剧的重要构成。2000年后马伟豪、韦家辉(银河映像)的都市喜剧开始放出异彩,老少咸宜口味清淡的特点也为日后进入内地市场提供便利……影市开始回暖,星爷来了(《长江7号》)、黄百鸣带着“肥谷”谷德昭来了(《家有囍事2009》),连林子聪都前来试水(《大四喜》)。“葡萄”刘镇伟自《机器侠》小试牛刀后,《越光宝盒》现正热映,《天仙》又开拍。王晶的赌片、“咸”片从不缺席,《大内密探灵灵狗》赚到盆满钵满之后,《未来警察》、《美丽密令》等喜剧又接踵而至。这些曾经想象力最丰富的导演,经过磨合与洗刷,那些我们最熟悉的“港味”还剩多少?不如从头细数,那些令我们笑到喷饭的奇门招数。
Hong Kong’s “laughter piece” is a very important part of the memory of our generation’s growth: from the studio vague title but all the way to the excretion of painful, or plaque, Yuanying served as the hallmark Laughter to the TV every year replay N times “Ashes”, “there is nothing”, “Hanada matter,” those who are not called the familiar faces, the most exaggerated expressions of the most provocative People laugh, as long as Imitation to seven or eight minutes, you can show off the limelight in front of peers. At that time, there was no so-called “Lunar New Year film” in the Mainland - the money-grabbing film was also later wholesale from Hong Kong compatriots. The local growth of the concept of off-site was not acclimatized until Hong Kong filmmakers revived this The banner comes, but must adapt to three or five years. We can see more Hong Kong films. We know more about Hong Kong comedies than we have seen before: in addition to over-madness, there are ridiculous well-to-do comic comedians (from “72 Guests in Chu Yuan” Yeh Man-chen / Eric Tsang’s “72 Tenants”), grimacing smugglers Xu Guanwen at the wrong time satirical comedy, Hong Kong’s sense of humor is rooted in the “grassroots” grassroots open-minded, folk wisdom. After the Hong Kong economy took off in the 1980s, “Two Friends” (Zhang Jianting, Chen You) and UFO’s mid-career light comedy also became important components of Hong Kong comedies. After 2000, the urban comedies of Ma Wei Ho and Wai Ka Fai (Milky Way Image) started to shine, and the light taste of all ages provided convenience for the mainland market in the future. The movie market started to pick up and Yeh Yee came (“Yangtze River No.7” , Huang Baimin with “fat Valley ” Gu Dezhao came (“Home 2009”), even Linzi Cong have come to test the water (“big four hi”). “Grape ” Liu Zhenwei Since the “Machine Man” small test chopper, “the more light treasure box” is hot, “angel” and the filming. Wang Jing’s gambling films, “Salty” film never absent, “Big Secret Miaogan Lingling” earned pours, the “police in the future”, “Beautiful Secret order” and comedy followed. The most imaginative directors, after running in and scrubbing, are we most familiar with. What is left of the “Hong Kong flavor”?