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馬龍影評

Peter Malone是 SIGNIS主 席 , 有 31 年 影 評 的 經 驗 , 並 出 任 16 個 國 際 影 展 如 柏 林 影 展 、 威 尼 斯 影 展 的 評 判 , 可 以 堪 稱 為 「 電 影 百 科 全 書 」 !

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In the Name of Buddha


by Peter Malone,28-7-2003

We don't have the opportunity to see many (or any) films from Sri Lanka, so In the Name of Buddha is a good opportunity. While the film is made for a local audience and uses many of the dramatic and melodramatic styles that are geared to the sensibilities of audiences from the sub-continent, it is also Western-audience friendly.

On its release in Sri Lanka in early 2003, many Buddhists objected to it and other religious groups (including the Catholic church) protested in solidarity. It was claimed that the film says that Buddhists were responsible for the long civil war. Looked at from this vantage point, this does not seem to be the point of the film at all. In fact, there is a plea for non-violence with reference to both Buddha and Gandhi.

The film is a vivid presentation of the war with some particularly grim sequences which include torture, shooting battles, bombings, brutal rapes and the destruction of a Catholic church during Mass. The point of view of the film-makers is distinctively Tamil and is highly critical of the Sinhalese military and of the Indian Peacekeeping Force which was ineffectual (with some soldiers indulging in atrocities) during the mid-80s. But it is also critical of many Tamil strategies. The violence over two decades took its toll of thousands of Sri Lankans.

The story focuses on an asylum seeker arriving at Heathrow in 1993 and recounting his story to an immigration official. This makes the film relevant to current discussions about intake of asylum seekers. It visualises the dangers they have lived through, war, families destroyed, life ambitions frustrated, military atrocities. The film is not as polished as products from big-budget studios, but it is earnest, grim, emotionally demanding as well as raising political and social issues.

 

 

 



我們沒有機會欣賞到許多(或是任何)來自斯里蘭卡的電影,本片正是一個好機會。電影以當地觀眾作為主要對象,用了許多戲劇化及誇張的手法,以切合從屬大陸的觀眾的感情,對西方觀眾來說也容易接受。

本片在二零零三年初於斯里蘭卡公映時,遭到許多佛教徒反對,其他宗教團體(包括天主教)亦團結起來進行抗議。有人指稱片中提出佛教徒須為國家長久以來的內戰負責,若果從這點來看,很明顯電影並非以此作為焦點。事實上,本片正是以佛祖釋迦牟尼及甘地傳達非暴力的要求。

片中有一些令人不安的場面,包括折磨、槍戰、爆炸、殘暴的蹂躪及在感恩祭中破壞聖堂,這些場面強烈地展現出戰爭。很明顯,電影製作人的觀點是站在泰米爾人的位置,強烈批評辛哈爾軍隊及八十年代中印度的維持和平部隊的無效(一些士兵更沉溺於殘暴中)。同時,本片亦評擊泰米爾的政策。二十年的暴力行為奪走了數以千計的斯蘭卡人的生命。

電影講述一名尋求庇護的人在一九九三年抵達英國希斯路機場,將自己的故事詳細講述給一名入境處的官員。這題材觸及近期有關收留尋求庇護人士的問題,電影將這批人在生活上曾經面對的各種危難搬上銀幕,例如戰爭、絕望的人生目標及軍隊的暴行。論整體成績,本片及不上那些財力雄厚的電影公司的大製作,但卻是一齣充滿誠懇、嚴峻的、感人的,談論政治與社會事件的電影。

翻譯:羅展凰
編輯:王慧慈



 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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