北美 "綜藝"雜誌 - 李安

北美三大媒體一面倒給予負面評價

特別是被《Variety》和《Hollywood Reporter》狠毒批評，金獅已經幾乎不可能，
oscar之路一片黯淡

最重要的是影評人認為這片子沒有其他李安電影那樣打動人心的力量，Distanced and
Cold


http://www.variety.com/VE1117934527.html

太多的告誡和太少的熱情，令李安的《色，戒》失去了大部分的戲劇性。那些正面全裸
女性的鏡頭，並沒有《斷背山》中細膩的描寫來得更動人，之前被大肆宣傳的李安的新
作，就這樣褪去了光環。更重要的是，在這場貓鼠遊戲中，我們看不見充當誘餌的湯唯
處於何種危險境地。

──《綜藝》雜誌


　　無聊中的數次興奮

　　李安的新片可以用士兵描述戰爭的一句話來形容：長時間的百無聊賴中夾了數次極
端的興奮。影片中一場相對緊張和血腥的謀殺場面和數個看起來非常逼真、令人忍不住
掰手指的性愛鏡頭──正因為這些場景，影片被定為NC-17級。不過，想要看這些令人興
奮的情節，你要忍受156分鐘來看幾個長得並不吸引人的中國人在電影中與日本人作戰。
雖然有著不錯畫面和攝影，但冗長的篇幅令《色，戒》很難贏得足夠突破NC-17級限制困
境的喝彩。

　　《色，戒》的故事比較像保羅﹒韋霍文幾年前執導的《black book》，但吸引程度
卻不如後者。《black book》片中，一位猶太女人為了反抗而與納粹上床；《色，戒》
中則是一個名叫王佳芝的唯心主義女孩，為了暗殺漢姦，自願地去當易先生的情婦。影
片中大量精心設計的場景缺乏吸引力，雖然看起來漂亮，但故事性卻很差。

──《好萊塢報導》



Lust, Caution
Se, Jie (Hong Kong-U.S.-China)
By DEREK ELLEY

A Focus Features release (in U.S.) of a Haishang Films presentation, in
association with Focus Features, River Road Entertainment, Sil-Metropole
Organisation, Shanghai Film Group Corp. (International sales: Focus Features
Intl., London.) Produced by Bill Kong, Ang Lee, James Schamus. Executive
producers, Ren Zhonglun, Darren Shaw. Co-producers, Doris Tse, David Lee.
Directed by Ang Lee. Screenplay, Wang Hui-ling, James Schamus, based on the
short story by Eileen Chang.

With: Tony Leung Chiu-wai, Tang Wei, Joan Chen, Wang Leehom, Anupam Kher, Chu
Tsz-ying.
(Mandarin, Cantonese, Shanghainese, English, Japanese dialogue)

Too much caution and too little lust squeeze much of the dramatic juice out
of Ang Lee's "Lust, Caution," a 2½--hour period drama that's a long haul for
relatively few returns. Adapted from a short story by the late Eileen Chang,
tale of a patriotic student -- who's willing bait in a plot to assassinate a
high-up Chinese collaborator in Japanese-held WWII Shanghai -- is an
immaculately played but largely bloodless melodrama which takes an
hour-and-a-half to even start revving up its motor.

A handful of explicit sex scenes (in the final act) have earned pic an NC-17
rating in the U.S., where it goes out in limited release Sept. 28. But beyond
the notoriety of a Chinese-language picture with full-frontal female nudity,
pic lacks the deep-churning emotional currents that drove Lee's "Brokeback
Mountain" and his best other works. B.O. in the West looks to be modest, once
the initial ballyhoo has died down.

Story opens in Japanese-occupied Shanghai in 1942, at the home of Yee (Hong
Kong's Tony Leung Chiu-wai), head of the secret service of the
collaborationist Chinese government, and his wife (Joan Chen). One of Mrs.
Yee's mahjong partners, swapping gossip over the tiles, is the much younger
Mrs. Mak (Tang Wei), the half-Cantonese, half-Shanghainese wife of a
businessman who was recently in Hong Kong.

As Yee returns from work and passes by the mahjong table, it's clear there's
something between him and Mak, though neither one lets their façade slip.
Later, Mak makes a coded phone call to Kuang Yumin (U.S.-born pop star Wang
Leehom), who says "the operation can start."

After this lengthy 15-minute intro, largely occupied by idle chatter around
the mahjong table, the film flashes back four years to Hong Kong to show who
Mak really is: Wang Jiazhi, a first-year university student whose family fled
Hong Kong for the U.K. Through her friend Lai (Chu Tsz-ying), Wang falls in
with a patriotic, anti-Japanese group that is mounting a play to fund their
activities.

Leader of the group is the passionate Kuang, who hears that Yee, a
high-ranking collaborator with the Japanese, is in Hong Kong on a recruitment
mission. Kuang hatches a plan in which Wang plays the fictional Mrs. Mak and
insinuates herself into Mrs. Yee's confidence. But Mrs. Yee's cool, wily
husband, though attracted to Wang, slips through the net.

Cut to Shanghai, 1941 -- a year before the opening timeframe -- and it's
round two between Yee and Wang. After Wang is rehired by the resistance to
continue her Mrs. Mak role, this time their liaison is far more full-on, and
as lust raises its sometimes violent head, it looks as if caution may be
thrown to the wind by one or both parties.

Both Leung and newcomer Tang -- whose characters are far more charismatic and
attractive than in Chang's original short story -- do strike some sparks,
especially in the sex scenes, which are very bold by Chinese standards. (A
tamer version will reportedly be released in mainland China.) But for most of
the film, the two dance around each other in conversations that don't have
much electricity or sense of repressed passion -- and vitally, no sense of
the real danger that Wang is courting in the game of cat-and-mouse.

Moments of either grim wit (as in the messy stabbing of a blackmailing
traitor) or spry comedy (Wang getting rid of her virginity to further the
cause) occasionally vary pic's tone but don't bolster the underlying drama.

Wartime Shanghai was far more realistically drawn in Lou Ye's Zhang Ziyi
starrer "Purple Butterfly," which also conveyed a stronger sense of
resistance and collaborationist politics. (Here, Yee's work, which involves
interrogation and torture, is never shown.) Lee's '40s Shanghai, though
immaculately costumed, has a standard backlot look; the Hong Kong sequences,
largely shot in Malaysia, are much more flavorsome.

Tang, a Beijing drama student who's previously played in some TV series,
holds her own against Hong Kong vet Leung, who suggests the cold calculation
of his character without ever going much deeper. Fellow vet Chen doesn't get
many chances beyond the mahjong table, while Wang Leehom, as the leader of
the resistance cell, is just OK, sans much personality.

Alexandre Desplat's music injects some badly needed emotion and drama at
certain points, while lensing by Rodrigo Prieto has little of the variety and
atmosphere he's demonstarted on recent assignments like "Babel," "Alexander"
and Lee's previous "Brokeback Mountain."

Camera (Deluxe color), Rodrigo Prieto; editor, Tim Squyres; music, Alexandre
Desplat; production designer, Pan Lai; supervising art director, Olympic Lau;
costume designer, Pan; sound (Dolby Digital/DTS Digital), Philip Stockton,
Eugene Gearty, Drew Kunin; assistant director, Rosanna Ng; casting, Ng.
Reviewed at Venice Film Festival (competing), Aug. 29, 2007. (Also in Toronto
Film Festival -- Special Presentations.) MPAA Rating: NC-17. Running time:
157 MIN.







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