WEEKLY

BEST FACE OF THE MOVIE PART.1
海報細選 PART.1

在科技網絡還遠不如現在般發達的年代,電影海報是吸引觀眾入場、讓他們認識一套電影的最重要宣傳途徑。說一張電影海報的好壞,足以影響一套電影的成敗,也一點不誇張。固然在預告片也可以隨時隨地觀看的今天,電影海報的重要性是稍不如前,但始終是不可缺少的一環。

好的電影海報既要在設計角度上具美感,亦要配合電影本身的風格和內容,還要可以吸引觀眾和製造市場宣傳效果,真的一點也不容易,奇怪的是電影頒獎禮從來沒有「最佳電影海報獎」。其實古今中外有不少非常出色的電影海報,棋人們心目中的佳作又有哪一張?Chessman Post會為大家一一細數。

Aramis Yeung - 《Rubber》《Wrong》
我並沒有刻意地追看Duentin Dupieux這位法國怪才的作品,我只是認為他的電影擁有濃郁的荒誕味道,電影海報都很自然地隨著它的世界觀發展,這比起展示電影的製作之強大及演員之名氣更為重要。

《Rubber》
一個好像有靈魂附體、會殺人的輪胎。乍看之下,它應該是一齣驚慄片。海報的輪胎中空位置加了一隻死氣沈沈、沒有人性的眼睛,紅色底色上有字體歪斜不整的「RUBBER」戲名,像是要告訴人「這是很危險的」,就好像70、80年代的一些驚慄電影海報的格式一樣。但這一切都跟這齣電影本身一樣,設置了種種驚慄的元素,卻不帶驚慄的氣氛,我喜歡這般能夠跟電影本身貫徹的電影海報。就如在一些廝殺、血腥的場面配上一首兒歌,你的專注已不再在於緊張的氣氛上,而那種矛盾把你的思緒拉扯進比殺戮更大的觀點上。我並不肯定《Rubber》背後有沒有一種更深層的意義,但至少,它在玩弄著觀眾對驚慄片的印象,這亦是展示了他怪誕鬼才的手法。

《Wrong》
自己較喜歡一些簡單、不賣弄技巧的海報設計。海報中天地顛倒了的照片製造出來的錯覺,讓照片放置的「錯」變成十分的「對」。對我來說,劇情的主軸並不起眼,我卻很喜歡電影裡那個顯示「7:60」的鬧鐘、壞了灑水系統的辦公室,員工都若無其事地被灑著水工作。整齣電影就像要不斷跟我說「What's wrong?」,是的,我並不肯定甚麼是錯對了,反正角色們從外表看起來並沒有什麼不對,他們都是在生活著,帶著一些目的幹活吧。就像海報上「WRONG」的字體,選用了高雅摩登的Futura字體,高尚得跟劇情沒帶有任何關連性,這是錯得非常之對,用錯的字體告訴我沒有不對,電影本身跟海報都錯得十分美麗。

Crystal Chow - 《布達佩斯大酒店》

第一眼看這張海報就被它絕妙的對稱所吸引,很少電影海報會看上去如此的整齊,好像有Grid一樣。有趣的是電影中很多場景,也同樣是非常的對稱工整,可見海報設計時,有花心思去維持這連貫的風格。另一點個人十分喜歡的是其用色,不單因為粉紅色是自己喜愛的顏色,而且有別於其他喜劇多數使用較鮮艷搶眼的顏色以產生喜感,其整體的顏色也偏向較淡色,較為特別。與其說像一張電影海報,其實它更像是一幅優美風景相,看完令人有想去旅行的衝動。

撰文:王卿儒
圖片:網上圖片 

美術:李介琳

During the time when technology is not as advanced as today, movie poster is the most crucial way to promote a movie and attract audiences. Saying that one movie poster could determine the fate of a movie is not exaggerated at all. Despite the newest movie trailer could be watched anywhere any time nowadays, which might lessen the importance of a movie poster, it still remains the essential for a movie.

A great movie poster is not only great in design and aesthetic, but also matching the style of the movie, able to attract audiences and has great marketing value. It is not easy to achieve all these aspects. Movie awards ceremony should definitely has the “Best Movie Poster” category added from now on. With all these great movie posters throughout the years, which one are Chessman’s favorite? Let’s count it down.

Aramis Yeung - 《Rubber》《Wrong》

I have not followed the works of the French movie genius Duentin Dupieux closely. But his movies always show a strong sense of absurdness, and the movie posters follow and develop the same sense of absurdness. I think this is much better than just showcasing how large-scale the movie production is or how famous the actors/ actresses lineup are.

《Rubber》
The movie about a homicidal car tire should no doubt be a thriller. And the one big lifeless eye on a car tire set in the middle of the poster, combine with the all bloody red background and the skewed title of the movie, seems also signal the sense of dangerousness. It looks exactly like those movie posters of the 70s’ and 80’s thrillers. However the poster and the movie are consistent in the sense that they are both full of elements of a typical thriller, but not really carry the atmosphere as a typical thriller should be. I love it so much when the style of the movie and the poster could be so consistent. Just like when a bloody killing scene is match with a nursery rhyme, your focus would be distracted from the intensity of the scene, and be draw into meanings much bigger and deeper. I might not get all the implication behind the movie, but I am impressed by its way to manipulate audience’s impression of thriller. The movie and the poster truly show you who genius Duentin Dupieux is.

《Wrong》

I prefer simple design when it comes to movie poster. The illusion created by the photo of the upside-down world in this poster, makes the “wrong” becomes “right”. The story of the movie actually is not that impressive, but I like that alarm in the movie which always display “7:60” and how the workers in the office keep working as normal with a broken sprinkler system and water pouring all over them. It seems the movie keeps asking the audiences “What’s wrong?” with all these non-sense, which in turns make you so confused. You can’t distinguish right from wrong anymore, when you saw the characters in the movie look so normal and live a normal life even when they counter some absurd situation. Just like the movie title on the poster is using the font of Futura, which associate with the sense of modern and elegant that does not match the style of the movie and all. But this “mistake” is actually correct in this case. They are trying to use the wrong font to express the ideology of the movie. The mistake in the movie and the poster is actually what makes them so brilliant and beauty!

Crystal Chow -《The Grand Budapest Hotel》

I am attracted by this poster at the first glance because of its symmetry. Movie poster seldom looks so neat and tidy, like there is a grid to follow. And it is even more amazing when you find out that many scene in the movie are also symmetry, syncing with the style of the poster. The designer must has studied the movie in detail before making the poster. The other reason why I love this poster is because of its color. Not only because pink is my favorite color, but the color used are also less saturated which is so different from the usual practice for a poster of comedy. It looks like a beautiful scenery picture rather than a movie poster, which makes you want to travel right after seeing it.

Text:Eric Wong

Photo:Internet

Art:Carol Lee

ISSUE #139

BEST FACE OF THE MOVIE PART.1

 

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