WEEKLY

BEST FACE OF THE MOVIE PART.3
海報細選 PART. 3

史上第一套有電影海報的電影,是法國盧米埃兄弟1895年拍攝的黑白無聲喜劇片《L'Arroseur Arrosé》,幾乎和電影於相同時間誕生,超過120年來一直相輔相承,重要性不容置疑。有人說現時預告片的大流行,終會令電影海報消失,但能在一張紙如此有限的空間內達成多功能、宛如藝術般的存在,又豈是任何東西所能代替?《海報細選》來到最後一期,齊齊看看棋人們最愛的電影海報吧!

Eric Wong -《迷魂記》《大白鯊》

《迷魂記》

自己非常喜歡希治閣的電影,當中最喜歡的是《迷魂記》,它不只電影本身出色,其海報同樣經典。海報由大師Saul Bass設計,完全沒有使用演員的相片,整張構圖就是將黑影代表的男角和簡單線條勾畫成的女角,歪斜地置於一個巨形螺旋線條(Hypotrochoid)之中。看來如此簡單,其實卻已經在沒有劇透的情況下,將電影的主題和故事完美表達出來。戲中男主角的畏高症被奸角利用,奸角透過對男主角使用美人計,令自己在謀殺妻子時脫罪,過程就像海報中男角追著女角,陷入不能自拔的旋渦之中一樣。最厲害是當你看著海報的時候,還會產生一種暈眩感和下墜感,同樣和電影的主題及男主角在戲內的感受互相呼應。背景那飽和的深橙色及帶點粗糙不平的手繪字體,進一步加強了海報散發出的懸疑感和驚慄感,絕對是高手之作。值得一提的是,海報中的設計還被採用為電影中的開場片段,這種做法並不算多見,可見其優秀之處。

《大白鯊》

設計電影海報的難處,是海報只得一個有限的平面空間,並不像預告片般是由一連串郁動的精釆畫面組合而成。要在這個平面上生動、具創意、準確和豐富地表達出電影的主題和賣點,遠比你想像中困難。但如果能做到的話,一定能成為不朽經典,《大白鯊》的海報就是其中之一。

電影的橋段再簡單不過,就是一群人被大白鯊襲擊,主角們要想辦法消滅它。但要如何在海報中表達這個故事和大白鯊帶來的恐怖感呢?海報設計師Tony Seiniger選擇了使用一個海的橫切面,一個女人在海面遊泳,從下而上則是一個仰頭的大白鯊頭部。明明是不會動的平面,卻令看的人感覺到那大白鯊彷彿正向上遊,馬上要咬向那女泳客,產生出巨大的不安和緊張感。大白鯊那故意不合比例的大、選擇可以看見大白鯊那鋒利牙齒的角度、那血紅色的電影標題,正是這些細小但聰明的設計加起來,成就了這張出色的海報。

Zon Lam -《維多利亞壹號》《倩女幽魂》

其實要數具質素的電影海報,真的多不勝數。藉著這次機會,我特意挑來兩張港產電影海報和大家分享。

《維多利亞壹號》
理所當然地,將電影主角的大頭照放於海報最當眼位置,是最直白的方法。但同樣的構圖,處理手法可以花點心思。《維多利亞壹號》以油畫手法處理整張海報,除了令海報變得看起來不一樣以外,海報上充斥著大大小小的淺血,減退了血腥的不安感覺之餘卻不失美感,其實聰明地呼應了電影中的血腥場面。女主角眼神呆滯、咀角略帶笑意卻凶狠持刀的動作,再配上一個高級樓盤的電影名字,已經清晰地表明了全片的重點 ——「拎你條命嚟供樓是常識吧!」,含蓄但直接了當的將電影的重點呈現出來。

《倩女幽魂》
這張海報來自80年代,不論空間、構圖、比例、用色等等,此海報都非常絕妙,香港的設計原來如此精彩,雖然經過了三十年,但卻沒有「老套」的感覺。

海報以一大遍紅色背景為主體,鮮豔的顏色就算於遠方也能找住眼球;一眾主要演員沒有刻意地嬌手弄姿的去表現角色,只是平白的向前望,加上半身的配置看起來更像真實存在於某個空間,角色們更像真有其人。而電影名字、演員及紅色背景的大小比例亦恰到好處,完美演繹唯美卻不失功能性的設計本意。明顯地這張海報是先構思好再安排拍攝,絕對是認真製作!

撰文:王卿儒、林鈞洪
圖片:網上圖片
美術:李介琳

The poster for “L'Arroseur Arrosé”, a black-and-white silent comedy produced by the Lumière brothers, was the first poster ever to be designed to promote a movie. Its significance is beyond doubt. Published at more or less the same time as the movie itself, the poster has since complemented the movie for more than 120 years. Some sceptical views believe that poster will eventually be phased out amidst the prevalence of movie trailers; yet movie posters have since transcended from a functional publicity mean to an artistic expression. In the last volume of “Best Face of the Movie”, let’s continue to explore our Chessman’s favourite movie posters.

Eric Wong – “Vertigo” & “Jaws”

“Vertigo”
I am a great fan of Hitchcock’s movies and《Vertigo》is my all-time favourite. The poster and the movie are equally impressive. Designed by the late and great Saul Bass, the poster did not use a single photo of the cast. Instead, it is composed of a silhouette of John ‘Scottie’ Ferguson (James Stewart) and outline of Judy Barton (Kim Novak), situated in within a geometric pattern based on hypotrochoid curve. Despite the poster’s simplicity, it summaries the complex plots perfectly: Gavin Elster (Tom Helmore) made use of his wife Madeline (Kim Novak) and manipulated John’s acrophobia to escape his charge of attempted murder; in the poster Scottie unconsciously fell into a swirl while chasing after Madeline. I was most amazed however, by how Bass induces a feeling of nausea and free falling within audiences with nothing but a poster. I can feel what Scottie must have felt just by looking at the poster! The hand-cut lettering against a saturated orange background adds a further touch of mystery and tense to the poster. Impressive isn’t it? Wait till you find out that the poster was also adopted at the opening of the movie itself. Who could have achieved that other than Saul Bass.

“Jaws”

One of the toughest things about poster design is how to capture the spirit of a series of moving pictures onto a plain 2D poster. It is incredibly challenging to convey the essence of a movie with such creativity, precision and richness. But if you manage to do that, it will certainly guarantee your name on the history book. The poster of “Jaws” is one the prestige few up at the rank.

The plot of “Jaws” cannot be any simpler: kill the big white sharks before they eat you alive. The question is, how to capture the tension of the chase and represent it on a poster? For poster designer Tony Seiniger, his answer is a cross-section of the ocean, with a lady swimming at the sea surface, and the head of the iconic big white shark lurking beneath. The dynamic from this imagery is amazing. Obviously the poster is stationary, but it feels like the shark is edging closer to devour the lady with every passing minutes a growing unease. Making the image of the shark far from proportional, choosing an angel that we can see the sharp teeth clearly and using the blood-red tagline, it is all these little bits of genius that make this great poster.

Zon Lam – “Dream Home” & “A Chinese Ghost Story”

There are so many great posters out there and this time I have decided to share two outstanding Hong Kong movie posters.

“Dream Home”
Obviously, incorporating the portraits of the cast is the most direct approach to catch the attention of audiences. That said there are still plenty of variances in arranging the imagery. In《Dream Home》, the poster was edited with texture of oil-paint. Patches of bloodstains and splashes are stark resonances to the bloody scenes in the movie. It is sickening to watch, but at the same time there lies a certain sense of degraded beauty in within, thanks to the light touch of oil-paint texture. The dull gaze, evil smile of the knife-holding actress, combined with the movie title (similar to name of high-end residential flat in Hong Kong) bring out a simple and cruel truth: ‘you are born to pay mortgage off and that’s it’.

“A Chinese Ghost Story”
This poster was designed in the 80s, and in terms of space, composition, proportion, use of colour, it continues to be an inspiration 30 years on.

The poster is dominated by a bright red colour as background and it is impossible to miss out. The cast appears composed and natural on the poster, looking straight towards you. Showing the characters in half-length instead of full-length make them look real, as if they really exist in our world. The proportion of the movie name typography, image of the cast and the background colour are well balanced. It is both aesthetic and functional. The poster is well thought through and executed, in another word, a great design!

Editor: Eric Wong
Photo: Internet
Art: Carol Lee

ISSUE #141

BEST FACE OF THE MOVIE PART.3

 

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