Joel is so shocked to discover that his ex Clementine has erased all the memories of their bewildered love affair. Out of desperation, he also contacts the clinic which did the operation to Clementine. Dr. Howard Mierzwiak, the doctor in the clinic, promises that he will removed Clementine from Joel’s own memory as he wishes. However, as Joel's memories progressively begin to disappear, he begins to discover their earlier passion...
The film would definitely touch a certain part of your heart and soul to a degree that most shows never did... It shows how fragile the relationship of human being would be. People want to erase bad memories of a failedrelationship yet at the same time, can't bear to part with the good ones.
Charly Gordon, a bakery worker with an IQ of only 59, is selected as a test-subject for a pioneering experiment in intelligence enhancement. The experiment is successful and Charly rapidly progresses in learning until he becomes a genius. But his emotions lag considerably behind. After his primitive advances are rejected by his teacher, he becomes a social dropout. Charly returns and Alice accepts him. But then he learns that the effects of the experiment are starting to reverse themselves.
Daniel Keyes’ novella Flowers for Algernon (1959) was an instant classic from its publication. It won the Science-Fiction community’s Hugo Award that year and Keyes’ full-length novelization of the story also won the 1966 Nebula Award. Cliff Robertson, then a novice actor, purchased the rights to the story and personally shepherded it through to filming. And one can see what drew Robertson to make such personal investment in the project – Charly is a choice actor’s role. The Best Actor Oscar awarded to Cliff Robertson for his brilliant performance.
本片可說是第一部科學怪人電影的續集，也間接完整了整個科學怪人的故事，讓原著中所傳達的訊息更為完整。此外，《科學怪人的新娘》更增加了第一集所沒有的幽默感，而由Boris Karloff所飾演的「怪物」，那在故事中根本沒有名字的科學怪人，也在這部電影中確立了更鮮明的經典恐怖形象，成為當時恐怖片的一線演員。代表作還有《傅滿州的面具》(The Mask of Fu Manchu)和《黑色安息日》（Black Sabbath），英國知名的重金屬搖滾樂團《黑色安息日》就是取名自Boris Karloff的作品。
（撰文：章聿珩）
The Bride of Frankenstein is a 1935 science horror film. As being the sequel to the influential film Frankenstein in 1931, The Bride of Frankenstein was directed by the same director (James Whale).
It follows the events in the first film and is rooted in the original novel－ the monster promises to leave Frankenstein and the human race forever, as long as Frankenstein creates a mate for him…
塔可夫斯基完成這部電影後就至義大利拍攝《鄉愁》，此後自我放逐再也沒有回到祖國。《潛行者》雖為探索人類靈魂本質的電影，但現實生活中這部電影卻因核爆而蓋上一層尷尬的陰影。1957年9月份的烏拉山核爆慘案一直過了32年才被蘇聯官方承認，而這核廢料爆炸事件則成為塔可夫斯基創作《潛行者》的背景。在《潛行者》完成後7年，車諾比爾核電廠爆炸，使得這塊被汙染封閉的區域被稱「the zone」，負責看守的管理員們則自稱為「潛行者」，2007年GSC Game World更以此為背景創造了一套以核爆生物變種攻擊為背景的射擊遊戲。然而這些尷尬的引用和巧合都是塔可夫斯基在創作《潛行者》時所未曾想到的。
（撰文：章聿珩）
Twenty years ago, a meteorite fell to a small Russian town on Earth, killing a large number of people. Villagers from this mysterious region known as "The Zone" have left and disappeared. Legend has it that a special room there called "The Room" can meet people's innermost desires. The armed forces are afraid of the possible consequences this room can bring about, so they enclose the zone by barbed wires and have heavily armed troops guard the place. However, people continue to venture to the room out of despair and suffering. They are led by a well-trained and experienced "stalker", who can quietly pass through the various and ever-changing traps in The Zone. A successful writer (Anatoli Solonitsyn) and a scientist (Nikolai Grinko), one for inspiration and stimulation and the other for truth, employ the stalker to lead them through the The Zone. The stalker had been trained by a famous stalker named Porcupine, who once entered The Zone with his brother and came out rich but alone and committed suicide a week later. Soon there is evidence that reaching The Zone is not the biggest obstacle, but their uncertain inner will is. Finally they arrive at the door of The Room. The promise of their innermost wishes coming true instigates fear, leading to profound enlightenment and self-discovery.
"Stalker" discusses the essence of the soul in an unforgettable way with quiet images and meaningful metaphors. Andrei Tarkovsky uses color conversion to switch between the subconscious and the outside world. It is noteworthy that no matter how the stalker warns not to take the same path twice, the scientist still returns from the same way and shows suspicion for the stalker's instruction. Symbolically speaking, it is as if the subconscious intentionally refuses our genuine desires and creates its own barriers to prevent the realization of desires. After a circuitous journey, the group of people arrive at the reception The Room, but they hesitate and are unable to confirm their desiderata. The floor is full of coins, syringe needles, weapons, as well as religious icons, which are reflections of the mind to escape from suffering. Finally, The Room is meaningless to its tired, contradictory seekers both in the physical or imaginary sense. Everything is eternally underway.
電影改編自沃爾特‧特維斯(Walter Tevis)的小說，導演是英國的尼可拉斯羅吉(Nicolas Roeg)。尼可拉斯羅吉在當導演前曾是攝影師，楚浮(François Truffaut)的《華氏451度》(Fahrenheit 451)就是由他擔任攝影。尼可拉斯羅吉較為人所知的商業電影是他1990年與安潔莉卡休斯頓(Anjelica Huston)合作的《女巫》(The Witches)。《天降財神》(The Man Who Fell To Earth)雖是尼可拉斯羅吉的代表作，但因為其手法繁複、充滿導演自我風格，因此當年雖獲得柏林影展金熊獎的提名，但一般觀眾的接受度不高，影評家對此電影也是褒貶不一。但若要在藝術電影和科幻電影間找尋獨特的模糊美感，《天降財神》則為必看經典。 性愛和電視畫面大量充斥著139分鐘的電影，這兩類都是現在人生的必備品，但在大量執行時卻又充滿荒謬感。中年男子用性愛來證明自己的青春，但同時卻又感到空虛；外星人可同時閱覽大量的電視畫面，但他卻不相信人類，也不讓人類認識他。性愛是最親密的接觸，電視是最直接的傳播，二者理應最貼近生活，但在《天降財神》裡，過度的感官刺激卻顯得諷刺而荒謬。
本片另一個有趣的點是男主角大衛鮑伊(David Bowie)，他和披頭四、皇后合唱團並列為英國20世紀最重要的搖滾巨星，近年最讓人熟悉的電影角色是《頂尖對決》(The Prestige)裡的英國科學家特斯拉(Tesla)，並參與《搖滾世代》(Glastonbury)的紀錄演出。《天降財神》時期的大衛鮑伊已經不再玩華麗搖滾，就在他的興趣逐漸轉向德國樂壇前，他的專輯「Station to Station」給他帶來另一個暱稱：「The thin white duke。」這個暱稱是描述因當時依賴毒品而顯得蒼白且經常穿著白襯衫、西裝背心舞台裝的大衛鮑伊形象。此外，「The thin white duke」也被視為是他在電影《天降財神》角色的延伸，這正好是大衛鮑伊的過度期，而這段過度轉化的時光在某種程度上也影響──或說間接完美──了他在《天降財神》裡的演出。The thin white duke時期的大衛鮑伊徹底把一個陌生而顯得過度小心翼翼的外星人，轉化成對人類、愛情、友誼失望，缺乏信任且酒精中毒的太空墮落者。
（撰文：章聿珩）
Thomas (David Bowie) seems no different from other people, but as a matter of fact, he is a human being from another planet with a highly developed civilization. Thomas has his own family, relatives and friends from his planet. Once he finds that the Earth is a planet full of water, he leaves the waterless planet of his and comes to the Earth out of fascination with water. Here, Thomas uses the advanced technology with which he is familiar to find a company and quickly becomes a millionaire. However, the longer he stays on Earth, the more he misses his home planet. Still, the Earth is too tempting. How will Thomas make his choice in the end?
If we look at "The Man Who Fell to Earth" in today's perspective, the standout characteristic of the film is its avant-garde nature. It has been 33 years since its making, yet the scenes, the characters' costumes, and the storyline are not the least bit out of date. In other words, if not told the release date of the movie, you will undoubtedly consider it to be released recently.
Of course, the focus of the film is mostly on David Bowie, one of the most important figures in the history of rock music, the rock chameleon. It is thus very suitable for him to play a strange alien. Being sickly, eccentric, and a bit nervous are our impression of the extraterrestrial rock star's common characteristics.
An alien, due to his fascination with water, leaves his wife and children behind and comes to the Earth. With all the riches and success he achieves on Earth, he has trouble accustoming himself to many things on Earth while he is attracted to the TV, his lover, among others. On the other hand, he misses his family on another planet. He is lured, attracted, and tortured. Eventually he chooses this well-to-do life on Earth, but his heart is filled with great regret. Precisely, this movie reflects the great suffering of modern people from numerous external temptations.
The Hess family lives on a farm in Bucks County, Pennsylvania. Graham Hess (Mel Gibson) is a former priest who lost his faith after the car accident that killed his wife. He lives with his children Morgan (who suffers from asthma) and Bo and also his younger brother Merrill (Joaquin Phoenix). They have been leading a quiet life until crop circles are found in their cornfield. Following the advent of crop circles are strange voices and mysterious scenes near their house. News has it that people all over the world are spotting aliens. While visiting Ray Reddy, the driver who hit his wife by truck, Graham is told that aliens do not like water and witnesses a captured alien. After he comes home, the Hess reaches the consensus to stay at home instead of going to the lake as their neighbors do. Eventually they would be directly confronted with the aliens, fighting against whom as if battling with the demons of their past.
"Signs" takes the audience onto a soul-searching journey in which the ghosts of hope loom in the distance. The dense atmosphere keeps the audience hanging with the plot development. The audience would leave the theater with a sigh of relief and start to hope for better things.
《第三類接觸》(Close Encounters of the Third Kind)講述外太空的不明飛行物體在地球上空徘徊，使專家們集合在一起找尋飛碟可能降落的地點。同時身為電力公司的維修工程師的羅伊(Roy)，因為一場戶外維修意外，讓羅伊心中不停湧起一個奇特的景象，以及五個特殊音符組成的旋律。為了弄清楚不明飛行物給予自己的訊息真相，羅伊開始廢寢忘食地找尋相關線索，最後他終於找到政府的調查基地，與外星人進行最直接的接觸。 70年代末期美、蘇兩方仍在冷戰，兩方劇烈的國防與太空科技戰爭到後期愈演愈烈，因此有著軍事陰謀橋段、太空科幻議題的《第三類接觸》曾讓部分觀眾認為有影射冷戰的嫌疑，但整個故事雖然帶著奇異甚至略顯驚悚的氛圍鋪陳，最終仍以善意和平的交流收場，對那個戰戰兢兢的年代而言，身為科幻片的《第三類接觸》劇情安排的確和平溫馨地令人意外。在史蒂芬史匹柏(Steven Spielberg)的心中，外星人一向是最具魅力也最具幻想的代表，在多數作品醜化未知外星生物，或是將浩瀚無涯的太空描述成步步危機的恐怖世界時，史蒂芬史匹柏卻一反常態地將外星人變成人類的友好對象。如果1982年的《E.T.外星人》(E.T.: The Extra-Terrestrial)是闔家觀賞的溫馨科幻片，1977年的《第三類接觸》則是還給大孩子童年幻想、帶點未知刺激甚至驚悚氛圍的冒險科幻電影。 《第三類接觸》結合人性、科幻、靈異的議題，讓三者以熱絡又不失和平的方式交流。此外，特殊攝影所營造出的氛圍，也影響不少後來的靈異或科幻電影，因此在1998年經美國影藝學院(The Academy of Motion Picture Arts and Sciences)票選，《第三類接觸》列入美國影史100大名單中，排名第64位，因為它文化、歷史與美學上的經典地位，被選為美國國家電影保護局(National Film Preservation Board)典藏。除了攝影成就，《第三類接觸》的配樂也是讓它擁有影史不凡地位的原因。
More than 20 years ago, "Close Encounters of the Third Kind", together with the "Star Wars" films set off an upsurge of extraterrestrial sci-fi films. It is also Steven Spielberg's signature work in showing a childlike and friendly attitude towards extraterrestrial civilizations before "ET: The Extra-Terrestrial" (1982). The movie has several parallel storylines, describing a number of people of different ages witnessing the mysterious sights of UFOs in their local areas. All of them are hypnotized and coincidentally gather in the Mojave Desert in the United States to welcome the arrival of aliens. A quasi-religious atmosphere is created, the sci-fi scenes attaining a magnificent momentum. The scene of flying saucers landing is easily the best part of the movie. As for the actors, in addition to Richard Dreyfuss, the great French director François Truffaut also plays the part of a scientist.
In 1945, according to a piece of news report, an airplane suddenly disappears. The pilot of a commercial flight is disturbed by an indescribable bright object. One night, when Roy Neary is loading his truck, he is suddenly enveloped by a mysterious light, followed by a strange illusion and five musical notes that saturate his mind. Can he discover the meaning of this illusion and who places it in his mind? At the same time, the U.S. government has been in contact with the extraterrestrial visitors to determine the location of their landing. In order to cover up the truth, the government asks people to stay away from the location. However, a group of people with their common encounters with the mysterious, including Neary, come to the desert.
On the interim base built by the air force in the desert, the aliens come as promised. Their colorful spacecraft radiating brilliant rays lights up half of the sky. People play the music decoded from aliens' messages previously as a way of communication. The door of the spacecraft opens, and all Earth people who were abducted before return home. A number of short aliens walk among the people to communicate with the mind...
There are no extraterrestrial monster with ghastly eyes, no anatomy of the experiment on a flying saucer, and no high-tech battle between humans and aliens. "Close Encounters of the Third Kind" is a story of a goodwill-filled and peaceful meeting between the two species. Music is the universal language. The technology of creating the scene with luminous extraterrestrial spacecrafts was ahead of its time in the era of the 1970s.
1945到1990年，因美、蘇兩國在政治、外交和軍事上的角力，使得這55年被世人稱為冷戰。《無底洞》(The Abyss)推出的年代就在冷戰末期，因此在今年清大夜貓子電影院的科幻影展裡，《無底洞》和《地球末日記》(The Day the Earth Stood Still)就形成了有趣的對比：後者是冷戰前期的科幻電影，未知生物來自太空；前者則是冷戰即將結束的科幻作品，不明生物則來自深淵。《地球末日記》是相對嚴肅又冷峻的電影，整部電影可說沒有絲毫冷場，與之相比，用夫妻回溫的愛情和深海恐懼症發作的軍人鋪陳的《無底洞》，其立場似乎就顯得有些尷尬。不過，這並不影響《無底洞》在電影史或特效史上的地位。 本次影展的主題為「接觸」，《無底洞》有著實質上的接觸，同時他也是新舊特效技術交替的銜接點。由於詹姆斯卡麥隆(James Cameron)拍攝了《無底洞》，利用電腦特效成功描摹出一種透明、像水一樣任意變化的外星生物，而這種技術則成就了他接下來可堪稱經典的電影《魔鬼終結者2》(Terminator 2: Judgment Day)。 詹姆斯卡麥隆對於海洋生物、物理學、太空科技甚至是漫畫都有相當的熱情，但是受到庫柏力克(Stanley Kubrick)《2001：太空漫遊》(2001: A Space Odyssey)的感召，他立志要成為電影導演。《無底洞》或許不是卡麥隆最優秀的作品，甚至和他前後兩部電影（《異型2》(Aliens)、《魔鬼終結者2》）相比，似乎也有些冗贅部分。但《無底洞》卻是了解卡麥隆這位導演相當好的入門，因為它幾乎囊括了卡麥隆熱愛的電影要素。 女強人、對未知科技或生物的恐懼、驚悚與災難、暴力與和平、溝通與理解，甚至是些許浪漫。雪歌妮薇佛(Sigourney Weaver)和琳達漢彌頓(Linda Hamilton)是卡麥隆鏡頭下最佳女強人代表，《無底洞》裡則有瑪麗伊莉莎白瑪斯楚湯妮奧(Mary Elizabeth Mastrantonio)飾演的女工程師。當美國核子潛艇因不明原因沉沒於深淵，軍方對未知訊息的恐慌所衍生的過度臆測，差點導致核武危機。同樣的，困在深海裡的美軍，面對美麗但卻奇異的生物機械，直覺式地把對方視為蘇聯的高科技，並意圖用核彈毀滅。他們（美軍）從未思索過「溝通」，從未考慮過「接觸」和「了解」彼此，當誤會產生，災難亦隨之爆發。
Bud (Ed Harris) and Lindsey (Mary Elizabeth Mastrantonio) are a divorced couple engaged in deep-sea exploration work. They are forced to help the U.S. Navy find and rescue a nuclear submarine. Together with Lt. Hiram Coffey (Michael Biehn) and the U.S. Military, they dive deeply into the ocean. In the "abyss" where the sunrays cannot reach, the crew has become targets of attack. In adversity, the love between Bud and Lindsey slowly regain. The film director James Cameron found his idea through the Great Falls of Nicaragua, and 40% of the scenes in the movie were shot underwater. The grand style and stunning special effects are also found in Cameron's later work "Titanic". "The Abyss" is actually an anti-war movie intended to raise environmental awareness but wrapped up with underwater expedition, military operations, and contact with the extraterrestrial. As with all of Cameron's sci-fi screenplays, behind the technology lies a distinctively human element. This enables "The Abyss", despite the extraterrestrial encounters, to approach the audience on their level and suck viewers into the film. The character of Coffey is a great obstacle character because he is losing his mind and is getting engulfed by paranoia to the point where he cannot trust anyone. The way Cameron uses Coffey to build up suspense is very effective and the culmination of it is one of the most frantic underwater chases ever be. Spectacular is the only word that comes to mind. The movie takes the style of a disaster film in the beginning, then develops into marine adventures, and finally ends on a optimistic and humane note. The nearly three hours of viewing experience leads the audience continuously to new developments. Cameron directs the film with a sturdy pace, and adorned with its amazing special effects, "The Abyss" is a must-see for all movie connoisseurs.
