there’s nothing here but fierce chickens
the cock crows raucously and lustily
for his lady friend beside him
for me
bird-brain stares
affronted by this effrontery
this invasion of his territory
then a burst of speed
a mad flapping of wings
as poultry adrenaline surges
in defence of fowl urges
till the intruder is banished
from bird’s eye-view
and amorous overtures
can begin anew
Monday, January 08, 2007
bought 陶喆's 太美丽 and 杨乃文's 女爵 over the weekend. former because life! listed it as a top 5 chinese album of 2006. hmm, initial instinct to stay away was right. the r&b just sounds tired. 忘不了might work as a novelty song but it's not something you can listen to over and over again. there were also 3(!) advert songs, which just smacked of commercialisation through and through given that the norm is usually one. plus, it contained the really annoying duet with jolin tsai with the skin-crawlingly irksome shout-outs "jolin in the house/dt in the house." the track that i like, olia, is buried all the way at the end of the album.
faith's comeback album is a much more welcome proposition. i remember that a reviewer once described her voice as the harshest s/he had ever heard. i guess yang's mellowed with age and some of that edge has been rounded off, leaving a richly distinctive voice. the standouts so far are the first two tracks 女爵 and 我離開我自己, but the entire album is listenable. "一颗热的心穿着冰冷外衣" - "a burning heart cloaked in an icy coat" - sums up her persona succinctly, but wait, is that a hint of a smile in the lyric booklet? guess she's glad to be back as well.
faith's comeback album is a much more welcome proposition. i remember that a reviewer once described her voice as the harshest s/he had ever heard. i guess yang's mellowed with age and some of that edge has been rounded off, leaving a richly distinctive voice. the standouts so far are the first two tracks 女爵 and 我離開我自己, but the entire album is listenable. "一颗热的心穿着冰冷外衣" - "a burning heart cloaked in an icy coat" - sums up her persona succinctly, but wait, is that a hint of a smile in the lyric booklet? guess she's glad to be back as well.
Saturday, December 30, 2006
I love watching movies and occasionally, I write about them, but the thought of actually making one never really crossed my mind. Still, when the opportunity to do so came along, it was just too tempting to pass up. This also seemed to be the case for my fellow coursemates, which included a home-maker, teacher-to-be, student, tv host, as well as one who was already in the industry. Everyone had some degree of passion for film but simply never had a chance to fully explore it.
So there we were, at a full-time, four-week course on HD filmmaking offered by Objectifs - Centre for Photography and Filmmaking. I wasn’t quite prepared for how intense or rewarding it would be. The course covered every aspect of filmmaking from scripting, directing, camera handling, lighting, sound, casting, acting (Note to M: I haven’t signed the release form yet!), scheduling, budgeting, editing and even marketing. We also watched a lot of local short films spanning the gamut of genres from drama to comedy to experimental to music videos to animation. At the end of each module, we would rethink our films and arrived at the conclusion that the perfect (ie. easiest to complete) film was one with no actors, no dialogue, maybe a voice-over or subtitles, shot only with ambient light, with no complicated camera-work, all wrapped up in a pretty dvd box for distribution to festivals.
We had the privilege of learning from instructors who were in the business of making films and enjoyed their anecdotes and inside stories even as they strove to impart the technical aspects of movie-making to us. Without a doubt, this had to be some of the most accommodating and patient people we’d ever come in contact with. So once again, thank you! I wondered if it was the fact that nobody seemed to have gotten into the business to make money but rather, had done so because film was a passion that could not be denied. This passion shaped their attitudes and sensibilities and their dealings with others. Either that or they had worked with far more unreasonable people and dealing with newbie filmmakers was a walk in the park.
The fact that we would be using HD equipment was something of a coup since most filmmakers start off shooting on digital tape (as opposed to film). The import of this was lessened for us somewhat simply because as first-time film-makers, we had no basis of comparison. At times, the inconveniences and technical complications hardly seemed worth it. Shooting on HD meant storing data on P2 cards, with a capacity of only 4 minutes per card, or 8 minutes in total given the two slots. Gone was the luxury of a 60-minute tape and nearly limitless takes. On the other hand, it helped to instill a certain discipline in shooting. Also, the limited capacity of the P2 cards meant that data had to be transferred to a P2 store. It made one feel very vulnerable, to have one’s precious footage sitting in an external drive and open to corruption and/or loss during all the transferring of data. I admit though that the final footage looked beautiful.
It seems counter-intuitive, but shooting turned out to be the shortest part of the entire filmmaking process. Pre-production, including location-scouting, prop-gathering, casting etc etc and post-production, mainly editing, took up much more time. But in a sense, everything was geared towards the shooting process. Pre-production was all about ensuring a smooth shoot, while post-production was all about salvaging whatever had been shot into a cohesive that’s-what-I–had-in-mind-all-along final product. (Note to self: Never ever use scrolling credits again.)
Filmmaker Robert Bresson said that a film is born three times – in the writing, the shooting and the editing. (“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.”) It was hence immensely satisfying to have been equipped with the skills for all three forms of birth from the course. Not to mention being able to type out for the credits “Written, Directed and Edited By.” This meant though that a three-headed monstrosity could not be blamed on three different personalities but was the sole responsibility of one.
Now that I’ve experienced first-hand the sheer amount of work that goes into a (short) film, can I still be so cavalier as to pass summary judgment on what I watch? Well, if I must, I must.
So there we were, at a full-time, four-week course on HD filmmaking offered by Objectifs - Centre for Photography and Filmmaking. I wasn’t quite prepared for how intense or rewarding it would be. The course covered every aspect of filmmaking from scripting, directing, camera handling, lighting, sound, casting, acting (Note to M: I haven’t signed the release form yet!), scheduling, budgeting, editing and even marketing. We also watched a lot of local short films spanning the gamut of genres from drama to comedy to experimental to music videos to animation. At the end of each module, we would rethink our films and arrived at the conclusion that the perfect (ie. easiest to complete) film was one with no actors, no dialogue, maybe a voice-over or subtitles, shot only with ambient light, with no complicated camera-work, all wrapped up in a pretty dvd box for distribution to festivals.
We had the privilege of learning from instructors who were in the business of making films and enjoyed their anecdotes and inside stories even as they strove to impart the technical aspects of movie-making to us. Without a doubt, this had to be some of the most accommodating and patient people we’d ever come in contact with. So once again, thank you! I wondered if it was the fact that nobody seemed to have gotten into the business to make money but rather, had done so because film was a passion that could not be denied. This passion shaped their attitudes and sensibilities and their dealings with others. Either that or they had worked with far more unreasonable people and dealing with newbie filmmakers was a walk in the park.
The fact that we would be using HD equipment was something of a coup since most filmmakers start off shooting on digital tape (as opposed to film). The import of this was lessened for us somewhat simply because as first-time film-makers, we had no basis of comparison. At times, the inconveniences and technical complications hardly seemed worth it. Shooting on HD meant storing data on P2 cards, with a capacity of only 4 minutes per card, or 8 minutes in total given the two slots. Gone was the luxury of a 60-minute tape and nearly limitless takes. On the other hand, it helped to instill a certain discipline in shooting. Also, the limited capacity of the P2 cards meant that data had to be transferred to a P2 store. It made one feel very vulnerable, to have one’s precious footage sitting in an external drive and open to corruption and/or loss during all the transferring of data. I admit though that the final footage looked beautiful.
It seems counter-intuitive, but shooting turned out to be the shortest part of the entire filmmaking process. Pre-production, including location-scouting, prop-gathering, casting etc etc and post-production, mainly editing, took up much more time. But in a sense, everything was geared towards the shooting process. Pre-production was all about ensuring a smooth shoot, while post-production was all about salvaging whatever had been shot into a cohesive that’s-what-I–had-in-mind-all-along final product. (Note to self: Never ever use scrolling credits again.)
Filmmaker Robert Bresson said that a film is born three times – in the writing, the shooting and the editing. (“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.”) It was hence immensely satisfying to have been equipped with the skills for all three forms of birth from the course. Not to mention being able to type out for the credits “Written, Directed and Edited By.” This meant though that a three-headed monstrosity could not be blamed on three different personalities but was the sole responsibility of one.
Now that I’ve experienced first-hand the sheer amount of work that goes into a (short) film, can I still be so cavalier as to pass summary judgment on what I watch? Well, if I must, I must.
(For sinema.sg)
Tuesday, December 26, 2006
Ha Noi
Went to the Dong Xuan market in the morning, which was reminiscent of the old Chinatown market. Final bowl of rice vermicelli (14kd) on the sidewalk. Quick stop at PhoCo Café (2 Hang Dong) for Ha Noi’s weakest coffee and tiniest toilet. Bought a kilo of the teeny-tiny tangerines (20kd) to bring home and then it was back to the hotel to pack up to catch the 1.30 pm flight home.
I remember Ha Noi from a trip four years ago as a laidback and idyllic town. That’s no longer true. While it doesn’t quite feel like a city given the lack of tall buildings, the energy surging through the place was palpable. The streets thronged with motorbikes and the air was filled with ceaseless cacophonous klaxoning and pungent exhaust which residents battled against with face-masks. Wafting among the wooziness-inducing fumes were the tempting smells of food hawked by street peddlers. Life spilled onto the sidewalks as people ate, drank and gossiped on the little plastic stoops. Women (it was almost always women) sold anything that could be carried in woven baskets and balanced on a pole slung over the shoulders. We walked a lot in Ha Noi and I loved the fact that every different street promised something new in sights and smells. Even walking on different sides of the same street threw up something new. As long as crossing it didn't result in any bodily harm. It took a little getting used to, but the trick to navigating oncoming traffic was to move slowly and maintain eye contact, and let them manoeuvre around you. Or as P put it, just channel your inner third-world being.
This could definitely be a place to visit again. But next time, with a face-mask.
Monday, December 25, 2006
Ha Noi
Managed to make it to Café Pho Co (11 Hang Gai), dubbed the secret café by the New York Times, before sunset. From the street, one sees a gallery and a small sign for a café. The narrow walkway opens up into a courtyard which seems to be part of an old Chinese mansion. Seating, reached by spiral staircases, is haphazardly found on the second, third and fourth floors, which offer a bird’s eye view of Hoan Kiem lake. Enjoyed an ice coffee as the sun set.
Finally located Ipa-nima, which had just moved in December to 34 Han Thuyen (http://www.ipa-nima.com/). The girls luxuriated in handbag heaven while I enjoyed the comfy couch and the thoroughly well-designed store.
Met up with the Ts and Ds for dinner at Nam Phuong (19 Pho Phan Chu Trinh, LP). The food had the tasty simplicity of homecooked food and was the perfect final dinner in Ha Noi. We had raw spring rolls, shrimp with banana flower salad, cuttlefish with chilli and lemongrass, beef stir fried with pepper, pork patties grilled with honey, pork and eggs in coconut juice, kale in XO sauce and for dessert, caramel custard and banana fritters.
Fruitful shopping on Le Duan including a Party shirt (50kd) and a pair of slip-ons (180kd from opening price of 350kd).
Had made reservations at Sofitel Metropole’s Le Beaulieu for brunch, but a screw-up in the reservations meant that we ended up at Le Club instead. Oh well, it did mean paying US$35 (US$46 a person all in) instead of forking out US$68. The spread was not very wide but happily, the lack of variety was not an indication of the quality. There were oysters, parma ham and melon, crayfish, lobster, fresh vegetables, cheeses and desserts (ice-cream, chocolates, apple pie, log cake, mousse, fruits). The only disappointment was the bland sushi.
Had made reservations at Sofitel Metropole’s Le Beaulieu for brunch, but a screw-up in the reservations meant that we ended up at Le Club instead. Oh well, it did mean paying US$35 (US$46 a person all in) instead of forking out US$68. The spread was not very wide but happily, the lack of variety was not an indication of the quality. There were oysters, parma ham and melon, crayfish, lobster, fresh vegetables, cheeses and desserts (ice-cream, chocolates, apple pie, log cake, mousse, fruits). The only disappointment was the bland sushi.
Managed to make it to Café Pho Co (11 Hang Gai), dubbed the secret café by the New York Times, before sunset. From the street, one sees a gallery and a small sign for a café. The narrow walkway opens up into a courtyard which seems to be part of an old Chinese mansion. Seating, reached by spiral staircases, is haphazardly found on the second, third and fourth floors, which offer a bird’s eye view of Hoan Kiem lake. Enjoyed an ice coffee as the sun set.
Finally located Ipa-nima, which had just moved in December to 34 Han Thuyen (http://www.ipa-nima.com/). The girls luxuriated in handbag heaven while I enjoyed the comfy couch and the thoroughly well-designed store.
Met up with the Ts and Ds for dinner at Nam Phuong (19 Pho Phan Chu Trinh, LP). The food had the tasty simplicity of homecooked food and was the perfect final dinner in Ha Noi. We had raw spring rolls, shrimp with banana flower salad, cuttlefish with chilli and lemongrass, beef stir fried with pepper, pork patties grilled with honey, pork and eggs in coconut juice, kale in XO sauce and for dessert, caramel custard and banana fritters.
Sunday, December 24, 2006
Ha Noi
Spent a pleasant morning at Vietnam’s first university. Spotted a photographer art directing two ao dai-clad ladies (one in green, one in red) and wondered if it was for a tourist calendar.
Lunch was at KOTO (59 Van Mieu, LP), which provides training for street kids. Tired of the no-ice/water rule and ordered the KOTO smoothie (banana, mint, passionfruit) and a ham baguette with salad, as well as coffee and carrot cake (200kd). Happy to report that there were no untoward consequences.
Followed the LP walking tour of the old quarter. Each street offered new treats for the senses, though Hang Ma stood for combining your Christmas and afterlife needs in one convenient location. Was woozy from the sights and sounds and exhaust fumes and refueled with Vietnamese tea at Moca Café (14 Pho Na Tro, LP), located on a lane of chic shopping facing St Joseph’s Cathedral. 
Had street food for dinner. Spotted this set-up doing roaring business on Hang Buom, with tables lined up on both sides of the street. Had fried beef noodles, oily and yummy (15kd), and Hanoi beer (20kd). Also ate the raw cucumber (dipped in prune powder and salt) and pickled cucumber side-dish. 
Came across this tiny shop (93 Hang Bac, http://www.thuyhiensilk.com/) which packed an impressive assortment of bags as well as other souvenirs. Bought two silk sleeping bags (total 160kd).
It seemed that the whole of Ha Noi was surging towards Hoan Kiem lake on Christmas Eve, and we caught glimpses of a few spurts of fireworks. Balloon-sellers stood in the middle of the street clutching their wares as the crowd thronged and swirled while on the sidewalks, peddlers sold popcorn, candy floss, grilled corn, grilled cuttlefish, fried sausages, fruit.
Had a nightcap at Latino Bar at Melia Hanoi. (US$5 for Bailey’s on the rocks.) Glad to break away from the human mass and get off the smoggy streets.
Walked to Van Mieu (Temple of Literature) after cyclo negotiations fell through. Le Duan turned out to be another excellent street to explore on foot with shops selling communist party wear and headgear, sneakers, as well as bun cha, grilled pork patties I remembered well from my previous trip.
Spent a pleasant morning at Vietnam’s first university. Spotted a photographer art directing two ao dai-clad ladies (one in green, one in red) and wondered if it was for a tourist calendar.
Lunch was at KOTO (59 Van Mieu, LP), which provides training for street kids. Tired of the no-ice/water rule and ordered the KOTO smoothie (banana, mint, passionfruit) and a ham baguette with salad, as well as coffee and carrot cake (200kd). Happy to report that there were no untoward consequences.
Followed the LP walking tour of the old quarter. Each street offered new treats for the senses, though Hang Ma stood for combining your Christmas and afterlife needs in one convenient location. Was woozy from the sights and sounds and exhaust fumes and refueled with Vietnamese tea at Moca Café (14 Pho Na Tro, LP), located on a lane of chic shopping facing St Joseph’s Cathedral.
Had street food for dinner. Spotted this set-up doing roaring business on Hang Buom, with tables lined up on both sides of the street. Had fried beef noodles, oily and yummy (15kd), and Hanoi beer (20kd). Also ate the raw cucumber (dipped in prune powder and salt) and pickled cucumber side-dish.
Came across this tiny shop (93 Hang Bac, http://www.thuyhiensilk.com/) which packed an impressive assortment of bags as well as other souvenirs. Bought two silk sleeping bags (total 160kd).
It seemed that the whole of Ha Noi was surging towards Hoan Kiem lake on Christmas Eve, and we caught glimpses of a few spurts of fireworks. Balloon-sellers stood in the middle of the street clutching their wares as the crowd thronged and swirled while on the sidewalks, peddlers sold popcorn, candy floss, grilled corn, grilled cuttlefish, fried sausages, fruit.
Had a nightcap at Latino Bar at Melia Hanoi. (US$5 for Bailey’s on the rocks.) Glad to break away from the human mass and get off the smoggy streets.
Saturday, December 23, 2006
Ha Long/Ha Noi
Lunch back in Ha Long city at a joint that was part of APT travel’s (Your pleasure’s our success!) network. More of the same, including potato with pork and fries.
Then a long nap before reaching Ha Noi around 4 pm. Replenishment was at Fanny’s (48 Pho Le Thai To, LP). Picked durian and com (young sticky rice) for an ice-cream version of the Thai dessert. Other delicious flavours tried included ginger, dark chocolate, gren tea. Came to about 35kd, including coffee. As I was about to drink from the glass of water, J’s horrified stare stopped me. But it turned out that S had already done so but no one had even noticed her raising glass to lips. At which point we promised to watch S like a hawk. 
Went in search of Ipa-nima (LG) after that, but the number did not compute. The address given was 59G but the trail stopped short at 59D with no handbag heaven in sight. So we had dinner instead, at Brothers Café (26 Pho Nguyen Thai Hoc, LP). It was supposedly set in a 250-year old Buddhist temple, but little trace of that remained from the admittedly elegant restoration. The buffet (220kd) was above average and my favourite was the crab vermicelli.
Spent a cold, uncomfortable night trying to get to sleep and was woken up at 5, this time by barking dogs. Extremely glad to be returning to Hanoi and Green Park Hotel, where one could at least have a decent shower even if the room smelled of cigarette smoke.
Breakfast was baguette with butter and jam, fried eggs, banana and coffee. Accompanied by the thunderous beat of disco blaring from next door. Which was P and S’s wake-up call.
Spent a lazy morning on the boat enjoying the scenery as it slowly wound its way through Ha Long bay back to the city.
Breakfast was baguette with butter and jam, fried eggs, banana and coffee. Accompanied by the thunderous beat of disco blaring from next door. Which was P and S’s wake-up call.
Spent a lazy morning on the boat enjoying the scenery as it slowly wound its way through Ha Long bay back to the city.
Lunch back in Ha Long city at a joint that was part of APT travel’s (Your pleasure’s our success!) network. More of the same, including potato with pork and fries.
Then a long nap before reaching Ha Noi around 4 pm. Replenishment was at Fanny’s (48 Pho Le Thai To, LP). Picked durian and com (young sticky rice) for an ice-cream version of the Thai dessert. Other delicious flavours tried included ginger, dark chocolate, gren tea. Came to about 35kd, including coffee. As I was about to drink from the glass of water, J’s horrified stare stopped me. But it turned out that S had already done so but no one had even noticed her raising glass to lips. At which point we promised to watch S like a hawk.
Went in search of Ipa-nima (LG) after that, but the number did not compute. The address given was 59G but the trail stopped short at 59D with no handbag heaven in sight. So we had dinner instead, at Brothers Café (26 Pho Nguyen Thai Hoc, LP). It was supposedly set in a 250-year old Buddhist temple, but little trace of that remained from the admittedly elegant restoration. The buffet (220kd) was above average and my favourite was the crab vermicelli.
Friday, December 22, 2006
Ha Long Bay/Cat Ba Island
The Ha Long bay experience sometimes seemed like a composite of past tours – cruising down Lijiang, drifting on a bamboo raft in Yangshuo, with shades of Longqingxia thrown in. The sense of déjà vu was particularly strong with the visit to the limestone caves. The admittedly impressively-sized Thien Cung Grotto was lit “in the Chinese style,” which meant a garish array of multi-coloured lights.
As it was low tide when we reached Cat Ba island, we had to transfer onto a smaller boat to get ashore. “Like refugees!” gaily commented one of the uncles in our group. The ride to the bay area from the jetty was soundtracked by what could conceivably be Vietnamese folk music/opera. We were deposited at Nam Duong hotel and opted for rooms on the 5th floor (two rooms with 2 twin beds as opposed to a 3-1 split). Hiked up the stairs to our rooms and found lovely views of the sunset from the hallway. Found out later that the other half of the group ended up in a hotel with no seaview, though they could have gotten up close and personal with the hill if they so wished from their windows.
Cat Ba in off-peak season brought to mind Tossa del Mar and Viareggio. We plonked ourselves down on a bench and watched the sun go down while snacking on dao (tiny apples with a crunchy bite) and tiny tangerines (very sweet and flavourful). Dinner back at the hotel was a variation of lunch: beans, better fish, calamari, tomatoes fried with egg, soup. Shared table with retiree from France who was traveling with his wife?/mistress?/girlfriend?
Checked out the beach after dinner. Found two campfires going on: one with disco music blaring and tentative dancing, while the other was much more sedate.
We returned to the bay area to find Cat Ba stirring. There were kids everywhere, men hanging out by the shopfronts, young men and women cruising down the grandiosely broad boulevards. We decided that their principal form of entertainment was klkk, kia lai kia kih, or ‘walk here, walk there.’ “Hey, how’s it going?” “Well, we’ve just kl, now we’re gonna kk!”
There were also massage parlours, karaoke joints, street peddlers (selling pearls, clothing, food), cafes and even the odd disco or two. The Flightless Bird (LP) was full so we settled for flashing-ball-of-light café instead. And watched in disbelief as S poured her coffee into a glass after we had had a conversation about the perils of ice the previous night. Despite pouring the coffee back out, it was too late, and S ended up with an upset stomach. So much for rocking the Cat Ba.
Woken up by a crowing rooster. At 5 am. Too tired for it to bother me too much.
Breakfast at the hotel had pho (yay! though the beef was tough) along with the usual continental spread. Then a 3-hour ride to Ha Long city to catch the boat. The journey was broken up with a toilet/souvenir shop break where minivans spewing tourists squeezed into a small parking lot. “10th/11th century” relics were cavalierly displayed in dusty cases and going for a steal at a couple of hundred dollars.
Operation Ha Long continued at the jetty as tour agents settled the tickets and herded us about. Trolley bags in hand, we clambered over another boat to get to ours. No sweat, though the boats did begin to drift apart as S was straddled across them. Lunch was served on board, simple but satisfying: cucumber, fish, tofu, green veggies and fried spring rolls. Lounged on the upper deck after that.
Breakfast at the hotel had pho (yay! though the beef was tough) along with the usual continental spread. Then a 3-hour ride to Ha Long city to catch the boat. The journey was broken up with a toilet/souvenir shop break where minivans spewing tourists squeezed into a small parking lot. “10th/11th century” relics were cavalierly displayed in dusty cases and going for a steal at a couple of hundred dollars.
Operation Ha Long continued at the jetty as tour agents settled the tickets and herded us about. Trolley bags in hand, we clambered over another boat to get to ours. No sweat, though the boats did begin to drift apart as S was straddled across them. Lunch was served on board, simple but satisfying: cucumber, fish, tofu, green veggies and fried spring rolls. Lounged on the upper deck after that.
The Ha Long bay experience sometimes seemed like a composite of past tours – cruising down Lijiang, drifting on a bamboo raft in Yangshuo, with shades of Longqingxia thrown in. The sense of déjà vu was particularly strong with the visit to the limestone caves. The admittedly impressively-sized Thien Cung Grotto was lit “in the Chinese style,” which meant a garish array of multi-coloured lights.
As it was low tide when we reached Cat Ba island, we had to transfer onto a smaller boat to get ashore. “Like refugees!” gaily commented one of the uncles in our group. The ride to the bay area from the jetty was soundtracked by what could conceivably be Vietnamese folk music/opera. We were deposited at Nam Duong hotel and opted for rooms on the 5th floor (two rooms with 2 twin beds as opposed to a 3-1 split). Hiked up the stairs to our rooms and found lovely views of the sunset from the hallway. Found out later that the other half of the group ended up in a hotel with no seaview, though they could have gotten up close and personal with the hill if they so wished from their windows.
Cat Ba in off-peak season brought to mind Tossa del Mar and Viareggio. We plonked ourselves down on a bench and watched the sun go down while snacking on dao (tiny apples with a crunchy bite) and tiny tangerines (very sweet and flavourful). Dinner back at the hotel was a variation of lunch: beans, better fish, calamari, tomatoes fried with egg, soup. Shared table with retiree from France who was traveling with his wife?/mistress?/girlfriend?
Checked out the beach after dinner. Found two campfires going on: one with disco music blaring and tentative dancing, while the other was much more sedate.
We returned to the bay area to find Cat Ba stirring. There were kids everywhere, men hanging out by the shopfronts, young men and women cruising down the grandiosely broad boulevards. We decided that their principal form of entertainment was klkk, kia lai kia kih, or ‘walk here, walk there.’ “Hey, how’s it going?” “Well, we’ve just kl, now we’re gonna kk!”
There were also massage parlours, karaoke joints, street peddlers (selling pearls, clothing, food), cafes and even the odd disco or two. The Flightless Bird (LP) was full so we settled for flashing-ball-of-light café instead. And watched in disbelief as S poured her coffee into a glass after we had had a conversation about the perils of ice the previous night. Despite pouring the coffee back out, it was too late, and S ended up with an upset stomach. So much for rocking the Cat Ba.
Ha Noi
First thought as the plane was landing: boy, the air sure was hazy. But at least it wasn’t raining. Took a cab into the city (US$10 or 160,000 dong) to Green Park Hotel (http://www.hotel-greenpark.com/). It took a while since the driver didn’t seem to know where it was located. Good thing it was a flat fare.
After depositing our luggage, the first order of business was lunch. The hotel’s recommendation was Pho 24, which was too clean and proper for our liking. Decided to amble over to the old quarter instead where we finally settled on a place on Pho Ly Quoc Su. Alas, given that the copy of Lonely Planet I was lugging along was of the 2001 vintage, we found no sign of pho at the given address. The place we eventually ate at had only pho ga, bird flu be damned. Besides, the outbreak was in the south. Had a most satisfying late lunch (15k dong a bowl).
Moseyed around the area after and took in St Joseph’s Cathedral. One of the strangest sights in Ha Noi was seeing people all decked out in winter wear: woolen caps, scarves, puffy jackets, coats with faux fur trimming. It was enough to make one sweat just looking at them.
The girls went in search of a tailor and ended up at Lotus (89 Hang Gai, Luxe Guide) for made-to-measure ao dais etc.
Coffee break was at Trung Nguyen (20 Pho Hang Mam, LP). Figured if an LP recommendation was still around, it had to be good. Had a cup of chon, aka weasel poop coffee (12kd), which was very thick and very sweet, a definite pick-me-upper.
Signed up for a Ha Long Bay package at Kangaroo Café on Hang Be, found out later it was a rip-off of the original cafe on Pho Bao Khanh. Not that it made a difference. We were happy that the US$30 2 day/1 night Ha Long/Cat Ba package was cheaper than the US$45 quoted by the hotel. There were packages offering a night onboard the boat but we needed to stay on land given J’s motion sickness.
Dinner was at Green Tangerine (48 Hang Be, LG), which served French food in a lovely little courtyard. Enjoyed the pork fillet and the apple and mango crumble. P ordered the fig’s fritter with gorgonzola cheese, which was very good. The scallops were nicely done, though the presentation was rather fussy with the pieces laid out on a chess board of vegetables surrounded by curlicues of mashed potato. S’s five delicacies dessert platter sounded more enticing than it tasted. Waiter was a little snooty though. US$20 each.
First thought as the plane was landing: boy, the air sure was hazy. But at least it wasn’t raining. Took a cab into the city (US$10 or 160,000 dong) to Green Park Hotel (http://www.hotel-greenpark.com/). It took a while since the driver didn’t seem to know where it was located. Good thing it was a flat fare.
After depositing our luggage, the first order of business was lunch. The hotel’s recommendation was Pho 24, which was too clean and proper for our liking. Decided to amble over to the old quarter instead where we finally settled on a place on Pho Ly Quoc Su. Alas, given that the copy of Lonely Planet I was lugging along was of the 2001 vintage, we found no sign of pho at the given address. The place we eventually ate at had only pho ga, bird flu be damned. Besides, the outbreak was in the south. Had a most satisfying late lunch (15k dong a bowl).
Moseyed around the area after and took in St Joseph’s Cathedral. One of the strangest sights in Ha Noi was seeing people all decked out in winter wear: woolen caps, scarves, puffy jackets, coats with faux fur trimming. It was enough to make one sweat just looking at them.
The girls went in search of a tailor and ended up at Lotus (89 Hang Gai, Luxe Guide) for made-to-measure ao dais etc.
Coffee break was at Trung Nguyen (20 Pho Hang Mam, LP). Figured if an LP recommendation was still around, it had to be good. Had a cup of chon, aka weasel poop coffee (12kd), which was very thick and very sweet, a definite pick-me-upper.
Signed up for a Ha Long Bay package at Kangaroo Café on Hang Be, found out later it was a rip-off of the original cafe on Pho Bao Khanh. Not that it made a difference. We were happy that the US$30 2 day/1 night Ha Long/Cat Ba package was cheaper than the US$45 quoted by the hotel. There were packages offering a night onboard the boat but we needed to stay on land given J’s motion sickness.
Dinner was at Green Tangerine (48 Hang Be, LG), which served French food in a lovely little courtyard. Enjoyed the pork fillet and the apple and mango crumble. P ordered the fig’s fritter with gorgonzola cheese, which was very good. The scallops were nicely done, though the presentation was rather fussy with the pieces laid out on a chess board of vegetables surrounded by curlicues of mashed potato. S’s five delicacies dessert platter sounded more enticing than it tasted. Waiter was a little snooty though. US$20 each.
Wednesday, December 20, 2006
What’s Going On…?
Eason Chan
One of Eason's great strengths is his versatility as a vocalist. Unfortunately, that can make for rather scattered albums. Lead single 裙下之臣 'Don't We All Love Dresses' (I think 'Slave to the Dress' would be more to the point) is an ode to women, and, unusually enough, promiscuity. Accordingly, it's one of 2 tracks deleted from the mainland China release. I guess married men in entertainment do get away with double standards.
The heart of the album though, is the two songs 富士山下 and 不如不见. 富士山下 is a lush, gorgeous piece of music, matched with lyrics about a love that's not meant to be, with Mount Fuji looming in the backdrop. It's not an easy song to get a handle on: it's wordy and the lines run into each other with barely a break, but Eason floats along with the words effortlessly, letting 林夕's poetic if sometimes obtuse (then again, it's probably a function of my poor Cantonese) lyrics breathe.
不如不见 has a lovely, wistful melody by 陈小霞, the kind she's so good at writing. 林夕's lyrics didn't seem too promising at first. For some reason, there's this annoying habit of lyricists referencing their own past work, so 十年 is mentioned in the lyrics and in fact, the entire theme seems to be 想哭 redux. And yet, the lyrics and music work together and Eason's quietly affecting delivery is the unexpected sound of heartbreak.
Elsewhere, lyricist extraordinaire 林夕 shows his chops on a track titled Akira Kurosawa. Well, not exactly, the Chinese characters 黑择明 literally mean darkness chooses light. From this pun, 林夕 has fashioned lyrics about life and death infused with imagery of the cinema. Most impressive.
Eason Chan
One of Eason's great strengths is his versatility as a vocalist. Unfortunately, that can make for rather scattered albums. Lead single 裙下之臣 'Don't We All Love Dresses' (I think 'Slave to the Dress' would be more to the point) is an ode to women, and, unusually enough, promiscuity. Accordingly, it's one of 2 tracks deleted from the mainland China release. I guess married men in entertainment do get away with double standards.
The heart of the album though, is the two songs 富士山下 and 不如不见. 富士山下 is a lush, gorgeous piece of music, matched with lyrics about a love that's not meant to be, with Mount Fuji looming in the backdrop. It's not an easy song to get a handle on: it's wordy and the lines run into each other with barely a break, but Eason floats along with the words effortlessly, letting 林夕's poetic if sometimes obtuse (then again, it's probably a function of my poor Cantonese) lyrics breathe.
不如不见 has a lovely, wistful melody by 陈小霞, the kind she's so good at writing. 林夕's lyrics didn't seem too promising at first. For some reason, there's this annoying habit of lyricists referencing their own past work, so 十年 is mentioned in the lyrics and in fact, the entire theme seems to be 想哭 redux. And yet, the lyrics and music work together and Eason's quietly affecting delivery is the unexpected sound of heartbreak.
Elsewhere, lyricist extraordinaire 林夕 shows his chops on a track titled Akira Kurosawa. Well, not exactly, the Chinese characters 黑择明 literally mean darkness chooses light. From this pun, 林夕 has fashioned lyrics about life and death infused with imagery of the cinema. Most impressive.
Tuesday, November 21, 2006
Singapore Animation Showcase @ Animation Nation 2006
I grew up on a steady diet of animation that included anime dubbed in English and Mandarin, as well as cartoons from the West, primarily from the US. But it wasn’t until much later that the world of animation opened up for me. Primarily, this was due to a re-acquaintance with anime, which, I realised, could be funny, tragic, mysterious, sexy, simple, profound — with a bewildering array of styles to match. There wasn’t anything that anime couldn’t do.
So I was glad to see animation taking on a higher profile here in recent years. This is the Singapore Film Society’s third Animation Nation, while the Singapore Animation Showcase goes back to 2001, held under the auspices of the then-Singapore Broadcasting Authority.
There also appear to be more avenues for aspiring animators to break into the business, both in terms of the number of educational courses offered and production houses sprouting up here, most notably Lucasfilm Animation. So I was curious to see, as the publicity material promised for the Singapore Animation Showcase (organised as part of Animation Nation 2006 on November 19, 2006), what “local Singaporean animators have been up to.”
Most of the offerings at the Showcase were from schools, which was fine, but I would like to have seen more from the professionals in the industry. For instance I saw some interesting animated shorts last week at RESFEST 10's Screener Series: Singapore, whose inclusion would have given a better sense of the scope of work being done here. Or other works by the same filmmakers could have been included in this programme, to avoid duplication with RESFEST and other showcases.
Coming back to the Singapore Animation Showcase screening on Sunday, my friend remarked afterwards that the shorts appeared to be divided into two categories: those strong in story or those strong in the technical aspect of animation. Call it a left-brain/right-brain dichotomy, which meant that rare was the filmmaker who was adept at both and so the more collaborative works tended to fare better.
So here are another slew of awards I’d like to give out to the films at the Singapore Animated Showcase:
Most Befuddling
The Story of Black
Chung Cheng High
While somewhat derivative, I was quite impressed by the standard of the animation. Too bad the story didn’t make much sense.
Most Patriotic
Total Defence animations
CHIJ St Joseph
Some simple but effective animation in the service of the Total Defence campaign. Still, the faint whiff of propaganda lingered and I was soon longing for a shot of, say, Brian Gothong Tan’s We Live in a Dangerous World from the recently-concluded Singapore Biennale.
Strangest-looking Cupid Ever
Stupid Cupid
Dias Leong
Cupid looked like a thug in a sumo-wrestler get-up. Seriously.
Best Sound
Take to the Skies
Lim Beng Loon
A canny cashing-in on the fad for all things penguin, aided by a classic cartoon soundtrack.
Best in Show
The Pinnacle
Demonstrating that it’s possible to build suspense, hold audience interest and end things with a twist in a few short minutes. Nicely done.
Most Dangerously Titled
The Boaring Chase
The idea of a badly-designed (biologically speaking) alien held hostage by a boar tickled, but the chase around the world was clichéd.
Most Likely Inspired By The Phrase “If Pigs Could Fly”
Legend of the Pig
This riff on why pigs can’t fly stood out for its Chinese ink painting-like animation style. Charming in a low-key way.
Most Reminiscent of Teletubbies
Songs of Innocence and Experience
A cautionary tale about the power of words to hurt, let down by the déjà vu animation.
(For sinema.sg)
I grew up on a steady diet of animation that included anime dubbed in English and Mandarin, as well as cartoons from the West, primarily from the US. But it wasn’t until much later that the world of animation opened up for me. Primarily, this was due to a re-acquaintance with anime, which, I realised, could be funny, tragic, mysterious, sexy, simple, profound — with a bewildering array of styles to match. There wasn’t anything that anime couldn’t do.
So I was glad to see animation taking on a higher profile here in recent years. This is the Singapore Film Society’s third Animation Nation, while the Singapore Animation Showcase goes back to 2001, held under the auspices of the then-Singapore Broadcasting Authority.
There also appear to be more avenues for aspiring animators to break into the business, both in terms of the number of educational courses offered and production houses sprouting up here, most notably Lucasfilm Animation. So I was curious to see, as the publicity material promised for the Singapore Animation Showcase (organised as part of Animation Nation 2006 on November 19, 2006), what “local Singaporean animators have been up to.”
Most of the offerings at the Showcase were from schools, which was fine, but I would like to have seen more from the professionals in the industry. For instance I saw some interesting animated shorts last week at RESFEST 10's Screener Series: Singapore, whose inclusion would have given a better sense of the scope of work being done here. Or other works by the same filmmakers could have been included in this programme, to avoid duplication with RESFEST and other showcases.
Coming back to the Singapore Animation Showcase screening on Sunday, my friend remarked afterwards that the shorts appeared to be divided into two categories: those strong in story or those strong in the technical aspect of animation. Call it a left-brain/right-brain dichotomy, which meant that rare was the filmmaker who was adept at both and so the more collaborative works tended to fare better.
So here are another slew of awards I’d like to give out to the films at the Singapore Animated Showcase:
Most Befuddling
The Story of Black
Chung Cheng High
While somewhat derivative, I was quite impressed by the standard of the animation. Too bad the story didn’t make much sense.
Most Patriotic
Total Defence animations
CHIJ St Joseph
Some simple but effective animation in the service of the Total Defence campaign. Still, the faint whiff of propaganda lingered and I was soon longing for a shot of, say, Brian Gothong Tan’s We Live in a Dangerous World from the recently-concluded Singapore Biennale.
Strangest-looking Cupid Ever
Stupid Cupid
Dias Leong
Cupid looked like a thug in a sumo-wrestler get-up. Seriously.
Best Sound
Take to the Skies
Lim Beng Loon
A canny cashing-in on the fad for all things penguin, aided by a classic cartoon soundtrack.
Best in Show
The Pinnacle
Demonstrating that it’s possible to build suspense, hold audience interest and end things with a twist in a few short minutes. Nicely done.
Most Dangerously Titled
The Boaring Chase
The idea of a badly-designed (biologically speaking) alien held hostage by a boar tickled, but the chase around the world was clichéd.
Most Likely Inspired By The Phrase “If Pigs Could Fly”
Legend of the Pig
This riff on why pigs can’t fly stood out for its Chinese ink painting-like animation style. Charming in a low-key way.
Most Reminiscent of Teletubbies
Songs of Innocence and Experience
A cautionary tale about the power of words to hurt, let down by the déjà vu animation.
(For sinema.sg)
Thursday, November 16, 2006
Little Shop of Horrors
Before their string of Disney hits came along, Alan Menken and Howard Ashman were best known for a raucous and rollicking musical called Little Shop of Horrors, the tale of a Faustian bargain with a horticultural twist. Meek and geeky Seymour Krelborn's fortunes take a dramatic turn for the better after he buys a mysterious plant that appears out of nowhere after an eclipse. Business booms at the flower shop he's working in and Seymour finds fame as a botanical genius. All he wants, though, is the girl, his co-worker Audrey. He even names the plant Audrey II after her. But in return for having his deepest desires fulfilled, Seymour will have to pay a price... Given the show's longevity, it's not uncommon for people to have watched more than one version of it, or even to have taken part in a school production. For me, Frank Oz's 1986 movie adaptation remains a favourite for its pitch-perfect casting. Rick Moranis' Seymour was nebbishy and yet had one rooting for him; Ellen Greene reprised the role of Audrey from the original off-Broadway production and was equally adept at milking laughs and eliciting sympathy; and Steve Martin was a revelation in his huge performance as Orin, Audrey's unhinged dentist boyfriend. In other words, comparisons are going to be inevitable.
So how do you stage a familiar and beloved musical and keep it fresh and exciting? Dream Academy's solution was to turn the trio of doo-wop back-up singers into a showcase for the Dim Sum Dollies. Mostly, it worked. Selena Tan, Pam Oei and Emma Yong zipped in and out of costumes and personalities and accents with such sass and pizzazz, they lit up the stage every time they appeared. They were SIA girls pulling trolley bags, Ah Lians spouting Singlish, car park makciks chattering in Malay, ladies who lunch oozing accented English, and nuns in habits for the heck of it. Unfortunately, the high-voltage energy of the Dim Sum Dollies segments altered the pacing and flow of the musical as the rest of the show failed to measure up to their standard. We were just waiting for the next appearance, and persona change, of the Dollies.
In retrospect, using the painted backdrop with the show's title and logo for several of the scenes was perfectly appropriate given that the entire musical was a backdrop for the Dim Sum Dollies. At the time though, it was a constant, annoying and unnecessary reminder that one was, in fact, watching Little Shop of Horrors. If different backdrops were out of the question, perhaps a generic Skid Row background would have worked as well.
It didn't help that director Glen Goei's staging felt rather static at points with the action concentrated on one or two spots downstage, including for Audrey's showstopper number Somewhere That's Green. He was more successful with the inspired and very funny finale which featured the entire cast in Audrey II costumes. If only there had been more of such moments...
The Dim Sum Dollies aside, the attempt to inject some Singaporean flavour into the musical had decidedly mixed results. The weak efforts to localise the American context (by substituting Lorong Skid Row for Skid Row, kaya toast for sliced bread etc.) soon wore out their welcome and even the laughter-on-cue from a vocal section of the audience dried up towards the end. The subtler lyrical tweakings, in Somewhere That's Green for example, worked better. "I cook like Betty Crocker and I look like Donna Reed" became "I cook like Violet Oon and I look like Zhang Ziyi." On second thoughts, it was Denise Tan's delivery that made it work. On his part, Tan Ju Meng managed to pull off a set that was a mix of Skid Row USA (walk-up stoops) and Joo Chiat (low-rise buildings, accented with under-construction green netting).
Denise Tan, as Audrey, was the clear standout among the cast. She struck the fine balance between camp and genuine emotion and brought it all home during her rendition of Somewhere That's Green. She made the part hers and more than held her own against the Dim Sum Dollies. Compared to Ellen Greene's brilliantly mannered vocal performance and more fragile Audrey, Tan gave an earthier interpretation while retaining the character's sense of vulnerability.
Dave "Electrico" Tan, aided by the puppeteers, brought Audrey II to life with a swaggering vocal performance spanning the gamut from pleading, cajoling plant to triumphant evil monster. Of course, credit has to go to Mascots and Puppets Specialists as well for constructing Audrey II, a mutant orchid with a disturbingly humongous chin that was either bulbous, or um, ballsy, depending on your point of view. A minor quibble: Audrey II's mouth movements were not always in sync with the vocals.
The rest of the cast didn't fare as well. Hossan Leong played, or rather underplayed, to type and his Seymour was not very engaging. This was a problem faced by Lim Yu Beng as well, whose turn as dentist Orin lacked the manic and maniacal over-the-top energy the part demanded. Sean Worrall, as Mushnik, the flower shop owner, seemed, for some reason, to be shouting most of his lines.
Ultimately, this Little Shop left me hungry, like Audrey II, for more... of the movie.
(For The Flying Inkpot)
Before their string of Disney hits came along, Alan Menken and Howard Ashman were best known for a raucous and rollicking musical called Little Shop of Horrors, the tale of a Faustian bargain with a horticultural twist. Meek and geeky Seymour Krelborn's fortunes take a dramatic turn for the better after he buys a mysterious plant that appears out of nowhere after an eclipse. Business booms at the flower shop he's working in and Seymour finds fame as a botanical genius. All he wants, though, is the girl, his co-worker Audrey. He even names the plant Audrey II after her. But in return for having his deepest desires fulfilled, Seymour will have to pay a price... Given the show's longevity, it's not uncommon for people to have watched more than one version of it, or even to have taken part in a school production. For me, Frank Oz's 1986 movie adaptation remains a favourite for its pitch-perfect casting. Rick Moranis' Seymour was nebbishy and yet had one rooting for him; Ellen Greene reprised the role of Audrey from the original off-Broadway production and was equally adept at milking laughs and eliciting sympathy; and Steve Martin was a revelation in his huge performance as Orin, Audrey's unhinged dentist boyfriend. In other words, comparisons are going to be inevitable.
So how do you stage a familiar and beloved musical and keep it fresh and exciting? Dream Academy's solution was to turn the trio of doo-wop back-up singers into a showcase for the Dim Sum Dollies. Mostly, it worked. Selena Tan, Pam Oei and Emma Yong zipped in and out of costumes and personalities and accents with such sass and pizzazz, they lit up the stage every time they appeared. They were SIA girls pulling trolley bags, Ah Lians spouting Singlish, car park makciks chattering in Malay, ladies who lunch oozing accented English, and nuns in habits for the heck of it. Unfortunately, the high-voltage energy of the Dim Sum Dollies segments altered the pacing and flow of the musical as the rest of the show failed to measure up to their standard. We were just waiting for the next appearance, and persona change, of the Dollies.
In retrospect, using the painted backdrop with the show's title and logo for several of the scenes was perfectly appropriate given that the entire musical was a backdrop for the Dim Sum Dollies. At the time though, it was a constant, annoying and unnecessary reminder that one was, in fact, watching Little Shop of Horrors. If different backdrops were out of the question, perhaps a generic Skid Row background would have worked as well.
It didn't help that director Glen Goei's staging felt rather static at points with the action concentrated on one or two spots downstage, including for Audrey's showstopper number Somewhere That's Green. He was more successful with the inspired and very funny finale which featured the entire cast in Audrey II costumes. If only there had been more of such moments...
The Dim Sum Dollies aside, the attempt to inject some Singaporean flavour into the musical had decidedly mixed results. The weak efforts to localise the American context (by substituting Lorong Skid Row for Skid Row, kaya toast for sliced bread etc.) soon wore out their welcome and even the laughter-on-cue from a vocal section of the audience dried up towards the end. The subtler lyrical tweakings, in Somewhere That's Green for example, worked better. "I cook like Betty Crocker and I look like Donna Reed" became "I cook like Violet Oon and I look like Zhang Ziyi." On second thoughts, it was Denise Tan's delivery that made it work. On his part, Tan Ju Meng managed to pull off a set that was a mix of Skid Row USA (walk-up stoops) and Joo Chiat (low-rise buildings, accented with under-construction green netting).
Denise Tan, as Audrey, was the clear standout among the cast. She struck the fine balance between camp and genuine emotion and brought it all home during her rendition of Somewhere That's Green. She made the part hers and more than held her own against the Dim Sum Dollies. Compared to Ellen Greene's brilliantly mannered vocal performance and more fragile Audrey, Tan gave an earthier interpretation while retaining the character's sense of vulnerability.
Dave "Electrico" Tan, aided by the puppeteers, brought Audrey II to life with a swaggering vocal performance spanning the gamut from pleading, cajoling plant to triumphant evil monster. Of course, credit has to go to Mascots and Puppets Specialists as well for constructing Audrey II, a mutant orchid with a disturbingly humongous chin that was either bulbous, or um, ballsy, depending on your point of view. A minor quibble: Audrey II's mouth movements were not always in sync with the vocals.
The rest of the cast didn't fare as well. Hossan Leong played, or rather underplayed, to type and his Seymour was not very engaging. This was a problem faced by Lim Yu Beng as well, whose turn as dentist Orin lacked the manic and maniacal over-the-top energy the part demanded. Sean Worrall, as Mushnik, the flower shop owner, seemed, for some reason, to be shouting most of his lines.
Ultimately, this Little Shop left me hungry, like Audrey II, for more... of the movie.
(For The Flying Inkpot)
Monday, November 13, 2006
RESFEST 10: Afterword
I arrived too early at Velvet Underground last night to find the near-equivalent of watching paint dry on the TV screens as contestants in the Icon Chef Design Competition tapped and clicked away on their laptops. Good thing there were drinks, courtesy of Smirnoff and Tiger, to lubricate the evening.
And so the winner of the first RESFEST Adobe Audience Choice Awards is … Momorobo for their video of Futon’s Strap It On. Maybe it’s just me, but I keep thinking of a Peach Robot every time I hear that name. But it’s not inappropriate given the strong Japanese influence in the video, even as Momorobo drew upon mythologies across different cultures to portray the various gods and deities.
The organisers also announced the winners of the Nokia Handheld Cinema competition, in which filmmakers had to use a video-equipped mobile phone to tell a story about “the unexplained, the inexplicable and the downright unbelievable.” SILNT’s Question Mark was a worthy winner. Questions, ranging from the mundane (Where’s my pencil?) to the metaphysical (What are we waiting for?) to the self-referential (Why are you here watching this?), flashed across the screen, framed by black and white images and a haunting soundtrack. It ended by questioning the idea that all questions had to have answers.
Second place went to Uncalled, an atmospheric piece about the suicide of a Filipino maid.
These pieces demonstrate that the technological barriers to filmmaking are lower than before. As long as you have an idea or a story, it is now much easier to bring it into fruition. What it does mean though is that good ideas will be more important than ever.
(For sinema.sg)
I arrived too early at Velvet Underground last night to find the near-equivalent of watching paint dry on the TV screens as contestants in the Icon Chef Design Competition tapped and clicked away on their laptops. Good thing there were drinks, courtesy of Smirnoff and Tiger, to lubricate the evening.
And so the winner of the first RESFEST Adobe Audience Choice Awards is … Momorobo for their video of Futon’s Strap It On. Maybe it’s just me, but I keep thinking of a Peach Robot every time I hear that name. But it’s not inappropriate given the strong Japanese influence in the video, even as Momorobo drew upon mythologies across different cultures to portray the various gods and deities.
The organisers also announced the winners of the Nokia Handheld Cinema competition, in which filmmakers had to use a video-equipped mobile phone to tell a story about “the unexplained, the inexplicable and the downright unbelievable.” SILNT’s Question Mark was a worthy winner. Questions, ranging from the mundane (Where’s my pencil?) to the metaphysical (What are we waiting for?) to the self-referential (Why are you here watching this?), flashed across the screen, framed by black and white images and a haunting soundtrack. It ended by questioning the idea that all questions had to have answers.
Second place went to Uncalled, an atmospheric piece about the suicide of a Filipino maid.
These pieces demonstrate that the technological barriers to filmmaking are lower than before. As long as you have an idea or a story, it is now much easier to bring it into fruition. What it does mean though is that good ideas will be more important than ever.
(For sinema.sg)
Sunday, November 12, 2006
RESFEST 10
Screener Series: Singapore
It may sound strange to say this but I don’t have the attention span for shorts. Due to the constraints of the form, namely brevity, an impact has to be made quickly in order to draw the audience in. If it doesn’t do so right off the bat, my mind starts wandering.Also, works that are too short barely have time to register before they end — and then my brain blames me for the wasted burst of concentration and further shortens my attention span in revenge.
And there’s the fact that you seldom watch one short in isolation, so you’re constantly switching gears, trying to process what’s on screen and deciding whether you like it or not: yes, no, argh it’s over.
So 16 works in 66 minutes — including music videos, an instructional video, a video brochure, short films, short short films and “motion design” — was a rather daunting prospect. What did it take to leave a lasting impression and to distinguish oneself from the pack? A work with a distinctive voice or point of view that was assured and sustained.
Before the official Adobe Audience Choice Awards are announced tomorrow, I’d like to give out my own slew of awards.
Most Ambitious But Flawed
Take Me Home a.k.a. I Saw Jesus
Gözde and Russel Zehnder
A short film with some lovely images and a sustained elegiac tone. I wasn’t entirely sure what was happening, though the fact that it was puzzling was not necessarily a bad thing. What I found annoying was the aggressive soft focus, which didn’t let up for a single moment.
Most Open To Interesting Speculation
Strap It On — Futon
Momorobo
A manga-inspired battle between Futon and a band of otherworldly beings. Couldn’t quite make out what they were supposed to be strapping on.
Most Reminiscent Of Edward Gorey’s Gashlycrumb Tinies
Lacklustre Lucy
Damian Lee, Rex Lee
Most Likely To Be Mistaken For A Calvin Klein Ad
Beasty Beuys
Ivanho Harlim
Most Fun With Words, Literally
Olives — The Observatory
Ffurious
Best Dissection Of A Fairy Tale
How To Be An Effective Little Red Riding Hood
Pullat Anand Narayan
Best Visual Pun
Lost My Head — The Oddfellows
Eric Khoo
Ah, back to a more innocent time when avian flu wasn’t the threat it is today and chickens were free to roam and be slaughtered.
Most At Home In A Dance Club
Solskinn
Jogn
HDB flats look pretty when viewed through a kaleidoscope.
Best Hair
Passage
Thomas Barker
Least Likely To Induce A Headache/Most Creepy
Killing Time — The Observatory
Royston Tan
A simple single image of a person with headphones on is effectively turned into an unsettling, disturbing one when the eyeballs are whited out.
Most Bling
Blow — Parking Lot Pimp
Felix Ng
Best Cheesy Graphics, Best Deadpan Delivery, Best Lyrics
Beat Police
Beth Hunter
What’s not to like from the cheesy video game-like graphics to the concept of beat police hunting down those who massacre songs at karaoke lounges? If only they existed!
(For sinema.sg)
Screener Series: Singapore
It may sound strange to say this but I don’t have the attention span for shorts. Due to the constraints of the form, namely brevity, an impact has to be made quickly in order to draw the audience in. If it doesn’t do so right off the bat, my mind starts wandering.Also, works that are too short barely have time to register before they end — and then my brain blames me for the wasted burst of concentration and further shortens my attention span in revenge.
And there’s the fact that you seldom watch one short in isolation, so you’re constantly switching gears, trying to process what’s on screen and deciding whether you like it or not: yes, no, argh it’s over.
So 16 works in 66 minutes — including music videos, an instructional video, a video brochure, short films, short short films and “motion design” — was a rather daunting prospect. What did it take to leave a lasting impression and to distinguish oneself from the pack? A work with a distinctive voice or point of view that was assured and sustained.
Before the official Adobe Audience Choice Awards are announced tomorrow, I’d like to give out my own slew of awards.
Most Ambitious But Flawed
Take Me Home a.k.a. I Saw Jesus
Gözde and Russel Zehnder
A short film with some lovely images and a sustained elegiac tone. I wasn’t entirely sure what was happening, though the fact that it was puzzling was not necessarily a bad thing. What I found annoying was the aggressive soft focus, which didn’t let up for a single moment.
Most Open To Interesting Speculation
Strap It On — Futon
Momorobo
A manga-inspired battle between Futon and a band of otherworldly beings. Couldn’t quite make out what they were supposed to be strapping on.
Most Reminiscent Of Edward Gorey’s Gashlycrumb Tinies
Lacklustre Lucy
Damian Lee, Rex Lee
Most Likely To Be Mistaken For A Calvin Klein Ad
Beasty Beuys
Ivanho Harlim
Most Fun With Words, Literally
Olives — The Observatory
Ffurious
Best Dissection Of A Fairy Tale
How To Be An Effective Little Red Riding Hood
Pullat Anand Narayan
Best Visual Pun
Lost My Head — The Oddfellows
Eric Khoo
Ah, back to a more innocent time when avian flu wasn’t the threat it is today and chickens were free to roam and be slaughtered.
Most At Home In A Dance Club
Solskinn
Jogn
HDB flats look pretty when viewed through a kaleidoscope.
Best Hair
Passage
Thomas Barker
Least Likely To Induce A Headache/Most Creepy
Killing Time — The Observatory
Royston Tan
A simple single image of a person with headphones on is effectively turned into an unsettling, disturbing one when the eyeballs are whited out.
Most Bling
Blow — Parking Lot Pimp
Felix Ng
Best Cheesy Graphics, Best Deadpan Delivery, Best Lyrics
Beat Police
Beth Hunter
What’s not to like from the cheesy video game-like graphics to the concept of beat police hunting down those who massacre songs at karaoke lounges? If only they existed!
(For sinema.sg)
Friday, November 10, 2006
Eating Air
Kelvin Tong and Jasmine Ng
Year: 1999. Place: A darkened cinema hall, the smallest one in the cineplex.
Royston Tan is slouched down low in his seat. The movie begins and it’s a blast of electric guitars and drums. And Hokkien. Ah Boy is weaving through the CBD area, and in and out of the screen, on his motorcycle. The scene is a combination of close-ups, long shots and still frames. Tan is transfixed by the story of this group of young people, whose strongest bonds are of friendship and loyalty. The naturalistic dialogue, a rich rojak of Hokkien, Chinese, English, Malay, and the visual and aural inventiveness are a breath of fresh air. Yes, he thinks, why not a movie about gang members, a more realistic and gritty one that would plumb the depths of their loneliness. The girl though would have to go.
It’s not inconceivable.
Year: 1995. Place: Another darkened cinema hall, but still the smallest one in the cineplex.
Kelvin Tong is reviewing Eric Khoo’s Mee Pok Man. He is struck from the get-go by the frenetic opening sequence, the dark subject matter, and joy of joys, Chinese, Hokkien, English as it’s spoken in Singapore. Yes, this is what a Singapore film could be, one that reflected the loneliness of urban isolation and plunged fearlessly into the macabre and the morbid, and it was exhilarating to watch it unfold on the big screen. Yes, he thinks, why not a movie about another ignored and even despised segment of society - teenage delinquents. But perhaps a lighter tone, possibly with flights of fantasy, and a thumping soundtrack that reflected their world.
It’s not inconceivable.
Year: 2006. Place: National Museum of Singapore
You’re in the audience for cine.sg’s showcase of Singapore films, specifically, Eating Air. The movie came out several years ago but had disappeared all too quickly from local screens and you never got round to watching it. The story is about Ah Boy and his buddies, Ah Gu, Cao He Lang and Aw Tau. They hang out, at the arcade, at the void deck, riding their motorbikes, in a kind of timeless existence marked only by the summons of each other’s pages. Ah Boy then meets Ah Girl, though their tentative love story is upstaged by Ah Gu’s reckless behaviour and the dictates of loyalty.
There’s an exuberance to the film-making and you like the visual and aural inventiveness. Still, some of it seems to be showiness for its own sake. There’s also a problem with pacing and an uneven tone which makes the ending rather jarring.
The actors are good though. Benjamin Heng and Joseph Cheong are natural and charismatic, and Alvina Toh turns in a convincing performance as Ah Girl, despite the role being somewhat underwritten. Mark Lee and Michelle Chong score some laughs with their portrayals of Lau Beng and a Malaysian shop proprietress respectively, while Kit Chan pops up for a head-scratching cameo.
Yes, you think, this was a worthy effort. And maybe, the story that I have in my head is worth telling too.
It’s not inconceivable.
(For sinema.sg)
Kelvin Tong and Jasmine Ng
Year: 1999. Place: A darkened cinema hall, the smallest one in the cineplex.
Royston Tan is slouched down low in his seat. The movie begins and it’s a blast of electric guitars and drums. And Hokkien. Ah Boy is weaving through the CBD area, and in and out of the screen, on his motorcycle. The scene is a combination of close-ups, long shots and still frames. Tan is transfixed by the story of this group of young people, whose strongest bonds are of friendship and loyalty. The naturalistic dialogue, a rich rojak of Hokkien, Chinese, English, Malay, and the visual and aural inventiveness are a breath of fresh air. Yes, he thinks, why not a movie about gang members, a more realistic and gritty one that would plumb the depths of their loneliness. The girl though would have to go.
It’s not inconceivable.
Year: 1995. Place: Another darkened cinema hall, but still the smallest one in the cineplex.
Kelvin Tong is reviewing Eric Khoo’s Mee Pok Man. He is struck from the get-go by the frenetic opening sequence, the dark subject matter, and joy of joys, Chinese, Hokkien, English as it’s spoken in Singapore. Yes, this is what a Singapore film could be, one that reflected the loneliness of urban isolation and plunged fearlessly into the macabre and the morbid, and it was exhilarating to watch it unfold on the big screen. Yes, he thinks, why not a movie about another ignored and even despised segment of society - teenage delinquents. But perhaps a lighter tone, possibly with flights of fantasy, and a thumping soundtrack that reflected their world.
It’s not inconceivable.
Year: 2006. Place: National Museum of Singapore
You’re in the audience for cine.sg’s showcase of Singapore films, specifically, Eating Air. The movie came out several years ago but had disappeared all too quickly from local screens and you never got round to watching it. The story is about Ah Boy and his buddies, Ah Gu, Cao He Lang and Aw Tau. They hang out, at the arcade, at the void deck, riding their motorbikes, in a kind of timeless existence marked only by the summons of each other’s pages. Ah Boy then meets Ah Girl, though their tentative love story is upstaged by Ah Gu’s reckless behaviour and the dictates of loyalty.
There’s an exuberance to the film-making and you like the visual and aural inventiveness. Still, some of it seems to be showiness for its own sake. There’s also a problem with pacing and an uneven tone which makes the ending rather jarring.
The actors are good though. Benjamin Heng and Joseph Cheong are natural and charismatic, and Alvina Toh turns in a convincing performance as Ah Girl, despite the role being somewhat underwritten. Mark Lee and Michelle Chong score some laughs with their portrayals of Lau Beng and a Malaysian shop proprietress respectively, while Kit Chan pops up for a head-scratching cameo.
Yes, you think, this was a worthy effort. And maybe, the story that I have in my head is worth telling too.
It’s not inconceivable.
(For sinema.sg)
Tuesday, November 07, 2006
Breathe Me 呼吸
Sandy Lam 林忆莲
At last, her long-awaited follow-up to 2001’s excellent 原来…林忆莲. In a sense, this album can be seen as a companion piece to last year’s Cantonese release 本色, in which she returned to her dance roots.
The lead single was a cover of New Order’s Bizarre Love Triangle, which actually worked as a slice of Mando dance pop. It was easier to accept than expected perhaps because frente! already did a more radical reworking of the track. The cover of The Cardigans’ Communication however, sent me scurrying for Nina Persson’s haunting take on the ignored Long Gone Before Daylight album. And oh yeah, I’m not too thrilled that 4 of the tracks are covers.
The highlight of the album is undoubtedly the Peggy Hsu-penned 放开手, with its shifting rhythms and soaring chorus deftly handled by Sandy. Unfortunately, the return to her dance roots means we don’t get a stirring mid-tempo ballad that Sandy is so good at. The most obvious contender 相信 is let down by its dated production and also by the fact that it’s meant to be an obvious contender.
I’ll take a new release by Sandy any day but this one seems to have fallen short of her own high standards. Then again, her albums have always been growers, so maybe I’ll just reserve final judgement on this album for a while yet.
Sandy Lam 林忆莲
At last, her long-awaited follow-up to 2001’s excellent 原来…林忆莲. In a sense, this album can be seen as a companion piece to last year’s Cantonese release 本色, in which she returned to her dance roots.
The lead single was a cover of New Order’s Bizarre Love Triangle, which actually worked as a slice of Mando dance pop. It was easier to accept than expected perhaps because frente! already did a more radical reworking of the track. The cover of The Cardigans’ Communication however, sent me scurrying for Nina Persson’s haunting take on the ignored Long Gone Before Daylight album. And oh yeah, I’m not too thrilled that 4 of the tracks are covers.
The highlight of the album is undoubtedly the Peggy Hsu-penned 放开手, with its shifting rhythms and soaring chorus deftly handled by Sandy. Unfortunately, the return to her dance roots means we don’t get a stirring mid-tempo ballad that Sandy is so good at. The most obvious contender 相信 is let down by its dated production and also by the fact that it’s meant to be an obvious contender.
I’ll take a new release by Sandy any day but this one seems to have fallen short of her own high standards. Then again, her albums have always been growers, so maybe I’ll just reserve final judgement on this album for a while yet.
Tuesday, October 31, 2006
It turned out to be a gathering of old friends.
Yew Hong Chow, the harmonica player, was there and played a few tunes for us. For some reason, the harmonica’s mellifluous tones make me go all nostalgic in a way the recorder never could. And I wondered again how much cooler it would have been to learn to play the harmonica in school.
Victor Khoo was there though not Charlee since it was past his bedtime. It’s humbling to think how many generations of kids have grown up with Victor and Charlee and how much laughter and merriment they’ve brought to us.
The Teochew newsreader was there, soldiering on in Teochew, a guardian of the last bastion of dialect on radio.
Pin Pin’s uncle was there and he sportingly sang a stanza of an old Chinese song.
And of course, Tan Pin Pin herself. She had made the introductions in Singapore GaGa and now all of us, family, friends, well-wishers, were gathered for the official launch of the DVD.
Pin Pin tried gamely to deliver her comments in both English and Mandarin, but the latter proved just a tad too daunting. Still, what was clear in the movie again came shining through - Pin Pin’s genuine affection for the people in it and her gratitude to them for trusting her with their stories. And they in turn, thanked Pin Pin for giving them the chance to tell their stories. Tonight, this was Singapore, full of warm, fuzzy, gaga feelings.
Yew Hong Chow, the harmonica player, was there and played a few tunes for us. For some reason, the harmonica’s mellifluous tones make me go all nostalgic in a way the recorder never could. And I wondered again how much cooler it would have been to learn to play the harmonica in school.
Victor Khoo was there though not Charlee since it was past his bedtime. It’s humbling to think how many generations of kids have grown up with Victor and Charlee and how much laughter and merriment they’ve brought to us.
The Teochew newsreader was there, soldiering on in Teochew, a guardian of the last bastion of dialect on radio.
Pin Pin’s uncle was there and he sportingly sang a stanza of an old Chinese song.
And of course, Tan Pin Pin herself. She had made the introductions in Singapore GaGa and now all of us, family, friends, well-wishers, were gathered for the official launch of the DVD.
Pin Pin tried gamely to deliver her comments in both English and Mandarin, but the latter proved just a tad too daunting. Still, what was clear in the movie again came shining through - Pin Pin’s genuine affection for the people in it and her gratitude to them for trusting her with their stories. And they in turn, thanked Pin Pin for giving them the chance to tell their stories. Tonight, this was Singapore, full of warm, fuzzy, gaga feelings.
The nostalgia–laden door gift was a stringed tin-can with a treasure trove of tidbits and toys from yesteryear.
(For sinema.sg)
Saturday, October 28, 2006
The Prestige
Chris Nolan
A story of the poisonous rivalry between two magicians, Alfred Borden (Christian Bale) and Robert Angier (Hugh Jackman), after a trick that involves them both goes wrong and ends up killing Angier’s wife. It’s wrapped in an elaborate set-up, shifting from one’s point-of-view to the other as each one appears to have the upper hand. At the heart of the movie is the secret behind Borden’s act The Transported man.
The problem with the puzzle-movie however, is that having figured out the this mystery halfway through, thanks to the repetition of hints and some unusual camera choices, I was smugly satisfied and wondered why the movie was dragging on so. But Chris (director and co-writer) and Jonathan Nolan (co-writer) had more tricks up their sleeves. There was now Angier’s trick to figure out. But the fact that they tried to have their cake and eat it too rankled. If you bought their explanation, well and good, but if you didn’t, they had an admonishment ready, you, the viewer, are simply not ready or willing to accept the ‘truth.’ But the unsatisfying deus ex machina only left me feeling cheated.
Still, this was a handsomely-filmed movie, and Bale was as intensely charismatic as ever. Despite its flaws, this is a genre-busting movie that managed to linger on in my head.
Chris Nolan
A story of the poisonous rivalry between two magicians, Alfred Borden (Christian Bale) and Robert Angier (Hugh Jackman), after a trick that involves them both goes wrong and ends up killing Angier’s wife. It’s wrapped in an elaborate set-up, shifting from one’s point-of-view to the other as each one appears to have the upper hand. At the heart of the movie is the secret behind Borden’s act The Transported man.
The problem with the puzzle-movie however, is that having figured out the this mystery halfway through, thanks to the repetition of hints and some unusual camera choices, I was smugly satisfied and wondered why the movie was dragging on so. But Chris (director and co-writer) and Jonathan Nolan (co-writer) had more tricks up their sleeves. There was now Angier’s trick to figure out. But the fact that they tried to have their cake and eat it too rankled. If you bought their explanation, well and good, but if you didn’t, they had an admonishment ready, you, the viewer, are simply not ready or willing to accept the ‘truth.’ But the unsatisfying deus ex machina only left me feeling cheated.
Still, this was a handsomely-filmed movie, and Bale was as intensely charismatic as ever. Despite its flaws, this is a genre-busting movie that managed to linger on in my head.
Wednesday, October 04, 2006
Veronica Mars
Rob Thomas
When Buffy the Vampire Slayer ended its run, a gaping hole loomed on the tv landscape. Sure, Angel was still around, but he was no petite blonde kicking ass. Enter Veronica Mars, a high school girl trying to solve the mystery of her best friend’s death, and not missing a single comeback in the process. Salon.com anointed the show with The Buffy, for “the season’s most unjustly ignored TV show.” Veronica Mars’ status as the Chosen One was sealed with the cameo appearance of Joss Whedon in the second season (which also featured Buffy/Angel alumnus Charisma Carpenter).
While still enjoyable, the second season had a few mis-steps, including the too-Ghost Whisperer-y-for-comfort encounters with the victims of the school bus crash. There was even an episode or two in which the dialogue just felt off. You always take consistency of tone for granted, until it isn’t. I also didn’t appreciate the storylines which went nowhere, in particular, the relationship between Veronica’s dad and her best friend Wallace’s mom.
But all was forgiven with the third season’s Rob Thomas-penned premiere. Veronica is off to college and still doing what she does best. It’ll be interesting to see if there’ll be a central case overarching the entire season even as ripples of events past continue to be felt.
Rob Thomas
When Buffy the Vampire Slayer ended its run, a gaping hole loomed on the tv landscape. Sure, Angel was still around, but he was no petite blonde kicking ass. Enter Veronica Mars, a high school girl trying to solve the mystery of her best friend’s death, and not missing a single comeback in the process. Salon.com anointed the show with The Buffy, for “the season’s most unjustly ignored TV show.” Veronica Mars’ status as the Chosen One was sealed with the cameo appearance of Joss Whedon in the second season (which also featured Buffy/Angel alumnus Charisma Carpenter).
While still enjoyable, the second season had a few mis-steps, including the too-Ghost Whisperer-y-for-comfort encounters with the victims of the school bus crash. There was even an episode or two in which the dialogue just felt off. You always take consistency of tone for granted, until it isn’t. I also didn’t appreciate the storylines which went nowhere, in particular, the relationship between Veronica’s dad and her best friend Wallace’s mom.
But all was forgiven with the third season’s Rob Thomas-penned premiere. Veronica is off to college and still doing what she does best. It’ll be interesting to see if there’ll be a central case overarching the entire season even as ripples of events past continue to be felt.
Subscribe to:
Posts (Atom)