Film review: All about Ah Long (阿郎的故事)

“All About Ah Long” was a film produced at 1988 which was a critical moment of Hong Kong. The economy of Hong Kong bloomed so rapidly. Many basic infrastructures were under construction. Many jobs were created so as the time conflict between job and family. Once, globalization almost began. Substantial western, especially American, values and ideas arrived Hong Kong which brought challenges inevitably. The film was produced in such a context. It discussed and critiqued the conflicts and challenges so deeply.

First of all, the main and the most important message put forward by the film was the fantasy toward western culture, especially the American culture of Hong Kong people. At the end of the 1990s, many western values, ideas, and products flushed to Hong Kong. People were eager to adopt the new ideas and value. They had a high regard for the western ideas. They admired things from the west in all aspects, western education system, life style, media, clothes, food etc. All of a sudden, people got the similar imagination to the West. Westernization meant the process of modernization and progression. Being westernized was a sign of fashionable and prestige.

In the film, there was a sharp contrast between the west (United States) and the local (Hong Kong). Let’s take the scene when Fat-chai and Sylvia appeared. Fat-chai and his son were born and grew up in Hong Kong. They lived in a small, crowded and unhygienic flat in an old urban area which was decaying. The flat and furniture was antiquated and chaotic. Their hair-styles and clothes were old fashioned and messy. It was a typical poor grass-root living environment.

Sylvia, in a big contrast, moved to live in United States for past ten years and just came back to Hong Kong for an advertisement. She appeared as a westernized successful business woman. She lived in a grand and new hotel. Her hair- style and clothing was so modern and fashionable. She had a shinny private car while Fat-chai only drove an old motor bike. The gap between the west and the local was so huge and distinctive. The west seemed to be a symbol of all the newest and the best.


The film not only used the daily lives but also used the characteristics of different characters to show their attitudes toward the western influence. Sylvia, who named Por Por (a Chinese name) in the past and had an English name when she came back. She worked for an American advertisement company. She used English vocabularies or phases during conversation, such as “any problem”, “OK” and “sign the contract” frequently. When she signed the contract with Fai-chai, the contract was totally written in English. She had two meals with her son, a breakfast and a dinner. Both two meals was taken at western styled restaurant. Furthermore, she planned to bring her son to the America in order to “receive better education and living environment”. At the beginning until the late end of the film, she was a typical westernized or should describe as an American woman.

The son represented imagery toward the west in the view of children. At the very beginning, he expressed he wanted to “visit the Disneyland in America”. A scene was used to describe the son had a breakfast with his mother at a hotel. Director Johnny

To employed a slow- shot to depict the moment when the boy entered the hotel. The hotel was grand, huge, trendy and modernized (with lifts) through the eyes of the little boy. It was a sharp contrast when compared to his small flat. The boy was amazing and excited to the “new”. Moreover, he was very font of the new clothes, shoes (package by a cover of American national flag), toys and especially the computer bought by his mother. The Disneyland, the shoes and the computer were the symbols of America. This reflected the truth of the reality. The so-called “western culture” was only the domination of American culture instead of the diverse western countries.

Fat-chai was just an underground person. He knew not much about America nor western culture. He was not as eager as his son to the west. Sometimes, he even resisted it. Nevertheless, the arrival of the western culture did affect him. He agreed it was privileged to the local one. For examples, he did not know English but pretended to understand it and sign the contract for his son when Sylvia’s lover came. He believed it was shy if he did not know English. In another occasion, he went to a French restaurant to have dinner with Sylvia and his son. He was embarrassed when he failed to read the menu. He just ordered “same as his son” instead of seeking help from the waiter. The two examples showed that he had low self-esteem when facing an unknown new culture. Moreover, he hit his son severely so as to “force” him to US with his mother. One of the assumption behind was US (a western country) could provide better environment for his son to growth up.

Although the film seemed to reflect many different views and attitudes toward the coming of the western culture objectively, it also tried to challenge and defy the “absolute” and “consolidate” privilege status of it. The main “weapon” of the western culture was the love and coherent of a family. The son preferred to stay with his father. Sylvia also chose to stay at the last minute. This was a kind of resistance when Sylvia decided not to go to US. It liked a great triumph of local culture. It was optimistic for Hong Kong culture to survive. However, to what extend it reflected the future of Hong Kong and the trend of world? The director expressed his view in the end of the film.

The film had a violent and sad ending. Sylvia selected to stay and went to the motor bikes’ match venue to support Fat- chai. The family almost brought back together after ten years. Then, an accident happened. Fat- chai was hit by motor bikes more than once. Although he insisted at the last minute and became the champion, he was killed by an explosion. This was a symbolic meaning. The director was pessimistic to the local culture of Hong Kong. The death of Fat- chai signified the resistance of local culture was doomed. Hong Kong was unable to ignore or escape the influence of the expansion of American culture.

Besides the discussion about westernization, the film also discussed about the value toward working. What is the value of working? For many people, the more the working hour, the more the income they get. In the view of employers, working is an important. Employees should work hard on it. In the film, Fat-chai (the father) and Sylvia (the mother) both belonged to working class. When they left their works and spent time with their son, their employers felt this was nonsense and they should complete their tasks first. The same situation reoccurred 3 times.

Fat-chai was a construction worker while Sylvia was an advertiser. They belonged to different working class but still faced the same difficulty when they tried to share time with their son. The film tried to tell us this was a prevalent phenomenon at that moment even nowadays. However, is it a truth value that we should insist on? Are we working for improve our quality of life or provide better livelihood for our families? If so, we run the way wrong because we will not have much spare time to enjoy ourselves or with families since the working hours is so long.

從《二十五個孩子一個爹》看當代中國農村想像

引言：
《二十五個孩子一個爹》是一個關於中國當代農村的故事。截今年三月止，已獲得國內外十五個奬項。當中包括榮獲第5屆夏衍電影文學獎、第9屆北京大學生電影節喜劇片特別獎、第25屆《大眾電影》百花獎提最佳故事片、第22屆中國電影金雞奬、第20屆瑞典ＢUFF國際青少年兒童電影節最佳影片奬和馬爾默城市奬等；並獲邀為2002年加拿大蒙特利爾影展「參展電影」！究竟它所描寫的農村新象會是如何呢？

內容介紹：
這是一個關於養雞大戶趙光的故事。他是一個孤兒，從小由下溝村的鄉親拉扯養大。為了幫助一些像他的孤兒，他捐了一萬元給福利院的孩子，更衝動地說：願為所有孤兒當爹！結果，此事被謀體廣泛報導，四方八面的孤兒和一些冒充孤兒的孩子一起擁向下溝村認爹。這二十五個孩子給村子帶來一片混亂，更激走趙光的未婚妻。趙光用盡各樣方法去開導這班來自不同背景的孩子，獲得國家當局讚賞，讓那些就讀「師範」大學的學生前來學習。其未婚妻最後亦體諒他，喜劇收場。

電影中中國人的形象：
在這樣一個農村裡，村民的一舉一動都反映著黃宏心目中一些中國人的形象：

仁愛：趙光看見孩子的奶奶苦苦哀求，仁愛憐憫之心頓生，才把原先已個別送回家的「真假孤兒」再次接回來，好好養育他們。

迷信：趙光的鄰居蔫嫂一直都不喜歡這班孩，常常責打他們。小孩也因此經常固意與衝撞。蔫嫂於是拿了一塊「照妖鏡」放在柱上對著他們的地方，說是用來「避邪」。國人迷信的現象至今仍舊沒變。

愛面子：起初，趙光也不願意焄顧這班小孩。只是因為愛面子，他才硬著頭皮幹下去。他曾多番說過類似「人要臉，樹要皮」的話；當有求於鄉親時，他也覺得「臉上火辣辣的」。　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　　

勤勞刻苦：趙光本是一個孤兒，全因個人的勤力，才能養雞致富。戲中一些農民的片段都能表現他們的勤力刻苦。

奸詐狡猾：當趙光說了一句：「願為所有孤兒當爹」。鄰村一些村民為了貪小便宜，便把自己的孩子假裝是孤兒送過去，矇騙眾人。

死者為大：了在趙光離家時討點吃，他們便假裝趙光已死，好讓村民給「白金」。孩子們說謊當然不對。但在葬禮期間，不少村民都送上大量物資，可見對死者的重視。

黃導演對中國人的性格描述，和百年前的一位西方人亞瑟.亨.史密斯(Arthur H．Smith)的描述有不少相同的地方。史密斯在中國生活了二十二年，並著有《中國人的性格》（又名《中國人的素質》）書內他歸結二十七種對中國人的看法。例如愛面子、仁愛、刻苦等，都是一些西方人對中國人的刻版化形像。彷彿時至今天，我們或多或少仍受著這些「觀念」影響。近年我國導演如張毅謀至今天的黃宏，他們的作品獲得國際奬項，揚名海外。在這些電影中，往往不難發現一些「刻版」的中國人形象，不禁令人猜想他們是想藉此迎合外國人的口味。

導演的自述：
《二》一片由黃宏自編、自導、自演。當被問及為何那麼多的國際電影節青睞這部兒童題材的喜劇影片時，他答道：

「真情，中國人特有的真情。這部影片首先是在蒙特利爾電影節上大受歡迎，國外的觀眾都說這是部機智的電影。從電影中，他們看到了中國人之間的愛心和幽默……片中出現的那些笑料和喜劇元素，不僅中國觀眾喜歡，連好多外國觀眾都是邊笑邊看的。當出現孩子用雞蛋做加減法、用口哨趕雞的時候，外國觀眾都笑得不行，這說明他們都接受了東方的幽默……我很高興能將中國式的喜劇介紹給世界，讓更多的人見識中國人的幽默。」並謂：「我要以中國特有的幽默感讓全世界發笑。」(易飛2002)

透過這段回應，可以看見黃導演如何理解此電影受歡迎的原因和他的雄心。他似乎十分自豪可以讓外國觀眾發笑，「外國觀眾」的反應和「中國觀眾」一樣，外國觀眾已接受了「東方的幽默」。他希望讓更多人（當然是指外國人）見識到「中國式的喜劇」和「中國人的幽默」。他經常强調「中國」和「外國」，希望讓中國揚眉吐氣，充滿愛國主義色彩。但，從另一角度看，中國人的榮耀彷彿是取決於外國人的認同，自信心都要建基於他們的讚賞之上。這情況到底何時才能消失，是一個值得思索的問題。

不過，黃宏不單只把西方世界對中國人和農村的固有想象呈現出來。在此片中，他積極涉入中國現代化及進步的情況，豎立正面形象，改變舊有對中國負面的觀念；「輸出」新的中國想像，帶新中國走向世界舞台。接下來，本文會以經濟、社會、教育三方面探討本片如何呈現一個現代化的中國。

經濟方面：
以往關於中國農村的電影多是描寫農村生活的貧困艱辛，如「鳳凰琴」、「草房子」等。提起農村，總令人聯想到落後景況。今次黃宏在此片中卻呈現出一個現代化、正踏上富裕道路的當代中國農村面貌。鏡頭所見，下溝村農民不再貧窮，而且可以是萬元戶。他們住在穩固的房屋，衣食豐足，四周農作物一片茂盛，運貨車的使用普遍……處處顯現農村繁華景象，農民的生活水平得到改善。主角趙光被設計成一個養雞戶，並非隨意的。

根據2002中國農業發展報告，禽畜業、蔬果業的總產量都在上升，例如禽蛋產量在2001年有2337萬噸 。但作為中國人主要糧食，稻米小麥的總產量卻有下降的趨勢。趙光職業的選擇，正好反映當代農民減少種植五穀、增加副食品供應的現象。農村居民家庭平均生產固定資產總額、農村居民人均總支出、居住人均面績均按年增加。機械、化學肥料等現代化技術使用亦日趨普及。這些都中國農業現代化的表現。

社會方面：
女性在本片的地位提高了。趙光的未婚妻桂清，可以自由選擇結婚對象。她不滿趙光招來二十五個孤兒，常常搗蛋，向趙光大發脾氣。桂清媽可以在沒有丈夫的情況下，自己和女兒相依唯命生活。她並有經濟獨立能力，可以在後來一下子拿出幾萬來購買趙光的雞埸。桂清曾接受教育，趙光則一點書休沒唸過。至於蔫嫂，她似乎在大多數事務上都有較大的決定權。在趙光出售雞場時，蔫嫂丈夫只是坐在一旁，她則熱烈參與其中。

據《農家女百事通》雜誌社對農業大市惠陽市的調查發現，農村婦女在養植業生產過產中，女性參與情況和男性差不多的。至於決定生產經營項目或在家庭中分配及消費過程中，男女多是共同商量的。婦女的文盲率正有下降，教育水平則在上升。多數婦女在婚姻上都可享有自主性。 女性地位的高低通常和該地的發展情況有相當關係，先進國家的女性都會享有較高的社會地位。在下溝村，女性地位提高正代表中國與其他先進的地方一樣。

教育方面：
趙光因為未曾接受教育，他以「另類」方法教導孩子，讓他們從生活中學習。孩子要過有規律的生活，如「軍訓」一樣；他們也要從事勞動生產，替趙光照顧雞隻。課堂內容基本上是趙光隨手拈來的，題材是多樣化和充滿趣味性：以數雞蛋學習加減數、百家姓學習語文；還有音樂課、美術課等，盡顯「德、智、體、羣、美」五育並重的教學模式。趙光的「另類教育」更獲得有關當局讚揚，更安排了就讀「師範大學」的準老師到農村來參觀他的教學模式。這樣的教育理念和毛澤東所提出的十分相似：從農村中學習。

在「五七」指示中，毛澤東表達認為學生要「學文、學工、學農、學軍」。文化大革命期間，毛更提出「上山下鄉」運動，就是要鼓勵人民從農村學習。趙光的例子正好再一次實現毛的教育理論。或許可為現代教育制度所產生的各項問題提供出路。再者，下溝村村長和趙光都認識教育的重要，對孩子有正面影響。他們對教育的重視，正好表現當今中國也是積極推廣普及教育的情況。而教育便是城市現代化不可或缺的一環。國家重視教育，也代表了她對現代化及進步的追求。
電影以外農村情況：
本片在國際榮獲不少奬項，它對建立中國新形象有其積極作用。不過，我們絶不可一面倒相信戲中的情節是我國單一普遍現象。中國幅遼廣闊，不同地域均存在許許多多農村，而農村的發展速度不同、貧富懸殊的現象極為嚴重。農民富裕、女性地位提高及重視教育等現象多只能在一些發展條件較佳的農業城鎮才見到。那些地處邊陲的農村，農民的生活情況仍然十分困苦。單是國家重點扶持的貧困縣逹至592個，農村貧困人口多逹7000萬 。

調查顯示，兩性地位和農村發展有極大關係。愈貧困的農村，婦女的地位及遭遇都愈差。在貧困農村的男性可以不貧困。因為不論家裡怎樣窮困，父母也多會先供兒子讀書、讓他們温飽、並負擔醫療費用，但女性往往不能獲得如此待遇。貧困農村的女性的文盲情況是很嚴重的。女性的婚姻選擇權在窮困的農村往往是一種奢侈品，她們的婚姻多數建基於父母的決定上，而父母的決定則是以經濟得益為大前提。 故此，不少農村婦女都是生活在痛苦中，自殺情況更成為嚴重問題。

結論：
作為中國人，看見國內導演陸續衝出國際，屢獲殊榮，是一件值得驕傲的事情。但對於電影中所描述的中國或中國人的情節，其真確度是有所保留的。所以，當我們看這些温情洋溢、特別關於中國當代農村情況的電影時，必須保持頭腦清醒，別把精心刻意營造出來的農村景象視為整體客觀的印象。