1. PORTRAIT
藝 術 人 生
ArT Tis
ofan
Award-winning director Ann Hui
talks to Scott Murphy about her
acclaimed and unconventional new
film The Golden Era
Scott Murphy與資深導演許鞍華對
話，暢談其頗具實驗性且獲得多項殊榮
的新電影《黃金時代》

2. 今年年初，在電影《黃金時代》登
陸澳門之后，香港導演許鞍華再次踏上
了澳門的土地，這對她來說，多少有些
回家的意味。第一次來是3月，她帶著
這部電影參加了“雋文不朽”澳門文學
節。在空曠的劇場舞台上，許鞍華謙遜
有加，像是第一次得獎的新人，而非已
在電影界獲得終生成就獎的67歲成功
女性。
許 鞍 華 說 ： “ 我 與 澳 門 頗 有 淵
源。5歲那年，我跟媽媽搬到這裡，如
今回家的感覺真好。希望你們喜歡這部
電影。”
在上世紀70年代，這位“香港新浪
潮”電影代表人物的作品第一次引起觀
眾注意，她的電影以深刻挖掘重大社會
題材而著稱。
鑒於這一點，許鞍華在這部長達
174分鐘的史詩電影裡細致地剖析了
30、40年代的女作家蕭紅的一生，描
述了她在文學界所取得的成就，以及她
與同樣身為作家的愛人蕭軍跌宕起伏的
愛情故事。
《黃金時代》以紀實小說的形式記
錄了二戰初期蕭紅在
中國、日本及香港三
地之間的顛沛流離的
生活。在香港，她完
成了一生中最著名、
以她童年故事為藍本
的長篇小說《呼蘭河
“I have a long history with Macau,” said
Hui, one of the most critically acclaimed of the
“Hong Kong New Wave” of filmmakers who
first came to attention in the late 1970s, and is
best known for her films exploring important
social issues. “I moved here when I was five
with my mother, and it’s always good to be
back. I hope you enjoy the film.”
And with that, the curtain opened on
Hui’s ambitious epic, which comes in at 174
minutes and intimately dissects the life of
Xiao Hong, a Chinese writer of the 1930s and
early ’40s who experienced critical success
and fame among literary circles, as well as a
Left and
below: stills
from the film
The Golden
Era. Opening
pages: Ann
Hui on location
in Shanxi.
左及下：
《黃金時代》
劇照；前頁：
許鞍華攝於
山西電影拍攝
現場。
“I have a long history
with Macau. I moved
here when I was five
with my mother and
it’s always good to
be back”
“我與澳門頗有淵
源。5歲那年我跟媽媽
搬到這裡，如今回家
的感覺真好。”
t was a homecoming of sorts when Hong Kong
director Ann Hui returned to Macau—not once, but
twice—on the back of her new film, The Golden Era,
earlier this year. During her first visit, she took to
the stage at a March screening of the movie as part
of The Script Road—Macau Literary Festival. It was
the fourth year the event had celebrated literature
and arts in the enclave, and in the cavernous
theatre, Hui seemed like a humble first-timer rather
than a 67-year-old woman who has won lifetime
achievement awards for her work in cinema.

3. turbulent relationship with lover and fellow
writer Xiao Jun.
Filmed in a fictionalised documentary
style, The Golden Era follows Hong on her
wanderings through China, on to Japan
and ultimately to Hong Kong in the early
years of World War II. There, she wrote her
most successful full-length novel, Tales of
Hulan River, based on her childhood. Also
in Hong Kong, in 1942, Hong succumbed to
tuberculosis at the tender age of 30. She was
buried at Repulse Bay.
As portrayed by mainland Chinese actress
Tang Wei, Hong is a defiant outsider and
brilliant cultural observer who, despite her
acclaim, is ultimately a tragic loner. “I wanted
to do a film about a creative person, no
matter a painter or a musician. But I know
literature better, so we went for a writer,”
Hui says, adding that she believed Hong
to be greatly underrated as an author. “It’s
90 per cent reality and 10 per cent fiction,”
the filmmaker says of how close she stuck
to Hong’s life story. “We tried to do it as
realistically as possible. I still don’t know if
this is a good way of portraying her life.”
Critics have been split in their opinions
of The Golden Era, noting its unusual
structure. However, though some scenes
seem ponderous, Tang absolutely nails her
character. Explaining the film’s approach to
Hong’s tale, Hui recently informed British
movie website easternkicks.com, which
specialises in Asian cinema, that the script had
been formulated “like a piece of modernist
art” with a non-linear architecture.
“A person’s story is not immediately
told chronologically; it’s not structured
psychologically, like a flashback,” Hui says.
“It’s just cut up into bits and pieces that,
when pieced together, you will react to that
situation when it is in a scene or a sequence.
But then it jumps in and out, and you will
react to it like something that is part of a
complete work. So for me it’s very exciting,
because I’ve never worked like that.”
What also sets the film apart is the way
the era is portrayed, with the writer traipsing
through China in search of meaning: for
herself and for a country undergoing massive
transformation. To do that, Hui put herself
through seven months of pre-production
before shooting for five months.
“I nearly died,” she said at the Macau
screening. “Two thirds of the locations are
real locations, especially those in Harbin.
Then we found parts of old buildings and we
refashioned and set-dressed them. And those
in Shanxi are caves. We also shot some of the
bridges and harbours in Wuhan. The interiors
傳》。1942年，她重返香港，但不幸身
染肺結核，最後不治，與世長辭，年僅
30歲，並安葬於港島南區的淺水灣。
電影中，由內地女演員湯唯飾演蕭
紅。在歷史記載中，蕭紅是桀驁不馴的
時代旁觀者，也是當時輝煌文學史的見
証者，盡管有著不俗的文學成就，卻最
終敵不過悲慘孤獨的命運。
許鞍華說：“我一直想拍一部關於
創作人的電影，不論是畫家或是音樂家
都好。但因為我對文學的認識較多一
點，所以最終選擇了一位作家。”
她認為歷史極大地低估了蕭紅的文
學成就，因此她自己深入研究了蕭紅的
一生。“電影的情節有百分之90是真實
的，只有百分之10是虛構的。我們希望
盡量呈現史實，但我到現在還不是太清
楚，這究竟是不是最好的方式描述她的
生平。”
評論界對《黃金時代》獨特的敘事
結構譭譽參半。雖然某些片段看起來
冗長無趣，但是湯唯對角色詮釋的能
力卻絕對是可圈可點。對於電影中刻
畫蕭紅這傳奇人物的手法，許鞍華最
近在接受英國一家亞洲電影評論網站
easternkicks.com時解釋說：“這就像
是一件現代派的藝術品”，它的敘事結
構是非線性的。
“一個人的故事不能夠按照時間順
序便即時呈現，也不是按照心理的暗示
排列的，它更像是一個個閃回場景。當這
些零碎片段被拼湊在一起時，你會對它處
於某種場景或序列中的結構而有所感悟。
它有時也會從某種場景中跳離，但你還是
會覺得那是完整作品的一部分。我從來沒
有以這種方式工作過，對我來說，著實讓
人非常興奮。”
電影另外一個獨特的地方就是對那個
時代的描述方法：以作家本人在中國各地
的流浪足跡為線索，一步步找尋個人生存
的意義，以及當時正在經歷巨變的國家存
在意義。為了做到這一點，開機前許鞍華
花了7個月進行準備和研究，並用了5個月
拍攝。
在澳門的放映會上她憶述：“那時候
我差點死掉。電影三分之二的拍攝地點都
是真實的場景，尤其是在哈爾濱所拍攝的
場面。然后我們找到了一些老建筑，並重
新粉飾。我們在山西拍窯洞，亦在武漢拍
了一些橋和港口。室內場景則主要是在上
海拍的，並根據當時家庭的裝飾風格搭建
真實的場景。”
除了影片的結構和拍攝地，許鞍華
對“打破第四面牆”（即演員面對鏡頭直
接對觀眾陳述）的講述方式也有著痛苦的
掙扎。
同時，她暗示由於她本人選擇的電影
題材，令影片投資人表達了對電影票房的
擔憂，因為“誰願意花3小時去看一位30
年代作家的故事呢？”
The Golden Era tells the tragic story of writer Xiao
Hong, played by Tang Wei (left). Right: Hui in Shanxi.
《黃金時代》講述由湯唯（左）飾演的作家蕭紅悲慘的
一生。右：許鞍華於山西。
Feng Shaofeng (centre) plays the role of Hong’s fellow writer Xiao Jun,
with whom she published several short-story collections.
馮紹峰（中）飾演作家蕭軍，他曾與蕭紅共同出版多本散文集。

4. Below The Lion Rock《獅子山下》
After honing her directorial skills at
TVB, Hui directed three episodes
of the breakthrough RTHK series,
which focused on the everyday lives
of Hong Kong citizens from across
the social spectrum. It would be the
start of Hui’s Vietnam Trilogy that
would include a role for up-and-
coming actor Chow Yun-fat.
A Simple Life《桃姐》
Andy Lau teamed up with Hui
again for this moving film—
based on a true story—about
the relationship between a film
producer and a domestic helper,
played by Deanie Ip, who has
worked for four generations of his
family. Critical acclaim prompted
Hui to rethink retirement plans and
continue making films.
Summer Snow《女人四十》
Hui on location
in Harbin. Right:
still from The
Golden Era.
許鞍華於哈爾濱
的電影拍攝現
場；右：《黃金
時代》劇照。
were shot in a lot in Shanghai, with real
interiors, which were based on real homes of
the time.”
As well as the structure and locations, Hui
also agonised about “breaking the fourth
wall” (having characters speak directly to
camera, to address the cinema audience). And,
because of the subjects she chooses for her
movies, Hui intimated that investors had again
voiced concerns about whether her project
would have box-office appeal. “Who would
like to watch a three-hour-long movie about a
writer in the 1930s?” the film-maker asked.
And with that, the renowned film-maker,
who has shot segments of a number of her
films in Macau, and still occasionally visits
for “the food, the scenery, the ambience,” left
the theatre to appreciative applause. Just days
later, she would be back for the 9th Asian
Film Awards, which was held at The Venetian
Macau. There, in front of a glittering array of
the greats of regional cinema, Hui graciously
accepted the Best Director award for her work
on The Golden Era. (In April, the film would
prove to be biggest winner at the 34th Hong
Kong Film Awards, scooping no fewer than five
prizes, including Best Film and Best Director.)
“I’m very honoured,” the accomplished but
always self-effacing Hui said of her triumph
in Macau. “I feel that I don’t quite deserve it,
but, nonetheless, if it’s for me, I’ll try to be
positive about it, and try to work harder.”
The landmark film that put Hui on
the international radar features Andy
Lau as a Vietnamese refugee in Hong
Kong. Groundbreaking at the time,
Boat People called attention to the
situation and was shown at Cannes
Film Festival before winning awards
for both Best Picture and Best
Director at the fledgling Hong Kong
Film Awards.
Other Hui films have received
more awards and acclaim, but
Night and Fog certainly captured
Hong Kong’s imagination. Simon
Yam and Zhang Jingchu star as a
Chinese immigrant couple who try
to navigate Tin Shui Wai, otherwise
known as Hong Kong’s “city of
sadness”—but murder ensues.
在香港無線電視台磨練
多年后，許鞍華導演了
三部香港電台著名的《
獅子山下》劇集，描述
香港普羅大眾的日常生
活。這也成為她“越南
三部曲”的起點，並捧
紅了當今的影壇巨星周
潤發。這部電影首次將許鞍華推上
了國際舞台。影片中劉德華
扮演一名逃難到香港的越南
難民，在國際上引起了巨大
反響，使人們開始關注當時
的越南局勢。此片在戛納國
際電影節放映，在其后剛開
辦的香港電影金像獎上勇奪
最佳影片和最佳導演獎。
Boat People《投奔怒海》》
Night And Fog
《天水圍的夜與霧》
影片將女主角蕭芳芳的演藝
事業推上高峰，講述一名媳
婦與失去老伴並得了阿茲海
默症的公公相處的故事。影
片帶有強烈的女性視角（這
也是許鞍華電影的常見元
素），在國際多個電影節中
奪得多項殊榮。
劉德華再次與許鞍華合
作，成就了這部取材自真
實故事的感人作品。影片
講述一位電影制作人和
照顧了其四代家人的佣人
桃姐之間的故事。葉德嫻
飾演主角桃姐，影片結
果廣受好評，亦令許鞍
華擱置退休計劃，選擇繼
續創作。
許鞍華曾在澳門拍過很多電影場景，
如今她還是會經常來，因為這裡有“美
食、明媚風光和氛圍”。說完以上那一席
話，她轉身離開了劇院，身后是一片喝彩
的掌聲。
幾天后，她再次來到澳門，參加於威
尼斯人舉辦的《第9屆亞洲電影節頒獎典
禮》。在一眾德高望重的亞洲電影人面
前，許鞍華憑著《黃金時代》獲得最佳導
演，並在台上從容地接過了獎座。（回
望4月的香港，《黃金時代》於《第34屆
香港電影金像獎頒獎典禮》亦成為了大贏
家，囊括五大獎項，包括最佳電影和最佳
導演。）
對於獲取最佳導演的殊榮，功成名就
的許鞍華在澳門接過獎項後謙遜地說：“
我感到很榮幸。雖然我覺得有點配不上這
個獎，但既然頒發了給我，我還是會正面
地欣然接受，並會更努力做得更好。”
“I wanted to do a film
about a creative —
no matter a painter
or a musician”
“我一直想拍一部關於
創作人的電影，不論是
畫家或音樂家都好”
1978
1981
2009
1995
2011
Summer Snow included a career-
defining role for Josephine Siao as
a woman caring for her widowed
father-in-law, who has Alzheimer’s
disease. With a strong female lead
(a regular ingredient in Hui’s films),
the movie proved a festival darling,
winning accolades worldwide.
許鞍華其他電影已獲得多項
榮譽與獎項，而這部作品卻
大大激發了香港社會的想
象力。任達華和大陸移民張
靜初飾演打算在天水圍安家
的夫婦。天水圍被稱為香港
的“悲情城市”，電影取
材自發生在此地的真實謀殺
事件。
Selected Filmography
電影名錄節選
Ann Hui has made 28 provocative films over 35 years, tackling
a wide range of social issues. Here are some highlights.
在過去的35年間，許鞍華總共拍攝了28部不同凡響的作品，
覆蓋不同的社會議題。以下介紹幾部精選作品：