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View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
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View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
View this post on Instagram A post shared by Anita Mui 梅艷芳 (@anita.mui_)
流水散花，寒梅傲雪。 《梅艷芳》影評 Part 2 一部傳記電影的靈魂是角色的雕琢塑造、是材料的選取鋪排、是故事的起承轉合，即是劇本。如果劇本缺失，梳化服道具場景選角配樂只能力挽狂瀾，不能化腐朽為神奇。儘管大部分觀眾享受《梅艷芳》，但不能忽視整體故事如流水匆匆，情節如枝葉落花一樣紛散的問題。 傳記電影素來難度極高，人物越傳奇越難處理，亦要平衡究竟要拍忠於原型的《三國誌》，還是要加些少戲劇效果拍套《三國演義》。再者，真實人生是一連串巧合意外編織而成，原型人物切實生活時未必有意識地按章出牌，不過電影不能沒有脈絡