Spots:風櫃來的人


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From PHSea

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Revision as of 22:28, 29 March 2006

  • 片名:風櫃來的人 (Boys from Fengkuei) [1983]
  • 導演:侯孝賢
  • 演員:鈕承澤、林秀玲、庹宗華、張世
  • 簡介:
    • 風櫃,台灣澎湖本島上一條小漁村。阿清從小就在風櫃長大,爸爸因為棒球場上的一次意外而變得癡癡呆呆,阿清與兩位友人高中畢業,等待被徵召入伍,終日無所是事,最後決定一起到高雄去找點工作做。得到親友的幫助,阿清一行人總算安頓下來,更找到份還算不錯的工作。從小漁村走進大城巿,將如何促使他們成長?"他來自風櫃" 的背景, 又會怎樣影響他們的際遇?
  • 評語
    • 早前中國新導演賈樟柯回顧展期間,在 "站台" (Platform) [2000] 一片的映後座談會上,賈導演談到他幾齣描寫成長的作品時,自稱深受台灣導演侯孝賢這齣早期電影的啟發,加上小弟先前在電影節看過侯導演一齣滿有生活味道的 "珈琲時光" (Café Lumiere) [2004],使我對這位台灣大導一系列早期作品大感興趣。
    • "風櫃來的人" 是侯孝賢電影生涯中重要的作品,此片獲得法國南特三洲影展最佳影片的獎項,使導演的名字成為國際間的話題,早前侯導演成功購回一系列早期作品的版權,把此片連同往後的三部電影 "冬冬的假期" (A Summer at Grandpa's) [1984]、"童年往事" (the Time to Live and the Time to Die) [1985] 和 "戀戀風塵" (Dust in the Wind) [1986]) 收錄在一套名為 "青春叛逃事件簿" 的DVD合輯中發行。既然本片是這四部電影中的第一部,從這裡開始相信最適合不過吧。
    • "風櫃來的人" 是一個關於成長的故事,準確一點來說,是一個關於個人經歷和生活環境如何影響成長歷程的故事。電影前半段花了不少篇幅交代阿清(鈕承澤 飾)等一班青年人如何在風櫃胡鬧生事,很寫實地表現出這班風櫃來的年青人的生活實況,在談笑嬉戲之餘,他們更往往重複在做兩件事:或把握機會撩女仔、或跟人家口角兼動武。他們就像一群與大世界隔絕的孩子,在偏僻的小漁村過著簡單的生活,但這種純真(雖然有點暴力)又如何能跟外面的大城巿接軌?
    • 阿清和兩位友人搬到高雄去,他們的生活似乎都有所改變,但從許多細節中可以知道,他們內裡的本質其實沒有改變多少:他們仍愛把事情訴諸武力解決,仍像色狼般對女孩子評頭品足,某程度上,你更可以說他們的情況還要惡劣了一點:從前只會共抗外敵,現在連朋友之間也會動武(阿清與友人在碼頭扭鬥),從前只會滑稽地逗逗女孩子歡喜,現在真會傷害女兒家的心 (在家門前喝令女孩自行回家)~
    • 這種"環境改變而個人本質不變"的描寫,亦可見於同樣來自風櫃,卻老是忘記帶銀包,及後更貪出禍來的鄰居身上,彷彿"風櫃來的人"就是一道無從逃避的詛咒,他們較低的學歷和"鄉下仔"的見識,註定難以融入城巿生活之中,亦幾乎註定成為社會上的失敗者,看幾位風櫃人最終都踏上行船之路,彷彿他們就像生來已是無根,只得在海上飄泊、被放逐,更可嘆的是, 城巿裡的人往往更伺機剝削這班少年的單純:阿清一行被騙入空置大廈裡,看那個 "無敵彩色電影屏幕" 一幕,便是可悲又可笑的證明。
    • 在一眾渾渾噩噩的風櫃少年之中,阿清是最有心求上進的一員,這可能是因為他背負著爸爸因意外致殘障的包袱,這童年陰影一方面教他時刻懷緬昨日時光,另一方面則促使他加快思想上的成長,當友人們根本意識不到前景黯淡的時候,阿清已努力地渴望擺脫"風櫃來的人"的宿命:他遵守城巿的遊戲規則(友人因沉悶而辭工他仍繼續工作),刻苦地自我增值(聽錄音帶學日語),並嘗試真心與女孩子交往(雖然那是人家的女友),收到父親離世的消息後,阿清受到更沉重的打擊:他與風櫃的連繫越來越少,卻又未能完全融入大城巿裡,看電影後半段一個影著他在牆腳獨自呆坐的長鏡頭,很有力地反映出他內心的空虛和無奈。
    • 從風櫃到高雄,從高雄到台北,人們就一直在遷徙,似乎在追求更理想、更高質的生活,但受著個人資歷和環境所限,一顆積極的上進心總是不得要領,電影結尾一幕特別難忘:聽到友人快要從軍的消息,阿清突然逕自跳到凳子上高聲叫賣,似是希望急急清貨大平賣,但定神一看卻更像是他不願認命的呼號,導演卻在此時接上巿場裡各種悠閒景象,阿清叫賣的聲音亦漸漸被淹沒,直至完全消失在茫茫人海之中,電影中所描寫的成長歷程自是荊棘滿途,但主角卻處處流露出不願屈服的鬥志,這是苦澀也是甘甜。
    • 侯孝賢以靜態的電影美學見稱,雖然本片中的鏡頭並不算很長很禪,鏡頭也不算很靜很計算,但"借助大自然說話"、"如實記錄事件"等等寫實的筆觸已是明白不過,為日後發展出的侯氏風格提供了充足的提示,對於內心的描寫,侯孝賢總能繞過文字,以如詩般的影像表達出來,一張空置的安樂椅、一隻死在拍子簿裡的昆蟲,足以使觀者心中的回憶隱隱作痛。
    • 另一值得留意之處,是導演在片中採用了大量古典音樂作配樂,在寫實的城巿街景裡配上幽雅的古典樂本來不甚相襯,但當中反覆用到的小提琴協奏曲"the Four Seasons"(四季),似乎暗示著成長旅途上猶如四季交接,永無休止地轉變,倒為這成長的故事添上幾分莊嚴。