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“I Don't Want to Sleep Alone”~peter sellars

蔡明亮,表述慾望、絕望、渴望轉化成希望的詩人,拍了他最溫柔且私人的電影。從英文片名“I Don't Want to Sleep Alone”就以直接到有點絕望,卻又極致坦承的方式混合了諷刺及幽默,替人類發聲。 Tsai Ming-Liang, the poet of desire, despair, and longing transmuted into hope, has made his most daringly tender and personal film to date. Already the brilliant title, “I Don't Want to Sleep Alone”, blends wry, self-knowing humor with a direct, possibly desperate but ultimately honest confession that speaks for most of the human race.

第一次回到馬來西亞拍片,蔡明亮的這部作品源自許多童年回憶:某些食物的味道、某些音樂的聲音。由於莫札特逝世250週年,音樂在片中佔有重要的地位。蔡明亮用了吉隆坡的多元文化—廣東話、國語、馬來話及南印度坦米爾語來喚起我們生命中跨國家跨洲際的多元文化層面。但除此之外,還有些別的。這些音樂強調了片中幾乎無聲的角色們的深層內心世界,將看似無表情的角色們內心中看不見的戲劇表現出來,安靜的人總是暗藏許多思緒。流洩的歌曲與精心設計的畫面將每個人生命中的真相、挑戰或是開始醒悟的每一刻表現出來。 Returning for the first time to shoot in his native Malaysia , Tsai has rooted the film in childhood memories: the tastes of certain foods, the sounds of certain music. The music plays a major roll in a film that was commissioned for the 250th birthday of Mozart. Tsai uses music from the cultural mix of Kuala Lumpur - Cantonese, Mandarin, Malay, and Tamil - music that evokes the multicultural surface of the interpenetrating global realities that are transforming cities, nation-states, and the face of the planet in our lifetime. But something else is also happening. The musical selection which punctuates this film (a film which otherwise unfolds in the intimacy of near-silence) suggest the inner dynamics of invisible operas which are playing out in the interior lives of the nominally inexpressive characters, silent people whose hidden feelings run deep. The bursts of song overlap fixed, patiently-held, carefully framed shots which quietly await the moment of truth, the dare, or the gentle dawn of understanding in each human life. 這部片源自於導演童年的文化背景,勇敢並不帶情感的跟著偶然巧遇的無家移民、無作為的人們及迷惑的靈魂一起尋找新生活及更好的未來。 While the film is rooted in the cultural landscape of Tsai Ming-Liang's childhood, it courageously and dispassionately follows the almost random intersections of undocumented, essentially rootless immigrants, human refuse, lost souls looking for a new life, a better future. 就像以紀錄的角度,導演讓我們看到他們經歷的失望挫折及經濟困窘。我們懷疑為什麼這些人能夠繼續下去?在這樣荒涼的環境下,拍片的角度也帶我們進入角色的內心,發掘不被預期的人類情感。諷刺且逐漸的,我們竟從這些什麼也沒有的人們中看到了人類的生存、情慾、一個象徵不道德的秘密水池、一個象徵人類終能生存的奇蹟恩典。在片中這樣的精神層面是最高最難碰觸到的感受。 Like a recording angel, the filmmaker shows us the realities of their experiences of disappointment and frustration and violence in the jaws of a system of de-personalizing economic impossibilities. How can these people keep going we wonder? In these bleak surroundings, the recording angel also takes us into the hearts of these characters to reveal an unexpected reservoir of human compassion. Movingly and ironically we are shown people who have nothing, who are taking care of each other: a wellspring of sexual hunger, a secret pool of the elixir of immortality, a grace that underlies the miracle of the human will to survive. This spiritual state is expressed in the film as a heightened sensitivity to touch. 本片分作有意識及無意識的兩個層面,不只是因為蔡明亮的御用演員在片中分飾兩角。第一個無聲的角色是一個無法和外界溝通的中風病人,另一個角色是因為身處異地很少說話的移民。片中他大部分的時間是從街頭群架中復原、熟睡、或試著想睡著,也許是想要有個新生活。 The film hovers with subtle mastery between conscious and unconscious states and actions, not the least because Lee Kiang Sheng, the iconic actor at the heart and center of all of Tsai Ming-Liang's filmed fantasy, is here presented in two parallel roles. The first silent role confronts us with the emotionally charged, impenetrably frozen face of a stroke victim who has no capacity to communicate with the outside world. Lee Kiang Sheng's other incarnation is as an immigrant who is linguistically insecure and out of place, and thus who barely speaks. He spends most of the film recovering from an ugly street fight, asleep, or trying to sleep, possibly dreaming of a new life. 新進的演員諾曼阿頓也增加了本片在情感上的深度。因為他本身的靈氣及不同的文化背景,當她出現在螢幕上片子就增加了溫暖。 The newcomer to the artistic constellation of Tsai's body of work is first-time actor Norman Atun who brings an understatement but also a profound depth of sincerity and emotion that anchor and honor and ennoble the film. The warmth with which he irradiates the film is both a function of his personal soulfulness and his cultural difference; the film changes temperature when he is on the screen. 本片有著深長悠遠,如歌的步調。慢慢的視覺世界轉化成緩慢的長鏡頭,帶出超現實感…。環境的變遷、不受控制的森林大火、經濟崩盤、及政治不穩定都成了本片的隱喻。片中看得到蔡明亮獨有的幽默,但最終的目標是一個沒有時空限制,由愛主導的世界。這是個烏扥邦的視野,超現實又奇幻,就像是中國傳統故事中的蝴蝶夢一般。 The film has a long-breathed, lyric pace. Gradually the visual world shifts from slowly evolving long shots of down-and-out “lower depths” slum locations to increasingly virtuosic, surreal, futuristic, and apocalyptic imagery. Large-scale environmental devastation, forest fires raging out of control, economic collapse, and political instability raise the stakes, and a metaphysical dimension begins to lift the film. Tsai's trademark humor returns in flashes, but the film's ultimate destination is a world outside of time and social limitations illumined by love. It is a utopian vision, transcendent, magical, and haunted, like the delicately refined butterfly dream of the great masterpieces of classical Chinese culture. --Peter Sellars

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