Author Archives: leslie

洛楓談哥哥電影《四月的蝴蝶 張國榮聲情裡的死亡倒影》

資料來源 (Source):明報 (2005-04-02)

四月的蝴蝶 張國榮聲情裡的死亡倒影 ──洛楓

蝴蝶一生穿梭             隨時隨地拈花一過 永沒被窩             從未搞得清楚             毛蟲蝴蝶變化太多參不破 ──張國榮《蝶變》

蝴蝶的隱喻

如果「死亡」是一個「蛻變」的儀式,我會用「蝴蝶」作為張國榮的死亡標記,那不單是因為來自「梁祝」的「化蝶」典故,在現代的詮釋裡帶有酷異的身影,同時也為了蝴蝶斑斕的彩翅、層層剝褪生命的演化,符合了張曾在舞台上、鏡頭下的千面形態。張生前死後留下的最後歌曲,都與蝴蝶有關,林夕填詞的《蝶變》訴說人面的多變與人心的善變,猶如蝴蝶從毛蟲而來,令人捉摸不定也無從窺探表裡的矛盾與一致;而周禮茂填詞的《紅蝴蝶》卻寫生命瞬間的絢麗如蝴蝶短暫的停駐,精緻、柔美,但脆弱而且不堪一擊!張國榮與蝴蝶,共有的貴族氣質,在童話的原型裡,象徵任情率性、傲慢自我和浮游不定,而「死亡」或「化蝶」,或許灰飛煙滅,但光影裡的聲情仍能為張的倒影造像,回溯他生前死後的音樂和電影,恍若再巡迴2003年4月的死亡儀式──4月是殘酷的季節,艾略特 (T.S. Eliot) 說的,當雨水混和泥土腐朽的氣味,蝴蝶又再翻飛的日子……

電影的死亡意識

張國榮最後的兩部電影《鎗王》(2000)和《異度空間》(2002),充滿揮之不散的死亡意識,當然,張不是第一次死在電影裡,他曾在《胭脂扣》殉情未遂,苟且偷生,年老色衰與落泊潦倒成了十二少不守信諾的最大懲罰;然後張以旭仔灑脫不覊、對鏡獨舞的阿飛形貌,翩翩六十年代詩化的情懷,最後卻窩囊地死在異鄉的火車上,戳破了迷戀自我的個人神話;跟著張披上虞姬的霓裳羽衣與千嬌百媚,舞台上刎頸自盡,完成現世裡無法圓足的同性愛傳奇。只是這些死亡的身影,都帶有濃重的浪漫色彩和提升生命美感的體驗,是櫻花落入春泥的姿態;不同的是,《鎗王》和《異度空間》揭示的卻是精神分裂的面容與人性陰暗的黑洞,片中的張國榮紅著眼絲、抓著頭髮,坐在無人的空屋內,或嘶叫,或奄奄一息,獨自跟離棄的世界、撕裂的自我、崩潰的記憶爭鬥,這是張國榮演藝事業上最後的轉型──愈後期的電影,張的演出愈豐富複雜,角色愈不正面,也愈不討好,卻愈能體現他的演藝層次。

《鎗王》的精神分裂

《鎗王》與《異度空間》都是關於「精神分裂症」 (Schizophrene) 的故事,所謂「精神分裂者」是指內心與外在言行矛盾不一致的人,無法掌控自我的意識、情緒和行為,帶有抑鬱、抑壓的特徵,孤立於人群與社會,原始的自我時刻與社會的道德、法律交戰,最後走向毁滅他人或自毁的結局。這些徵狀,表面上是精神異常的表現,暗地裡卻是人性真實的披露,因為社會的規條、教育和法制,無一不是為了緊箍人性、欲望與自我的自由發放,以求維持安穩和劃一的秩序,因此,離開譴責精神分裂者的窠臼,或許我們更能接近人性原有的面向,因為那不單是理性制度壓在意識底層的剩餘價值,而且也是生命存在的另一種模式。說到底,我們也不能避免是分裂者,只是我們沒有勇氣隨意地發放這些真實人性的能量而已!

《鎗王》裡張國榮飾演鎗械射擊手彭奕行,在一次警察挾持人質的事件中,為了自衛及保護友人而開鎗殺人,自此戀上殺人的快感而無法自拔。電影充滿各項心理遊戲的戰術,無論是警察揣測疑匪的反應,還是犯案者處心積慮的部署,形成故事緊湊的張力,張的殺手形象穿梭其中,似乎掌控全局,將警方玩弄於嗜血的追逐中,實際上他最不能控制的是另一個自己的心魔,以及由積壓的憤怒激發而來的暴力。在導演光暗對比鮮明的鏡頭下,張國榮以驚恐的眼神、抖顫的腳步,揉合自信、自負的神情,將一個表面冷靜內斂、內裡惶恐不安的分裂者演得淋漓盡致,尤其是他對著鏡子拔鎗跟自己對峙的一場,人性自我毁滅的意向與拉扯在他歇斯底里的叫喊中澎湃到了極點,當人有兩個自我,既不能和平共處,也無法完整統合,便只能摧毁其中一個,但自毁也需要無比的勇氣,所以這個分裂的殺手最終選擇死在與鎗擊高手的對決中,這是救贖,也是解脫,也是導演賦予這個角色悲劇英雄的詮釋。

《異度空間》的記憶黑洞

跟《鎗王》不同,《異度空間》是一部關於記憶與創傷的電影,故事中飾演精神科醫生羅本良的張國榮,在醫治少女章昕(林嘉欣飾)的過程裡,不自覺地導引出自己過去潛藏的痛苦經歷,因而逐漸變得精神分裂,幾近處死自我的邊緣。同是羅志良導演、爾冬陞監製,《異度空間》比《鎗王》更進一步積極探索精神異變與死亡的主題──每個人的記憶都存有黑洞,有時候連自己也未能察覺這些黑洞的存在,但黑洞的破毁力量甚大,可摧毁精神和軀體,因為人總有不為人知的痛苦根源,愈逃避這些根源,創傷愈會如影隨形,以致不能擺脫和自拔,唯一解決的方法就是挖出這些黑洞,檢視傷痕,直接面對缺陷的自我。

電影中的主角,少年時代的初戀女友在他面前跳樓自殺,他把這個苦難的記憶埋入潛意識的黑洞之中,以為永不揭破,便可安然忘記不幸的事件,但在精神分裂的過程中,他見到女友的幽靈時刻跟在他的左右,無論逃到哪裡,他都不能擺脫這種 haunting,其實 haunting 他的不是鬼怪,而是過去的記憶和創傷!電影最後的一場,主角張國榮危立天台的邊緣,轉過身來面向女友的幽靈,那是一個直接面對記憶傷口的姿態,女友的幽靈於是消失了,主角從死亡的階梯上拉回自己,因為他不再刻意忘懷,而是將創傷變成生命的合成體,與它共存。這是將記憶挖出黑洞,重組於陽光下的自救方式。

《異度空間》是一部肌理豐富的電影,張國榮飾演的心理醫生,浮映了人性許多未知的領域,如何發掘這些領域,一如一個演員如何探索演藝的功能、風格和形式,同是屬於藝術和哲學最高的層次。

蝴蝶遠走,燈火熄滅,年年仍有它的四月,但今年的春暖花開不是去年或前年的春暖花開,而張國榮的聲情形貌,只會倒影於季節豐茂的喧鬧裡,讓一些人忘記,又讓一些人記起……

加國哥迷寄語 “The Posthumous Explosion of the Legend”

資料來源 (Source):以附件電郵至「哥哥香港網站」

The Posthumous Explosion of the Legend

There is no erratum on the newspaper. Leslie Cheung has left us nearly two years; however, he is definitely far from forgotten.

Candidly, I never think it would be easy; however, neither do I think it would be quite so hard to forget the sudden and tragic departure of him has caused us to reflect on how much this singular man meant to us from movie star to a new nomenclature: post-phenomenon. Why shouldn’t we shed maudlin tears and slobber over the memory of him? In fact, what makes Leslie real, whether in life or in art, is the courage with which he confronted his challenges. He was a puppet of his time fighting against the strings that hold him and subjugated him; struggling to break free of restrictions and plunge himself through life as a frantic explorer in an endless world.

Certainly, his real stardom and world fame have expanded with the manufacturing of the myth and his engrossing anecdotes after his departure. The characters he played on television, on stage and in the movies were hollow mannequins he filled with his talent. He was consummated at delivering a wholly rounded performance by making art transcend life. Unlike most actors, he easily moved from one genre to another, whether that is daring art house films, crowd-pleasing comedies or flirtatious sex romances. These all made him are respected as an actor’s actor.

Nevertheless, ever be described as chameleon, he was not prepared to rest on his laurels and get his typecast. On the contrary, he brought humanity and realism to his characters, and was able to make them believable even when they are totally unbelievable. In his work, with his totally nakedness, he brought to the huge screen the compassion, contradiction, depression, emotion, expression, frustration, and spontaneity of real life which can shorten our distance between art and reality. His enigmatic impeachability is particularly part of his irresistible appeal in his art and his work. His quintessence made him virtue and his flaw made him human. It is axiomatic that his ability as a vocalist and interpreter of lyrics remains indisputable and inimitable.

Time goes by, most mediums have started to have a partiality for him. They have all tiptoed around his death and have avoided the dread “suicide” word instead of using “departure”. With so many celebrities, the media knows to distinguish between the stars and the circus clowns, between those who commanded the media spotlight and those who had only been grazed by it. The cacophony voices and words that have joined together to create a chorus of informed opinion, uniformed speculation, hagiography, labeling and blame are all shed. He eventually really can rest in the debonair place and get his eternal immunization.

Fool Day” is approaching. He will again become ubiquitous on radio, on record, on movie screens. “Stand up” he won’t and he never even though he has gone from singer to actor to director to icon to legend to stature to postage stamps and finally will possibly have his epitaph. My vision blurs with unshed tears. No matter how far my life will go, I can’t see him anymore and there is nothing to flare up anymore.

Through it all, if his life was short, and his departure untimely, his impact was and continues to be enormous. Like his art his legacy, he won’t go away.

K