相愛又如何粵語

認識電影

8.9

[美] 路易斯·賈內梯 [瑞典] 英格瑪·伯格曼 [日] 黑澤明 等供圖 / 2007 / 世界圖書出版公司

第十章：意識形態

1.基調

電影的基調可以用許多方式來操作,比如表演風格就很能影響我們對某場戲的反應。在伊卓沙·烏椎的《天問》中,基調是客觀、實事求是的,全部使用非職業演員使表演風格十分寫實,他們并不夸張情緒的張來增強戲劇性。

類型也可幫助設定電影的基調,史詩電影是以一種尊嚴的大于生活式的姿態展開如《搜索者》或《十月》最好的驚悚片通常是強硬、惡毒和硬漢性的,如《雙重賠償》和《致命賭徒》，喜劇的基調則是輕佻、好玩甚至愚蠢的。

畫外的旁白也可幫助設定電影的基調,與客觀的觀劇產生另一種對位的觀點,例如旁白可以很反諷,如《日落大道》或有同情性,如《與狼共舞》，甚或恐慌的,如《出租汽車司機》;或大儒式,如《發條橙》由一個癟三來敘說。

音樂是最常用來設定電影基調者全是搖滾樂,或莫扎特或雷·查爾斯(Ray Charles)的爵士原聲帶,氣氛完全不同,斯派克李的《叢林熱》中,意裔美國人的戲配以法蘭克·辛納屈的歌聲，非裔美人的戲劇則用福音歌曲及靈魂樂。

In the beginning of JUNGLE FEVER, the camera cranes from the window of a brownstone building into its bedroom to reveal that a man and a woman is making love, immediately calls up Hitchcock’s PSYCHO (1960), while their after-the-earth-moves chitchat imitates it is an extramarital affair (“don’t wake up your daughter!”), but mischievously, the pair actually is a married couple, Flipper Purify (a spiffy Snipes plays a soft-centered intellectual, a far cry from his usual muscle-bound screen image), is an African-American architect working in a white folks corporation, and his light-skinned wife Drew (McKee) is a Bloomingdale’s saleswoman, even their preteen daughter has a very salutary knowledge about the birds and the bees, Spike Lee, for once, veers into the fast lane of Yuppies in Harlem.

But the presentiment of an affaire du c?ur has been insidiously set off (a virile Flipper seems insatiable and over-confident in his sex appeal), and the consequential interracial one comes about quite wantonly, Flipper, whose life is the paragon of domestic bliss and high-flying stability, the stimulus of his adultery instantly baffles the audience, off which director Spike Lee doesn’t blow the lid until the very end, as for his paramour, the Italian-American temp secretary Angie Tucci (Sciorra), obviously is fed up to the back teeth of her tedious existence, bogged down in the chores at home and an unfruitful and dead-end romance with the shiftless Paulie Carbone (John Turturro, another sterling interpretation of a put-upon man’s simmering indignation), audience can vicariously relate to her plight, as the fling with Flipper can be an easy reprieve for her, and she has no qualms about that.

That is one reason why JUNGLE FEVER is startlingly perspicacious in the gender differentiation, while a man is a feral being and can cop off at will, a woman needs more backstory ballast to take the plunge, and from stem to stern Sciorra is defiantly cool in her demeanor, to a point she even looks too frigid to be committed to the libido-driven abandon, even she has to run the gauntlet of domestic abuse, sit through a bitter homily of whore-mongering, and realizes that their fling is nothing but a false hope to take a new leaf on her life. That said, in the end of the day, Angie’s baptism of fire feels shortchanged when her story takes a back seat, as Lee, scarcely lauded for his feminist felicity, has other irons in the fire.

Deep-rooted racism, which sadly has not been ameliorated since then in the States, is granted a wider canvas in scope here, not just because the complication of the scandalous fornication, which both participants finally admit what makes them tick is the titular fever, an euphemism of sexual curiosity towards other race, other than that four-letter-word, but also through other byplays: reverse discrimination in the working place is touched on; Drew and her friends perfervidly vent their collective frustration as black women of different gradations of pigmentation and doubts about black men; Paulie, on the other hand, has his own interest in an amicable black girl Orin Goode (Ferrell), in spite of the pervading racism both at home and among his neighborly acquaintances, that milieu is a closer sibling to Lee’s DO THE RIGHT THING (1989), bar the firebrand commotion in the climax.

The truth is, there is another violent sting in the tail, but that doesn’t concern racism and it occurs behind the closed door, that manifests the topos rampant among the key demographic, the drug addiction, yes, the Purify family has a black sleep, the firstborn of The Good Reverend Doctor Purify and his wife (Davis and Dee, both as expected, are terrific as a stern father and a doting mother, respectively), Flipper’s elder brother Gator Purify (Jackson), is an out-and-out hophead who spends the whole film soliciting money from his kindred, a breakthrough turn from Jackson which notably earned him an acting award in Cannes, not for BEST ACTOR, but a special BEST SUPPORTING ACTOR (an award they don’t accord annually), here Jackson is so lived-in in that jittery, jacked, importunate state as to dwarf Halle Berry’s big screen debut as Gator’s fellow crackhead into affected rants of profanity, and Lee also vehemently ram the hellscape of a crackhouse into every viewer’s throat, if that doesn’t dissuade you from shunning the substance abuse, nothing ever will.

referential entries: Lee’s DO THE RIGHT THING (1989, 8.3/10); Charles Burnett’s TO SLEEP WITH ANGER (1990, 7.4/10).

這片子太痛苦了，結尾男主角從心底發出的“no”仰天長嘯實在太痛苦了。 雖然是一個很俗套的以種族隔離為主題的片子，一條男女主角的主線一條男女配角的輔線，大家都想跨越膚色的藩籬自由追求愛情，最后還是向膚色政治屈服，但是不妨礙這部片子明晃晃的現實主義， 描繪殘酷的現實實在是扎眼。 其中一段男女主角在停在路邊的車子旁邊調情，然后黑人男主就被白人警察給逮捕——這個情節似乎沒有什么新意，可就是讓人很震撼。故事太真實了，矛盾很集中，很寫實， 然后導演以嫻熟的視聽語言將其表現出來。除了跨種族愛情這個主題，還涉及到父權、宗教、社會黃&毒的問題。男主去毒窟尋找其兄長一段，攝影極好：冷藍色調的廣角鏡頭，背光的吸毒者，給人暈眩、窒息的感覺。結尾夢境一段處理的也很妙，那是男主的一種微妙心理。故事的發生空間亦像《為所應為》一樣限制在特定（兩個）街區里，既能將故事整體化，又以小見大。唯一不足的是，感覺電影想探討的社會問題很多， 導演想表達的觀點也很多，因此各種社會問題參差不齊地被展現出來，略顯凌亂。

In Spike Lee’s production filmwork of “Jungle Fever'', a tragic story calling out the struggles and hardships of inter-racial romance (in this context, a black versus white romantic relationship, or to be more direct, a love affair in its very essence) has been presented and shown to its audiences, which is apparently also the first ever time cross-race romance has became one of the most important main/central focus topics of the director (the audiences could be able to tell this from watching the preceding film piece of “Mo’ Better Blues”, which Lee happened to touch a bit on this topic as a sideline or side plot). However, this specific filmwork is indeed way more than simply/merely being a sad tale of a failed inter-racial romance at work, but should rather be interpreted and seen as something which goes/dwelves way deeper than that of the surface value, that it is about the steady and firm racial barriers that have been intentionally built/constructed up, as the sense of high walls/tall upper fences being constructed between the dominant group (Caucasian whites) and minority races (in the specific case of this particular movie, African Americans) lasting from generations ago until now at this current point, as well as about the subtly covert, yet without a question deep-rooted racism that is also long-lasting and apparently still on-going, which by itself could probably be easiest to tell and observe within the seemingly normal day-to-day interactions between different races themselves, resulting and arising from that crawling uneasy feeling, which cannot be tracked to its very origin with clear certainty.

On the outside surface or simply based on first impression, as a quite successful businessman living in/residing within the busting Big Apple himself, Flipper has nearly everything going for him, at least that was the case before he met with Angie, an attractive Italian-American young woman who was being introduced to the cooperation to work with him. But as one could still sense somewhat, maybe it is the case that there were already previous cracks existing in the marriage itself, or maybe Flipper has simply gotten a bit bored out by the unchanging daily routines of the married life, anyways, he has later gotten himself into this total “guilty-pleasure” like affair with his co-worker Angie, whom he has only known for a rather short period of time, and which drastically changed/altered his entire life path to a different direction. Throughout this entire film piece here, Spike Lee has mainly and mostly casted his focus/attention on the specific class of people who are usually referred to as the “working class whites”, and his heavily concentrated portrayals of them are not much of positive ones, but rather, more in a critical manner and light. This can be clearly seen within a lot of different scenes coming from the film itself, especially that one particular scene of the so-called “war committee/council” - when Flipper happens to have a huge disagreement, argument, and quarrel with two of his Caucasian co-workers in a private office meeting/conference setting within the corporation which he works at, which the argument keeps on escalating to the next level, which made/urged Flipper to be saying something like “I can see that you guys have absolutely no respect for me” straight to the other men’s faces, and then walked out on them. The actual selfishness/self-centeredness, or perhaps, “racial ego’ which these two white co-workers happen to carry with them has been revealed through this particular scene depicting the certain conflict which happened, although in a quite subtle and covert sense, but is still possible to spot. It is indeed “racial prejudice'' in its best and most appropriate description, in a social situation where the three men are each supposed to be status equal with each other. That is exactly the reason why the specific racial approach of so-called “colorblindness” could oftentimes be unimaginably harming and dangerous, because as human beings altogether living in a colorblind society that way, for sure without a doubt creates more of the excuses for whites in general to deny their internal racism/racist attitudes/racial ego or prejudice which ultimately results in the subtle/covert mis-treatments of other minority races out there, exactly like what Flipper happened to experience with and go through within this specific scene himself.

As generations pass by and as the society progressively develops, one obvious cultural phenomenon or pattern that could be easily seen and observed, is the seemingly “lessening’ of racial discriminations/racial mis-treatments out there within the general social environment as a whole, but this feeling by itself could be merely an illusion or a false sense of assumption, for the actual reality and truth is that, most often times for the current era, what we happen to see and experience the most are, that of the old and medieval cases of direct outward actions in terms of physical harms/violences being inflicted upon minority group individuals back then centuries ago, have since being replaced/exchanged by, as well as switched to a brand new form of very much subtly covert racial discriminations, which is being embedded within almost each and every corner of the 21st century modern society, despite and no matter of our own personal degree/level of recognitions, awarenesses, or better judgments to those different situations and circumstances out there. As a possible result, the most reasonable as well as logical conclusion which could be drawn from that, would thus probably be something that goes like this: There is still indeed, a long long way to go as well as mountains after mountains to climb, awaiting ahead for all of us here being as collective homo sapiens/human beings living on this earth, at least in terms of the general racial equity aspects and sides of things for sure.

看了一個黑人導演Spike Lee的電影《叢林熱》，講的是美國種族歧視的故事，電影不是簡單的表現一種美國種族歧視的惡劣環境，而是展示這種被歧視的惡劣環境反過來對人所造成的深入骨髓的毒害。在一種惡劣的環境下，最巨大的傷害可能并不是你在現實中被剝奪了什么，而是那種剝奪給人心靈造成的深深的傷害。而你常常被非常巨大的傷害而不自知。 貧富差距，城里人和鄉下人，黑人和白人，身高長相，專制政治，物質追求與精神追求的荒謬對立等等，這些因素都能在一個惡劣的社會環境中給人的心靈造成深深的傷害。被傷害的人可能會變得敏感，多疑，脆弱，易怒，偏激，怨恨，冷漠，自暴自棄或者攻擊性很強。 當你處處疑心提防、在暴怒中爭取你的權利，并認為你正在捍衛自己的尊嚴時，事實上你應經被毀了。你深受傷害的心靈離你本要追求的快樂生活越來越遠。面對不公，憤怒或者冷嘲是必須的，但這種憤怒應該是一種發自健康的身心的非常理所當然的憤怒或者冷嘲，不存在深重的壓抑、憋屈，和冷漠。 我認為一個人在一個惡劣的環境，惡劣的時代，應該讓自己變得更硬朗些，更善于思考一些，排開偏見，明辨是非，如此才能盡量減少種種惡劣對自己心靈造成的傷害而保持健康。否則你將可能變成這個惡劣的環境和時代惡劣而悲劇的一部分。