《情淚種情花》:從沉溺中結疤再發芽 new



不瞞你說,我有過一段討厭杜魯福的日子;我就是在那個時候第一次看到《情淚種情花》。我還記得走出戲院的時候,心中折騰着我的是無數質疑和反感。「怎麼能把雅黛兒寫到如此不堪,把她塑造成一個不斷掀起麻煩的討厭女子呢」,我想。電影打從一開始就將雅黛兒投入只有沉淪的愛情漩渦,殘忍而無可逆轉地,看着她一步步邁向崩潰和失常。無論你有多認同雅黛兒的行徑,無可否認這都是一部將傷痛大書特書的電影。對於這種自願地絕望,而且不無自傷自憐的影片,我當時的確很有保留。

直至最近因為準備「思覺邊緣」節目,重看《情淚種情花》,我才有了較為不同的看法。電影裏面,杜魯福對雅黛兒的描寫、作者對她的感受,可說是獨特而弔詭──這令到電影在某個層面上,成為了一種對浪漫愛情的反思批評,同時間它也是杜魯福一系列有關愛情的電影中,最自覺、清醒的一部。《情淚種情花》的趣味有一部分來源於,它與其他杜魯福作品的關係;它一方面異常清醒地將創作者一貫有關浪漫/理想與現實的衝突再發展下去,同時也更明確地映照出杜魯福的稟性與局限。

《情淚種情花》所寫的「愛情」,相當令人困惑;那起碼不是一般所理解,牽涉兩個人的溝通與互動的愛情。雅黛兒的愛是一種自言自語;到最後,這一切都非關他人,完全屬雅黛兒一己內心的自我完成和實踐。所以,與其說這是一部有關愛情的電影,倒不如說這是一部有關瘋狂的電影,倒是更為貼切。

而杜魯福對雅黛兒的瘋狂、偏執,打從電影一開始就相當明確地表達了,毫無半點懸念。電影從雅黛兒登陸哈里法斯開展,我們看到她隱瞞身份,四處尋訪情人品臣中尉的下落。杜魯福在電影初段就確立了雅黛兒固執得近乎可怕──甚至終將摧毀自己和別人──的意志﹕她一方面在信上與人前吹噓她與品臣中尉的關係,另一方面又千方百計地要接近品臣,得到他的消息(如在書店裏佯裝不認識品臣中尉,從而在旁人口中打聽他的現況)。在創作者如此的鋪排和呈現之下,觀眾早就預備好,帶着某種戒備和懷疑的態度去看待雅黛兒,以致不會完全投入、認同她口中的至深之愛。

在對於雅黛兒的演繹上,伊莎貝雅珍妮也是非常傑出。雅黛兒的思緒情感容或混亂,但她的演繹者,卻是貫徹而了解分明地把握着角色的狀況。雅珍妮後來在訪問中談及《情淚種情花》,曾這樣形容電影的主角:「雅黛兒不是愛上那個男人,她是愛上自己對他的愛、她對於愛情的幻象。」雅珍妮所體現的雅黛兒,時而心不在焉,眼睛空洞,思想不知遠飄到哪裏去,用僅餘的理智跟旁人保持日常對答;雅黛兒又時而如燃燒,如着魔,兩眼流露着與她的柔態不相稱的不屈,把身邊的世界無視,一意孤行地將她的意願進行到底。

雅黛兒的心理、她的發展路向、與及她與品臣中尉的關係,在整部電影中基本上都沒有如何改變過。在雅黛兒於哈里發斯下船的那一刻開始,她的結局已經編寫好,有跡可尋:她註定不會得到品臣中尉的愛,她的傷痛與無望只會與日俱增。雅黛兒第一次正式面見品臣中尉的時候,其實已經明白的鋪陳了兩人的關係,也預告了雅黛兒愈演愈烈的痴狂:對於雅黛兒如洪流傾瀉而來的愛慕,品臣完全不為所動。他第一句開口對雅黛兒說的,就是告訴她不能留在此地(對不辭千里而來的追求者,有比這更令人灰心的話嗎?);「這裏沒有你想要的東西」,他說。公道點說,品臣的確不是一個怎麼情操高尚的人,但他也不特別是一個可恨可卑的人;置身軍隊之中,他與其他同樣志在功名利祿、律己以寬的同僚,其實真的沒有太多分別──除了他有一張俊俏的臉龐。品臣對雅黛兒的回絕,直白但不惡毒,其實他一心不過想快快了結此事。相反,雅黛兒得悉他無意圓婚之後,在同一場戲內竟可以先後強迫別人接受自己(「應承我......就算你不愛我,也讓我愛你好嗎?」)、勒索(「我會向上級告發,要你在軍隊無立足之地」)、以物質逢迎討好(緊絀的雅黛兒把身上剩下的鈔票塞給品臣,代他還債)。這個可以相當難纏的雅黛兒,甚麼軟硬兼施要得到品臣的手段都想過,但她可就沒有去想──或者只是不願承認?──品臣都有他自主自立的心意。

雅黛兒的出發點是愛,一種浪漫至極、義無反顧、甘願犧牲一切的愛;諷刺的是,顯然地這種單向的愛,最後只變質成盲目的迷戀和痴狂。杜魯福從《祖與占》(1962)開始,經歷《柔膚》(1964)、《偷吻》(1968)、《蛇蝎夜合花》(1969)、《兩個英國女孩與歐陸》(1971),一直都在摸索浪漫的情感如何能在現實植根,思考太過美好的情愛願景怎麼在不太完美的世界中找到生存空間。浪漫、理想的霎眼即逝,地上不能長久地令最深刻的愛情舒展,一直是杜魯福作品的主調。杜魯福的愛情描寫,多有以死亡作結,又或如《兩個英國女孩與歐陸》,終結於幽幽的醒悟,覺美夢之虛妄,嘆往事已不可再追。在這個層面上,《情淚種情花》彷彿是再踏前了一步,點出愛情與狂亂的界線可以是一線之差。世人歌頌堅貞、歌頌至死不渝的愛,但這種對愛情不切實際的期望,在這麼多年來,到底害苦了多少人,令我們陷入折磨自己又折磨他人的情緒深淵?同樣重要的一點是,比起過去的作品,杜魯福在《情淚種情花》中對女性的身份、女性在既有社會環境與制度下的限制,有更強的意識──雅黛兒的苦難不只是她個人的精神、情緒問題,同時也是社會成規、束縛下的產物。

adele writes

Because I'm Crazy for You...

I must confess I was once a Truffaut hater and it was then that I first saw The Story of Adele H.. I left the cinema with bafflement and disgust, "How dare he made Adele so miserable? This woman was such a nuisance!" Right from the beginning Adele is thrown to a road of no return. Ruthlessly and irreversibly she heads to doom and madness. You might sympathize with her but this movie made pain a big issue. I had reservation towards this film so full of self-pity and self-inflicted despair.

In the context of "Cinema of Psychosis" I rewatched it and reached a different conclusion. Truffaut's portrayal and sympathy with Adele paradoxically rendered it into a critique for romance, and The Story of Adele H. was probably his most self-conscious and sober movie about love. If we see it in relation to Truffaut's oeuvre, The Story of Adele H. is an extension to the Truffaut theme of romance/ideal vs reality. Also it shows us more of Truffaut's true self and limits.

The "love" of The Story of Adele H. is baffling, this love isn't the communicative and interactive love between two persons. Adele's love is a monologue. In the end this love requires no partner and fulfills itself in Adele's heart. This is a film more about madness than about love.

Adele's madness and obsession are clear from the outset, you simply won't mistake it for something else. The film opens on Adele's arrival in Halifax. She keeps her identity a secret while searching for Lieutenant Pinson. Truffaut made it clear that Adele's obsession is frightful and will ultimately destroy herself and others. In her letter she boasts of her affair with Pinson yet she tries all she could to approach him. In one scene at the bookshop she pretends not to know Pinson so as to know his current circumstances. Viewers are well-prepared to look at this character with caution and won't be sympathizing with her "love" without reservation.

Isabelle Adjani did a remarkable job as Adele. Adele loses her mind but the actress was in full control with that state of mind. Adjani said in an interview, "Adele wasn't in love with the man, but in love with her love towards him, and the illusion of love." Adjani's Adele is absent-minded, her gaze usually empty. God knows where her thoughts are, and she maintains daily communication with that little shred of reason still in her control. But at times Adele is on fire, as if possessed. The determination in her eyes is in total contrast with her fragile posture. She loses touch with the world and doggedly pursues her goal.

Adele's psychology, her path, her relationship with Pinson all stay the same in the course of the film. It is as if the ending is already written by the time she set foot in Halifax. She's doomed to be rejected by Pinson, her pain and despair growing day by day. At their first formal meeting, we already know how their relationship will turn out, and that Adele's madness will have no turning back. Pinson is untouched by Adele's torrents of love. Adele has travelled across the ocean to meet Pinson, whose first words to her can't be more discouraging, "You won't find the thing you want here." Pinson is no saint, but to be fair, he isn't despicable. Ambitious and amoral, he's of the same breed of his fellow soldiers. The extra thing he has is a pretty face. Pinson rejects Adele frankly but without malice. He wishes to end this once and for all. Yet Adele forces him to accept her, "Promise me... you don't have to love me but let me love you." Even resorting to blackmail ("I'll report this to your superior. Your days in the army will be over.") or gifts, the cash-strapped Adele gives him money to pay for his gambling debts. Adele is prepared to do anything for Pinson's love but has she ever realized that Pinson also has his independent mind?

Adele is motivated by love, a most romantic, compulsive and sacrificing type of love. Ironically, this unrequited love grows into blind obsession and madness. Starting from Jules and Jim (1962) and all the way through Soft Skin (1964), Stolen Kisses (1968), Mississippi Mermaid (1969) and Two English Girls and the Continent (1971), Truffaut had been trying to reconcile romantic sentiments with reality, to accommodate an idealistic love in an imperfect world. That the world is an unsuitable place for everlasting love had always been a concern for Truffaut. Consequently, many Truffaut romances had to end in death. Otherwise, as in Two English Girls and the Continent, it ended in disenchantment and the conceding that it is gone for good. The Story of Adele H. goes one step further in suggesting that there is just a thin line between love and madness. They say love is a many-splendoured thing but who really cares that many fell victim for it? Last but not least, in The Story of Adele H. Truffaut had a higher awareness of female identity, and their constraints by the social system. Adele's sufferings weren't just her fault but were caused by social mores and bondage.

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