影評人之選──思覺邊緣:情淚種情花 The Story of Adèle H.new



安娜之選

Choice of David Chan

情淚種情花 The Story of Adèle H.  L'Histoire d'Adèle H.
1975 | 法國France | 彩色Colour | 96min | DCP
法、英語對白,中英文字幕
In French and English with Chinese and English subtitles

導演 Director:杜魯福 François Truffaut
原著 Original Author:法蘭茜絲維諾蓋爾 Frances Vernor Guille
編劇 Screenplay:杜魯福 François Truffaut、尚克羅奧 Jean Gruault
攝影 Cinematographer:尼斯達雅曼杜斯 Néstor Almendros
剪接Editor:瑪丁妮巴拉凱 Martine Barraqué、繆麗爾澤勒尼 Muriel Zeleny、尚格高尼 Jean Gargonne、米歇爾莉爾 Michèle Neny
演員 Cast:伊莎貝雅珍妮 Isabelle Adjani、布魯士羅賓遜 Bruce Robinson

1976 奧斯卡最佳女主角提名
1976 Nominee: Best Actress, Academy Awards
1976 凱撒獎最佳導演、最佳女主角、最佳美術指導提名
1976 Nominee: Best Director, Best Actress, Best Production Design, César Award

杜魯福暗黑之作,反覆徘徊深愛與狂亂的一線之差,探問理智與感情的邊界。

François Truffaut's dark masterpiece examines the thin line between love and hysteria, as well as the boundary between rationality and sensibility.

十九世紀中,法國大文豪雨果之女雅黛兒隻身遠赴加拿大,決心要與她最心愛的英軍中尉品臣共諧連理──這聽上去是一個標準的可歌可泣愛情故事,但事實果真如此嗎?雅黛兒朝思暮想,但品臣對她其實不屑一顧;為了把情人綁在身邊,雅黛兒不惜謊話連篇,甚至假扮有孕,執迷的程度已可謂無所不用其極。出名「愛女人」也擅長拍女人的杜魯福,在《情淚種情花》中延續《祖與占》(1962)、《奪命佳人》(1967)、《蛇蠍夜合花》(1969)  中的危險女性形象,將戀愛的主題與感性、不顧一切的女人推向一個近乎精神失常的邊緣。年僅二十歲的伊莎貝雅珍妮以驚艷姿態帶領全片的氣氛節奏,幕幕懾人心神,體現出迷戀的破壞力與淒美。

story of adele h

It sounds like your standard grand love story: In mid-19th century, Adèle, the daughter of French literary legend Victor Hugo, travels all the way to Canada to be with Albert Pinson, a British army officer that she loves.

But was that what really happened? Adèle may have been head over heels for Albert, but the truth was that he wanted nothing to do with her. To keep Albert tied to her, Adèle lied repeatedly and even faked a pregnancy. Known for his love of women on and off the screen, François Truffaut builds on the femme fatale he created in Jules and Jim (1962), The Bride Wore Black(1967) and The Mississippi Mermaid (1969) with this true story of obsessive love. Truffaut tells the story of a woman pushed to the brink of insanity by pursuing love at all costs. At the mere age of 20, Isabelle Adjani holds the film's atmosphere in stunning form. She grips the audience in every scene, boldly displaying the destructive and haunting power of obsession.


愛情單機Mode

愛情與瘋狂的界線在哪裏?愛情要激烈到一個怎樣的程度,才會令一切的痴心與付出變成虛妄徒勞,墮入一種失常乖張的瘋癲狀態?

《情淚種情花》被好些影評人譽為杜魯福最成熟的作品,全片透過橫越重洋的雅黛兒的角度,敍述出一個徹底絕望、打從一開始已經失敗的愛情故事。聞名於世的大文豪雨果之女雅黛兒,在英法海峽的小島上與品臣中尉結識;男方以為這不過是又一次的霧水感情,卻沒想到雅黛兒竟然不惜一切,想盡任何辦法歷盡任何痛苦也要纏繞在品臣身邊。作為一個經常以男女感情、複雜的情愛糾葛為題材的導演,杜魯福在《情淚種情花》中最大的突破,大抵是洞察到「愛」與「非愛」只是一線之差。

主流的文化歌頌忠誠、歌頌從一而終、歌頌至死不渝的心,並且將它正名為「真愛」。但真實世界委實不是如此運作的。完全單方面的忠誠其實是盲目、沒人稀罕的從一而終只是煩厭、無視對方感受的至死不渝說到底也不過是一種幾乎病態的執迷。假如杜魯福曾經在《祖與占》、《偷吻》(1968)等作品中延展出浪漫愛情的無盡可能和美麗,那麼,他在《情淚種情花》所做的,就是沉重地直面愛情也有其限制。

好多嘢,唔係你夠愛就可以解決。

有評者形容《情淚種情花》是一次對所謂的「浪漫」的批判,我認為是相當切中要處。無獨有偶,電影另一主要針對的地方,就是具權威性、無處不在的父權(雅黛兒無時不想擺脫父親的陰影,也抗拒作為雨果女兒的身份)。主流文化中對「愛情」的迷思和定見,以及權威對人的制約、馴教,兩者隱隱然給電影拉出某種關聯脈絡。這無疑是《情淚種情花》對我們早就習以為常的社會範疇的深切省思之一。

 

Love, single-player mode

 Where's the line between love and madness? How strong must one's love be to go from infatuation and devotion into something futile and vain, sending that person into a dysfunctional state of lunacy?

Many film critics call The Story of Adèle H. François Truffaut's most mature film. Through the perspective of the titular character, Adèle, the film tells a desperate love story that is doomed to fail from the very beginning. Adèle, the daughter of writer Victor Hugo, meets British army lieutenant Pinson on a British isle. Pinson thinks that it would be just another short-lived affair. However, Adèle ends up falling desperately in love, putting herself in danger just to be by his side. As a director who often tells complex love stories, Truffaut made his biggest breakthrough yet with Adèle as he realises that the boundary between "love" and "lovelessness" is merely a thin line.

Mainstream culture heaps praise on fidelity, on finding "The One" and on persistently staying true to "The One" until death, calling them qualities of "true love". But the real world doesn't operate this way. Single-sided fidelity is virtually blindness; identifying someone who doesn't love you back as "The One" makes you seem irritating in the other person's eyes; and staying true to someone until death without thinking about the other person's feelings is an obsession that's comparable to sickness. If Truffaut showed the infinite possibilities and beauty of love in Jules and Jim and Stolen Kisses (1968), then he offered a serious statement about the limits of love with The Story of Adèle H..

After all, loving someone doesn't solve everything.

A film critic described The Story of Adèle H. as a critique on so-called "romance". I find that right on the money. In addition, another theme that the film takes on is the authoritative and omnipresent patriarchy that surrounds us (Adèle not only longs to escape her father's shadow, she also rejects her identity as Hugo's daughter). The film hints at a link between mainstream culture's myths and stereotypes about "love" and authority's constraints and shackles on individuals. This is undoubtedly a generally accepted social custom that the film wants us to reflect on.

安娜
David Chan

 

22/11(五 Fri)7:30pm

香港電影資料館電影院 Cinema, Hong Kong Film Archive

設映後談,講者:安娜,粵語主講

Post-screening talk with David Chan in Cantonese


8/12(日 Sun)2:30pm

香港電影資料館電影院 Cinema, Hong Kong Film Archive

設映後談,講者:作家韓麗珠、安娜,粵語主講

Post-screening talk with Writer Hon Lai-chu and David Chan in Cantonese