影評人之選──思覺邊緣:瘋狂的一頁 A Page of Madness new



鄭政恆之選

Choice of Matthew Cheng

瘋狂的一頁 A Page of Madness  Kurutta Ippêji
1926 | 日本 Japan | 黑白 B&W | 68min | DCP
默片,Alloy Orchestra配樂
Silent film with soundtrack by Alloy Orchestra

導演 Director:衣笠貞之助 Kinugasa Teinosuke
原著 Original Author:川端康成Kawabata Yasunari
編劇Screenplay:川端康成Kawabata Yasunari、衣笠貞之助Kinugasa Teinosuke、犬冢稔 Inuzuka Minoru、沢田晩紅 Sawada Bankô
攝影 Cinematographer:杉山公平 Sugiyama Kouhei
剪接 Editor:沼崎梅子 Numazaki Umeko
演員 Cast:井上正夫 Inoue Masao、中川芳江 Nakagawa Yoshie、飯島綾子 Iijima Ayako

1926《電影旬報》十大日本電影第四位
1926 #4 in Kinema Junpo's Top 10

新感覺派映畫的代表作,日本前衛實驗電影的先驅作品。

A New Perception school masterpiece and a trailblazing Japanese experimental film.

衣笠貞之助導演,作家川端康成名列原作者,電影成於大正末年,是新感覺派映畫的代表作。電影拍攝於1926年,全片並無字幕,劇情刻畫在瘋人院工作的守衛,他曾是一個水手,對妻子不好,卒之引致她瘋狂。守衛心感內疚,暗中照顧妻子。可是,守衛的女兒來到瘋人院,告知將與一個年輕人結婚,守衛開始擔心妻子在瘋人院一事,可能令女兒未婚夫誤解,令大好婚姻告吹。於是守衛聯想頻生,徘徊於夢幻與現實生活之間......本片是日本前衛實驗電影的先驅作品,一度散佚,直至1971年衣笠貞之助從倉庫中尋回,重見天日。目前所見的僅為缺本,但無損影片的前瞻性和藝術價值。

A page of madness

Directed by Kinugasa Teinosuke, the original story is credited to the writer Kawabata Yasunari. Made in 1926, the last year of the Taisho era, the film is a New Perception school masterpiece. It has no subtitles. The plot follows a former sailor, currently a custodian who works in an asylum. Feeling guilty for treating his wife badly and causing her to go insane, the custodian is secretly taking care of her. When the custodian's daughter comes to the asylum to tell him that she will soon marry a young man, the custodian begins to worry that the wife's madness could be misunderstood by her daughter's fiancé, ending the daughter's good marriage prospects. The custodian then spins multiple fantasies that blend dream and reality... This film is a trailblazing experimental film of the Japanese avant-garde. It was lost until Kinugasa recovered it from storage in 1971 and the film came to light once more. Although the current version is incomplete, the innovation and artistic value of the film is in no way diminished.


新感覺派前衛實驗電影

實驗精神和現代主義是二十世紀的文化藝術潮流,不同領域的藝術創作,都發掘人的內在心理意識。《瘋狂的一頁》(1926)是日本早期的前衛實驗電影,據考證,劇本由四人合撰而成。電影是新感覺派映畫聯盟的作品,貫徹了新感覺派重視主觀多於客觀,重視感覺多於理性,追求新的表現與形式的主張。

《瘋狂的一頁》是新感覺派電影,而影片的風格,深受德國表現主義代表作《卡里加里博士》(1920)的影響,也有法國印象主義電影的痕跡。全片聚焦於瘋人院和心理狀態,展現出非理性的扭曲世界。

《瘋狂的一頁》的意象鮮明突出,影片開首就以雷雨為意象,呈現出洶湧澎湃的內心世界,以及外在世界的種種衝擊。影片充滿房間、門窗、鐵欄、籠子等意象,帶出封閉的世界和內外二重空間,引申出理性與非理性的精神世界。全片最後歸結於面具意象,引人聯想,面具大概代表了壓抑非理性,維持表面的秩序,以及表現個人的無奈。

《瘋狂的一頁》的節奏快速,教人目不暇給,刺激觀眾視覺,產生重重感覺與自由聯想,電影就如一幕又一幕的意識流動,衣笠貞之助運用了疊印、倒置、快搖、跳接、空鏡頭、慢動作等多種電影技巧,尤其出色的是開場時,樂器、舞蹈、雷電與雨水的疊置,展現出快速而強烈的節奏感,刺激觀眾的感官,也暗示瘋人的心理狀態。


Avant-garde film of New Perception school

The 20th century witnessed modernism and experimentation as artistic and cultural trends. Meanwhile, the various creative arts were exploring the inner psyche. A Page of Madness is an early avant-garde Japanese film. The script, which textual research has revealed to be the work of four people, was produced by the New Perception School Film Alliance and implements the ideas of the New Perception school, which valued subjectivity over objectivity and feelings over reason in addition to the pursuit of new forms and modes of expression.

As a New Perception school film, the style of A Page of Madness was influenced by a masterpiece of German Expressionism, The Cabinet of Dr. Caligari (1920), but also shows traces of French impressionist film. The film focuses on the asylum and psychological states to reveal the irrationality of a distorted world.

The imagery in A Page of Madness is striking. The film's initial image is a thunderstorm that reveals a surging inner world and an external world under attack. Images of rooms, doors and windows, iron bars, and cages are prevalent throughout, representing a closed off world and twinned interior and exterior spaces from which the psychological states of rationality and irrationality are derived. The film concludes with mask imagery that invites fascinating mental associations. The masks probably represent the suppression of irrationality, maintaining a superficial order, and expression of personal helplessness.

A Page of Madness is a fast-paced feast for the eyes of stimulating visuals that produces every sort of sensation and free association. Every scene of this movie is like a stream of consciousness. Kinugasa Teinosuke used a variety of cinematography techniques - including superimposed and inverted images, whip pans, jump cuts, scenery shots, and slow motion - but especially remarkable are the overlapping musical instruments, dance, lightning and rain of the opening scene. From this emerges a rapid, intense tempo that stimulates the audience's senses and also suggests the psychological state of a madman.

鄭政恆
Matthew Cheng

29/11(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:馮嘉琪、鄭政恆,粵語主講

Post-screening talk with Kiki Fung and Matthew Cheng in Cantonese


14/12(六 Sat)7:30pm

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

設映後談,講者:鄭政恆,粵語主講

Post-screening talk with Matthew Cheng in Cantonese