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阿飞正传 (1991)Days of Being Wild (1991) |
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- 李晴 Days of being Wild------
- weiwei 阿飞正传 (1991)
- Enrica Ho 阿飞正传 (1991)
你我会记住这一分钟。从现在开始我们就是一分钟的朋友，这是事实，你改变不了，
已经过去了。]
一分钟，有多少人会注意?王家卫的电影里常常有些话是很"经典"的。
旭常常说:[我听别人说这世界上有一种鸟是没有脚的，它只能飞；一直的飞呀飞
呀，飞累了就在风里面睡觉，这种鸟一辈子只能下地一次，那一次就是它死亡的时候。]
他自己就像那只无脚鸟，从他从养母口中知道自己是她领养的时候开始。他变的孤傲。
飞阿飞阿，他为什麽飞? 为谁而飞? 抑或他从来都没有飞过!!
他这一生追过很多女人，但他却从不许下誓言，周旋在情感之间，直到他认识了"苏丽珍"
一个善良纯洁的女子。
苏丽珍，因为那一句:[从现在开始我们就是一分钟的朋友]而对旭动了心，她
开始陷入对旭的爱恋，就算她听到旭不会跟他结婚也不会给她一个承诺，她还是
爱他，直到她看见了"梁凤英" 她心碎了，她放弃了，她决定忘了他，从"这一分钟"
开始!!他认为既然是从"这一分钟开始",理所当然也要从"这一分钟"结束,也遇到了
一个对她深深倾心的男子"潮"。
梁凤英，一个舞小姐，在旭教训一个骗他养母的骗子时认识，她迷上了旭，也身陷不可自拔
，但她最後并不像苏丽珍一样放弃旭，她一直对他穷追不舍。
潮，一个老实的痴心男子，自从他见到苏丽珍後，就一见倾心，也不管她最後是不是会忘了
他，还是对她很关心，本来是个警员，後来在遇见苏丽珍没多久後，他母亲就去世了，而他
也就去做他本来想做的职业，去当船员,也因此而遇到了旭。
旭从养母口中知道他的生母在菲律宾:[我终于来到亲生母亲的家了，但是她不
肯见我，佣人说她已经不住这里了。当我离开这房子的时候，我知道身後有一双眼
睛盯著我，但我是一定不会回头的。我只不过想见见她，看看她的样子，既然她不
给我机会，我也一定不会给她机会。] 一种报复，报复为什麽当初狠心的抛下他,弃
他於不顾!!!
一直以来就是因为这件事,使他变得孤傲!!
旭剩下的日子都在菲律宾,遇到了正在当船员的潮。经过一番曲折,
最终:[以前我以为有一种鸟一开始飞就会飞到死亡的那一天才落地。
其实它什麽地方也没去过，那鸟一开始就已经死了。我曾经说过不到最後一刻我也不
会知道最喜欢的女人是谁，不知道她现在在干什麽呢？天开始亮了，今天的天气看上
去不错，不知道今天的日落会是怎麽样的呢？]
[不知道她现在正在干什麽呢?]他已经找到了答案,就如同他自己所说
的,[不到最後一刻,我也不会知道自己喜欢的女人是谁......]。
今天的日落会是怎麽样的呢? 不过他已经看不到了......
而後梁凤英来到菲律宾,不知道她找到旭了没有?
最後一幕,是梁朝伟站在镜子前,跟旭一样,当初看到这个结局的人都摸不著头绪,
我也是其一,如今"花样年华"上映,有许多人说它是阿飞的延伸版,也许是的,不过
是比阿飞还更成熟一点。
——这就是《阿飞正传》给我的真切感受。
这是一部异常别致的电影，悬念迭出，品味起来很有美感……
我不愿介定一个导演的风格，单凭自己一点点的阅历也没有资格，但是实际上在墨镜王的电影中总有大簇大簇的明星，这是事实，然后就是：在群像中不失中心闪耀，在简单的情节中不失华美深邃的表现手法，同时总有那么一个风流的男人贯穿全片，以特有的方式活着与周围的一群人纠葛着，抑或冷眼旁观着，抑或深陷其中，倒在混乱的血泊之中。
班驳的角落，发黄的老旧的墙壁，朴素的钟，三点，三点，又是三点，那凝重骤响的钟鸣，一扇迅速关上的狰狞的铁门，似乎在诉说什么但又让人难以参透。是回忆之门无情的上锁吗，或者是一种因为害怕伤害而深藏的心扉呢，抑或是在轮回之中的物是人非呢，我不得而知，但是就是那种种的不确定才确定了这部电影不可取代的地位。
那一幕幕似断开又连缀的片段，似无关又紧连的镜头，似有细微差别又万般相近的场景，冥冥之中总有一种神秘的力量牵引，让我欲跳出镭射去探寻导演奇异的心境，安排和寓意。那些相似难道都是巧合么？或者那是导演在费劲心机的暗示着他们之间的真实种种吗？还有在“2046”中刘嘉玲说她在找男朋友难道就是旭吗？梁朝伟在结尾几分钟的经典表演难道就是另一个徘徊不羁风流的旭的诞生吗？还有张曼玉那大概在飞驰的车中黯淡的富太太身影，和一个若隐若现的男子，又在讲述一段多么不平常的过往呢？一切的千丝万缕缠着既有思索的乐趣又充满了复杂深邃的迷惑。
1
旭就是那只没有脚的鸟罢，从出生到死亡都在奋力的飞着，孤独的飞着，飘荡的飞着，倦怠的双目却没有仁慈到让他免去看到世界的丑恶，酸软的双翅却不妨碍他几十年如一日的追寻那个无情的悲剧源头的生母，他在人群中游荡，在生母与养母中徘徊找到到自己的根，不知道自己的归宿，或者他自己也不愿要归宿，那是责任是束缚也许往日的幸福只是一个当作驿站的笼套。他的身世，他的敏感，他的倔强，他的风流不羁，我个人认为那只是一个虚伪的躯壳，那是他的一种野性的脆弱，也许他为了不让自己被再度伤害而不断伤害，不让自己被欺骗的最好办法就是永远不去信任，他的孤独，他的报复与愤事，他在最需要爱的时候得到的却是抛弃和陌生，折磨与惧怕，那么当别人向他索取爱的时候，他又怎么发自肺腑的展示出本就不曾拥有的东西呢？带刺的玫瑰，在用利刺插入别人的时候，自己也折断了保护的外壳，这一切又能将谁怪罪呢？一切都是一个美丽而残忍的错误吧。
The story and the plot are generally in the same flow. However, the plot has a bit more self-narrative of the characters and a bit more extra scenes of the story. The word "extra" I use is meaning the scenes irrelevant to the flow of story, but not the story itself. For instances, the two scenes of bird view's of the tropical rain forest in the beginning and ending of movie with Yuddy's self-narration, the scene of hospital in Hong Kong showing how Yuddy's foster mother received Yuddy in the past with her self-narration and the final scene of an unknown man preparing to go out. The hospital scene is neither the flashback of memories nor the scene describing the dialogues between characters. The extra scenes are to provide extra information to the audience which the Yuddy himself himself does not know either, like the reason behind why Yuddy's foster mother brings up Yuddy and keeps him so long until his age of 18 just because of the money. The extra scenes also signifies the theme of the movie, days of being wild, like the scenes of bird's view of tropical rain forest giving the impression of passionate and freedom of green.
The opening of the narrative
The film opens with the protagonist, Yuddy sauntering up to the South China Athletic Association store where So Lai-Chun works, opening a bottle of coke, guessing So's name correctly and telling her that tonight she'll see him in her dreams. Several scenes in the beginning are within the time and space of South China Athletic. The opening sheds the flavour of green romance, casts a seductive shade to the movie and reflects Yuddy's trait of indulgence. Such exposition raises audience's expectations to see the effect of and the development which made up of such indulgence and romance. It also provides the audience the information of the trait of protagonists, like Yuddy's indulgence, passionate and love of freedom and So Lai-chun's reticence, love of stable affairs and longing of home. The intermediate scene of a bird's view of tropical rain forest symbolizes the theme of the movie, the wildness of green and the indulgence of Yuddy and also echos what Yuddy says in the movie, a bird with no legs.
The Pattern of the Narrative
Dialogues mentioning about the bird with no legs or signifying "flying" repeat in several ways so as to remind and emphasize the audience the theme of the movie. The first time is Yuddy's narration of his own thinking. The second is time is Yuddy being scolded by his foster mother who ask him to fly away. The third time is inside the train in Philippines, street cop scolded Yuddy about his thinking of flying birds without legs. The fourth time is the bird's view of tropical rain forest with Yuddy's self-narration. The increased temporal frequency of the dialogues mentioning about the flying birds and the repeated scenes of the bird's view of tropical rain forest underlines the importance of the main idea of the movie, the indulgence of green and days of being wild.
The repeated dialogues mentioning the same ideas also provide a change in knowledge of the protagonist. Firstly, Yuddy self-narrate his own thinking about the flying bird without legs. After the arguing with his foster mother, the street cop and experiencing the death of himself, Yuddy changes his mind. His moment of death provides a turning point of himself, and that he finally understands and realizes the flying bird is already dead in the very beginning. Yuddy learns something in the course of action (meditation before his death).
The Closure
The closure accounts for the story of other characters, like So Lai-chun continue her ticketing job in South China Athletic Association, street cop continue his sailing job without knowing So Lai-chun's phone calls, Mimi goes ahead of her dreams in Philippines finding Yuddy endlessly, an unknown man is preparing to leave his house leaving it blank to the audience and raising the audience's curiosity and expectation of a second episode of the movie. The closure remains relatively open. The plot leaves the audience uncertain about the final consequences of the story events. The form encourages the audience to imagine what might happen next or to reflect on other ways in which expectations might have been fulfilled.
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