自佛洛伊德以來的心理學與電影

老早人們就愛說佛洛伊德已 out （其中，包括我大學一年級的 tutor ），現在都談容格，拉康；所以齊澤克也詳解 Everything you always wanted to know about Lacan (but were afraid to ask Hitchcock)。但是沒有佛洛伊德便不會有容格，也不會有拉康。而且你未必消化得了拉康，要消化希治閣卻不會有難度。佛洛伊德也好誰人也好，人類的意識太神秘太多 ambiguity ，永遠啟發無窮想像……

電影資料館《光影玩轉腦電波》節目

《失憶大道》 Mulholland Dr. ──竟然從未在港公映，認真大逆不道。 Lynch 迷不容錯過，影迷同樣不容錯過。只有在影院，影片的催眠作用才能發揮到極致。




《靈的秘密》 Secrets of a Soul ──佛洛伊德助手參與製作。黃仁逵現場音樂伴奏。




《迷魂記》 Vertigo ──美夢惡夢集於一身，真所謂應觀法界性，一切唯心造。希治閣將夢境影像化為他情有獨鍾的金髮美人，又化成七色碎片。順道可參拜影史首創的 Track Out + Zoom In Shot 。是的，是他發明的。仍是那句話，不在大銀幕，怎能感受那種迷惑、暈眩？




《敲詐》 Blackmail ──希先生的《觸目驚心》每三兩年總會映一次，沒看過的也耳熟能詳到思疑自己看過。不如回頭看看希治閣英倫時期作品。




《夜之死》 Dead of Night ──邦迪（Hermann Bondi）、高爾德（Thomas Gold）、霍伊爾（Fred Hoyle）受本片的環迴敘事啟發，發表穩恆態理論（Steady State Theory）：宇宙不停膨脹，無始無終……




《對鏡猜迷》 Through a Glass Darkly ──二字以蔽之：褒曼。




《愛殺》──觀眾連連說看完譚家明的電視片「唔夠喉」，那麼，再奉上 one of his best 。看異色迷離的譚家明已經叫人心花怒放，更何況女主角是林青霞！電影資料館修復版本。




《第七重面紗》 The Seventh Veil ──在《一樹梨花壓海棠》裡小丑般的占士美臣，面對妙齡少女也有意氣風發的時候。那也是他惡魔般的溫柔，碰巧尋到了知音。




《異度空間》──欲購從速。我是說真的。




《目露凶光》──本地驚慄片易將恐怖訴諸鬼怪邪靈，本片少有地深入心理，剖劃心魔。





節目詳情：http://www.lcsd.gov.hk/CE/CulturalService/filmprog/chinese/2008mind/2008mind_index.html

粉絲記

白先勇監製的《玉簪記》，好運班到門票一千零一張（我有嘗試為想看的友人張羅的）：一個好到想喊的位置──將來公演，有錢買最貴門票也不可能買到的位置；一回頭，張繼青老師就在身後。

贈我票的文化人提供埋原子筆，讓我去做小粉絲。張老師瞇起眼睛笑，說：不如簽在（場刊）裡邊啦。我說封面就好，反正她就是你的學生。張老師連聲：不好不好。

（申報：到場時，大個白先勇坐在 reception ，也沒有想拿簽名。）



散場後踱步到火車站，跟友人談得興高采烈間，張老師和丈夫（？）悄然擦身而過，她手裡挽一個小包，一副尋常百姓看完戲歸家的模樣。這，就是我們國家最閃亮的崑劇演員。好可愛。

一開始，生、旦都未入戲，浪費了一幕〈琴挑〉，幸而後面不錯。音樂仍是太連續劇，太 dominating ，令本來已帶噱頭的古琴顯得突兀。不過比《牡丹亭》，是少了一點花悄。「我個」沈豐英，典雅含情，意態風流。

佢個仔

她從來精明幹練，有時又如孩子般懵懂。常常兇我的女皇，充滿威嚴的女皇，解決難題狠辣如閃電的女皇，試玩新玩具時搖身一變為淘氣的膽小的孩子。自 Nancy 星期一落地以來，每天她總要去摸一摸「佢個仔」，帶他出去兜兜風。

(Poor) Nancy 第一天出師，還未出發只向後挪動兩米，便添兩度刮痕，女皇嚇得不敢再前進。第二天算是大有進步，沿鯉景灣繞翔三圈──雖然來來去去都是沒有車的 sim city 般的鯉。景。灣，而她明顯樂在其中。但是不對不對，怎麼車鈦好像拉扯著地面不願動，還發出怪聲？原來忘記拉手掣，有好大段路都是在 Break 住的情況下前進！走了三圈打道回府，擦身而過的的士司機朝我們拋下一句：「未開燈呀！」怪不得，我一直看錶板都黑漆漆的。泊車也擾攘了好一會，攔住行人路有五分鐘的光景，散步的伯伯要繞道而過。精彩的還在後頭：其實架車係鑑粗剷上壆位，打斜入到去先泊返正的！畢竟是 everything at her disposal 的女皇啊。負責做乘客（和隨時落車睇位的隨從）的我，從天窗仰望，驚覺這幾天的月亮又大又園，就如那晚我們三個人在尖東飲酒到夜半的月色。

Bonjour tristesse

"...for I am afraid that if I look at it closely, I shall revive memories that are too painful. Already I feel overwhelmed as I think of Anne's happy laugh, of her kindness to me. My conscience troubles me so much at those moments that I am obliged to resort to some expedient like lighting a cigarette, putting on a record, or telephoning to a friend. Then gradually I begin to think of something else. But I do not like having to take refuge in forgetfulness and frivolity instead of facing my memories and fighting them.

...

She straightened up, and I saw that her face was distorted; she was crying. Then I realized that I had attacked a living sensitive creature, not just an entity. She too must once have been a rather secretive little girl, then an adolescent, and after that a woman.... As for me, that poor miserable face was my work.

...

Only when I am in bed, at dawn, listening to the cars passing below in the streets of Paris, my memory betrays me: that summer returns to me with all its memories. Anne, Anne, I repeat over and over again softly in the darkness. Then something rises in me that I welcome by name, with closed eyes: Bonjour tristesse!"

Sagan, Bonjour Tristesse

－－她用了一種完全無腦的方法，去排解她那充滿 ambiguity ，或 contradiction ，的不快。無視了後果，只看見眼前。


To the one(s) that I love and unwittingly hurt...with remorse.

Alas, Béatrice

“...If Béatrice was never all of a piece, if on the contrary she was composed of a thousand closely related yet contradictory pieces, she was nonetheless always and in all circumstances wholly each and every one of these pieces. And as she never felt divided, never at a distance from herself, she could be completely hard or completely tender in succession, completely idiotic or completely lucid. Indeed, perhaps the reason she could never share her feelings with anyone else was that she had never been able to admit the ambiguities in them. On the other hand, this counterfeit façade – an armour so shabby and patched that no medieval knight would have dared to put it on – had sheltered her from countless blows, to say nothing of hard knocks. She had never let herself slip into comfortable friendships or reassuring confidences. In fact, she had never slipped into anything that could be called a habit. Her entourage, including all friends, male and female, as well as her lovers, had always been alternately subject to savage ill-treatment or equally savage adoration, and none of those who approached her ever had the right to trust her. Yet if they could expect anything and everything from her, they could also take a certain comfort in her unpredictability. They could be sure, absolutely sure, that she was as capable of holding out her hand to pull them from the water or of stepping on their heads while they drowned. And they could also be sure she would do both with the same absence of calculation and the same clear conscience.”

Françoise Sagan, The Unmade Bed

很美的一段文章， describing quite a typical kind of spontaneous and whimsical French woman, almost reminds me of Catherine (in Jules et Jim). Barely almost, because it was actually referring to Béatrice. (多麼可惜， she doesn't deserve all these attributions!)

我並不喜歡 Béatrice ，至少是 Those without Shadow 裡的 Béatrice 。太無腦了。她是我看過的莎岡人物裡，最無腦的一個，她的「背叛」（加上括號是因為她自己不會稱之為背叛）是為背叛而背叛，而且帶點功利的，她是空洞的，也從來沒有其他 Sagan girls 的自省。不要開始謾罵，我並不是忽然「道德」起來（我話知有幾多個男人爬過上她的床！），而是她的興之所至確實毫不動人：缺乏那種無知（或者也可稱之為神經質）與漫不經心的魅力。她清楚知道自己的自私自利會為其他人帶來怎樣的後果，即使 how much it is absent from calculation 。 In short ，她是個徹底的俗物。

她最初出現在 Those without Shadow ，後來又在 The Unmade Bed 登場。 Those without Shadow 是莎岡比較難看的一本小說，寫法國文化界的幾對男女，各各藤絆牽連，又各有各的造化，但索然無味，有偷情，欠激情，瀰漫著有心無力的勉為其難。最初以為是莎岡晚年的作品，後來知道是第三部小說，即緊接在 A Certain Smile 之後，嚇了好一大跳：怎麼一下子老了這許多？

是因為莎岡不甘心嗎？書裡其中兩對人物──比較年輕的兩對，在其後的小說裡繼續談他們未談完的情，效果倒又不錯。其中一對是 Josée 與她那強逼性吃醋的憂鬱丈夫 Alan，在 Wonderful Clouds 裡繼續折磨，和被折磨。另一對是這位無腦的 Béatrice 和曾被她拋諸腦後的──無獨有偶地又是──憂鬱且情深的，Édouard ，分開五年後 they share The Unmade Bed 。（可以在這兩本小說裡感受到她的普魯斯特情結：相信我，這兩個男人的敏感、脆弱、多疑，非常普魯斯特）

不過，我還未知道他們最後會怎樣。（說不定，我會對 Béatrice 改觀呢...）

Related: A Debt Contracted in Bed