Le Temps Retrouve
翻開生命之海 The Sea Inside, 2005.3.25
2011/08/15 22:24:00
 翻開生命之海 ~~~ 2004大獎無數的 The Sea Inside, 2005.3.25

想不到自編自導的導演還在Goya Award因本片得到”best original score”,這位才32歲的小個子不僅在編導”The others”(神鬼第六感,得到Goya獎最佳劇本導演,有線頻道偶爾會上演,個人覺得Kidman演得太歇斯底里了些) 就已經開始自己譜曲,其中包括編導第二部片就一鳴驚人的”Open Your Eyes”,使Alejandro Amenabar成為繼卓別林與John Carpenter、Frank LaLoggia(導"Lady In White")等,影史上屈指可數,有能力作曲的導演。 

他最初是先以一部自編自導自演自配樂的短片Himenoptero (1991)出道,不過導演對這部片的感想是”embarrassing”,他拒絕出版DVD,並說”還好目前只有一個version--而且在我手上”。自”香草天空”後Tom Cruise對他不錯,還當了The Others(他第三部長片)的製片,但他對自己改寫後被別人重拍”香草天空”的感覺是:「我都不認識這部片了!」,這可能使他與好萊塢看清了彼此,雖然去探班看Spielberg與Cruies拍的「關鍵報告」”Minority Report”(這片其實還不錯),這位現代青年滿腦子只想能不能因此看到John Williams,好萊塢無法使他亢奮。

從第壹部長片1997”Thesis”開始,Alejandro Amenabar就開始成為Goya獎的常客,真是恐怖的小天才~~~! 

他在Complutense University修”film writing”被教授整到當掉,以致未能畢業,教授的名字也進了”Thesis”中,以下是這則趣聞。He didn't finish his university studies due to one 4th grade subject, "Film writing". The last name of the professor who kept failing him is Castro, and that also the last name of the evil professor in his first long movie, "Thesis". Amenabar claims he used the last name inadvertedly at first, it was the university people who noticed the coincidence and asked him to change it. In the end he decided not to, although in the scripts he did write a different name, Galvez. Incidentally, he has done the script writing in all of his movies so far.

導演的陳述,也讓我們看到西班牙電影之所以近年來越發清新可喜之故。大學時期人人都想打破西班牙名導演Almodovar、Carlos Saura建立的型式--雖然,現在導演自己也變成學生想要推翻的人之一了~~~”if you want to insult a film student, you tell them: 'That's so Amenabar."。

本片與「老爸的單程車票」有許多相似之處--討論安樂死、以劇本取勝、小成本、燈光與攝影階均上乘、好而非大牌的演員--然而對音樂有一定水準的Alejandro Amenabar在選擇上明顯高明許多,鏡頭使用上,也讓壓縮的小空間變成蘊釀主角心靈世界的助跑道,將簡單的片段、耳熟能詳的音樂,組合成觀者動容的視覺「主導動機」。新一代導演對拍片科技的運用,比許多大導反而不落痕跡得多,簡陋的房間、寂寥的窗戶,在頃刻間劇力萬鈞。

當然依例也有音樂的「主導動機」,其中大概只有歌曲Negra Sombra(Black Shadow)與一丁點的Tristan and Isolde,點出Ramon的哀傷。經Marcel 提醒,我才想到那些壹開始讓我困惑的輕柔的笛音以及陪伴主角赴法院的Celtic風笛進行曲,是Galicia地區的特色。導演作曲家說了自己的安排--” Rosa is the more Celtic bit; Julia the symphonic; and Ramon a mixture of both, with a strong epic content. Later on, my collaborator Carlos Nunez came in, and we went to Galicia and turned the final piece into a real celebration of life. Sampedro's love for classical music, specifically for opera, was also important and this is also reflected in the film."果然,Celtic風笛進行曲是其中最特別的安排,在赴死的路程上鼓動著生命的歡宴。

(http://www.sanity.com.au/product.asp?intProductID=592714&intArtistID=3412, http://www.musicfromthemovies.com/review.asp?ID=4771.)


電影一開始呼應了”Open your eyes”的結尾,然後導演在這個故事裡以更成熟的辯證觀點來討論生存。他告訴英國獨立報記者自己拿捏主角Ramon的壓力--"The film was not born out of a desire to campaign," he says. "My aim was simply to place the audience in the presence of death and make them feel alive. I never wanted the film to be disrespectful to anyone who is in Ramon's position, but who chooses to go on living. Javier and I visited the National Hospital for Paraplegics and the doctors there were concerned about what their patients might think after seeing the film. They said, 'Here we are trying to encourage them to live. What will they think when they hear Ramon's arguments for dying?' That's why I tried very hard not to generalise, or to preach. This is one man's story, and it is as much about life as it is about death."。


寫「她鄉」”Herland”的美國婦權運動者Charlotte Perkins Gilman(Charlotte Anna Stetson,1860 – 1935)產後憂鬱時都不曾自盡,在乳癌末期,宣示她選擇死亡的權力,並以氯仿自殺。她在suicide note是這樣說的--“When all usefulness is over, when one is assured of unavoidable and imminent death, it is the simplest of human rights to choose a quick and easy death in place of a slow and horrible one. . . . Believing this open choice to be of social service in promoting wiser views on this question, I have preferred chloroform to cancer.” --沒有人,會比身歷其間的社會運動作家表達得更冷靜而清晰。