午後獨自看了Ida.電影精品.波蘭片總是那麼的精緻美麗.存在他們血液裡的基因,天生的敏銳與品味.飽含詩意.Ida是黑白片.充份展現素淨之美.灰,黑,白,光,影,變幻無窮,比諸彩色,更有一種肅然單純,直視生命的本質.”白色緞帶”也有這樣的嚴謹之美.每個畫面都是一幅畫.尤有甚者,比畫更好.因為它是動態的.有背景輕微的動,光影的動.黑白竟然可以展現出那麼細微的質感:模糊與清晰;乾燥與潤澤;白日與黑夜,建築與自然.而且蘊藏那麼多的隱喻.道道地地的詩質電影.兩位年輕人第一次聊天,背後是精細美麗的雕花鐵窗.青春多麼的美麗呀!第二次聊天,背景是餐廳裡模糊的人影:用餐,走動等等.那是時光流動與他者干擾的現實人生.阿姨這個角色塑造得很好.她果決明快兇悍美麗.但是當她找到病榻上的西蒙,詢問姐姐一家最終的下落時,鏡頭是模糊的,但她臉上的憂戚表情很容易辨識.當Ida在浴室裡除下修女頭巾細細審視自己時,她的臉一半亮一半暗,不正是情欲與神聖的拉扯?阿姨以強悍來武裝自己,其實她的內在是脆弱受傷的.所以她一直以來借酒澆愁,以一個又一個男人來填補內在的空虛.Ida的出現,逼得她必須正視她所逃避的悲劇與創傷.最終她畢竟負荷不了.影片的結尾,Ida堅定地走出阿姨家,走在街道上,走入鄉間林道,對向的車偶爾經過,但她心意已決,她將走上將一切奉獻給天父的人生.唯有如此方能得到真正的平靜.仿巴哈樂風的鋼琴輕輕響起,美麗地結束.
我有眼不識泰山.Ida的導演Pawel Pawlikowski大名鼎鼎.哲學與文學出身的背景,難怪影片那麼地凝練.文學,哲學,詩意,以影像串連成藝術精品.Pawlikowski一頭卷髮,削瘦的臉上架一副太陽眼鏡.桀驁不馴的模樣.他率性又帥氣:我不把拍片當做志業,更不想拍商業鉅片.我只拍攝自己感興趣的東西.端看我人在哪裡,我發現什麼有趣的,我腦袋裡有什麼而定.
無欲則剛.難怪他拍出來的電影超凡脫俗.因為他是忠於自己的藝術家.他拍電影不急不徐.說起來很簡單.
As far as I’m concerned, all you really need is a story, with two or three interesting characters, interestingly entangled in an interesting space.憑感覺,順著走,電影會自己做出來.精確的劇本對他而言沒用.因為他是邊拍邊想.劇本上所寫的隨時可改變.甚至他要看到主角才想得出對話.
With each day of filming, I was more convinced the story could tell itself without coverage and exposition. It was enough to put strong moments in strong shots, side by side, and leave things to the imagination. The film would work as a meditation as much as a story. The key was to choose one angle, the most effective shot, and then to work and rework all the elements: framing, light, dialogue, movement, gesture. Adding, taking away, refining from take to take, until the thing had the right life and rhythm. This meant forgetting the script and treating each scene and each shot as a thing in its own right.
雜枝繁節越刪越精練.留白是藝術.留給觀眾自己去想像,填空.
Putting static shots side by side and stripping things down forces the viewer to watch and listen differently; it asks them to fill in the gaps and not to expect to have things explained. It allowed me to drop dud scenes and lines without damaging the story. On the contrary, the method actually helped me find the story, or rather to home in on its best, its only possible shape.
By now, the film had already taken on a life of its own and rejected stuff that didn’t suit it. I was rewriting as I went along, weeding out what didn’t work and inventing more graphic scenes and dialogues.
他拍這部電影,處處機緣.因為一場意外降落的雪,因為看到藝術導演以刷子輕刷耶穌像而有了與劇本不同的開場戲.女主角Ida並非職業演員.經過一番尋覓,在導演故居樓下的咖啡館,遇見一位華沙大學哲學系女子坐著看書.她對演藝事業全無興趣.”太好了,正是我所須要的Ida.”
因緣俱足,無為的導演以獨特的方法創造出這樣一部精美的藝術品.背後的故事與電影一樣引人入勝.
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