推 showgrace:期待 09/25 10:24
http://city.udn.com/50132/3624738?tpno=0&cate_no=0
Emotionally Exposed Inside Satan’s Church
在撒旦的教堂內 情感外露
By Dave Kehr
On some level Lars von Trier’s films are always about humanity’s desperate
need to impose order on chaos, to make sense of a violent, irrational
universe.
就某種層次而言，拉斯馮提爾的電影所處理的，一向是人類極度渴望賦予渾沌狀態
秩序，理解一個極端、沒有邏輯可言的宇宙。
Perhaps because Mr. von Trier is at once an incurable optimist and an
inveterate ironist, the forces of order usually seem to win. At the end of “
Breaking the Waves” (1996) giant church bells appear in the heavens to
announce the ascension of the film’s saintly, self-sacrificing heroine
(Emily Watson), an image as silly as it is sublime. The equivalent moment of
rhetorical excess in his new film, “Antichrist,” is very different and much
darker. In a primeval forest a fox takes time out from gnawing on its own
exposed entrails to turn to the camera and hiss, “Chaos reigns!”
或許因為馮提爾既是個無可救藥的樂天主義者，又是個無法自拔的諷刺家，秩序的
力量似乎總是會贏。在「破浪而出」（1996）片尾，來自天空的巨大教堂鐘聲宣告
聖潔、犧牲自我的電影女主角（艾蜜莉華森）升天，景象可笑卻又莊嚴。在他的
新片「撒旦的情與慾」中，同樣的誇張修辭則是一個非常不同，更為黑暗的時刻。
在一座原始林內，一頭忙著啃食自己外露內臟的狐狸突然停下動作，朝著攝影機
發出嘶嘶聲道：「渾沌當道！」
That scene, along with a few others involving explicit sex and graphic
violence (sometimes both at once), earned “Antichrist” whistles and
catcalls when it was screened for the press at this year’s Cannes Film
Festival, where the film won a best actress award for Charlotte Gainsbourg.
這個鏡頭和其他包含明顯色情與暴力的幾個鏡頭（有時兩者兼具），讓「撒旦的
情與慾」在今年坎城影展媒體試片時引起口哨聲和喝倒采聲，女主角夏洛特甘絲
柏格獲頒影后。
But “Antichrist” more than adroit provocation. In some ways it may be Mr.
von Trier’s most emotionally exposed film, one in which he relinquishes his
formal mastery and habits of control to enter uncharted and uncensored
territory. This new strategy wasn’t entirely deliberate.
但是「撒旦的情與慾」不光是靈巧的挑釁。某方面而言可能是馮提爾流露最多情感
的一部電影，他揚棄正規的製作方式和控制的習慣，進入前所未知，百無禁忌的
領域。此一新的策略並非全然出自深思熟慮。
“I started a long time ago with the intention of making a horror film,” Mr.
von Trier said, speaking from his home in Denmark, “knowing full well that
if I make a horror film, it won’t be a real horror film,” any more, he
said, than his musical, “Dancer in the Dark” (2000), starring Bjork, was a
“real musical.”
「我很久以前就想拍一部恐怖片，」馮提爾在丹麥寓所受訪時表示：「我太清楚
自己如果拍恐怖片，將不會是一部真正的恐怖片。」一如碧玉主演的音樂劇
「在黑暗中漫舞」（2000）亦非「真正的音樂劇」。
“I started that, and then I got this stupid depression,” he said, referring
to an illness that left him incapacitated for six months in 2007.
「我一那樣開始，然後出現這討厭的憂鬱症，」馮提爾說的是讓他在2007年停工
半年的疾病。
“It was very important for me to do something straight away and something
hard,” he said about emerging from that cloud. “My experience with anxiety
and therapy was unfortunately quite big, so that became very quickly the
theme.
「即刻去做一件事而且是困難的事，對我來說非常重要，」他談到脫離陰霾。
「我的焦慮和治療的經驗不幸地十分巨大，很快變成了主題。」
“Antichrist” is the story of a woman (Ms. Gainsbourg) who blames herself
for the accidental death of her young son. With her husband (Willem Dafoe), a
cognitive therapist, she retreats to a cabin in the woods with the hope of
working through her debilitating grief. But rather than a source of calm and
comfort, the forest manifests itself as an infernal maelstrom of grisly death
and feverish reproduction.
「撒旦的情與慾」說的是一名因為幼子意外喪生而自責不已的女子（夏洛特甘絲
柏格飾演），跟擔任認知心理治療師的丈夫（威廉達佛飾演）隱居到林中小屋，
希望能化解讓自己氣衰力竭的憂傷。但是森林並未成為寧靜與安慰的來源，反倒
成為一個慘死與暴生的毀滅地獄。
Seeing herself as another “bad mother,” Ms. Gainsbourg’s nameless
character identifies with this nature and descends from depression to
insanity. “Nature is Satan’s church,” she proclaims, before moving on to
acts of worship that will repel some viewers.
自視為「壞母親」，夏洛特甘絲柏格飾演的無名角色認同這片自然，從憂鬱惡化為
瘋狂。她宣稱「自然是撒旦的教堂」，隨後從事的一些崇拜行為會趕走某些觀眾。
Where did all this come from? Mr. von Trier said, “The closest I can come to
talk about it is the kind of romantic thing I had with Strindberg,” who,
like Mr. von Trier, is a Scandinavian artist often charged with misogyny. “I
do not hate women myself,” he said, “and I doubt that he did.
這一整套故事來自何處？馮提爾說：「我最貼切的說明就是我喜歡史特林堡的
作品，」史特林堡和馮提爾同樣是被控厭惡女性的斯堪地那維亞藝術家。馮提爾說：
「我自己並不厭惡女性，我想他也不會。」
He added: “But my problem is of course also that I’m the son of my mother,
who was the feminist movement chairman of Denmark at a certain point. So I
think that I made many of my films just to provoke her, even though she’s
dead.”
馮提爾又說：「當然我還有另一個問題，就是我是我媽的兒子，她曾是丹麥女性
主義運動的主席。所以我想我拍許多電影只是為了要激怒她，即使她已經不在
人世。」
Ms. Gainsbourg has her own diagnosis of Mr. von Trier. “He puts women on a
pedestal,” she said, and then pushes them off, but I find that quite
brilliant. There is a lot of mystery around his female characters. I can see
the fear of women, but there’s no hatred.
甘絲柏格對馮提爾自有一套診斷分析：「他將女性捧上天，然後再打落凡塵，
我認為他才華洋溢。他的女性角色總是很神秘，我能看見對女性的畏懼，但是
沒有恨意。」
“Of course he pictures her as the devil and all that,” she said of her
character, “but he pictures himself as the devil. To me there’s a real link
between him and the character.”
「當然他把她描繪成惡魔和同路人，」甘絲柏格談到自己的角色，「但是他把自己
描繪成惡魔。對我來說，他與角色之間有真正的關聯。」
Mr. von Trier said he was feeling better these days. “I might make a film at
a hundred percent one day,” he said. “But it’s also because I’m back at
home, and I might be in a little better mood.
馮提爾表示最近感覺比較好。他說：「我可以全力投入一部電影，但也是因為我
回到家，心情可能好一些。」
原文參照：
http://www.nytimes.com/2009/09/13/movies/13kehr.html
2009-09-22/聯合報/G9版/UNITEDDAILYNEWS 張佑生
原文請見9月22日紐時周報十二版
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