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April 28 《永远的微笑》 ,献于母亲及天下所有女性 今天将要结束，明天也将结束，难以结束的是昨天。 ---------安东尼奥 波契亚 这是我看得第一部金士杰独立编导的表坊作品，会写下以下文字,只因为在其中我隐约发现了自己的一些影子，勾起了一些童年回忆。看了此剧介绍这部戏也是金士杰为了怀念自己的母亲而创作的，人们说巨蟹座的男性多少是带一些恋母情结的，他们的守护星月亮女神戴安娜会陪伴他们的一生，即使在相距多年之后，母亲那迷人微笑依然常驻在每一只蟹的内心之中。 《永远的微笑》，名字中就带着一股忧伤与怀念，那曾是一次短暂的永恒，如樱花飘落般，唯美而迷人，当我们驻足远望时，它已入尘埃。作为一次摄影展的主题，这是一次为记录人间最美好事物的精神求索，我们的主人公何来（赵自强）就成为了这次摄影展的主摄影师。故事一始我们就听说了这个何来的怪诞性格，他似乎从不碰女人，皮夹中放的则永远是她母亲的一张泛黄旧相片，通过巴比（曾江）的简短介绍，我们知道那是一个单纯，善良的胖胖的老男孩，但似乎总有一些谜团围绕着他，是什么样的童年让其沉溺在一个无法长大成熟的内心世界中呢，通过相机那小小的镜头，他真能发现所谓的永远的微笑麽？永远的微笑在他的心中，在我们每一个人的心中到底是什么样的定义，我也不断的在诘问着自己。 有了摄影师，那么就需要模特们一一登场了，三个女性形象，腼腆的阿芳，热情的露露和温柔的伦伦，代表了截然不同的三类女性，还有那个一直藏匿在何来脑海中的母亲形象也将忽隐忽现的穿插在我们的剧情中，为我们述说着何来童年和母亲的故事。随着故事发展，我们发现了阿芳其实和何来一样，是一个内向，自闭，单纯的女孩，在爱情与生活面前她始终缺乏自信，在露露不断的努力撮合下她终于鼓起勇气直面爱情时，却一次次的遭到属同样性格的何来的刻意回避。一次次的闪躲，一次次的错过，让一切的可能成为了不可能，直到故事的结尾，我们依然只能知道在电话答录机的那一端，阿芳依然在等待着何来的留言回覆，等待着爱情的降临。接下来的是露露，对，露露应该是这个故事的一个亮点，无疑她是三个人中最具活力，最令男人垂涎欲滴却又无法得到的尤物，也正是这样，她能在所有人中活得最为潇洒，最不受他人摆布，这样的一个独立女性，却被何来发现了她最不为人熟知的那一面，即她内心所向往的那片高贵，她一直无法能触碰到。每一个女性都希望自己是高贵而迷人的，如牡丹那般展现绚烂的花姿，不因他人而顾影自怜，但露露的职业性质决定了她虽然能让很多男性拜倒在其裙下，同样也必须依赖那些男性去谋生生存，在光鲜的外表下隐藏着一颗极需要抚慰的心灵，何来的话似乎每一句都刺痛着露露内心的创伤，在暗室的每一分钟每一秒，他们彼此交换着属于自己内心深处的痛楚，分享着自己不为人知的哀愁，通过露露的层层递进，一点一点将何来内心的谜团示于了观众眼前，也正是何来最终对露露歇斯底里般的爆发，终于让他摆脱了困扰了几十年的来自母亲离去的梦魇，在那一刻何来终于“长大”了。最后一个要说的是伦伦，无疑她是一个理想中的好妻子，好恋人 ，绝佳的恋爱对象，但她幸福么？她爱她的那个男人，非常爱，但是那个男人并不爱她，或曾经爱过吧，甚至于一直想要抛弃她，两人始终是处于若即若离的关系，只有在巴比喝醉酒的时候，她才能被感受到一种母性对爱人的慈爱，但梦醒后，一切依然如故。也许伦伦代表了大多数善良的恋爱中的女性，她们明知道对方不爱了，却始终坚信对方终会回心转意，坚守着自己的那份执著，但带来的却又是一次次的失望。伦伦最终决定和巴比分手，因为应该决定的事早晚是要做出决定的，对自己是解脱，对巴比更是，那个男人不值得她去这么爱着，在一场大雨的结束，他们的故事也划上了一个句点。三类女性都一一化为了何来“母亲”曾经的一张张快照，在何来对母亲的回忆中，我们可以细心的发现三位女性都扮演过何来童年时期的母亲形象，何来对母亲的回忆虽然是病态的，但是母亲在其记忆中的重要性是毋庸置疑的。母亲也经历过恋爱，也经历过为爱一个人，相信一个人而默默等待其归来，哪怕这只是一句所有船员都会撒的谎话。母亲含辛茹苦的将何来哺育成长，而将自己的喜怒哀乐和思念定格在了暗室的那一张张底片之下。渐渐的母亲的眼睛也失去了光芒，黑暗虽然笼罩着前方，但母亲对爱情，理想的信念并未曾消退过，她只是一直在寻找，在寻找真正属于她生命中的那片蓝色大海，有一天她终于带着何来找到了那片“海”，也许正是她跃入了那片“大海”，何来才一直难以接受这突如其来的打击，无法面对失去母亲后的那种痛楚，只能将母亲藏在了脑海的某个角落之下，和母亲玩着躲猫猫的游戏，自我欺骗得走在人生的独木桥间，那一张泛黄的旧相片，就是何来对母亲唯一的寄托，相片中母亲的微笑指引着何来去发现更多世间最迷人的笑脸，每一张有故事的脸庞也许都将成为下一个永远的微笑吧。 三个女人对应了故事中的三个男人：何来，巴比与伦伦的爸爸，从青春期的朦胧到成年的玩世不恭直至老年的幡然悔悟，男性在这个故事中成为了一个侧面，去衬托出女性在追求爱情过程中的伟大，也决定了这个故事女性主义的基调。巴比因为与前妻的离异而将婚姻看成是一种自我束缚，他必须不断地更换情人来避免自己再次陷入婚姻危机，更害怕自己会付出真心而再次受到伤害。而伦伦的爸爸因为早年的玩世不恭，抛弃了自己的妻子和女儿远赴他方，直至老年依然孤苦伶仃，无依无伴，即使是自己的亲生女儿，也不肯承认他，他虽然有了钱，但是失去的更多的亲情，欣慰的是导演是宽容的，伦伦最终还是承认了这个父亲，而他也在生命的终点前等到了女儿的那一声谅解，安心的等待着人生最后的谢幕。 故事结尾，伦伦父亲终于合上双眼，灯光亮起，故事中每一个女性形象如天使般手拉着手朝观众们走来。也许一个男人一生曾爱过得女人会很多，每一个女人也都有属于她们自己的可爱之处，这些可爱之处将拼凑出一个完美的女性形象，这个形象可能就是深藏于每个男人心中对母亲的一次掠影，一次幻灭吧 。当所有人手拉着手慢慢退出舞台，伦伦父亲重复着回旋般的诗篇，再一次从梦境中“醒”来时，原来所谓永远的微笑，只是定格在我们凝望幸福的那一瞬间，就这么简单而已。 3年前，比金士杰年长六岁，与其相恋十年的恋人叶雯因为癌症和抑郁症选择了跳海结束了自己的生命，也许也正是一种巧合吧。如果现在再去回首20年前的这部《永远的微笑》，金导又会有什么样的触动呢？今年他终于结婚了，60岁开始人生的第一次婚姻，看来这真是一次漫长的等待阿。 多少人用真心或假意, 爱过你的美貌和俏丽短暂的青春. 但只有一个人爱你朝圣者的灵魂, 爱你渐渐衰老的脸上的悲戚 -------- 叶芝<当你老了> April 24 Amanda Lear--I'll miss you 我会想你
http://blog.ntzx.cn/UploadFiles/2009-2/16928259188.mp3 Amanda Lear has always been very mysterious about her youth. She was probably born Alain Tapp in Saigon (or France) in 1939 - but it might have been Hong Kong in 1941 or 1945 or even (as she now claims) November 1948 - of mixed parentage, at various times she's claimed British, French and Indonesian fathers, and English and Russo-Oriental mothers. The only thing certain is that she was destined to become another of the gorgeous young transsexuals to emerge in France during the '60's, and was later was an icon of the 1970s'. After an education [supposedly] in Switzerland and England, by 1959 at latest Amanda had moved to France - still a tall, gangly and rather Asian looking boy. Radically transformed by hormones and a nose job, her looks attracted the eye of Salvador Dali and she was to became a regular companion for many years. She first became publicly noticed in 1960 as an exotic showgirl and stripper known as Peki d'Oslo. In 1963 she had her sex change operation, carried out in Casablanca by Dr Bourou it was probably paid for by Salvador Dali. She soon afterwards moved to England where she soon became part of the trendy "Chelsea Girl" set. Her hair now a bleached blond, in 1965 she was signed by a model agency and was soon catwalking for top designers and appearing on magazine covers, but her modelling career was eventually to be hampered by rumours of her transsexuality. In early 1973 Bryan Ferry saw the supposedly 25-year old (making her pre-teen in her showgirl days!) Amanda on stage modelling a collection for fashion designer Ossie Clarke, and invited her to feature as the cover girl for Roxy Music's new album "For Your Pleasure". Amanda was soon mixing with the likes of the Rolling Stones and Elton John, and in 1974 met David Bowie and became one of several beautiful transsexual women (Romy Haag was another) featuring large in his love life at that time, indeed they lived together for a year, and she became part of the "Ziggy" stage act. David Bowie helped start off Amanda's music career, and in the late 1970's she became a huge disco star on mainland Europe in her own right, her best albums probably being the 1978 "Sweet Revenge" and the 1980 "Diamonds for Breakfast". In the '80's and '90's she successfully made new career's both as a painter and as a TV host, although also still recording and performing her music. After her marriage to Frenchman Alain-Phillippe Malagnac in 1979, she began to vigorously deny her transsexuality and as supposed proof posed nude for several men's magazines. While this certainly proved to her delighted fans that she still had an amazing body although probably in her '40's, her case was always unconvincing given indirect evidence such as her masculine sounding voice, lack of children, failure submit to any medical tests, lack of any offered documentation (e.g. her birth certificate); and more direct evidence such as old photographs and the statements of those (particularly April Ashley, and arguably David Bowie and Salvador Dali) who knew her in the 1960's & 1970's to be a transsexual. Tragedy struck Amanda in December 2000 when her home in France burnt down, killing her husband and destroying many of her and Dali's paintings. |
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