蛋奶蜜三部曲

Egg (Yumurta) (2007) / Semih Kaplanoglu

Egg (Yumurta) (2007) / Semih Kaplanoglu

Milk (Süt) (2008) / Semih Kaplanoglu

Milk (Süt) (2008) / Semih Kaplanoglu

Honey (Bal) (2010) / Semih Kaplanoglu

Honey (Bal) (2010) / Semih Kaplanoglu

倒拍Yusuf三部曲:成年、少年、童年。感受時間的重量,緬懷過去的時光。

三部曲基本上同出一轍,長鏡頭的畫面,近乎靜止的狀態,畫面恬靜且如詩美麗,感受大自然之美,享受土耳其的鄉村風光。戲中人的對白少之又少,靠眼神及肢體語言做戲,以環境聲音代替配樂,感情的表達含畜卻刻骨銘心,一切都充滿詩意。

《雞蛋》中的思鄉情懷、《牛奶》的母子關係,《蜂蜜》中的父子關係,在順序觀看後,經過腦袋一輪整理,由看《雞蛋》時的茫無頭緒、看《牛奶》時的一知半解,到《蜂蜜》的揪心感動,我感受到電影中時間的流逝及其帶來的變遷。由成年回望過去,找尋那份遺失的童真,憶起最初寫詩的因由。藍波的詩、神秘的女孩、鄉間的純樸,還有最重要的父母,均影響了Yusuf的人生。

除了電影,導演Semih Kaplanoğlu的話同樣觸動了我:

“What I’m looking at here is a longish cinematographic flash-back. Call it an internal journey, if you will, towards the authentic and away from the globalising face and appearance of the world’s provinces. For it is in our provinces that the feeling of time, so eroded by civilisation, still clings.

This will also be something of an archaeological dig, extending from the last days of the mother-son relationship (with the death of the mother in Egg) to the beginning (the birth of the son in Honey). I hope in this way to narrate the burden and pain of passing time so that I may be able to invite everyone to remember and think about his own time. We all have mothers we love and it is highly possible that much is hidden in the time we spent with our mothers, and the time we are no longer able to spend with them.

I wish to note that my films are not only bound to the story, that is, the screenplay. I am of the view that time is the raw material of cinema. My expression is plain, spare in dialogue, shaped by visual and audio details and focused on conveying the sense of time passing with every breath.”

(from Yusuf Trilogy / Director’s Note)

說實話,相對於前兩部戲,《蜂蜜》的故事性確實較強,較容易引起共鳴,所以三部曲中,我最喜歡《蜂蜜》。飾演小Yusuf的小演員實在太可愛了,演活了單純膽怯的孩子。我也如導演所說的邊看邊勾起過去的回憶,在小Yusuf還未知道父親意外身亡之時,已忍不住落淚。

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