好萊塢的名導們各擅勝場
例如希區考克是驚悚懸疑大師
史蒂芬·史匹柏早期拍攝科幻冒險電影為主
之後身為猶太人的使命感使其擴及戰爭於猶太人屠殺題材
又例如克里斯多福·諾蘭很早接觸電影製作
重視形上學與存在主義
也多次嘗試落實非常規的敘事結構、現場特效
是位很跳tone的電影工作者
而已故的英國導演安東尼·明格拉 無論拍攝什麼題材
無論主演者是哪些演員
甚至即使在充滿衝突與張力的劇情裡
也始終沒有失去個人特色中的優雅、格調
倒敘與現實並行的劇情常考驗導演說故事的能力
而他利用象徵性物件、場景
或甚至是配樂主題的手法建構蒙太奇剪接的影像美學
完全不落一般電影在鏡頭間切換的俗套
意境也更上了一層樓
電影片頭毛筆描圖佐以匈牙利民謠女歌手Marta的吟唱
濃烈異國氛圍下的歌詞其實暗示著不能曝光也不能圓滿的感情
以及遠古石窟壁畫文明的嬗變--
畫面從毛筆描繪的泳客無縫過渡到漫漫黃沙
盎然生意像瞬間被抽了真空
一個鏡頭就把萬年的地質更迭給交代
那一晃眼正如160分鐘演繹一世情愛
地理上確有其洞
位於埃及的利比亞沙漠中
1933年被發現後命名為「泳者之洞 （Cave of Swimmers）」
顯示這裡曾有江河水源
今天非洲卻成為大漠
無疑是種滄海桑田的慨嘆
吟唱內容英譯如下：
Love, love
accursed torture
why did you not blossom
on every treetop?
On the top of every tree,
on the leafs of the walnut tree,
so that every maiden and young man would have plucked you.
Because I plucked it too,
but let it slip away.
I plucked it too,
but let it slip away.
I'd pluck more and more if I found a good one,
a good one, a beautiful one,
my old lover.
And for my old lover what wouldn't I do?
I would skim the water from the sea with a spoon.
And from the bottom of the sea.
I would gather small pearls and for my old lover,
I would braid a wreath of pearls.
石窟洞穴源於先民shelter的庇護功能與概念
但呼應著片頭的泅泳
不能見天日的愛情在此得到澎湃洶湧的氾濫
從兩人的共鳴、慕戀到困鬥、訣別
始終於此
乃至Katharine絕筆寫下--
My darling, I'm waiting for you.
How long is the day in the dark? Or a week?
The fire is gone, and I'm horribly cold.
I really should drag myself outside but then there'd be the sun.
I'm afraid I waste the light on the paintings, not writing these words.
We die rich with lovers and tribes, tastes we have swallowed,
bodies we've entered and swum up like rivers.
Fears we've hidden in - like this wretched cave.
I want all this marked on my body.
Where the real countries are.
Not boundaries drawn on mapswith the names of powerful men.
I know you'll come carry me out to the Palace of Winds.
That's what I've wanted:
To walk in such a place with you.
With friends, on an earth without maps.
How long is the day in the dark? Or a week?
The fire is gone, and I'm horribly cold.
I really should drag myself outside but then there'd be the sun.
I'm afraid I waste the light on the paintings, not writing these words.
We die rich with lovers and tribes, tastes we have swallowed,
bodies we've entered and swum up like rivers.
Fears we've hidden in - like this wretched cave.
I want all this marked on my body.
Where the real countries are.
Not boundaries drawn on mapswith the names of powerful men.
I know you'll come carry me out to the Palace of Winds.
That's what I've wanted:
To walk in such a place with you.
With friends, on an earth without maps.
正是我上一篇對"boundary"的興嘆--
唯有「生」到了盡頭
我們才得著泅泳的自由
有形界線也才會真正瓦解
所謂的「死」
彷彿只是生的另一種延續
四年前曾造訪歐亞大陸的極西南點
亦即葡萄牙的羅卡角
上面寫著賈梅士在盧濟塔尼亞人之歌 中的名句：
陸止於此、海始於斯（Onde a terra acaba e o mar começa）--
看似分水嶺
海陸界線實則在板塊移動下暗暗改變
所有形式到了底都會面臨某種轉換
絕處可能逢生
遠古的江河也能乾涸
常說莫忘初衷
海枯石爛 翻天覆地的塵埃落定後
步出洞窟重見天日那一刻
都該端詳是否初心仍在
磨難是否帶來了昇華
