1983年12月31日，馬迪奧從警局回到妹妹家。生性與家人疏遠(yuǎn)的馬迪奧能夠出現(xiàn)在新年夜的家庭聚會(huì)上，對于別人來說已經(jīng)是個(gè)驚喜。他嘗試著融入溫馨的氣氛中，和家人一起玩桌游，謹(jǐn)慎地不脫去外套，以防槍套和手槍被大家看到。

當(dāng)他在小屋子里和媽媽討論應(yīng)該把槍放在哪里時(shí)，他是很想徹底讓自己和其他人一樣成為這個(gè)家里溫暖的一部分的，可是也是在這個(gè)時(shí)候，與母親相顧無言的尷尬讓他終于放棄了嘗試。有些事情真的做不到。他謊稱警局有事，悄悄離開了家，回到了自己的公寓。幾分鐘后，在一片煙花之中，馬迪奧從陽臺翻身墜下。

很多評論都分析了馬迪奧自殺的必然性：耿直又善良的性格讓他無法接受現(xiàn)實(shí)無法改變的落差。極少數(shù)評論提到，馬迪奧的同性傾向。

這不是一部同性電影，是否關(guān)注到馬迪奧的性取向，對于觀賞影片而言不會(huì)出現(xiàn)理解上的斷層。不過如果能夠從性向上注意到馬迪奧的不同，會(huì)多一個(gè)因素去理解他的性格表現(xiàn)和最終的悲劇。

事實(shí)上，導(dǎo)演在影片中對于馬迪奧的性取向給出了幾次暗示。

影片開場后不久，馬迪奧和尼古拉一起去參加舞會(huì)。有一組鏡頭是這樣的。

馬迪奧的手規(guī)規(guī)矩矩地放在女伴的腰部以上

與女伴交流時(shí)保持著一定的距離，眼神四顧

下一個(gè)鏡頭就切給了尼古拉。

尼古拉已經(jīng)沉醉其中了

再下一個(gè)鏡頭：

女伴明顯靠近，目光盯著馬迪奧的嘴唇意圖索吻

馬迪奧迅速把臉移開左顧右盼

是因?yàn)轳R迪奧今天憂郁屬性爆發(fā)了嗎？

不一會(huì)兒，馬迪奧在舞池中間旁若無人地自嗨

也許舞會(huì)上的女伴并不是馬迪奧的菜？幾天后，馬迪奧帶著尼古拉和朋友們?nèi)フ易约赫J(rèn)識的妓女玩。

馬迪奧出門前從書本拿出藏好的私房錢，換上干凈的襯衫，在篝火邊等待時(shí)也很確定妓女會(huì)來，看起來輕車熟路的樣子。然而在妓女的嘴里：

馬迪奧“很古怪”

至少對于妓女來說，馬迪奧同包括尼古拉之內(nèi)的其他“客戶”訴求不一樣。

影片中段，馬迪奧驅(qū)車去找了另一個(gè)性服務(wù)者，也就是給了他項(xiàng)鏈的那個(gè)人。

小臂、手部和臉部的輪廓?jiǎng)傄悖ひ艉裰?，唇膏潦草地畫到了嘴唇以上，可見這名性服務(wù)者并不是一個(gè)天生的女性。委內(nèi)瑞拉雖然不像泰國那樣以人妖聞名，也是存在變性者的。比如2014年國際變性人選美大賽的冠軍就是來自委內(nèi)瑞拉，當(dāng)時(shí)媒體也有報(bào)道。

問題在于，馬迪奧找變性性服務(wù)者，是“饑不擇食”還是“有意為之”？答案還是要到上一組鏡頭里找。

出門前喝水

開車出門前，馬迪奧獨(dú)自在廚房，用杯子接了一杯水，一邊喝一邊若有所思，鏡頭很短。第一次看到這里我有一點(diǎn)小小的疑惑。我想很多觀眾都會(huì)認(rèn)同一點(diǎn)，即使電影時(shí)長達(dá)到了366分鐘，導(dǎo)演也不是一個(gè)濫用鏡頭的人。這樣一個(gè)主要人物的單人鏡頭，它的用意是什么？

40分鐘后，影片給了答案。

1983年12月31日，從家庭聚會(huì)上，可以說是“逃”回公寓的馬迪奧，給美拉莉打電話不通，再次從廚房接了一杯水，露出若有所思的樣子。

最后一杯水

放下水杯，馬迪奧打開了陽臺的門。

喝水，就像是馬迪奧的條件反射。從導(dǎo)演的角度出發(fā)，喝水是一把象征著“孤寂”的鑰匙，一把鑰匙只能打開一扇門，這扇門對于馬迪奧來說就是——“我要去做點(diǎn)讓自己真正輕松的事情”。

上一次他選擇遵從內(nèi)心，去找一個(gè)身為男性的性服務(wù)者；這一次他選擇從陽臺一躍而下。

這是意大利。出于天主教的原因，意大利在西歐國家里更為保守。

影片開始的1966年，馬迪奧拿好了私房錢換好了襯衫準(zhǔn)備出門前，撞見了爸爸媽媽的爭吵：爸爸為了拿到資金擴(kuò)大生意，把家里的房子抵押了出去，媽媽憤怒不已。最終妹妹緩和了這次家庭糾紛，不過媽媽一時(shí)間還是無法原諒爸爸，氣鼓鼓地和小女兒說：“可惜國家不許離婚……”

1972年，意大利才立法允許離婚。

意大利式離婚 (1961)

8.4

1961 / 意大利 / 喜劇 / 皮亞托·杰米 / 馬塞洛·馬斯楚安尼 達(dá)尼埃拉·羅卡

電影《意大利離婚》，就是講在無法離婚的背景下，移情別戀的貴族為了逃離圍城付出了怎樣的“努力”。

對待婚姻已然如此，對待同性戀可想而知。

完美陌生人 (2016)

8.5

2016 / 意大利 / 劇情 喜劇 / 保羅·杰諾維塞 / 馬可·賈利尼 卡夏·斯穆特尼亞克

從去年大火的電影《完美陌生人》里，我們可以管窺意大利對于同性戀的保守態(tài)度。故事發(fā)生在當(dāng)下，即使面對從小長大的一群好朋友，人到中年的深柜男依然要小心翼翼地守住自己的秘密。自己的性向不小心被人所知后，他面對的是單位粗暴的解約、朋友恩斷義絕的質(zhì)問。

時(shí)間倒回到上個(gè)世紀(jì)，連轟轟烈烈的同性平權(quán)大背景都沒有了。

影片里，爸爸來到尼古拉家探望小孫女。爸爸看到尼古拉依然用兩個(gè)手指敲打字機(jī)，提出要幫忙。尼古拉知道了爸爸身患絕癥的秘密，沒有拒絕爸爸的好意。

整理庭審記錄的過程中，尼古拉讀到，受審的精神科醫(yī)師懲罰性地對病人使用電擊療法，并且這個(gè)醫(yī)師認(rèn)為同性戀是一種疾病，需要特殊療法（電擊）治療。爸爸回頭認(rèn)真地問：

這一段“同性戀不是病”的臺詞，有與沒有都不影響當(dāng)時(shí)的語境，加上了，是導(dǎo)演的善意。好像在一個(gè)平行時(shí)空里，家人可以徹底接納真實(shí)的馬迪奧?？墒乾F(xiàn)實(shí)中，當(dāng)時(shí)世界上的絕大多數(shù)人還是認(rèn)為同性戀是一種精神疾病。

馬迪奧有一套自己的善惡標(biāo)準(zhǔn)。

他可以在考試?yán)镯斪怖蠋?，偷出遭受電擊的精神病人、以暴制暴救下?zhàn)友、和帶著小孩子圍觀兇殺現(xiàn)場的家長對罵、毆打找人頂罪有恃無恐的毒販。為了他所認(rèn)為的“正確”，馬迪奧做了許多超越世俗規(guī)則、不計(jì)自身后果的事。

在“愛”這個(gè)問題上，他的善惡標(biāo)準(zhǔn)失靈了。即使去找妓女，和愛慕自己的女孩一夜耳鬢廝磨，他也無法欺騙自己的感情。他愛不上女人。

被壓抑的同性戀會(huì)導(dǎo)致多種多樣的問題，其中的一類問題就是可能會(huì)帶來畸態(tài)的家庭關(guān)系。一個(gè)人無法忍受親人認(rèn)識的自己是一個(gè)不真實(shí)的自己，于是他選擇回避，刻意疏遠(yuǎn)了親情關(guān)系。

調(diào)職回到家鄉(xiāng)，馬迪奧沒有告訴家人。開車路上遇到年邁的父母在路邊蹣跚而行，他沒有停車打招呼，徑直開走。

那么多次，馬迪奧敢賭上自己的人生去堅(jiān)持做對的事，難道連和父母打個(gè)招呼的勇氣都沒有么？

是的，就是沒有。這不是不孝順，這是一種無法和自己妥協(xié)的懦弱。

下一次馬迪奧聽到自己父親的消息，是他的死訊。

1984年的元旦，一家人來到馬迪奧的公寓。

眼看著一屋子遺物，媽媽想帶點(diǎn)什么走，她用懇求的口吻說服兒女們幫忙帶一些書回去。書，是馬迪奧摯愛一生的東西。寒冷、衰老、悲痛的媽媽只能抱得住幾本書。

出門時(shí)看到工人正在清潔馬迪奧的血跡，媽媽再次情緒崩潰，剛剛還當(dāng)寶貝一樣抱著的書被她重重扔出去。她生自己的氣。

前一天晚上，兒子突然造訪，即使多年疏遠(yuǎn)，母愛的本能還是讓她感覺到了兒子的異常。整個(gè)屋子里，她是對馬迪奧關(guān)注最多的人。

想關(guān)心又怕打擾，除了說幾句客套話，媽媽只能敏感而小心翼翼地笑著。

太晚了。媽媽既不知道馬迪奧的憂郁從何而來，也不知道他的生命將去向何方。一個(gè)母親只能靜靜地看著兒子從世間流逝，無所適從。

后注：

有豆友在評論中認(rèn)為把馬迪奧的性取向歸為同性戀有過度解讀的嫌疑。我去外網(wǎng)搜索了一下影片相關(guān)的內(nèi)容，找到了影片的宣傳資料。地址如下： http://www.public.asu.edu/~srbeatty/466/TheBestofYouth%20Pressbook.pdf

資料中的一部分是馬迪奧的演員Alessio Boni的采訪，里面提到了他對于角色形象塑造下了許多功夫。其中有一個(gè)段落就在講馬迪奧的性別認(rèn)知，演員認(rèn)為馬迪奧有很強(qiáng)的性別認(rèn)知模糊（a strong sexual ambiguity ），“He has a strong – repressed, undisclosed - homosexuality. ”并且采訪中也提到了妓女認(rèn)為馬迪奧“奇怪”，以及馬迪奧要找異裝癖（a transvestite ）性服務(wù)者的情節(jié)。

Matteo has a strong sexual ambiguity, a problem with women, but nonetheless he still feels attracted by them. He falls a little for Giorgia (Jasmine Trinca), but is unable to understand her silent love declaration beside the jukebox. He falls a little for Mirella (Maya Sansa), but is unable to return her generosity. He has a strong-repressed, undisclosed-homosexuality. In the beginning while bringing his brother and friends to a whore, we see him already with changed features. She's going to be the first one to tell us that Matteo is "weird". And during the years, prostitutes are going to be a fixed appointment, as substitutes for the real women he doesn't want or doesn't know how to deal with. The last one will be a transvestite.

補(bǔ)充翻譯一下這段英文，只把英文放在這里又沒有翻譯，確實(shí)是我懶了，也影響了很多朋友理解影片。

Alessio Boni

Alessio Boni這樣理解他所飾演的Matteo這一角色：

Matteo有著一種強(qiáng)烈的性別模糊，在與女性打交道時(shí)存在障礙。盡管如此，他仍然會(huì)被女性吸引。他有一點(diǎn)喜歡Giorgia，但是卻不能理解在點(diǎn)唱機(jī)旁她那種緘默的示愛；他也有一點(diǎn)喜歡Mirella，卻無法回報(bào)她的慷慨付出。Matteo的身上有著被強(qiáng)烈壓抑的、無法示人的同性情結(jié)。

在影片的開始，Matteo帶著自己的兄弟和友人去狎妓，人們就可以看出這個(gè)角色身上的不同尋常。這里的妓女將是影片里第一個(gè)告訴觀眾Matteo有點(diǎn)“奇怪”的人。多年以來，每當(dāng)Matteo不想，或者不知道如何和女性打交道時(shí)，跑去尋訪性工作者就成了他的固定習(xí)慣，他把這些人當(dāng)做是真正女性的“替代品”。Matteo的最后一個(gè)風(fēng)塵伴侶是一名異裝癖。

相信Alessio Boni的這番話來源于編劇、導(dǎo)演和他自己對于角色的理解，并且他把這種理解留在了影片中角色的身上。

好的演員對于好的角色塑造常常是在豐富的人物小傳的基礎(chǔ)上，我想表演者對于角色的解讀更貼近于創(chuàng)作者的本意。不過在文藝作品評價(jià)上，我是一個(gè)“讀者/觀眾至上主義者”，影片傳遞了什么觀點(diǎn)、傳遞了多少觀點(diǎn)，讀者/觀眾的主觀感知才是重點(diǎn)。

文藝作品不是語文考試的閱讀理解題，沒有一個(gè)“標(biāo)準(zhǔn)答案”。馬迪奧是一個(gè)怎樣的人，你的觀點(diǎn)更重要。

當(dāng)時(shí)寫這篇文章只是因?yàn)樵谒⒘藘扇坞娪爸?，我個(gè)人從前面文章里面提到的情節(jié)中感覺到了一些可能性，去網(wǎng)上搜索類似的觀點(diǎn)，卻發(fā)現(xiàn)中文網(wǎng)絡(luò)上類似的討論很少（其實(shí)英文網(wǎng)絡(luò)上也不多，畢竟是意大利電影，還是時(shí)長6小時(shí)的小眾文藝片），因此想把這個(gè)想法記錄下來，如果有其他觀眾搜索類似的內(nèi)容，他們至少可以找到點(diǎn)東西。換句話說，上面的觀點(diǎn)不是一個(gè)“定論”，而是一個(gè)“坐標(biāo)”。

It was a six hours long Italian movie. It was shown in a small theatre in SF’s Richmond district, very close to Pacific Ocean. I knew nothing about the movie, besides its length, before went in the theatre. I went because Gui thought it was worthy. I always trust Gui’s taste in movies. We were well-prepared, carried a small shopping bag full of various healthy soft drinks: chocolate soy milk, mango juice, and water, cookies, and chocolate, plus a small pillow for Gui’s back. It felt like a school field trip. Since the movie was shown in two parts with half an hour intermission in between. We only bought tickets to see the first half first. Left our option open in case we wanted to give up on the 2nd half. We ended up watching the movie in full. Before the second half started, we walked up and down the quiet street bathed in brilliant afternoon sunshine. The ocean is visible not far off, at the end of the street. Accidentally discovered a lovely coffee shop, too. (The coffee shop was named ‘Simple Pleasure Cafe’, with loads of old sofa in all shapes and sizes, plus a piano!) I liked the movie. Couldn’t get my mind clear of the story well into the evening. A few words from the ever so eloquent Anthony Lane: "This is how people find love in “The Best of Youth.” They meet in a small kitchen, where one of them calls the other a klutz for not being able to work the coffee machine. They talk about college, and exchange a look. That’s it. And this is how people make out: they fumble warmly in a car, beside a phone booth, with no music surging to their aid; unless you count the Roman rain outside, with its soft percussive beat. "All of which confirms that we are in the midst of verifiable human conduct. “The Best of Youth” runs, though never dawdles, for an easy six hours, with barely a false note. Directed by Marco Tullio Giordana, it was commissioned by Italian television; here it has already shown at Film Forum, in two three-hour chunks, and will play at Cinema Village before heading elsewhere across the country. There is absolutely no reason not to sacrifice a couple of your evenings for the sake of the Caratis, the lightly bound clan at the heart of Giordana’s epic; not, I should add, because they will offer you a pulsing escape from your own family life but precisely because the rhythm of their pleasures and scarrings will, over time, come to seem like a consoling echo of your own. When a movie starts, as this one does, with a dad interrupting his son’s homework and asking if he can help move a TV set, you know you are on home ground. " Warning, if you plan to watch the movie. Stop reading now. Don’t want to spoil your experiences. The story confirmed my conclusion about suicides once again, which was that suicide was never a premeditate decision. It was triggered by a spur of the moment weakness, loneliness. Maybe it was piled up by all kinds of depression and bottled up feelings left unexpressed. But that moment was never pre-determined. So there were many “what-ifs”. And all the “whatifs” might have would have prevented the tragedy. If someone they love would call at that moment, if someone they cared about happened to be with them, happened to show up, even if some stranger suddenly interfered at that moment, all would have turned out okay. That led to what the character in the movie, Nicola, concluded for himself, that he shouldn’t have left people he love alone. He always thought “people has the right to live however they pleased.” But sometimes the ones we love are not as strong as we perceived. They needed our voice of reason to nag them. They needed reassurance of love and the feeling that they were needed. The modern world, especially the western modern world’s politeness, and the respect for privacy sometimes led to deadly consequences. Because we are all so alone. We needed to know we are loved and we are needed. Constantly. That’s why I think gun is such an evil weapon. It helped that moment of weakness plunge into the abyss, with no return, no second chance. It was so final, so quick and so deadly. A couple of more interesting points about the movie: # My friend's Gui's comment: I kept thinking about the movie, too. Of Matteo’s death. Then a “side thought” came to me: if the actor wasn’t so beautiful, would I care as much? I doubt I would (I imagined if the charactor was played by… say, Matt Damon). Matteo was intelligent, sensitive, and well-meaning, but behaved quite a bit like a jerk. His beauty seems to be the thing that completes the package and makes it compelling. But if this movie was a novel — as many critics compared it to — it would be a different matter. Visual elements are always so simple and powerful. My Reply: I was actually thinking that the major mis-calculation on all Matteo’s friends and family made was the “intelligent” part. How he always got A’s. Everyone assumed that because he was highly intelligent so he must know what was best for himself. But Intelligence is overrated, not just in the case of Enron. Beauty certain helped. It, like you pointed out, perfected him even more. Turned him into a god, who could do no wrong. But gods do all kinds of stupid things, don’t they? They could get away with their deeds because they are immortal. - Anthony Lane’s Review from the New Yorker, Issue of 2005-04-25IN TRANSLATION : http://www.newyorker.com/printables/critics/050425crci_cinema