一個(gè)很有潛力的主題，又被新一代的臺(tái)灣“頂尖”導(dǎo)演小清新掉了。

對(duì)著婆婆吱吱發(fā)電？再唱一首類似陳老師的歌。我想說，真的很瞧不起這些年臺(tái)灣導(dǎo)演們偶像劇般精緻的畫面、妝容。

電影不是拍些可以動(dòng)的好看的照片。也不是在這些照片後面加一些無(wú)病呻吟的喟歎。

讓張震鬍子拉碴地低語(yǔ)：日記可以記得下所有的浪漫嗎。他不是那個(gè)真實(shí)地?fù)u滾死忠了。

我們?cè)僖膊荒芷诖龔堈鹋腔苍陉魩X街，做那個(gè)輪廓尚不清晰的張震。一如我們今天無(wú)法再期待臺(tái)灣出現(xiàn)楊德昌這樣的導(dǎo)演，哪怕侯孝賢也不行。

如果說老人在失憶，城市在失憶。那麼今天的臺(tái)灣電影只模糊地捕捉到了新浪潮的長(zhǎng)鏡頭再雜糅一些對(duì)於好萊塢、市場(chǎng)、和所謂“文藝”的偏執(zhí)，好像才是最嚴(yán)重徹底的一場(chǎng)失憶。

四個(gè)片段，臺(tái)灣的善良仁慈。人在記憶中應(yīng)更接近本性，因此我們常常用記憶的方式去喚醒良知，雖然現(xiàn)實(shí)中我們常常殘忍。數(shù)年前，就被記憶觸動(dòng)了對(duì)老人的關(guān)愛，像該電影的原因，都是想喚醒更多人對(duì)逝去光陰的緬懷，并善待身邊的老人，無(wú)論他們已經(jīng)不能言語(yǔ)了、甚至不能動(dòng)彈。

被遺忘的時(shí)光

文/四月

《昨日的記憶》集結(jié)了臺(tái)灣四位新銳青年導(dǎo)演和多位優(yōu)秀演員的能量，拍攝了四個(gè)以失智老人為題材的短片，用不同的影像風(fēng)格、處理手法給予了四種完全不同的視角。讓人們看見了不同的家庭與人情，不同的矛盾與掙扎，不同的生活狀態(tài)和社會(huì)文明，乃至整座城市的特殊記憶。

何蔚庭是這個(gè)項(xiàng)目里唯一遵守15分鐘片長(zhǎng)的初衷的導(dǎo)演。2011年同年，他受邀參與了由金馬影展發(fā)起的《10+10》電影聯(lián)合創(chuàng)作計(jì)劃，完成短片《100》。有意思的是，《100》同樣是一個(gè)老人題材，何蔚庭以紀(jì)錄片的方法拍攝了一位走山路取信的百歲老人，僅是在其中設(shè)計(jì)了一些橋段，無(wú)臺(tái)詞的長(zhǎng)鏡頭一氣呵成。而到了《昨日的記憶》中的《我愛恰恰》則轉(zhuǎn)換成了劇情片，增強(qiáng)了故事性。影片開頭老人的單獨(dú)出場(chǎng)，導(dǎo)演花了近4分半鐘的時(shí)間，使得這個(gè)老人看上去仿佛是在獨(dú)居，但隨著桌上的早餐出現(xiàn)，與他生活息息相關(guān)的人才慢慢地一個(gè)個(gè)出現(xiàn)。晚上和妻子回到家，桌上再次出現(xiàn)了晚餐，一個(gè)從無(wú)到有的過程，是揀拾記憶的過程。細(xì)心的觀眾也許會(huì)發(fā)現(xiàn)白天的餐桌所正對(duì)的墻面空蕩蕩，晚上回來(lái)已是掛滿了家庭照片。結(jié)尾的設(shè)計(jì)也很巧妙，重復(fù)片頭老人被鬧鐘喚醒的過程，開始到結(jié)束，對(duì)于他身邊的人來(lái)說是種時(shí)間的重復(fù)，而對(duì)于失去記憶的老人來(lái)說，則是人生每天新的循環(huán)。這看上去很像美國(guó)電影《初戀50次》，無(wú)非主角換成一位老人，每天從一個(gè)孤獨(dú)的狀態(tài)中醒來(lái)，不斷地偶遇，發(fā)現(xiàn)驚喜。就是這樣一種從放空到填滿的狀態(tài)，你可以從不斷被作特寫的老人的面部神情中讀取到從茫然轉(zhuǎn)換成幸福的信息，這是一個(gè)被愛逐漸填滿的過程。失去記憶本來(lái)是件很悲傷的事情，但是何蔚庭的拍攝卻讓它顯得格外溫暖而正面，充滿了人情味。一直很喜歡蔡明亮的何蔚庭，受到《洞》里葛蘭的啟發(fā)，《曼波女郎》的經(jīng)典片段便成為了這場(chǎng)戲的重要線索，串聯(lián)起兩位老人年輕時(shí)愛的甜蜜記憶。而此前和何蔚庭多次合作的美籍?dāng)z影師包軒鳴（Jake Pollock）也再次帶來(lái)了獨(dú)特而強(qiáng)烈的攝影風(fēng)格。

同樣參與了《10+10》拍攝計(jì)劃的沈可尚也在此次的拍攝中遞交了一份細(xì)膩的作品《通電》。這位有豐富的短片和紀(jì)錄片拍攝經(jīng)歷的年輕導(dǎo)演，曾以《野球孩子》在2008年的臺(tái)灣國(guó)際紀(jì)錄片雙年展臺(tái)灣獎(jiǎng)中獲得首獎(jiǎng)。與其他三個(gè)小品不同的是，導(dǎo)演側(cè)重于表現(xiàn)照顧老人的家屬所背負(fù)的心頭沉重感。除了家庭相片外，能作為共同記憶最重要的證據(jù)的恐怕就只有家庭錄影帶了，導(dǎo)演在片中加入了這不同影片本身的8CM質(zhì)感，卻有了一種更真實(shí)的情感交流。三代人，三個(gè)女人，雖然生活在一起，卻總是缺少一種溝通。在現(xiàn)實(shí)里各自都有疲憊與無(wú)奈的一面，這充滿顆粒的混合記憶稀釋緩和了現(xiàn)實(shí)里最尖銳的矛盾，不可分離和舍棄的親情在此刻才顯得格外珍貴。而影片最驚人的對(duì)比是，當(dāng)母女在送老人去安撫院的路上，失智的婆婆突然在車?yán)餆o(wú)知覺地說起丫丫小時(shí)候第一次坐車的小細(xì)節(jié)，而這正是隔代人已經(jīng)遺忘的童年記憶。而此前時(shí)刻以為自己是歌星的老人木然面對(duì)著自彈自唱的郭采潔，看似是一種溝通的缺失，其實(shí)又有微妙的聯(lián)接，她仿佛在延續(xù)著婆婆失去的那部分記憶與夢(mèng)想。雖然有音樂和家庭沖突，這部片子的基調(diào)卻是沉靜的。此片的另一個(gè)特點(diǎn)還在于導(dǎo)演擅用鏡子敘事，來(lái)折射和反觀人物的內(nèi)心。而郭采潔在其中所作的原創(chuàng)歌曲i me mine，唱道“我找不到自己回來(lái)”，像是三代人分別處于對(duì)過去、對(duì)現(xiàn)在、對(duì)未來(lái)的迷路狀態(tài)，更是把三個(gè)女人的命運(yùn)貫穿了起來(lái)，融為一體，或許這就是一種通電。這其實(shí)是這組短片的最后一部，像是呼應(yīng)第一個(gè)短片《迷路》，幾部短片都在面臨是否要將失智老人送去安撫院的抉擇，而直到《通電》作為結(jié)束短片，它最終成了一個(gè)傷感的歸途。

同樣將重心放在親情記憶的第一部短片《迷路》是來(lái)自女導(dǎo)演姜秀瓊的，也是四個(gè)短片中最為深情的一部。影片獨(dú)特的描繪方式是讓老人只出現(xiàn)聲音和無(wú)法完全辨認(rèn)全貌的相片里，而老人這個(gè)實(shí)體的角色并沒有出場(chǎng)過。反而是震生在尋找走失的爺爺時(shí)，與舊日戀人重逢，于是，震生與爺爺，小艾與兒子，震生與小艾，日記和信件交錯(cuò)著牽扯出了兩人的昔日戀情，更將彼此帶入到那份厚實(shí)的親情中，形成了一種生命就是一個(gè)不斷丟失與尋找的過程。結(jié)尾忘帶鑰匙的震生呼喊敲打著期望爺爺開門，忽然就轉(zhuǎn)換成了：走失的不是爺爺，而是他。關(guān)于這個(gè)短片，姜秀瓊自己說“如果有一天我們孜孜追求的事情都將遺忘了，那現(xiàn)在的我們?cè)撟非笫裁?？活在?dāng)下珍惜當(dāng)下人人會(huì)說，但時(shí)刻清醒貫徹執(zhí)行的又有幾人？時(shí)間唯有在你肯狠狠注視生命時(shí)，它才會(huì)真正產(chǎn)生出所謂的意義?！倍P(guān)于導(dǎo)演姜秀瓊，除了紀(jì)錄片《乘著光影旅行－李屏賓的攝影人生》外，在臺(tái)灣已逝電影大師楊德昌的電影《牯嶺街少年殺人事件》中，她曾與張震扮演一對(duì)姐弟，這是令誰(shuí)都無(wú)法忘懷的昨日記憶。

另一位頗有才華的女導(dǎo)演陳芯宜拍攝的《阿霞的掛鐘》則以最直接的方式描述了時(shí)間，是四部短片中唯一一部直接透露出老人內(nèi)心孤獨(dú)感的，也是最有生活根基最具人文氣息的作品。待拆遷的老房子，老式的家具，停走的時(shí)鐘，漏水的天花板，泛黃的舊照片，甚至透進(jìn)房間的自然光，都傳達(dá)了衰老的意像和時(shí)間的印痕。兩個(gè)老人坐在沙發(fā)上對(duì)話，在三十年的時(shí)空里輾轉(zhuǎn)反復(fù)，他們之間的記憶交集來(lái)自女人的亡夫，集中的對(duì)白把這三十年的故事都講了出來(lái)，不同于《我愛恰恰》，這部分的情感交流，一個(gè)是失落，一個(gè)是悲傷。鑰匙此刻依舊是開門的道具，卻完全具備了不同的意義，既是女人封鎖了三十年的記憶：一片荒蕪，什么也沒有留下。又展現(xiàn)了一個(gè)城市昨天和今天的文明進(jìn)程。在開門破墻的那一刻，仿佛是費(fèi)里尼《樂隊(duì)彩排》的片尾，巨大的鐵錘重重一擊之后消除了兩個(gè)世界的障礙。打碎了兩位老人藏在心底對(duì)時(shí)間和記憶的困惑，也由個(gè)人記憶帶出一座城市的記憶，導(dǎo)演在主題的寬度上由此作了巧妙的對(duì)接。人，城市都和時(shí)間同老，都會(huì)在時(shí)間的廢墟里被人逐漸淡忘。“時(shí)間又開始走了”，恍神的女人嘴里冒出的這一句也是在講給大家聽：不要遺忘了過去的時(shí)光。


The Forgotten Time

FAN Yumin

Memory of Yesterday is a short film about four old men with Alzheimer disease. Created by four young prominent directors and several excellent actors from Taiwan, this short film presents us different families and people, contradiction and struggle, living condition and civilization, and to some extends, the special memory of the city.

Weiting He is the only director in this project who follows the original 15-minute-length intention. In 2011, Golden Horse Film Festival invited him to the 10+10 joint film creation plan, and he successfully made a short film 100. What’s interesting is that the topic of the short film 100 is also about the elderly. Using the method of documentary, Weiting He shot a story of an old man, who tramps over hill and dale to grab a letter. He designed some scenes and used the technique of full-length features no dialogue. As to Memory of Yesterday and I Love Cha-Cha, Wei modified them into feature film to increase their sense of story. At the beginning of Memory of Yesterday, The director spends nearly four minutes and a half to show an old man’s life. The old man appears lonely and it is the director’s intention to make the old man seems to be living alone. Along with the appearance of the breakfast on the table, the people who closely relate to him start to come into our view. Back home at night with his wife, and dinner appears again on the table. This is a progress of collecting memory. Some scrupulous audience may find that the wall against the dining table is empty in the day, but full of family photos when they are back at night. The design of the ending is also very clever – the director repeats the progress of the old man waked up by alarm clock, from the beginning to the end. It is a repeat of time to the people around him, but to the old man who lost his memory, it is a new loop of his life. This design looks very much like the American movie 50 First Dates, the only difference is that in this short film, the protagonist is an old man who wakes up lonely everyday and encounter surprises on and on. From such a condition of empty to fulfilled as well as from the facial expression of the old man, you can interpret the information that the old man’s inner world is turning from hollowness to happiness, and this is the progress that the old man is gradually filled with love. Memory loss is pathetic, however, Weiting He’s shooting makes it excessively cozy and bright. Mingliang Cai is Weiting He’s long worshiped director, his work Hole as well as Mambo Girl impressed He a lot. The classic scene in Mambo Girl is turned into an important clue in The Forgotten Time, the sweet memories of the two elderly is linked by this clue. What’s more, American photographer Jake Pollock, who had had several co-operations with Weiting He, imposes unique and strong camera style on this short film as well.

Another director Kesahng Shen, who had also joined the 10+10 joint film creation plan, handed in a delicate work named Power Connection this time. This young director has noticeable experience in short films and documentary films, and he had won the first prize of Taiwan Award in The Taiwan International Documentary Biennale 2008 with his work Baseball Boy. Power On is different from the other three, in this film, the director focuses on the mental pressure of the family members who take care of the elderly. Apart from family pictures, home video seems to be the most important evidence of shared memories. The director uses 8 CM texture, which is not suitable in this film to express a more authentic emotion exchanges. Three generations, three women, though live together, they always seem to lack communication. They each has their own tiredness and helplessness in real life, but the granular sensation of mixed memory dilutes and relaxed the most acute contradiction in their life, and the inseparable kinship becomes extremely precious under this circumstance. The most astonishing comparison in this short film is when the old lady’s daughter and granddaughter send her to the nursing home, the demented old lady starts to talk about some details of her granddaughter’s first ride on bus, and that is the lost memory across generation. Earlier in this movie, the old lady thought she is a singer and when she saw Caijie Guo singing, she was astonished. It seems to be a lost of communication, but actually, the two has exquisite linking — Guo is continuing the old lady’s lost memory as well as her dream. The emotion keynote of this movie is quiet, though it contains some clash between music and family. Another feature of this movie is that the director is skilled in narrating with mirror, to reflect and look back in the inner world of the characters. In Caijie Guo’s original song I Me Mine, the line I can’t find way to come back, seems to reflecting the three generations’ confusing condition to the past, present and future. It’s more likely that it links the destiny of the three generations together as a whole, maybe it is a kind of power connection to some extend. Power Connection is the last one of this short film group, so it is a kind of echo to the first movie Lost. In the four movies, those demented elderly all face the choice whether to go to the nursing home, and Power Connection as the last one, shows us a pathetic ending as a conclusion of the group.

The first short film Lost in this group also lays emphasis on family memories. Directed by female director Xiuqiong Jiang, this one is the most sentimental one. In this film, the old man does not actually appear on the screen, instead, there are only the old man’s voice and fragment of photos. What we see is that when Zhengsheng went to look for his lost grandfather, he encountered his ex-lover. The interwoven of Zhengsheng and his grandfather, Xiaoai and his son, Zhengsheng and Xiaoai, dairies and letters brings the past love story. This makes each other feel the deep family love, and presents that life is a progress of lost and find. In the end, when Zhengsheng forgets to take keys with him and knock the door hoping his grandfather would open the door for him, the scenario changes suddenly to that the lost one is Zhengsheng himself instead of his grandfather. The director Xiuqiong Jiang says, “If one day, we even forget the thing we diligently pursue, then what would we pursue now? Everyone knows we should live in the moment and cherish the present, but how many of him or her really carry this out? Time is only meaningful when you really paid attention to your life.” As to director Xiuqiong Jiang, besides her documentary Travel with Shadow—Pingdong Li’s Photography Life, her portray as a sister in the late famous Taiwan movie director Dechang Yang’s A Bright Summer Day is also an unforgettable memory.

Another talented female director Xinyi Chen’s work A Xia’s Wall Clock describes time in a most direct way, and this short film is the only one that expresses the inner hollowness of the elderly, thus the most real and cultural one. All the things convey the image of aging and the past of time—the old house to be demolished, outdated furniture, stopped clock, slack ceiling, old photos, even the nature light project in the room. Two old men talk to each other on the sofa, and their common memory comes from the women’s late husband. Through the dialogue, stories happened in the past thirty years all come into appearance. Different from I Love Cha-Cha, this part shows a frustrated and sorrowful emotion of the two. The key still plays as a tool to open the door, but the meaning is completely different. It is not only the women’s 30-year dust-laden barren memory, but also the civilizing process of the city. At the moment when the door is hit open, the ending of Fellini’s Band Rehearsal seems to reappear— the giant hammer breaks the obstacles between the two different worlds. It breaks the two old men’s hidden confusion to time and memory, and it also drag out a whole city’s memory from personal memory. The theme of this movie is thus exquisitely extended. People, city and time grow old together, and all will be forgotten in the time wreckages. In the end, the dreamy woman says, “The time starts to go on again”, and this line is also for all the audience.

（譯/汪雅璐）

迷路：獨(dú)守家中失智爺爺?shù)膶O子，一邊是前女友的離別，一邊是堅(jiān)守爺爺?shù)呢?zé)任。阿霞的掛鐘：失智的母親跑回拆遷老屋，詢問好友老莊30年前死去丈夫的下落，老莊幫著找回掛鐘，隨后被女兒帶回。我愛恰?。菏е堑睦舷壬账寄钪鯌偾槿艘彩侨缃竦钠拮樱皇敲鎸?duì)著每日照顧著自己的妻子卻根本不認(rèn)識(shí)。通電：姥姥患上失智癥，母親面對(duì)殘酷的現(xiàn)實(shí)受不了，最終送走，外孫女痛苦的訣別。

影片由臺(tái)灣天主教失智老人基金會(huì)推出，四名臺(tái)灣新秀導(dǎo)演執(zhí)導(dǎo)四個(gè)家庭四段失智老人的故事。盡管請(qǐng)來(lái)不少明星卡司加盟，以張震和隋棠開場(chǎng)，老藝人馬之秦和顧寶明串場(chǎng)，再由羅大佑的前妻李烈和郭采潔收尾。讓人對(duì)失智老人的無(wú)奈和其家庭的同情，提起大家對(duì)此樣群體的關(guān)懷之心。但是，影片的整體感覺并沒有福利基金會(huì)的上一部，由楊力州執(zhí)導(dǎo)的紀(jì)錄片《被遺忘的時(shí)光》更加深刻感人?；蛟S是因?yàn)槠渲械难堇[成分過多，表現(xiàn)手法也稍顯不足，失去了那些直指人心的悸動(dòng)。

無(wú)論如何，讓觀眾們有機(jī)會(huì)關(guān)注一下身邊的弱勢(shì)群體，都是件值得鼓勵(lì)和支持的事情。畢竟，人家的今日寫照很可能就是我們的明日遭遇。提前感受體會(huì)一下那般境遇，提早思索一下應(yīng)對(duì)之策，于人于己都是件善事。讓我們更好的珍惜現(xiàn)在的記憶，不要成為殘缺的記憶碎片。

　　看完影片的同時(shí)，媽媽把煮好的宵夜遞放在桌上 然后轉(zhuǎn)身離開我的房間。沒有一句話。
　　
　　爸爸總喜歡在一邊幫我做事的時(shí)候念叨著“以后我老了 你不知道會(huì)不會(huì)這樣對(duì)我噢”
　　
　　我突然想起太多父母細(xì)心照料的畫面。
　　比如小學(xué)時(shí) 爸爸每天中午都頂著烈日騎自行車為我送飯 幫我洗堆得山高的尿布 為我撥蝦姑挑雞爪的骨頭 幫我切好水果包在袋子里讓我?guī)С鲩T 。。
　　
　　還有媽媽站在車站為我送衣服的身影 我隨便一說就跑下樓幫我買我想吃的東西 舍得給我吃好的用好的讓身邊的同學(xué)都以為我家特有錢 還有在病床前的形影不離 為我擦洗身子為我倒掉尿液 。。
　　
　　這些生活里微不足道得幾乎就快要被忽略的小事 是擁有的多少耐心和愛才能如此。
　　
　　然后又想起去上海的時(shí)候 ZX的媽媽說跟我說 她生完孩子以后得了乳腺炎 胸部里面的膿液漲得難受 醫(yī)生說要吸出來(lái)才能好 可是她丈夫不肯 覺得特別惡心 于是她一直難受 反反復(fù)復(fù)的折騰。最后自己的母親前來(lái)探望 踏進(jìn)家門的那一刻 看到她的摸樣 二話不說放下行李就上前去把她乳腺里的膿液吸出來(lái)。她說那一刻她的眼淚就留下來(lái)了。誰(shuí)能和自己的母親比。
　　
　　聽到這件事的時(shí)候 我心里默念的是男人都是畜生 孩子是為誰(shuí)生的 他媽的你在床上的時(shí)候怎么不覺得惡心 。再然后就是想著父母的愛是世界上最偉大的愛 沒有什么能比
　　
　　所以，我也會(huì)提醒自己，永遠(yuǎn)不要忘記這些生活里容易被忽略的關(guān)愛。當(dāng)有一天父母老得走不動(dòng)了 大小便不能自理了 老年癡呆了 我們也要耐心的侍奉左右 就像當(dāng)年他們也是如此毫無(wú)厭倦的把我們一點(diǎn)點(diǎn)的拉扯大。