雙語新聞：《青少年哪吒》登陸紐約

《青少年哪吒》不僅有個極爲精彩的標題，也標誌着現代電影史上一段偉大曆程的開始。該片儘管在全球都擁有狂熱擁躉，但卻從未在美國正式發行。它是蔡明亮導演的首部電影，他後來的其他作品令他躋身較爲年長的侯孝賢、楊德昌等人之列，共同成爲20世紀90年代臺灣新浪潮的領軍人物(週五他的回顧展映將於皇后區阿斯托利亞電影博物館上映)。

Made in 1992, “Rebels” feels anything but dated. Youthful disaffection never gets old, and the four alienated 20-ish Taipei residents who drift through Mr. Tsai’s artfully angled frames bear an evident kinship to the characters in Jean-Luc Godard’s “Band of Outsiders,” Harmony Korine’s “Spring Breakers” and a hundred other movies produced since World War II. They ride around the city on motorbikes, stopping to smoke cigarettes and hang out in video arcades, all-night restaurants and love hotels. They are bored, restless, antisocial and vaguely in search of some kind of intensity.

《青少年哪吒》攝於1992年，卻並不覺得過時。年輕人的不滿情緒永遠不會老，四個二十多歲、不合羣的臺北人在蔡明亮精心設計、角度獨特的畫面中飄蕩，與讓-呂科·戈達爾(Jean-Luc Godard)的《法外之徒》(Band of Outsiders)與哈莫尼·科林(Harmony Korine)的《春假》(Harmony Korine)等百餘部“二戰”後的影片顯然具備親緣關係。他們騎着摩托車環遊城市、停下來抽菸，流連於錄像廳、通宵飯館和色情小旅館。他們煩悶不安、反社會、懵懂地尋找着某種激情。

In the films that immediately followed — “Vive L’Amour,” “The River” and “The Hole” — Mr. Tsai would enrich this stark, sad vision of life in Taipei and refine his melancholy, absurdist style. Although “Rebels” tells a slighter, somewhat more conventional story than those movies, it could hardly be mistaken for anyone else’s work. The camera movements are minimal and precise, turning what might seem like ordinary shots into sly jokes. There is water everywhere — torrential downpours sweeping the streets and a mysterious flood in a main character’s apartment.

這部影片後，蔡明亮很快推出了其他作品：《愛情萬歲》、《河流》和《洞》，在這些續作之中，他進一步描述了荒蕪悲哀的臺北生活，奠定了自己憂鬱、荒誕的風格。與他的其他作品相比，《青少年哪吒》講述了一個更微小、某種程度上更加傳統的故事，但它也同樣有着蔡明亮獨特的痕跡。鏡頭運動細微而精準，讓本來可能是平平無奇的鏡頭變成狡黠的玩笑。到處都是水——湍流般的傾盆大雨橫掃街道，一位主角的公寓裏出現神祕的洪水。

Above all, there are performers who would become fixtures of this director’s imaginative universe. Chief among them is Lee Kang-sheng, a slender, nearly silent man with a Keatonesque deadpan who has appeared in all 10 of Mr. Tsai’s features so far. Here he plays Hsiao-kang, an unhappy student living with his parents (Lu Yi-ching and Miao Tien) and halfheartedly attending classes. Friendless and celibate, he develops an obsession with Ah-tze (Chen Chao-jung, a petty criminal who specializes in robbing pay phones and vending machines).

最重要的是，這部影片中的演員們後來都成了蔡明亮幻想世界中的重要組成部分。其中最主要的就是纖瘦沉默的李康生，他如同巴斯特·基頓一般面無表情，蔡明亮迄今執導的10部電影長片中都有他的出現。在這部影片中，他飾演小康，一個不快樂的學生，與父母(陸奕靜與苗天飾)住在一起，每天無精打采地去上學。他沒有朋友，也沒有戀人，後來迷上了相貌英俊、專門洗劫收費電話亭與自動售賣機的罪犯阿澤(陳昭榮飾)。

Our attention swings between these two young men. Ah-tze periodically ditches his best friend and partner in crime (Jen Chang-bin) to pursue a desultory romance with Ah-kuei (Wang Yu-wen), a comparatively cheerful young woman who works in a roller disco and has trouble holding her liquor. The strands of the plot converge at the end in a flurry of sex, vandalism and violence.

我們的視線在這兩個年輕人之間搖擺。阿澤有時會擺脫自己的好朋友兼犯罪同夥(任長彬飾)，同女友阿桂(王渝文飾)有一搭沒一搭地談着戀愛，阿桂是個相對活潑一點的女孩，在迪斯科旱冰舞廳工作，時常酗酒。各種情節的分支最後匯聚在一場慌亂的性愛、無目的的破壞與暴力之中。

The plot really isn’t the point, though. Mr. Tsai typically uses narrative as a tool for exploring the moods and meanings that link his characters with one another and with the city that awakens, contains and frustrates their desires. They seem very much stuck in their world, but because that world is the creation of a wildly original artist coming into his own, it also feels alive with possibility.a

不過情節並不重要。蔡明亮通常使用敘事作爲工具，探索維繫着片中角色們之間，乃至他們與這座城市之間關係的情緒與意義，這座城市喚醒幷包容了他們的慾望，卻又令他們備感挫折。他們彷彿被困在自己的世界，但正因爲這個世界是一個極具獨創性的藝術家在頭腦中建構出來的，因此又充滿了各種可能性。