壞孩子法斯賓德 Enfant Terrible
06/11 星期五 Fri 21:15 | 永樂戲院 Cinema Alegria
德國 Germany ｜2020｜彩色 Colour｜134’ ｜（組別）
德語、法語及英語，中英文字幕 ｜ In German, French and English with Chinese and English subtitles
導演 Director：Oskar Rohler
When 22-year-old Rainer Werner Fassbinder storms the stage of a small, progressive theatre in Munich 1967, and seizes the production without further ado, nobody suspects this brazen young rebel to become one of the most important post-war German filmmakers. Despite early setbacks, many of his films breakthrough at the most renowned films festivals and polarise the audience, critics and filmmakers alike. His anger and his longing for love, as well as his self-exploitation, have made him the most memorable and radical film director, an enfant terrible.
In this film, Germany’s star director Oskar Roehler dedicates himself to one of the greatest icons of German cinema in the second half of the 20th century, Rainer Werner Fassbinder, interpreting the life and impact of this cinematic legend in artistically innovative form.
2020年康城影展世界首映及官方競賽片 2020年漢堡影展德國首映及開幕電影 World premiere (virtual) and official selection – Cannes Film Festival 2020 German premiere and opening film – FilmFest Hamburg
「我不放炸彈；我拍電影。」- 寧那‧華納‧法斯賓達 這個世界上有林林種種的導演，即使是好導演，他們「好」的方式也不盡相同。有一種好導演，絕大部分人看過他們的電影之後，都會多少找到值得欣賞的地方；同時，又有另一種好導演，他們命定地只會被強烈地喜愛或強烈地厭惡。德國導演法斯賓達完全符合後者的標準—他的電影到今天仍然激起或正或反、難以一概而論的反應，但唯一可以確定的是，它們絕不會令你不痛不癢地離開戲院。 生於1945年，在敗戰後的慕尼黑成長，法斯賓達從孩提時代開始就受大量電影薰陶。二十出頭之際，他曾兩度投考剛成立的德國電影電視學院，但都落第而回；法斯賓達改從小型劇場起步，一方面累積編導經驗，另一方面則招攬台前幕後的合作班底（這個時期的主要合作演員如Hanna Schygulla、Irm Hermann、Harry Baer，配樂的Peer Raben，後來都成為他終生的核心伙伴）。1969年，法斯賓達以超低成本完成首作《愛比死更冷》，四個月後再將自己的劇場作品《外籍工人》拍成電影。翌年，法斯賓達以後無來者的速度，完成了七部長片作品。法斯賓達揉合法國電影新浪潮與劇場疏離效果的風格，述說當代德國中下層的頹唐壓抑生活，使他在歐陸影壇中嶄露頭角。直至他在1982年猝然離世之前，法斯賓達總共創作了四十四部電影電視作品，包括他慎密琢磨、發揮言情片框架的傑作《四季商人》和《恐懼蠶食心靈》、改編文學作品的《芳心寂寞》和《水手奎萊爾》、檢視同性戀者/跨性身份的《狐及其友》和《一年有十三個月亮》、梳理德國戰後復興歷史的「BRD三部曲」、還有不能不提十五個半小時長的畢生巨構《柏林亞歷山大廣場》（德國導演Tom Tyker曾說，如果法斯賓達的作品加起來是一座七寶樓臺，那《柏》就是一切的地基）。 狂暴激烈—若這並不是法斯賓達作品的全部，也準是它們給人的第一印象。逾越常規的慾望、偏執到難以承受的愛恨、扭曲的精神欺凌與自虐、最低等卑賤的厭棄感，這些題材通通以極端的程度在法斯賓達的電影中反覆出現。某程度上，「愛」是貫穿他大多數作品的主題，但這個「愛」卻往往以功利性、剝削性、令人痛苦的姿態呈現。法斯賓達其中一個最獨到的洞察是，他認知到現代資本主義社會中，「愛」終究會變成一種—甚至是最重要、最難抵禦的—權力操控與交易手段。 所以有不少人會批評法斯賓達的電影過於悲觀和犬儒。對此，法斯賓達自己也有過一套解釋；他說，在銀幕上的絕望，是希望令觀眾在電影結束後，在銀幕以外意識到並思考如何改變這個絕望的局面。 他由此至終，都是一個煽動者、叛逆者，密集地向觀眾拋擲出無形的的重磅爆彈，炸掉現狀令我們終有一天—或許—都能夠生活在沒有傷害、沒有壓迫的地方。 (文／ 安娜） 安娜簡介 居於香港，撰寫電影評論外亦有策劃電影節目。天秤座。寫作令他自由。
“I Don’t Throw Bombs, I Make Films” — Rainer Werner Fassbinder Born in 1945 and growing up in Munich after Germany conceding defeat in World War II, Fassbender had been nurtured by films since childhood. In his early twenties, he had twice applied to the newly-established German Film and Television Academy Berlin but the attempts were in vain; he then decided to kick-start his career with small-scale theatre productions, accumulating experiences in writing and directing while recruiting the potential cast and production crew for future works (Hanna Schygulla, Irm Hermann and Harry Baer were the actors he frequently worked with at that time, while he regularly worked with Peer Raben for score, all becoming his major partners for lifetime). Love Is Colder Than Death (1969) was his debut feature film on a low budget, and the director adapted his play Katzelmacher into a film four months later. In the following year, Fassbender, at an unprecedented speed, completed seven feature films. His works, influenced by both the French New Wave and Verfremdungseffekt (alienation effect) from the theatrical world, explore the depressed and oppressed life of the lower middle class in contemporary Germany, earning him a place in the European cinema. Fassbender had completed a total of 44 films and television productions before his death in 1982, including: The Merchant of Four Seasons and Ali: Fear Eats the Soul, the deliberately-crafted melodrama films that are widely regarded as masterpieces; Effi Briest and Querelle, adapted from classic literature; Fox and His Friends and In a Year of Thirteen Moons, which delve into homosexuality and transgender; the BRD Trilogy that deals with the reconstruction of Germany after WWII; and, of course, the epic Berlin Alexanderplatz, which lasts 15 hours and a half (German director Tom Tyker has once said if all the works by Fassbender equate to a seven-storey tower Berlin Alexanderplatz is then the foundation of everything). Violent and ferocious — these might not describe all the works by Fassbender but these are likely the first impression for his films. From desires that are beyond the social norms and stubbornness to unbearable love and hatred to mental bullying, self-harm, degrading and disgust, these are the themes that his films explore over and over again to an extreme degree. “Love” is also a common theme behind most of his works to a certain extent, but this “love” is often presented in a utilitarian, exploitative, and painful manner. One of the most unique insights Fassbender has is his recognition that “love” will eventually become a means — the most important and undeniable means — for power manipulation and trade in the modern capitalist society. Thus, Fassbender’s films are criticised by many as too pessimistic and cynical. He has come up with his own response toward his critics, remaking that the pessimism on the cinema screen is a way for the audiences to realize and ponder over how they could change this situation in reality after watching the films. Fassbender is an agitator and rebel from the beginning to the end, throwing invisible bombs again and again to the audiences in hopes of dismantling the status quo that one day, perhaps, we could live without harm and oppression. (Text: David) David’s bio David is a film critic and art/ film programme curator currently living in Hong Kong. As a Libra, writing frees his mind like nothing else.