陈耀圻运用镜头清冷唯美
不直接操纵观众情绪充满思考空间

【轉載自美国国际日报1993年9月14日 刘 玲特稿】

「明月几时圆」成为「中华电影展」中较引起争议的一部影片，它的慢节奏，它的空镜头，它的许多拉背镜头，它的无限大草原中，无限小的二个点，以及它的剧情，有可议之处，也有可赞之处。

学院派的陈耀圻在洛杉矶告诉朋友，现在这个年龄拍片，一定要「放纵一下」，看来，陈耀圻的这份「放纵」，也许就是按照自己的个性，按照自己的方式，拍一部很像自己的片子。「而明月几时圆」，就是一部有点「复古」，给人思考空间很长，冷冷静静的電影，更由于原作者是华严，为忠于原作，陈耀圻把华严的片子拍得很华严，事实上，也很陈耀圻，一个家世良好，名牧师的孙儿。

如果看过早年的「大地」、「乱世佳人」、「天涯何处无芳草」以及「日正当年」，长而远的镜头中，只有人物在动作，不转镜、不换镜，所如图画一般钉在墙上，更令人感受到沉沉的哀伤，戏，不一定在人物身上，而在人物周围的环境气氛中，无声，更胜有声。陈耀圻的「明月几时圆」，在运用镜头上，是唯美、清冷的，也是有某种抽象稳喻，要用「心」看，才能体会。谬騫人的戏十分内敛，尤其在丈夫坦白已有一私生子之后，她压抑内心的愤怒却一脸平静的样子，只有泪水往肚中吞的女人才能起共鸣，终於，在洗手间砸了花瓶。

而四个女人同坐一张长沙发，面对镜头谈话，犹如舞台上的大平面。而不用三面桌，殊为奇特，不过，这也似乎抽象了四个女人在同一种命运中，狭窄，拥挤地喘息，陈耀圻没有浪费任何镜头，他给了观眾思考空间，不直接操纵观眾情绪，同样这个画面，有人焦燥，有人不耐，有人思索。

当小孩得知可以与生父同住，终於忍不住掉泪，却贴依著一片灰墙跌出镜头外，镜头并不跟随，留下这片空墙与小孩的轻泣声，淡淡地，也激烈地表达了要说的亲情与父子连心，陈耀圻的用心良苦。出现三次之多的一个镜头是一扇窗看出去的远景，一座正在修筑的大楼在一堆大楼中，镜头不动，只有电梯在缓缓昇，缓缓降，代表什麼呢？人生的起浮吧！比起俗套的潮来潮去，更有啟示作用。

看「明月几时圆」，会暂忘正常的剧情发展，唯有在每个空白中思索求解。而最令女性观眾费解的，為什麼马景涛的出现是那麼短暂，而又没能如「预期」地发生什麼，难道中国女性是这麼不敢「出轨」？任由男性「自由「外遇」？或者，马景涛也过于文言了？不像在说话，像背书，不吸引她？」

一部令人思索的片子，应该是值得看的片子，「明月几时圆」，就符合了这种条件，何况，陈耀圻「尊重大家的感受」。

– 轉載自美国国际日报 1993年9月14日

作者：梁良
50年從事影評、編劇、編輯、出版、教學等工作，推動兩岸三地之影視發展，編撰影視工具書，對華語電影之研究著力甚深；現為香港《亞洲週刊》特約作者、中國影評人協會副祕書長。

我手中举着的油画布，是我1960年做学生时在“芝加哥艺术学院”画的人像油画，画中是陈维屏牧师 – 我的祖父。

说明：2008汉声杂志罗敬智摄影

80年代台湾电影特别偏爱的旧式女性独立意识觉醒的电影，大都极具文学性，且在意象与意蕴的呈现上独树一帜，应该被视作台湾新电影的题材的一个分支，遗憾的是却因各种不同原因被渐渐淡忘。陆小芬与杨惠珊最擅长扮演此类角色，她们均丰腴且充满生命力。【玉卿嫂】、【桂花巷】、【怨女】，以及【我这样过了一生】。

【晚春情事】是其中也颇为著名的一部，而今却也是豆瓣评分最低的一部。部分原因在于它确实既不属于过去的观众，也不属于今时的观众。于过去的观众而言，春燕较其它前文提到的几部影片女性主角而言，对于性、欲望、尊严的追求过于超前；于今日的观众，影片的台词调性带有强烈的五四白话文学之感，而人物结尾的转变也貌似不可理解。

未查到资料【晚春情事】是否根据小说改编，但故事中却能看到很多经典名作的影子。最明显的是春燕后来嫁到的张家是情感倒错般的【蝴蝶梦】，张家少爷一直怀恋着故去的前妻，但前妻究竟是什么样却一直是暧昧不清的，唯一具象的对她的描摹是她的遗物——那些奇奇怪怪又异常精美的舶来品或小玩意儿，彰显的是她曾经嫁入张家的显赫家世；女仆则似乎是【蝴蝶梦】管家的化身，看似恭敬，却又暗戳戳不断向春燕渲染着前妻的荣耀以及和少爷之间的感情。“私奔出走”则有【包法利夫人】与【娜拉】的影子，甚至延续了鲁迅关于娜拉出走以后怎么办的疑问。春燕病入膏肓时“我要活”的慨叹则是【新女性】的延续，而与韦明的结局不同，春燕确实活了下来……结尾，春燕望向镜头的定格则像极了【四百下】，既是一个决断又是何去何从……

影片结尾极佳，春燕变美了，少爷终于也在县城给她订制了精美的旗袍，她不再主动为那些女眷端茶倒水，而同她们一般调笑着，说着虚情假意的热络话；甚至与少爷对视时，少爷凝视着她，她貌似羞涩一笑，仿佛她彻底变成了前妻的替代品；而只有在黑黑的厨房里，她才是她自己，露出诡异的神情。她被彻底规训，她确实妥协了，无力抗争，虽然愈加美艳，但毫无灵魂，这比死去更令人悲哀，是最好的悲剧结尾。

春燕的欲望在片中的展现也有颇多层次以及不同手法。开场离前夫家前的祷告奠定了人物性格；小船上与媒人的对话清晰了人物的want；望着嫂子哺乳时的袒胸露乳则是肉欲罕见的表现（同性间以及为人母的联想）；大象下曾经少女时期的经历则在影片后半才说明克“夫”的前史（呈现在和秉中第一次同塌时）；两颗小珍珠耳坠则成为她和秉中线索的贯穿物件细节……

和大部分同时期同题材影片的不同更在于影片对于对立人物张少爷的塑造，这某种意义上强调了一切女性的悲剧并非只来源于男性，归根结底是时代的悲剧以及观念的悲剧。张少爷也有欲望，影片中关于这一人物的主要线索（want）始终做在他想出仕的努力中，他将近四十岁，想要维系祖业想要光耀门楣，一次次去省城拜会有门路的人，却频频受阻，世代已经不同，他却意识不到，他不理解为何清政府要被推翻，袁大总统登基有什么不好。在多番努力依然前途无果后他拒绝和前小舅子出洋求索，却与春燕达成了一种“和解”。

少爷和春燕的每一场戏也都值得揣摩。初见时，春燕被雨淋透，李敖笔下“陆小芬的乳房”成为了无需过多解释就能促成的“一见钟情”；新婚当夜的脱鞋；初夜后晨起关于不同时刻穿什么鞋的对春燕的教诲；每一次少爷对春燕酮体的迷恋；每一次少爷对春燕尊严的践踏……少爷潜意识不断在比较着两个妻子，他对于春燕所做的全都一定未对前妻行为，他主动地把自己呈现为理想的乡绅子嗣，却不知自己固守在过去时也是死路一条。

影片最大的败笔在于马景涛的表演。马景涛确实颜值巅峰，但剧本本身提供的秉中这一人物要比少爷单薄得多，虽然他也有want（赎回自家田地），但演员对于角色的处理太少层次，甚至爱恋都是表面的干瘪的。未及结尾时，观影中我已经预想到私奔的失败，秉中毫无理性的思考、缜密的筹备，正如他邀约春燕出逃，今晚、明晚一说，他又有何生存技能呢，他只会问你能不能和我吃苦。

影片的视听也可说可点。老家破旧茅屋中的用光、春燕各时期造型的变化、初次偷欢时的光影与构图……那时的台湾电影尤其擅用固定镜头，配乐极为有特点……当然，还有影片中的诗文字幕的使用，在整体风格形态上毫不生硬。

感谢作者  call of abyss

Oil! Since ancient times a source of wealth and fascination, and now the subject of the most ambitious and most expensive film in Chinese history,”The Pioneers. Set against the background of the struggle of Taiwan’s early settlers to forge a new life in this often hostile land. “The Pioneers” tells the story of the historical Wu Lin-fang (above ). Leader of a group of pioneers, Wu devotes his life to developing this resource from a spectre which terrifies his fellow settlers to the beneficial helper which provides them with fuel and light.

Wang Tao gives a masterly per-formance as Wu Lin-fang, por-traying his character from the age of 19 to well into his 60s with great conviction. Hsu Feng stars as his faithful wife. Born into a wealthy family in the city,she is driven by fate and her love for Wu to endure the hardships of a pioneer in the mountains. She is the ROC’s best known intermationa,actress havine, stan won the prize for technical excel- lence at Cannes.
John Philip Law and Deborah Zon portray American oil en- gineer, A. P. Karns, and his amorous companion who arrive to help construct the oil well and manage to perplex and amuse the Chinese, while mutual respect and affection grows between the representatives of the two cul-tures.
No effort or expense was spared to give “The Pioneers” as much authenticity as humanly possible. The entire main street of a traditional town was con-structed, and costumes and props were meticulously researched by a team of top scholars. Hsu Feng’s gowns, for instance, are all madeof vividly hand-embroidered silk, the designs for which were faith-fully copied after antique origi-nals.
Specialists from many disci-plines were called in by Director Richard Chen to augment the skills of the large production staff. Four separate wells had to be constructed. all in different styles. To make them truly re-flect the technology of the day, ateam of 20 specialists from the China Petroleum Company spent five months constructing them,including one well based on de-signs in an old Ming Dynasty text.
“The Pioneers”is indeed a new departure for Chinese film-making. Not only is the first truly international production made in Taiwan, but its use oflocal historical material also rep-resents a fresh approach.
And its reception by the people of Taiwan has been overwhelm-ing. In the first month at the box office, it has already earned back70 percent of its production cost.
“The Pioneers” has not only achieved new heights in Chinese cinema, opening new vistas to the further development of this art, but it has also made history live for millions of people in Tai- wan, giving them a new pride intheir roots here. With this film it may be said that the Chinese cinema has come of age.

“This is the story of one man’s dream of helping his fellowmen, and his determined effort to overcome all obstacles to its realization. We felt this would be a good example for people today
VISTA: This film represents a signi-ficant departure from the more usual genres of Chinese film-making. How did the idea for making “The Pioneers” come about?
CHANG: Five or six years ago,while I was in charge of Central Mo-ton Picture Company’s production department, everybody was talking about the oil crisis. I thought it would make a great idea for a film, and had one of my people look into the possibility of writing a script on Chinese oil drillers working in Saudi Arabia. This idea fell through, how- ever.
Then three years ago, when I was working with Director Richard Chen on another CMPC film, we came upon the idea for “The Pioneers.” Richard had seen a news clipping about the oil wells in Miaoli – how a man named Wu Lin-fang 150 years ago had dedicated his life to finding oil in the area and thought it would make a great story for a film. I liked the idea and not long after he brought script- writer Chang Yi in to talk with me.

We agreed that Chang would quit his job at an ad agency to devote full time to researching and writing the story. It was carried in serial form in the paper and eventually published as a novel before we started working on the filmscript it-self.
VISTA: What was it about the story that encouraged you to go ahead with such an ambitious proj-ect?
CHANGS: First of all, it was the story of one man’s dream of help- ing his fellow men, and his deter- mined effort to overcome all ob- stacles to its relization. We felt this would be a good example for peo-ple today.
Also, the story itself has great cinematic interest, with many strik- ing visual scenes including a flaming river, an oil well that explodes after being hit by lightning, and a violent earthquake. This provided quite challenge to the special effects crew, and a great opportunity to learn. We called in a top Japanese team and sent more than halt a million dollars on these effects alone.
The film also has great interna-tional interest, for it was no easy thing for Westerners to cross the Pacific 150 years ago to come to Taiwan, sailing three to four months over perilous waters to help total strangers here. The film shows that people everywhere are the same Despite racial differences they are all flesh and blood. And if people 150 years ago could bridge the cul- tural differences between them.then we who live in a world made much smaller by mass communica tion, should be even better able to work together to build a better world. This is one of the main reasons we decided to do the film
VISTA: Do you think that, because of the success of “The Pioneers,’ there will be more such epic films made in the ROC?
CHANG: I think “The Pioneers”will greatly influence other DIO ducers if it is released on the world market. In that case, many in-dependent film-makers will be in-terested in doing this type of pic-ture. As far as we are concerned. if
we find a story with this kind of in-ternational appeal, one which fits the concerns of both East and West alike, then, of course, we will shoot the film, even if it entails the com- mittment of massive resources.

VISTA: What are your plans for promoting “The Pioneers” overseas? CHANG: The Government In- formation Office has chosen
«The Pioneers” to enter in the Cannes and Vienna Film Festivals this year. I will take the film there to com- pete and to participate in the film market and perhaps it will attract an international distributor. After the festivals, I also plan to take it to the United States to show people there.

During the course of the film, the protagonists mature and grow old, presenting many a make-up problem. Below, Leo Lotito, Hollywood make-up master with such films as “The Terminal Man,” and “Planet of the Apes” to his credit, transforms the 30-year-old Wang Tao into an elderly Wu Lin-fang. At bottom: Director Richard Chen, wearing a plaid shirt. instructs his talented production team.

After making the perilous 100-mile crossing of the Taiwan Straits, the young Wu Lin-fang sets foot for the first time on this new land carrying his family’s ancestral tablets (right): symbol of continuity amidst momentous change. In the bustling port of Lukang (left), newcomers listen with awe to tales of a rich and fruitful area further inland still controlled by aborigines. Above, Wang Tao and Hu Feng, as husband and wife, survey their first harvest from the new land

Hardships take their toll. The local teacher’s pay is depleted as other settlers give up and leave. Wu’s wife, determined to raise the money to keep the school operating (above), starts a cloth-dyeing
business (upper right). The protagonists, willful and headstrong, lock horns (right): he asking her to stop her dangerous work with poison dyes, and she demanding that he quit risking his life exploring aborigine territory for oil -each willing to sacrifice themselves, but not the other, to help the new settlement grow.

導演：陳耀圻

編劇：魯稚子

演員：林青霞、秦漢、歸亞蕾、郎雄、張盈真

製作：香港鴻運影業公司

年份：1981

轉載自

梁良影評50年精選：華語電影(2022)

作者：梁良

        本片改編自雲菁的原著小說，是一部愛情片，但並不是一部國片中慣見的虛無飄渺愛情片，而是一個具有現實基礎的愛情故事，雖然劇情仍擺脫不了誤會和巧合之類的戲劇性安排，但大體上處理得相當平實，或多或少也反映出此時此地某些人崇洋的心態。整體而言，是以留學生為題材的國片中相當有水準的一部。

        本片的故事，從男女主角大學畢業後展開。女主角殷梅真(林青霞飾)是學文的，本來並無出國進修的打算，可是她母親(歸亞蕾飾)為了要女兒達成自己的心願，施加壓力要她到美國留學。男主角林磊(秦漢飾)是學工的，當他知道女友要出國時，他也想跟著去。可是他父親(郎雄飾)只是一個擺水果攤的，基於經濟上的理由，他希望兒子能夠留在臺灣的工廠工作。為了順父母的心意，這對情侶只有被逼分隔兩地。分手前，秦漢要向林青霞取得「不變心的保證」，於是兩個人發生了肉體關係，種下了以後悲劇的禍根。

        其後，由於梅真的母親希望女兒嫁洋博士，故意在信中說林磊已結婚，加上連串的巧合(梅真寄給林磊的信被風吹下水溝，而這時候林磊又剛好患上大病，不能回信)，使梅真發生誤會，因而對林磊死了心，決定自己在美國打工，獨力養大兒子。幾年後，梅真邂逅了赴美十二年，從端盤子的學生而掙扎成為大學教授的男人(李道洪飾)，並且迅速結了婚。而這時候的林磊，雖然屢遭梅真母親的冷待，而且也有女孩子(張盈真飾)向他展開追求，可是他卻始終忘不了梅真。終於，獲得了工廠派他赴美進修的機會。他以為這一次可以順利使梅真重回懷抱了，但事實上沒有那麼順利。在這一段戲裡，編導又作了一次命運式的巧合安排，當林磊剛從母親手中接過梅真在美地址後離去，郵差便立刻送來梅真報告她結婚的信。

    從劇情上看，本片是一個相當傳統的愛情故事，導演亦用傳統的技法來處理這個故事，在平實的進展中並沒有刻意激起戲劇性高潮，因此氣氛不免有點平淡，但格調與內容卻顯得十分配合。某此片段，他企圖營造了一些「泥土味」的氣氛(主要是配合朗雄這個角色)，但他這方面的功力很明顯要比李行遜色，效果比較生硬粗糙。但是一些傾向西方的技巧(像梅真在醫院外的幾個特寫溶鏡，手法類似《蒂蒂日記》中恬妞躺在床上的特寫溶鏡)，他用起來比較得心應手，效果也比較特出，或許這是因為陳耀圻留美學電影的關係吧。

        作為本片宣傳重點的「同步錄音」，的確讓影片增加了不少真實感。平時看國片不能感受到的「環境氣氛」，如今在本片卻能夠感受到(例如兩個角色在客廳內一邊走動一邊講話，其它國片只能聽到對白的聲音，但現在卻連二人輕聲走動的腳步聲也清晰可聞)。不過，收音人員似乎對「同步錄音」的操作仍未夠熟練，因此在聽覺的感受上令人有點不習慣(看西片就不會如此)。不過，這只是技術上的缺憾，以後可以改進。在原則上，同步錄音的確比事後配音要好。

        本片編劇魯稚子雖然在劇情的處理上未能使人滿意(或許雲菁的原著小說《舐犢》就已充滿那麼多巧合也不一定)，但他的對白卻寫得相當平實，擺脫了國產愛情片一貫的「文藝腔」毛病，這是相當可貴的。而且，藉歸亞蕾閏中好友此一角色，也諷刺了一些「望女成鳳」的父母那種不正確的狹隘觀念，只是層面仍然淺窄了一點，未能使影片具有更深廣的時候意義。

        演員方面，林青霞和秦漢都有一定水準，歸亞蕾和郎雄亦甚稱職，但最能搶鏡頭的，還是飾演林青霞兒子的錢龍龍，不但樣貌討喜，而且演出自然而具有純真感，為本片增加了不少趣味。

作者：梁良
        50年從事影評、編劇、編輯、出版、教學等工作，推動兩岸三地之影視發展，編撰影視工具書，對華語電影之研究著力甚深；現為香港《亞洲週刊》特約作者、中國影評人協會副祕書長。

導演：陳耀圻

編劇：奚淞、戈筆

演員：陸小芬、張復健、馬景濤、姜厚任、文英

製作：中央電影公司、嘉禾電影有限公司、寬聯電影公司

年份：1989

轉載自

梁良影評50年精選：華語電影(2022)

作者：梁良

        曾執導過《源》等十多部影片的導演陳耀圻，在退出導演行列七年後復出，拍攝了這部描寫民國初年婦女在惡劣環境下仍不放棄追求個人愛情的《晚春情事》。由於本片故事在同類作品中並不算新鮮，因此導演所創作重點放在精緻的電影技巧和典雅的文學氣息方面，使它成為近年來製作上較出色的一部臺灣電影。

        同樣是扮演民初的閩南婦女，陸小芬在本片飾演的春燕，與她在《桂花巷》中扮演的剔紅，有著身分和氣質上的不同。本片開始時，春燕是個新寡的農家女，被夫家送回娘家。不久，她再嫁進縣城官宦之後的張府，成為張少爺(張復健飾)的繼室。在這個完全身不由已的「出路安排」過程中，個性樸拙的春燕並不認為自己命苦，她只是很認命地想做好傳統社會要她扮演的角色。在娘家，春燕努力耕作，卻被認為白吃米飯，兼且丟盡父母的臉。在張家，她想落力做個好媳婦，但環境卻跟她格格不入，落得個吃力不討好。在張少爺眼中，春燕不外乎是洩慾工具，其身分無法跟家世顯赫的張少爺前妻相比。在命運飽受忽視的情況下，春燕終由內在壓抑解放出來，大膽接受同鄉青年男子秉中(馬景濤飾)的愛情。跟近年的同類作品(如《桂花巷》、《怨女》)相較，本片女主角沒有那麼工於心計，但多了一重反叛的生命力。「活下去最重要」正是陳耀圻要表演的主是意念，所以在春燕的婚外情被發現而遭丈夫毒打一頓後，她在暗室躺了三個月療傷，為的就是要「活下去」。而當她成功熬過來的時候，昔日的弱者也就變成了強者。影片的最後一場戲：春燕儼然成為裝扮舉止得體的張家少奶奶，在客廳中與妯娌們閒話風月。此時，街上有一對男女因私通被脫光衣服遊街示眾，春燕目睹此情此景，眼神間閃過了一絲「若有所得」之色。

        作為一部劇情片，本片內容無疑比較單薄，情節發展也缺乏波濤起伏的吸引力，不過導演在經營「古典情韻」方面著力甚深，尤其使用詩詞字幕來分章、描氣氛，更是臺灣影片前所未有之舉。本片對時代背景━袁世凱稱帝前後━交代特別鮮明，對沒落貴族彷徨無助的心態也寫得不俗，堪稱特色。

作者：梁良
        50年從事影評、編劇、編輯、出版、教學等工作，推動兩岸三地之影視發展，編撰影視工具書，對華語電影之研究著力甚深；現為香港《亞洲週刊》特約作者、中國影評人協會副祕書長。