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伍迪艾倫於1994年推出的《百老匯上空子彈》,是讓當年還未成年的我一看就非常熱愛的電影。它好笑、誠實,用坦白的態度將現實一巴掌打在理想的臉上。我這種負能量型的人最愛這一味(是的我都還沒成年就已經很負能量了)。

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20年代的紐約,David(約翰庫薩克)是掙扎中的劇作家,為了找金主籌資贊助他準備自導自編的作品,被迫接受黑道背景的金主安插不會演戲、聲音恐怖的Olive(珍妮佛提莉)擔任配角。不過,至少他找到了夢寐以求的演員Helen(黛安薇絲特)擔任女主角。老大的女人Olive來劇場排練時都有保鏢Cheech(Chazz Palminteri)陪同,Cheech一路看著排演,竟給出了不少優秀的劇本改寫建議......

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《百老匯上空子彈》有精彩對話,絕佳演技,有趣角色,迷人的場景道具服裝,各位看了絕對也會讚嘆不已,但片中最令我著迷的,是它討論藝術與人道/道德,以及藝術與商業的衝突。

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David與藝文圈朋友閒聊時,丟出許多問題,既好笑又頗有深度。

例如David的一位劇作家友人,非常自豪於他的作品從沒有任何一部上到劇院──永遠沒拍成的劇本最藝術,因為它完全沒有出賣自己、向商業靠攏。如果各位第一次聽到這句話,大概會狂笑拍桌然後叫著「荒躺!」,難不成你我隨便寫一份沒人要的爛劇本擺在家裡,就比那些成為舞台劇經典的作品還要藝術嗎?胡扯蛋。但若靜下心再想想,會發現那句話可以有不同的解讀方式:任何劇本原稿,如果想要找到人製作,登上百老匯舞台或是電影大銀幕,必然得考量金主與觀眾的接受度,也就是所謂的「商業考量」,幾乎不可能完全按照原始創作者的想法搬上檯面,要那樣做的話,大概只剩「有錢人就是任性」等級的富翁才有可能完成。

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所以,當David受不了其他導演亂搞他的劇本,決定自己來導,而且又不是家財萬貫,就註定了一邊圓導演夢一邊妥協的命運。最令人笑翻的反應,莫過於David被迫接受黑道老大的女人擔任重要配角之後,在家中睡到一半驚醒,對窗外高喊「我是娼妓!我出賣了自己!我是娼妓!!!」的崩潰戲碼,他為了將親手創造的「藝術」搬上舞台,犧牲了理想。

而更暗黑的轉折還在後頭──以燒殺擄掠維生的Cheech,比David還有才華。至少,根據劇組甚至David自己的眼光,得到的都是這個結論。這是多麼痛的領悟,David雖不想承認、卻又偷偷找Cheech幫忙,編的謊一個接一個,看得觀眾都跟他一樣痛苦了。

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於是伍迪艾倫仁慈地給了David一個終極解脫:David終於冷靜下來面對事實,對女友說他要回去教書,因為「我不是藝術家」。

對。原來這不是夢想成真的故事。而是認清自己不適合那個夢想的故事。

理論上,聽任何電影裡想成為藝術家/運動家/音樂家或任何專家的男主角說出「我不是XX家」,都應該是悲傷的時刻,但出現在《百老匯上空子彈》裡,卻是如此舒暢,David露出輕鬆平靜的表情,觀眾也慶幸他終於放棄了。我們可以有夢,但也要能看清自己。當不成藝術家或許令David有些失望,但認清真相可以避免繼續傷害自己與他人。

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何況,人不是只有一種目標值得拼。不是說這件事做不到,就沒別的事該做了。這就帶到另一個主題:道德與藝術。David的藝文圈朋友問了個問題:「如果大樓失火了,你要救莎士比亞劇作唯一遺留的稿件,還是救某個不知名的人?」對於Cheech,藝術的重要性高到比人命還高,但David無法成為那樣的人。片中有個角色說:"An artist creates his own moral universe",不過從《百老匯上空子彈》的結局看來,伍迪艾倫似乎想說,是不是好藝術家還是其次,首先要做個好人。

珍妮佛提莉與黛安薇絲特的絕佳演技,讓《百老匯上空子彈》精彩絕倫,尤其珍妮佛提莉那把聲音以及她說話的節奏,那種老是卡人家半拍的節奏,實在很爆笑,不要說她的導演David,就算是觀眾都想跳樓吧;因為本片獲得一座奧斯卡的黛安薇絲特,那種精明的操弄以及誇張的自戀,非常立體有趣,經典台詞「別說話!別說話!」配上她的肢體語言更是讓我難忘。

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《百老匯上空子彈》是一部經得起時間考驗的絕佳幽默劇,老少咸宜,輕鬆好笑,我誠心推薦給各位。

《百老匯上空子彈》iTunes立即看:https://goo.gl/k0y70K
《百老匯上空子彈》Google立即看: https://goo.gl/2ypNUV

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經典對白:
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Rita: For me, love is very deep, sex only has to go a few inches.

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Olive: Why do you have to be so masso... masso...

David Shayne: Masochistic.

Olive: Masochistic? What the does that mean?

David Shayne: It means someone who enjoys pain.

Olive: Enjoys pain? What is she, *retarded*?

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Helen Sinclair: You stand on the brink of greatness. The world will open to you like an oyster. No... not like an oyster. The world will open to you like a magnificent vagina.

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Helen Sinclair: She's perky all right. She makes you want to sneak up behind her with a pillow and suffocate her.

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Sheldon Flender: Let's say there was a burning building and you could rush in and you could save only one thing: either the last known copy of Shakespeare's plays or some anonymous human being. What would you do?

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David Shayne: Maybe Olive's got stage fright. Maybe she won't show.

Julian Marx: Not Olive. That dame doesn't have a nerve in her body. I don't think her spinal cord touches her brain.

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David Shayne: I studied playwrighting with every teacher, I read every book...

Cheech: Let me tell you somethin' about teachers. I hate teachers. Those blue-haired bitches used to whack us with rulers. Forget teachers.

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Sheldon Flender: Guilt is petit-bourgeois crap. An artist creates his own moral universe.

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Nick: Open your gift.

Olive: You open it, can't you see I'm dressing?

Nick: Here.

Olive: What is it?

Nick: Pearls. What the hell do you think they are?

Olive: Pearls are white.

Nick: These are black pearls.

Olive: Oh, don't give me that. I never heard of black pearls.

Nick: Just becaus you never heard of them don't mean it don't exist.

Olive: What do think I am, some kind of chump? They're black for God's sake. They probably came from defective oysters.

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Cheech: Sylvia Pincus. Big fat Jewish broad, had a little tiny husband. She chopped him up with an ax and mailed his pieces all over the country. I don't know what she was tryin' to prove.

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