[觀影心得] 池畔謀殺案 Swimming Pool (2003) - 真實與幻想的交錯－Strong's 電影部落格

《池畔謀殺案》- Swimming Pool (2003)

真實與幻想，目睹現實世界與小說情節的交錯進行 ...

[基本資料]

導演:

Francois Ozon 佛杭蘇瓦‧歐容

編劇:

Emmanuele Bernheim
Francois Ozon 佛杭蘇瓦‧歐容

主要演員:

Charlotte Rampling 夏綠蒂‧蘭普琳
Ludivine Sagnier 露迪芬‧莎妮 (法國)

DVD:

R1-Universal

評價:

3.5 / 4

[觀影心得]

《池畔謀殺案》是一部真實與幻想交錯的推理電影。

《池畔謀殺案》描述一位英國暢銷偵探小說作家 Sarah Morton (Charlotte Rampling 飾演)，中年單身，個性孤僻，由於創作上遇到瓶頸，在出版社社長的建議之下，到社長的法國別墅渡假寫作。

社長的法國別墅是一棟二層樓的建築，清幽雅致，還有一座私人游泳池，由一位年邁的男性管家負責管理。

就在社長女兒 Ludivine Sagnier 不預期的闖入 Charlotte Rampling 的創作空間之後，發生了一連串曲折離奇的游泳池畔兇殺事件。

社長女兒 Ludivine Sagnier 是一位豪放不羈的法國金髮美女，只要是男的，不論老少美醜，都能成為一夜情的對象，在拘謹的 Charlotte Rampling 眼光裡，簡直是離經叛道。

此片是隱喻的推理電影，如果用寫實的心情來欣賞，很容易在導演 Ozon 精心佈局的關鍵事物上迷失了焦點，這也是我琢磨多次後的心得~^^

總之，隨著敘事主線的發展，我們親自目睹了 Charlotte Rampling 完成了她新推理小說的創作過程，也看到了作者的心靈活動具象化，當一切豁然開朗時，對於導演的精心傑作，除了讚嘆，也更加佩服。

以下提供幾個線索: (有些是導演 Ozon 的慣用手法)

1. 社長女兒的煞車聲，就是創作的開始

2. 關於侏儒 (源於大衛林區的手法) ==> 表示女作家正處於夢想中, 而非現實!!

3. 打開窗戶 ==> 代表開始 "想像"

4. 寫作時, 可以在鏡子中看到女作家 ==> 表示女作家開始寫自己的故事

關於電影中所有伏筆的透析, 請參考 Alan C. Shaw 的文章:

http://www.imdb.com/title/tt0324133/board/thread/10172575?d=10645877#10645877

SWIMMING POOL : AN ANALYSIS by Alan C. Shaw

This was an excellent movie only if you're willing to work through the symbolism, rather than have things handed to you as in normal cinematic fare. I do believe it made sense, even the ending, but like I said, you have to work for it.

如果你願意花點功夫理解電影中象徵性的符號，而非一如往常被動地接收電影傳遞的表象，將能體會這是一部相當優質的電影。我確信電影寓意深遠，連結局也充滿隱喻，但是，就像我所提及的，你必須花點功夫理解。

Sarah is a woman struggling with a dark past of sexual abuse by her father. The experience began at the age of 13 and has clouded everything in her life and affected all of her relationships, and she works through it through her writing. The abuse destroyed her ability to have healthy relationships with men and women and turned her into a repressed recluse. You can see this from the very beginning when she doesn't want to deal with people in the real world of the subway train. In fact, it seems she feels that something inside of her was murdered by the abuse, and she feels unclear about who to blame. So her stories are all about murder mysteries. Solving this type of crime becomes her passion.

Sarah 是一位活在陰影下的女性，曾有一段不堪回首的記憶 -- 遭到親生父親的性侵害。這段傷心的過往，發生在她13歲少女時期，攪亂了她往後的生活，也影響了她的人際關係，她藉由寫作來克服內心的障礙。性侵害摧毀了她擁有健康的男女關係的能力，轉變成為一位自我壓抑的隱居者。電影一開始，你可看到她身在真實世界的地下鐵車廂內，不理會他人的應對。

事實上，似乎她感受到內心的種種，已經被性侵害 "謀殺" 殆盡。她不清楚該譴責誰，所以，她創作的故事，都是關於謀殺案的推理小說，投入解析這類的犯罪行為，成為了她的熱情。

With this as the backdrop, the movie's plot makes sense. By writing her books she has been trying to escape her misery and somehow resolve a crime that has destroyed her life. But her publisher doesn't get it. He sees the murder mysteries as a good thing in and of themselves because they are making money for him, not as a means to an end as she sees it. The publisher is also having a sexual relationship with her and so she connects him with her father--as she does all men who have sex with her. So, of course, when he mentioned he has a daughter she identifies with this daughter and ultimately gets fixated on her. Sarah's sexual relationship with the publisher inspires her to write because it connects her to the issues with her father, which expresses itself as a murder mystery in her stories. So she goes to his French home expecting to have sex with him again and write another novel.

藉由這個背景資料，延伸了電影情節的寓意。寫作的同時，她嘗試由痛苦中跳脫，某種程度解答了 "摧毀她可以正常生活" 的犯罪。但是，她的出版商並不理解，他視謀殺推理小說為好物，只因為能夠為他賺進大把鈔票，而非終劇時她所認為的工具。

出版商與她有親密的關係，因此，她將他與自己的父親連結起來，就如同與她有性關係的所有男人一樣。當他提及他有一個女兒時，她當然地將他的女兒標籤化，最終將會迷戀於她。

Sarah 與出版商的性關係，啟發了她的創作靈感，因為，提供了與她父親的連結，並且，在她的故事裡以謀殺推理小說來呈現。因此，她去了他的法國住所，期待與他再度發生性關係，並著手另一部小說的創作。

At first it's business as usual, and she is starting to make progress. But then something very different begins to unfold. John, the publisher, doesn't come and instead Sarah is forced to confront "Julie." Since she gets the daughter's name slightly wrong as "Julie" instead of the correct name of "Julia," we are being told that Julie is not real, but only a person imagined by Sarah. Earlier, the publisher had mentioned that he might not be coming because of his daughter, and then when the daughter as "Julie" surprises Sarah by showing up unannounced one night, we find ourselves digging deeper into Sarah's traumatic issues. Julie tells Sarah that Sarah has the good room because it has the view of the swimming pool, and the pool comes into the story as a construct representing a collection of issues in Sarah's mind.

起初，只是一般的商業行為，她開始了她的工作。但是，後來有些不尋常的事情逐漸攤開來，出版商 John 不克前來，Sarah 被迫面對 "Julie" (她拼錯了 John 女兒的名字 "Julia")，我們被告知 Julie 不是真實人物，只是 Sarah 所想像的角色。

早先，出版商提及他因為女兒的緣故，而不能前來，隨後，女兒 "Julie" 卻在一個深夜裡突然現身，令 Sarah 感到訝異，也讓觀眾了解 Sarah 更深一層的創傷。Julie 告訴 Sarah 她佔用了最好的房間，擁有可以環視游泳池的視野。故事中的游泳池，代表了蒐集 Sarah 意向的構想。

Julie swims in the pool beneath the surface and encourages Sarah to do the same, but Sarah thinks it's full of filth, and indeed the pool is dirty. Yet Sarah is clearly intrigued by the pool and by the expressive sexuality of Julie which are clearly connected issues. Even though she is intrigued, Sarah does not go into the pool herself until it is cleared up by the work of Marcel. Marcel has a funny relationship with Julie, since Julie referred to him as her father, and so his connection to the pool and to cleaning up the issues that need to be resolved becomes progressively clearer.

Julie 在游泳池水面下潛泳，鼓舞 Sarah 也做了同樣的嘗試，不過，Sarah 感覺充滿了污穢，游泳池確實很髒。游泳池、與 Julie 表情豐富的性愛，都是明確連結的主題，很顯然地激起了 Sarah 的好奇心，即使 Sarah 充滿了好奇心，她一直等到 Marcel 將游泳池清理乾淨，才肯進入游泳。

Marcel 與 Julie 的關係很有意思，Julie 將他視為自己的父親，因此，Marcel 與游泳池、以及釐清待解決的主題的連結，變得日益明朗。

But first we must probe deeper into that pool of issues and what do we find? When she first arrived at the chateau she found the egg-shaped urn (it can't just be a vase), so we begin to see a theme of death and birth. The ashes of the urn likely symbolize the death of her old self and the egg involves the birth of her new self, and there is some tension between the two. This is played out through the tension seen constantly between Julie and Sarah. Over the bed Sarah finds a cross which she immediately takes down because sex does not represent something sacred to her, but something defiled. To Sarah, Julie's freeness with sex means she is also defiled. That is why Julie's sex life is so debased, even causing Julie to get bruised. Julie is Sarah as a child, abused at 13, unable to embrace love at 16. The c-section scar on Julie fits into this tension if it suggest that the repressed Sarah was artificially born out of the unrepressed Julie. A cut was made between the old and the new Sarah and a scar representing a torn reality is left behind.

但是，我們第一步必須將觸角更深入主題的游泳池之內，看看我們發現了什麼!?

當 Sarah 剛剛抵達這棟法國別墅時，她發現了一個雞蛋形狀的骨灰甕 (不可能只是一個花瓶!!)，因此，我們開始理解『生』與『死』的主題。甕裡的骨灰，很可能象徵她『舊的自我』的死亡，而雞蛋則象徵她『新的自我』的誕生，兩者間有一些拉扯的緊張關係，這個緊張關係似乎時常橫亙在 Julie 與 Sarah 之間。

在床的上頭，Sarah 發現了一個十字架，她立刻將之取下來，因為，對她而言，『性』不是神聖的，而是一種褻瀆。Julie 不羈的性愛作風，看在 Sarah 眼裡，意味 Julie 也是褻瀆。亦即為何 Julie 的性生活是如此被貶低，甚至讓 Julie 感覺受傷。

Julie 是少女時代 Sarah 的化身，13歲受到性侵害，在 16歲時無法擁抱愛情，Julie 身上的剖腹產 (C-Section) 疤痕，剛好配合了緊張的關係--暗示備受壓抑的 Sarah 人工生出了不被壓抑的 Julie，在舊與新的 Sarah 之間做了切割，而疤痕則代表令人折磨的現實必須被拋諸腦後。

Facing her younger self, Sarah tries to imagine how her mother would disapprove of Julie's sexual activity, and she expresses this to Julie. And later in the story Julie believes Sarah to be her long lost mother. But Julie collapses when Sarah denies the mother, because the relationship with the mother has been lost in the horror of sexual abuse from the father. The mother is missing from this story and finding the mother and reuniting with her is part of Julie's quest. That is why the dwarf appeared who represented both the wife and the daughter of Marcel who himself represents the father. We know Marcel is a representation of the father because of what Julie said about this and because he later has sex with Sarah in Julie's room. The dwarf has a confused relationship with Marcel. At first she is his wife and then his daughter. In fact, she is half of both, wife and daughter, and it is appropriate because the movie is about what happened when that line was crossed in a sexual relationship between a father and daughter. As the terrified daughter, she tells Sarah that the mother was not murdered. But the fear in the Dwarf's eyes makes it clear that she is afraid that maybe the mother was murdered. This guilt seems to indicate that after the abuse from the father, Sarah worried that maybe she was responsible through leading him on by being promiscuous. As mentioned before, Julie's promiscuity personifies this guilt. This is what has driven her to become repressed, afraid of the implications of her interest in sexual fulfillment. When the dwarf refers to the car wreck she is referring to the sexual abuse that has killed the relationship with the mother and gave Julie/Sarah her scarred life. Sarah has been trying to determine who was responsible through her many books about murder mysteries and now the mystery of the death of Frank gives her another chance to try to resolve the issue.

面對較為年輕的自我，Sarah 試著想像 Julie 的母親會如何反對她女兒的性愛行為，並向 Julie 表達她的考量。後來的劇情推演，Julie 相信 Sarah 就是她分離很久的母親。

然而，當 Sarah 否認是母親的這層關係時，Julie 崩潰了；因為在父親性侵害的恐懼中，失去了與母親的親屬關係。電影一開始，母親就行蹤不明，發現母親、重新與母親團圓，成為 Julie 探索旅程的一部份。此即為何侏儒會現身於電影之中，分別代表了 Marcel 的妻子與女兒的雙重身分 (Marcel 本人則隱喻為父親)。

由 Julie 口中的透露，以及後來 Marcel 與 Sarah 在 Julie 房間內的性愛，我們知道 Marcel 是父親的代表。侏儒與 Marcel 之間，有一層令人混淆的關係。最初，侏儒是 Marcel 的妻子，隨後則是 Marcel 的女兒。事實上，侏儒是一半 + 一半的身分，妻子與女兒。這樣的推敲，還算洽當，因為這是一部關於父親與女兒性關係的電影，這層關係與敘事主線不只一次出現交叉。

當侏儒是一位飽受驚嚇的女兒身分時，她告訴 Sarah 母親並沒有被殺害。但是，侏儒眼神之中泛著一絲絲的恐懼，很明顯地她正擔心母親可能被殺害。這個內疚似乎暗示 Sarah 在被父親性侵害之後，她必須為導致與父親雜亂的男女性關係而自責。如同前面所提及，Julie 雜亂的男女性關係，象徵著內疚。這也是驅使她變成自我壓抑的主要來源，害怕會暗示自己對這類的 "性愛滿足" 感到興趣。

當侏儒提到車禍，她正好與性侵害產生關聯性，這件車禍毀掉了與母親的親屬關係，並且留給 Julie / Sarah 創傷的一生。

Sarah 透過她多本的謀殺推理小說，試著決定出誰應該負起責任。如今一本描述 Frank 死亡的新推理小說，提供她另一個機會來解答這個議題。

Julie is a self-aware construction of Sarah's mind, because she has read what Sarah has written about her. So Julie knows what Sarah needs her to do. She goes and finds Frank, and sets him up to be in between the two of them. Thus, they play out the tension that existed between the father, the mother and the daughter. And at some point the mother figure retires and the interest between Frank and the daughter plays itself out. Daughters often have crushes on their fathers, so Julie's attempts to seduce him aren't really the issue. The issue is that Frank does respond, and he responds right in the middle of the pool. Right in the center of Sarah's mental struggle, the pool of her mind. There she finds Frank, yet another father figure sexually involved with the promiscuous daughter. And Sarah must stop it somehow, so she throws a rock to interrupt what is happening. It works, but Julie knows better than Sarah that she cannot let Frank off the hook. For the sake of the book (which represents Sarah's attempt to resolve her trauma) Julie must play this out.

Julie 是 Sarah 意志自我覺醒的形體，因為她已經讀過了 Sarah 寫下有關於她的文章，因此，Julie 知道 Sarah 下一步要她去做啥。Julie 找來 Frank，設計他處於兩個女人之間，於是，他們玩起父親、母親、女兒三方緊張關係的遊戲。在某些節骨眼上，母親思索著退出這場遊戲，就讓彼此感興趣的 Frank 與女兒自個兒玩。

做女兒的，經常會迷戀於她們的父親，因此，Julie 企圖誘惑 Frank，並非真正的議題。真正的議題是 Frank 回應了，他在游泳池正中央所做的回應，正中了 Sarah 內心掙扎的核心問題，也就是她腦海中的游泳池。那個池子裡，她發現了 Frank，卻也是另一個父親正思索著與性愛複雜的女兒發生性關係。

無論如何 Sarah 必須制止它，因此，她向泳池中丟下一塊石頭，打斷了正在發生的事情。Sarah 的動作起了作用，不過，Julie 知道的比 Sarah 還多，她不能讓 Frank 離開陷阱。為了 "書" ( 代表Sarah 解決她心靈創傷的企圖 ) 的緣故，Julie 必須將這個遊戲順利完成。

Julie/Sarah wanted the father to want her more than he wanted the mother, but Frank, as the father, ultimately wanted the mother more. Julie's jealously leads her to kill him, but what does that death of this father figure ultimately mean? It is up to Sarah to find out by trying to uncover once and for all what is really going on inside of Julie. This leads Sarah to investigate the murder, but in the end she resolves it by going to Julie and asking her to tell her what happened. Julie does and reveals that she killed him to help Sarah finish the book. Sarah writes about murders, and she needs a murder to ultimately finish the book that takes a deeper look into her consciousness, into the depths of the pool of her mind. Since it is possible that the book might resolve the guilt Sarah feels, Julie knows that she must murder off the father in the hopes of perhaps bringing back a relationship with the mother. The father was the one who was wrong, not her, and so by killing him she proves her loyalty to the mother.

Julie / Sarah 期待父親需要她，能比他需要母親多一些些。但是，Frank 以父親的角色，終究需要母親更多。Julie 的忌妒心，引領她殺害了 Frank。但是，這位父親的死亡，終究象徵著啥麼意義呢 !? 這個問題必須藉由 Sarah 抽絲剝繭地明查暗訪，嘗試去揭開所有存在 Julie 內心世界的種種，卻也誘使 Sarah 去調查這一宗謀殺案。

終劇時，Sarah 解決了這個問題，她直接去找 Julie，當面要求她告知實際發生的狀況。Julie 據實以報，並且透露她殺 Frank 的目的，是為了協助 Sarah 完成新書的創作。Sarah 的創作是關於謀殺案，因此她需要一個謀殺案來完成這本新書，能夠探視她深層的意念，進入到她意志游泳池的深度。

因為這本新書可能足以解決 Sarah 內疚的感受，Julie 知道她必須殺掉父親，期待或許能夠重回與母親的親屬關係。父親是錯誤的一方，不是她，因此，她殺掉父親，證明了她對母親的忠誠。

After this realization the tension is gone between Sarah and Julie. Together they bury the body and end the rift. When Marcel appears to be about to dig it up, she brings him back to room of Julie and offers herself to him once more. But this time she does not appear serious about him, almost like she is not afraid of this memory anymore. He no longer has power over her. Next, Julie is no longer needed and so she leaves. But she sends a letter essentially saying the book can now be shared that brings the mother back into her life. Having the story of her mother back in her life allows her to be in touch with the emotions that she has so long repressed and now she can become a more profound writer. She can now bare her soul without shame and in doing so she can finally write her best work.

經過這番的澈悟之後，Sarah 與 Julie 之間的緊張關係消失了。她們一起埋藏屍體，結束彼此的裂痕。當 Marcel 似乎即將要把屍體挖出來之際，Sarah 帶領他回到 Julie 的房間內，再一次獻身給他。但是，這一次她沒有在 Marcel的面前顯露出擔心的態度，她幾乎不再害怕這段的記憶，他(父親)不再是強勢的父權。

接下來，不再需要 Julie，因此她離開了。不過，Julie 寄了一封信給 Sarah，告訴她可以共享那本『將母親帶回到她的生命』的 "書"。擁有『將母親帶回到她的生命』的故事，使她能夠和長期壓抑的情感有所接觸，現在她終於能夠成為一位更有深度的作家，她能夠攤開她的靈魂，不再感到羞愧，此後，她終於能創作出最完美的作品。

But father figures in her life like John who have had sex with her would never let her bare her soul and tell her story. They want her to stay repressed. Knowing this, she breaks free from John and returns only to show him the book that has put an end to their relationship. And when she sees the real Julia while doing this, someone she had never met, she has the triumphant image of the mothers and the daughters reconciled in spite of abusive fathers. She sees herself waving to the real Julia, who after all was the idea that sparked her breakthrough. Then she sees herself as the child Julie waving to herself as the mother in the red dress she found earlier. The "red dress" could represent the "redress" of the grievance that had killed her relationship with her mother. But the red dress is more likely symbolic of the unrepressed mother in Sarah. In here is the idea that it now okay for Sarah to revisit her own sexuality and for the first time in years not to condemn sexual expressiveness. And with this reality comes the exciting possibility of Sarah leaving behind her solitude and maybe having daughters of her own someday.

然而，在她生命中父親的象徵，就像 John 一樣，與她有過親密的關係，卻從未讓她能夠攤開靈魂，訴說她的故事，他們要她保持在被壓抑的狀態。了解這個癥結，她斷絕了與 John 的關係，回到他的辦公室，只為了展示她的新書，一本終結他們關係的書。

當她在過程中見到現實的 Julia 時，一個她從未謀面的女孩，她流露出一張勝利者的形象，母親與女兒言歸於好，而非性侵的父親。她目睹自己向現實的 Julia 揮手，Julia 終究是激勵她突破的意念。接著，她看到自己成為孩提的 Julie，向身著紅色洋裝的自己 (母親) 揮手，這件紅色洋裝是她早先發現的。

"紅色洋裝" (Red Dress) 可以代表不滿的 "革除" (Redress)，此 "不滿" 扼殺了與她母親的親屬關係。不過，"紅色洋裝" 更像是 Sarah 身上解開壓抑的母親的象徵。這裡，Sarah 現在可以重拾她自己的性能力，多年來的第一次，不再因為沉溺於性愛而遭到譴責。

現實裡，伴隨著令人振奮的可能性，Sarah 將她的孤寂拋諸腦後，或許，有朝一日，Sarah 可以擁有自己的女兒。 (中譯--全文完)

© 2004, Alan C. Shaw, Ph.D.

[花絮]

電影劇照

偵探小說作家 Sarah Morton (Charlotte Rampling 飾演)

美艷的社長女兒 Ludivine Sagnier 飾演

Ludivine Sagnier

Ludivine Sagnier

年輕的法國新銳導演 Francois Ozon

導演 Ozon 指導女星 Ludivine Sagnier 的演出

導演 Ozon 與兩位女星 Charlotte Rampling 與 Ludivine Sagnier，在影展連袂露面