妖夜迴廊/Night Corridor這部電影揭示了什麼？

01-22

昏昏地看完無過多恐懼無過多思考一晃而過如酒醒後也無恍然大悟般。

以下所有內容均為互聯網轉載，非原創：

先來導演和監製的解讀：

[影評]李志超祖妖夜廊自述《妖夜廊》

導演李志超的話

《妖夜迴廊》是一套低成本心理震慄電影，全片充滿波蘭斯基(Roman Polanski)電影中如《怪房客》(The Tenant)、《冷血驚魂》(Replusion)的怪異詭秘演譯手法，以氣氛製造心理驚嚇影像帶有古典歌德式象徵主義色彩，並加入少量大衛．連治(David Lynch)的黑夜迷離感性。如《藍色夜合花》(Blue Velvet)的暗毒妖夜情調和《X-檔案》（X- Files）的迷離元素。全面多以夜景及室內景為主，除了一座吸血疆屍式圖書館外，其他場景十分簡單，人物設計獨特，憑主角性格及特出演技，營造宿命的緊張氣氛，以這種心理恐懼去推動故事的發展。劇情推展似羅拔．迪尼路和米奇．洛基的《天使追魂》(Angel Heart)，將觀眾帶入一個萬劫不復的報復圈套內，令他們代入關心緊張主角的行為思想和遭遇，一步步的走向最後戰鬥滅亡的結局。

《妖夜迴廊》是我的第三本長篇小說，影像上風格深受大衛．連治和波蘭斯基的影響，這本小說創作時已用了濃厚的影像化語言，是一種哥德式宿命魔幻主義，「電影小說」早就在這字著行間誕生。

《妖夜迴廊》從【明報】一日完四千字小說【夜迴廊】展開，再經過一年長，由藝術發展局資助寫成長篇小說，我相信現在是時機成熟，把他放上銀幕了。在編寫長篇小說的同時，為了交待出攝影和美術的風格，及以香港原始熱帶雨林和殖民歌德式及維多利亞建築色彩的背影，我專程到英國倫敦做一連串的資料搜集。尤其是對Fuseli的名畫以及William Blake派末世色彩的風格和美術上的研究，以及拍下小說中的插圖，藉此建立了電影版的攝影風格。那些曾深深影響我的大師如Frances Bacon， Goya，Leon Spilliaert，死亡派、宗教、巫術等影像都陰魂不散，變成象徵小說中主角的命運的暗咒。故此讀小說時也滿眼血色的跳躍，拍出來一定更激烈，鮮血淋漓，熱血沸騰，使觀眾感受到那心理恐怖，命運播弄下香港像煉獄內慄然的氣氛。

我曾經把我的短篇小說【心猿意馬】拍成電影，充份反映出我能駕馭自己的小說變成電影。《妖夜迴廊》生存在商業電影的框架之外。我相信只要憑視野和大型發展計劃的資助，便能以低成本手法，把這小說拍成一部耳目一新的心理恐怖電影。

監製 / 演員吳彥祖的話

今次我只投資了很少，大部份都是找朋友投資的。做監製的整個過程都頗有趣。拍攝這套時，我們面對幾個挑戰。第一個挑戰是要找人投資。這套並非是商業片，最大問題是找不到投資的公司。但李志超寫的這個劇本真的寫得很好，我認為若將這個故事拍成電影一定會很好看。而這亦是少有的機會可以讓我演出這類角色，於是我便自薦，幫他做監製，並幫他找些人投資拍此片。

我覺得不論你是否有錢，最重要的是要有一個好的team。當每一位參與者都很有心機去做的時候，是什麼都可以做到的。正如陳果等這類導演，他們拍第一套片的製作，都是得很少錢投資，但卻能拍出很好的片。反觀現在有一些商業片，有很多budget去製作，但是不好看，為什麼呢？是因為個故事寫得不好。

是不是business影響了art？我認為電影是一半business一半art的，你要在當中找到一個balance。如果太過business，那套戲便會不好看，因為沒有art。但如果太過art的話，就會沒有觀眾。

這次參與《妖夜迴廊》，我是為了一份passion去做。我認為成班人一齊幫手去做、去玩，那個氣氛是很好的。他們都不是抱著為工作、為生活的心態去做。那裡每一個人都因為這套片而感到興奮、感到有新鮮感。

在這次拍片的過程中，最重要是學到什麼是passion。Real passion是很重要的，譬如打籃球，若果成team人之中有一兩位只是為了錢去打，而沒有passion，無論你如何想贏，都是贏不到。是要每一個team member都好有恆心一齊去參與，才可以取得冠軍。

很多人都說我現在可以嘗試做導演了。但我不想胡亂來。我亦不希望我拍的第一套片出亂子。我希望先form一個好的team，一個好的編劇。一有了個story，然後便會知道我會找什麼人做演員。我做導演的第一套片最大可能是黑色喜劇。因為我自己的sense和喜劇身體會比較黑一些。

資料來源︰電影雙周刊—香港 (撰文︰Sonycat) (吳彥祖部份)

另外，一篇有代表性的影評午夜夢回 (妖夜迴廊影評)

整個影片講的是一個惡夢，片斷有些支離破碎，因為主角的夢境就有些凌亂。整個夢境主要講述了主角袁森想擺脫過去，卻又無法從過去中掙脫的困境與矛盾。

　　其實，袁森和袁洪是一個人，袁洪是袁森想擺脫過去而分裂出來的另一個自己。袁森認為自己的過去很陰暗不堪，被校長猥褻，又是同性戀，因此他無法認可、面對與說服自己不去在意所存活的這個世俗社會約定俗成的道德準則與價值觀念，迫切希望從過去的這種困境、糾纏中擺脫出來，但對於過去他卻總也不能釋懷，一直在這種痛苦中煎熬著。所以他自然而然的擁有了雙重人格，自覺不自覺的分裂出一個袁洪，潛意識中袁洪的死代表著他希望埋葬自己不堪的過去，代表著擁有不堪過去的自己的死亡，這就是為什麼袁森說袁洪一直在扮演著自己，實質上是他自己想抹去過去的罪惡行為，從而讓袁洪代替自己去為以前的一切負責，而自己由此可以重獲新生，現在死的是自己。而袁森卻要調查袁洪的死因，這是因為現在的自己不能對過去釋懷，對那個過去的自己還無法捨棄，有所留戀。在夢中，袁森的母親和校長都承認他有個叫袁洪的弟弟，那是因為可能現實中，母親和校長都希望他能從過去中擺脫出來，希望那個代表著袁森不堪過去的袁洪死掉，所以主角的夢中母親和校長一直在說袁洪死了。

　　影片還講述了袁森對性恐懼又渴望的困境。由於小時曾被校長猥褻，母親與別人偷情，導致了父親的死亡，袁森懼怕性，從母親與繼父上床體現了出來。片中猴子就代表了性，在袁森看來，性就是惡魔，是殺死袁洪（過去的自己）的元兇。就是因為校長的性慾，才讓自己擁有了如此不堪的過去，才讓現在的自己想擺脫過去的自己。至於袁洪被母親**，體現了袁森對母親的恨，袁森認為造成自己現在的樣子，一半也因為母親對自己的不管不顧、毫不關心，所以，袁森認為自己不僅被校長**了，也被自己的母親**了。但對於史雲生的依戀表現了他對性也充滿了渴望，有所留戀，致使他無法從過去中徹底走出來，內心充溢著慾望卻又極力排斥，心裡充滿了矛盾。

圖書館的老頭，代表袁森自己的心魔（憎恨）。袁森恨過去曾給自己帶來傷害的校長和史雲生，恨不得他們都死，在圖書館老頭的一步步安排下，他們都死了。秀冰就是心魔所披的美麗外衣，在心魔朝自己走來時，袁森沒有看出那是自己的心魔。心魔給了袁森報復的力量，就是那把槍，袁森用它殺死了史雲生，卻也使自己認識到了心魔的本來面目。袁森被秀冰**的那場戲，表現了袁森在努力和自己的心魔作鬥爭，結果是失敗了，心魔使他瘋狂了，殺死了校長。在袁森清醒以後，他想掙脫心魔，卻已經被心魔牢牢的控制住了，他放不下那個心魔美麗的外衣（秀冰），所以那個老頭說袁森現在就算有passport也沒用了。至於袁森與秀冰的孩子代表著人性最黑暗的一面，那就是心魔想最終得到的東西。

袁森最後發現，致使自己如此痛苦和矛盾的根源不是不堪的過去和他人的傷害，而是自己的心魔，自己對過去的憎恨，它使自己無法對過去釋懷。結局袁森在這場虛妄的噩夢中驚醒了，回顧了自己噩夢的全部，發現幸好一切還只是個夢，結局那個死掉的畫面代表著袁森獲得了新生，那個被心魔控制的袁森已經死了。最後，那個老頭從那幅畫後面出來，問了一句你做噩夢嗎？表現了惡魔其實是存在的，就在你我的心裡，在潛意識中（比如夢中）會被我們毫無顧忌的釋放出來。 至於片中魔鬼的契約，指的就是袁森與秀冰的孩子，魔鬼要袁森釋放出自己人性最黑暗的一面。

吳彥祖在相關的訪談中談到妖夜迴廊/Night Corridor：

DANIEL"S DARK AWAKENING

by Matthew Scott

South China Morning Post 13 Aug2003

Actor Daniel Wu is demanding respect with his risky new independent film that explores homosexuality, paedophilia and the forces of evil, writes Mathew Scott

IT WAS, HE says, time to stand up and be counted. Actor Daniel Wu Yin-cho had read the script, met with the director, and signed on the dotted line. But when a lack of finances meant the whole project was in jeopardy, he knew his time had come.

" It was something I really wanted to be involved in," he says. "The government [the Arts Development Council] had given some money to the project but that wasn"t enough to get the film made the way we wanted. So I said, "Why don"t I come on board as producer?""

The project, Wu"s first in the duel role as actor/producer, is Night Corridor, director Julian Lee"s independent adaptation of his novel of the same name. It is a twisted little tale, full of haunting images. "A dark, non-typical Hong Kong story, with a more European feel to it than most in Hong Kong," is Wu"s take on things - and it is now playing as part of Broad- way Cinematheque"s Independent Film Month, before going on general release at Cinematheque and Cine-Art House on August 21.

In the film, Wu, 29, plays a London-based artist drawn back to Hong Kong after the death of his brother. Once he returns his life slowly unravels, as his repressed homosexuality bubbles to the surface and the investigation of his brother"s death leads him into contact with forces of evil.

" We went to a few film companies and they wanted to play around with the story, to add explosions and chase scenes, to basically make it something that it wasn"t," the San Francisco-born Wu explains. "But that wasn"t what we wanted to shoot. They wanted to turn it into something commercial and that"s what we were trying to avoid. I wanted to do a different kind of film."

For Hong Kong audiences and Wu"s legions of fans, used to seeing him in mainstream fare such as the mega-successful Love Undercover (2002), Night Corridor certainly is "different". Director Lee took his inspiration from the creepy painting Nightmare (1781) by Swiss-born artist Fuseli and thus the film (like Wu"s central character) charts a course somewhere between clarity and confusion. Being an independent effort made with a limited budget, the film at times suffers from the restraints inherit to this kind of production. And that is something to which Wu readily admits.

" I think we shot it in 12 days but obviously if we had more time things would have changed," Wu says. "But just to get it done made us all really happy. You know that going in to something like that, you are not going to be able to do everything they way you might like."

The end result still boasts some impressive efforts. Wu is strong in the title role, while solid support is given by veterans Ku Feng, and Wai Ying-hung. And young cinematographer Charlie Lam - who impressed with his work on the short Tai-Tai, which screened at Cannes last year - manages to create a haunting, atmospheric mood with limited resources and sets.

Wu has been using his very "public" face to court as much publicity as possible. That has included a stream of press and television interviews. He remains relaxed about the whole process when we meet in the film"s publicity unit offices in Wan Chai, as he does during the film"s official premiere last Friday night. "I"ve done more than 20 films now," says Wu. "And what comes with that is that you recognise where things can be done better. And I"m in a position now where I can do something about that. I think it"s a responsibility; if you have the power to change things, then go for it. It shouldn"t be a selfish industry, we should be helping each other."

Wu arrived in Hong Kong to witness the handover in 1997 after graduating with a degree in architecture from the University of Oregon. Once his money ran out, his sister Gloria suggested he try his hand at modelling. His work on the catwalk was spotted by director Yonfan who cast him in Bishonen (1998) and his fate was sealed.

" I"d studied film in college but just sort of fell into it over here," Wu says. "You learn as you go here and because a lot of the films are not that challenging, that"s not a hard thing to do."

He says he is at the stage of his career in which he can afford to take more chances and film producing will help him do just that. "There"s plenty of guys out there who can do that commercial pop star act," he says. "But I came from a completely different background to that so I think, why limit myself when there is so much more out there?"

For Hong Kong audiences, Night Corridor might be about as non-commercial as you can get - it touches on homo-erotica, as well paedophilia, and comes with a Category III restriction. Wu is under no illusions about the audience the film might attract, or of its place in the whole scheme of things here.

" In the end it all comes down to money," he says. "Obviously, a movie that can attract everyone from a four-year-old to an 80-year-old is going to get more support than one that can only attract those who are 18-plus. But at the same time you can"t only target one group of people with every film.

" Everyone knows what happens in Hong Kong. If a romantic comedy is a hit, you get romantic comedies for a whole year and I think that"s a terrible way to do it because you then kill the genre. You"re not keeping the wheels moving, you"re just spinning in place. It seems like you"re satisfying the people but at the same time, you are not going anywhere.

" I"m not saying this is some ground-breaking movie," adds Wu. "It"s just something different. And I think we need that variety to keep things alive."

reprinted from：Daniel Wu"s Interview