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幻想世界的女性主义 ——读《Thelma & Louise》有感 雷德利.斯科特摄于90年代的《Thelma & Louise》被誉为一部女性主义杰作,这部影片的题材与关注点与其之前的作品不同,也与常规的好莱坞电影为男性愉悦,满足男性欲望的目的不同,斯科特从影片奇观和叙事等方面都采用了女性为主体的电影语言。在该部影片中,女性作为影像不再是男性窥淫癖和虐待狂的对象,女性作为主角在影片中对男权世界罪恶多层次的揭露,对女性权力的斗争,与对“墨西哥”这一女性主义世界象征的执着,如此客观和真实。下面我将从不同角度尝试解读下,雷德利.斯科特是怎么样给电影这个虚幻世界注入的女性主义强心剂。
一、女性主体的角色设置
在影片角色设置中,传统的好莱坞影片或其他男权主义电影都是男性主体的,而在该片中着色强烈的角色设置,以女性为主体。
1. 女性: 女性作为这部电影的主体,在电影中不再是男性角色的附庸,在故事情节的设置中,男性不再是主动推动故事向前发展的主体。造成事件的人,为满足男性意识形态下的特定场景(色情、歌舞等)从电影中剥离出来,把女性作为电影的主体,掌握着话语权,掌握着整个影片的进程,掌握着整个事件的发展方向。影片中,路易斯是从头到尾的女权主义者,独立生活,独立思考,由于曾有在德州被强暴的经历,对男性世界的龌龊了如指掌,对男权主义深恶痛绝。她对男女感情掌握着主动权,与男友的关系只维系在一部电话上,需要时召之即来,不像朋友塞马尔早已被套牢在婚姻的囚笼中,受尽煎熬。塞尔玛是典型的男权社会中的妇女形象,对丈夫言听计从,丈夫可以夜不归宿,自己的行踪却必须随时向丈夫报告。影片中,塞尔玛与路易斯在男权社会中的地位的不同在电话机里有极具喜剧效果的体现:警察监听电话机,让塞尔玛丈夫协助警察想找到妻子和路易斯,在丈夫刚说出“你好”之后,塞尔玛便判断出电话被监听。伪装下的丈夫被塞尔玛轻易识破,因为男权意识形态是如此的根深蒂固,在女性面前即便是伪装,也是徒然。同时,塞尔玛在路易斯的感召下,女性主义的种子也逐渐觉醒:和男人第一次发生性关系;抢劫超市;吸烟酗酒等等。在这个过程中,塞尔玛和路易丝慢慢发现,做与整个男权社会对抗的女战士更加令她们快乐。同时她们也体会到了,只有对方才是真正能倚靠的对象。但是,选择往往是要付出代价的,对塞尔玛和路易丝而言,这个代价可能是她们的生命所无法承受的。因为这个社会毕竟还是一个男权社会,塞尔玛和路易丝的反抗犹如一现的昙花,虽然美丽,却注定了短暂。当二人最后被警察围堵之时,她们二人以生命为代价,做出了自己的选择。
2. 男性: 在男权主义电影中,男性往往作为看的承担者,男性是主动的;女性总是作为男性幻想的形象出现在荧幕上,以迎合男性的观看趣味。男权电影中,男性往往通过表现女人的脆弱、女性对男性的追求爱慕和女性风格化的身体等来表达男性对女性的控制和欲求,而在《塞尔玛和路易斯》中,男性不但处于被动者得位置,还被置于女性主义抨击的标靶中央。影片中塞尔玛丈夫、酒吧男、强奸路易斯的德州男和偷财骗色的小贼完全是女性主义的标靶,他们表现出的粗鲁、龌龊、兽性,象征着男权社会中男性对女性的压迫和不平等,并且,他们这种动物般的歇斯底里也寓表着男权在女性觉醒下的风雨飘摇和土崩瓦解。 另外,值得一提的是巨星布拉德.皮特饰演的小贼,漂亮的腹肌,完美的身板,他除了在剧情上让塞尔玛和路易斯在此陷入经济危机,以及揭露男人羊皮下的狼性般的虚假外,小贼在这里还成了一个“花瓶”般的设置,男性成为满足女性观众欲求的色情对象,这既是女性主义的反诘,也是平等的象征,漂亮的男性在女性主义电影中应该为女性观众服务了! 哈维.凯特饰演的男警察,作为男权社会的秩序维系者,是这场“警匪捉迷藏”中比较重要的角色。从影片看来,为人友善,态度中肯,尽职尽责,这三个词可以概括男警察的特点。他从始至终透露着想尽心竭力帮助路易斯和塞马尔的热忱,可是在男权的罪恶无以复加的社会中,警察,尤其是男警察,早已失去了女性的信任,因为女权的维护只能靠女性,通向“墨西哥”的旅途需要女性来完成,所以这在影片结尾塞尔玛和路易斯面对警察追堵,选择驱车飞翔,解放自身,成为了很好的体现。

二、男权空间的土崩瓦解 在男权社会中,女性被束缚在各种男性精心构思的空间中,然而,随着女性的觉醒,这些空间瞬间土崩瓦解。
1. 男权集中营
现实生活中的家是夫妻关系的物质载体,男性与女性共同生活在一个屋檐下,在女性主义式微的社会里,女性是“同在屋檐下,不得不低头”者,密闭的家庭就是关押女性的集中营。雷德利.斯科特构建的影像世界中,塞尔玛与丈夫的家庭就成为典型的男权集中营,塞尔玛倾心爱着丈夫,但是丈夫却在男权的幻象里无限膨胀,对塞尔玛的生活、朋友漠不关心、心怀敌意。影片开始时,丈夫对塞尔玛大呼小叫,百般挑剔,塞尔玛“尽职尽责”地完成着女性在男权社会中的角色扮演,这种男权在家庭中对女性肆无忌惮压迫是影片中男权的第一个集中营。
2. 温馨咖啡馆
然而,与塞尔玛所处的集中营强烈对比着的是出现影片一开始的咖啡馆,影片的另一位主角路易斯熟练地在扮演者侍者的角色,熟练的动作,自然的面部表情,路易斯在忙碌中没有半点囧色,并且还真诚地关心着抽烟的女孩,她似乎身处在另一片女权的乐土。路易斯在此处的动作很有意思,路易斯提醒女孩吸烟太多会没有性欲,女孩继续抽烟,然而,当路易斯进到厨房时,自己却抽起烟来。在男权主义下,男性自认为对女性有着生殖方面的优点,在现实生活与影像上,男性对女性性欲的要求与宣泄成为一种男权的象征。此处路易斯对性欲的态度完全是对男权意识形态统治下的第一次突围。并且,在之后,路易斯射杀企图强奸塞尔玛的酒吧男则完全是影片中女性对男权突围的第一枪。
3. 酒吧地狱
如果说家庭这个集中营中,男权还对女性有一些仁慈,男性对女性欲望的掠夺还在一定限度之内,那么当塞马尔与路易斯出游来到小镇的陌生酒吧时,象征着女性彻底陷入了男性设置的地狱。塞尔玛和路易斯进入酒吧后,本来准备小作休整后继续旅程,但没想到由于塞尔玛的掉以轻心,被酒吧男骗到角落,若不是路易斯及时赶到,酒吧男的已将塞尔玛强奸。接着,由于酒吧男的粗鲁言语,路易斯一气之下将其射杀,自此,两人不得不开始逃亡之旅。酒吧的段落是影片的一个大转折点,剧情由此变得戏剧化,影片通过三个不同角色的位置设置,将男性的丑恶、男权下女性的软弱、女性的斗争鲜明的表现出来,同时,这也标志着影片女性主义旗帜的真正树立。
4. 流氓旅馆和杂货店
父系社会中男权的确立主要因为男性掌握着金钱和语言,女性对经济的掌控对女性至关重要。影片中,出逃的塞尔玛和路易斯陷入经济危机,路易斯不得不向男友求助。男友虽然追至旅店,但是路易斯仍然守口如瓶,没有轰然倒向靠山,而是保守着自己的秘密,继续前往墨西哥。塞尔玛则相反,她还恪守着女性在男性眼中应有的脆弱、多情,结果被小贼骗财劫色,落得“竹篮打水一场空”“赔了夫人有折兵”的下场。然而,小贼的恶行与两人陷入的窘境却成为了塞尔玛女性主义觉醒的契点,在随后的杂货店抢劫中,塞尔玛表现出的那种让人惊异的冷静、勇猛,即使是自认为优于女性的男性也绝做不到,当自己的丈夫看到妻子的抢劫一幕时,也十分惊愕,不敢相信这个平日里任劳任怨的妻子所做的事情。塞尔玛在这里的转变,虽然让两人陷入了更艰难的境地,但是这种旗帜鲜明的对男权的挑衅,似乎在位之后的驱车飞翔做好了铺垫,两位女性终于真正站到了一起,女性的团结才能带来对男权社会的胜利。
三、“末路狂花”非末路 在前面段落,我一直避免使用影片“末路狂花”的译名,因为我觉得从女性主义出发,“末路狂花”不能代表女性立场。中文电影名同称“末路狂花”的影片还有法国的两部:《1999末路狂花 Whatever (1998)》、《尚塔尔和末路狂花 Thelma, Louise et Chantal(2010)》(后者被称为向1991年美国影片《Thelma & Louise》致敬)以及香港的《末路狂花 (1992)》。就影片剧情与立意而言,后三部影片是典型商业片和男性主义电影,与1991年《Thelma & Louise》这部女性主义杰作恰好背道而驰。电影本身的不同与女性主义在法国和英语系国家的不同发展密切相关,这无可厚非,就翻译而言,后三部电影中文名相当大程度上是受1991《Thelma & Louise》中文译名的影响(因为这四部影片在影片的剧情建构、元素设置上都有共通点),而这就有可能混淆电影之间差别的可能,并且就“末路狂花”四字本身而言,有种歇斯底里的感觉,也不是代表着女性主义主体。所以,将《Thelma & Louise》译为“末路狂花”或许是出于商业上的考虑,但是却完全忽略了电影本身的个性与内涵,这种忽视,也显现出华语世界女性主义声音的缺失,这是一件令人悲哀的事情! 同时,即使整个影片的结尾是两个女性以自身生命为代价,做出了她们认为是对的选择,驱车驶向悬崖,看似是两朵花走向了末路,其实,这个所谓的终点,何尝不是一个起点呢,末路非末路,末路即是开始,末路代表着女权主义的觉醒,代表着女性要开始找回自身,反抗男权独断专行的残暴的、粗鲁的、龌龊的的统治,解放自我,寻回天性,找到属于自己的真正的道路,做自己喜欢的,能够实现自身价值的路。
结语:
可以说,这部电影是“公路电影” 题材,但是一般意义上的公路片都充满男性象征,甚至是以男性为主要观众的电影,但是雷德利·斯科特的《Thelma & Louise》却选择了两个女性作为主角,其用意不可谓不大胆。这部电影在商业上和艺术上的巨大成功,除了充分证明了导演的独具匠心之外,也肯定了电影中“另类”旅行拍档的可能性,让公路电影的类型更加丰富了起来,更是为轰轰烈烈的女性主义运动提供了不能忘却的记忆。而作为男性,我支持女性主义的立场和态度,就影片而言,导演的设置也非常完美。然而,兴起于19世纪的女性主义,在现实世界中的发展还有很长的路要走。如影片片头的隐喻一样:舒缓的音乐中镜头慢慢升起定格,前景是一条延伸至远方的公路,公路的尽头是屹立在背景中的群山。如果大山是女性主义的隐喻,那么前景中这条绵延的公路则可是女性在社会中诉求女性权力的荆棘之路。

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