完美生活

　　我能在文首抒段情么？也能借文首话点家常么？

　　在威尼斯极冷的电影宫pala lido，看了唐晓白的第二个电影《完美生活》。一边缩着一边看两个女孩的挣扎对我来说很痛苦，我得忍受身体上的冰凉和心灵上的针扎的感觉。但好在，片子让我舒服到足够抵御寒冷。

　　我认识一个姐姐，她和我说起过唐晓白。说的时候，毫不吝惜她的溢美，绝世才女、身世神秘、仪容得体、文笔惊为天人。毫不夸张，这是她的原话。如若不信，可以问她。我相信，如果有人质疑，她会出来力挺，我就不出卖她是谁了。

　　话说回来，我只觉得她近似崇拜的赞美，让我觉得能让她这样仰慕的不应该是一个同性。我无非是想经其他人的口说说唐晓白的魅力。

　　再来说唐晓白的第一部影片《动词变位》，这个电影是我看过的描述非常时期中国的很好的影片，不生硬，角度又新颖，还有诗意的表达和绝妙的隐喻。比卓有声名的另外一部描述同时期中国社会的影片好很多，只可惜，能够看到的人很有限。

　　《动词变位》看不太出来是女性导演的作品，唐晓白和一般女性导演不同，你看她挺热情挺感性，但做东西的时候却在结构的把握上很圆熟。 比如，这次的《完美生活》也依然如是。片中的两个女孩，一个在北方的小城里积极地想跳出自己的小天地，一个在香港的现代都会里消极地想和前夫离婚。

　　我觉得它的意义在于一种对叙事的创新和对电影媒介本身的考量。比如像《暴雨将至》一类，是打破了时间的流逝感，将影片的起点与终点同置，模糊了时间的始终；比如像《通天塔》一类，实际上是打破了时间的点的概念，在这个时间点上不同空间不同地域的人因为内在勾连有所关联；比如像在本届威尼斯电影节上的参赛片《燃烧的平原》一类，实际上是打破了个人的时间，将她的现在和未来不断穿插；像《完美生活》，它实际上也是打破个人的时间，将她现在的可能性和未来的可能性不断穿插。它比《燃烧的平原》大在它讲述的不是那一个女人、那两个女人，而是潮水涌动在你我身边的无数人的故事，讲述的是一个正如唐晓白所说的“世界”。

　　在剧情的部分，李月颖和母亲纠结的关系成为她奔往外部世界的原始动力，她靠女人的本能换来工作，接着靠女人的本能换来去往深圳的机会，最后靠女人的本能展开一段婚外恋。影片剧作手法的娴熟-如对照片细节的多次运用交代李月颖的生活改变、李月颖与母亲关系矛盾加剧给予她更大的行动推动力；以及对演员表演乃至眼神的控制与磨砺，剧情片与纪录片转换的流畅与自如，对现实社会和人心的展露的锋利度，都令当下很多导演难以企及。(和唐晓白聊天时，发现她其实不太满意于影片的某些部分，她觉得还不够锐不够利。但在我看来，真的是够了。)

　　而全片的点睛之笔在于纪录片的女主角与剧情片的女主角不期然而遇，但没有正面交流。当纪录片女主角珍妮走出画外时，镜头缓缓移动，我们于静默中，好似等待一扇滑动的门。挺着大肚子的李月颖再次入画，她接到了一个将又一次改变她命运的电话。谁的一生不是因为一些莫名的时刻而改变呢？我们在一生里又擦肩而过多少人呢？他们来自哪里？将去哪里？他们是谁？他们和我们一样吗？她是另外的一个我吗？

　　唐晓白的第一部影片会将眼光投注在那段历史，因为她是北京人的关系，也目睹或有所参与。她的第二部影片则讲述香港新移民的前世今生，这与她01年移民香港有莫大的关系。她可能与片中的女主角们的成长背景有很大出入，但是隐蔽在她们内心的愿望，如野草般滋长和难以抑制的冲动，纠集女人内心，还是一样的吧！尤其是有过经历、又有过痛苦的女人们。

略带陈旧阴暗的光线，不加修饰的嘈杂，微微晃动的镜头。两个人的故事就像两辆平行驶往不同方向的列车，在某个小站略微靠近，再继续开进生活深处。无比真实的观感，不会让人在脑子里填满各种关于蒙太奇的想法，也不会入戏。只是触碰，感受与思考。它不是一个刻意构造的单纯的故事，而是把生活生生切开，把剖面放大摆在你的眼前。

她生活在小城。冬季多雪而寒冷的小城。她心里有小小的梦。她想要离开，冲破自己暗暗的自卑。可是生活没有“完美”，她也不知道什么才叫“完美”。
她曾穿上不属于自己的级别的衣服，被房客看到后匆匆脱下。这个房客却最后成就了她的离开。

她只是不想被阴暗压住。
一个不成器的弟弟，她却被迫为了他而退学。
一个冷淡的母亲，还每每因为“父亲”而起冲突。母亲压抑地喊：“你不是找你爸去吗，怎么还不去……”门呯地一声关上，跟刚刚的耳光一样响亮而冰冷。
公交车上，她小心翼翼地说，爸托人传话，说他要回来呢。驾驶座上的母亲头也不回，戴上了墨镜。她冲到镜子照不到的座位，压抑着哭声，再大的阳光也照不到她。

终于、她选择了逃离。
临走，去跟母亲告别。轻轻推门，一道铁锁赫然出现在眼前！她也只是默默把零钱塞进门锁上。独自上了火车。
火车上，呼机响起。是让她到南方帮他办事的他。说事成之后送你到深圳上学，费用我来付。她笑出声来…也许并不只是为了这样的一句话、更多的是，有一些什么，终于可以释放了。

到了南方。
住最差的地方，吃方便面，打公共电话。
却没能再找到他。
她一个人在空空的房间里自问自答。
“你叫李月颖。”
“我叫李月颖。”
“你出来多久了？”
“我出来63天。”
一次次的无人接听的电话，她终于放弃。放下听筒的一刻，即使放下了过去的一切。
一个全黑色的过场。五年的时光。
她的逃离还是走向了最普通的站点。
结婚、怀孕。她依然没有笑容。只是如同一直以来那样生活。

只是在经常不回家的丈夫的生活里，还多了另一个男子。
她可以跟他在一起，可以让他陪着她。却不想为了他走出自己的生活。

搬下自己的婚纱照。按下快门。
留下一张合影。
深深的生活的痕迹。
完结。

完美生活。
不完就不美。——便是生活。

（载于《2009香港电影回顾》，原名《深圳的上一站和下一站》）

    《完美生活》是一則關於中港關係前世今生的寓言。
     電影混合劇情和紀錄兩種類型，通過平行剪輯東北底層女孩李月穎和香港新移民妻子Jenny的生活，形成一個比照。劇情的部分隨著李月穎的足跡從南到北，從她的家鄉小城到都會深圳，而香港也在眼前不遠處——電影的結尾，她成為了一個香港男人的情婦，可能也會變成下一個新移民妻子。紀錄的部分則是聚焦在Jenny身上，由她回顧如何從農村來到深圳打工，遇到她的香港丈夫，並在結婚後搬來香港。而在Jenny講述這些往事的同時，她正在申請離婚並努力養活兩個女兒。攝影機見證她在香港這座城市的種種不易，也跟著她回深圳探望那裏的姐妹。在深圳的一個雜貨鋪，Jenny與李月穎遇上，紀錄和劇情部分相交於一點，而兩條平行線在交匯後仍然按照各自的軌道前行。
    非常明顯的，創作者希望交織兩個女人的命運。在這個意義上，月穎可能是Jenny的前史，而Jenny可能是月穎的未來。電影的海報便更直觀地指明這一點：海報由兩部分組成，上半部分是月穎，背後是發展中的中國東北重工業區；下半部分是Jenny，背景為標誌性的香港維多利亞港夜景，是已經發展完成的國際大都會。上下兩部分構成一個鏡像，互為倒影，甚至互為輪回。這何嘗不也是月穎和Jenny命運的寫照。
    作為一個已經得到香港永久居留權的新移民，導演唐曉白沒有像一般香港導演那樣僅把新移民作為香港底層社會的代言人，而是放置在一個更廣闊的語境中探究，那便是中國正在進行中的現代化和城市化——在這樣一個經濟高速發展的歷史進程中，區間之間的人口移動成為不可逆轉的大流。過去的身份諸如“東北人”、“湖南人”、“四川人”，已經不如從前那般穩定純粹。大城市如北京、上海、廣州、深圳擁擠著外來的移民，他們背井離鄉，像潮水般湧入大城市打工，尋求高於故土的經濟回報。流動令移民的自我身份認同受到挑戰，無法融入借居的異鄉，也無法治癒根深的鄉愁。就像Jenny，在香港生活多年後能夠如一個本地人那樣說流利的粵語，但在她過去所接受的大陸教育下，她仍然不會寫繁體中文字。所以當她去茶餐廳應聘時，這個微小的細節透露了她的新移民身份，也使她無法符合工作要求，與能獨立養活自己的工作機會失之交臂。過去在內地/故鄉的那些年在她現在的生活中仍然留下不可磨滅的印記。她站在人來人往的大街上，茫然不知道自己可以去向何方，就像這個繁榮都會裏成千上萬的新移民一樣，就像這個飛速發展國家裏千千萬萬的移民者們一樣。身份危機，這個常常在研究香港時被提到的詞，已經不再專屬於香港，也開始屬於他們的內地“同胞”。某種程度上，這兩個曾經頗有距離的地方現在有了驚人的殊途同歸。他們的命運交織著，也同樣“分享”著一樣的無根飄泊感。
    《完美生活》劇情片與紀錄片虛實相接的結構得到不少讚譽，但同《24城記》一樣，生活本身的力量令虛構在真實面前一敗塗地，甚至自取其辱——所以Jenny的紀錄部分是片中最動人的地方。如果虛構不能比拼真實，那至少也要力圖再現真實。可惜，走寫實風格的《完美生活》並沒有再現一個真實的東北。生活常態被用力強調、刻意放大，比如落後、貧窮，比如冷凍的豬頭，電話亭上的治療性病廣告甚至東北家喻戶曉的“二人轉”，在導演的處理方式下，都被渲染成為奇觀。這種不真實，再舉個小例子，作為東北人的女主角，卻說著一口標準的普通話，而她周圍的人都帶著濃重的東北口音，更加顯得她與環境格格不入。人物的前提已經失實，又如何“表達東北小城市裏的女孩和她們的生存狀況”（導演語）呢？女主角成為導演想像的一個符號，游離在了環境之外，而她身後的東北也變成了一塊佈景板，平面的，就如同她去照相館挑選的那些“英國曼哈頓”一樣。
    這令人想到中國的第五代電影──它們的特色之一，是用大量的民俗、儀式營造一種東方奇觀，在後殖民語境中滿足了西方對東方的想像（比如張藝謀早期作品）。而《完美生活》何嘗不也是在營造一種奇觀呢？只是在這裏，“奇觀”前面的定語換作了“內地”。西方看到了他們想看到的中國，香港也看到了他們想看到的內地。而內地觀眾，這些影片的真正主角，卻不知被放在了什麼位置。從內地移居香港的唐曉白眼中的東北，甚至比不上香港本土導演陳果的東北更真實自然（《榴槤飄飄》），而同樣將內地落後地區奇觀化的情況也出現在許鞍華的《天水圍的夜與霧》。這種眺望內地的一廂情願的想像不是巧合，值得深思。

After watching this perplexing and puzzling film, I would like to discuss two things about this film: the purpose of adopting “docudrama” style into the film and the mobility and identity of Chinese female figures associated with the transitional process of Chinese modernity.

I would like to briefly clarify the content of this film. This film includes two stories: a fictionalized story and a documentary story. The fictionalized story depicts a girl, Li Yueying, who is from a provincial town called Fushun in the Northeastern part of China, who wants to work in an entertainment trope in Shenyang but ends up as a hotel chambermaid. Her father ran away with other women and her mother took different men back home. Li does not get along well with her mother. However, her life totally changes after she meets a disabled guy at the hotel. This guy is an art dealer who smuggles paintings from Mainland China to Hong Kong (maybe). He asks Li to take a painting to Shenzhen. However, this disabled guy is killed by other dealers and Li never returns to her hometown. After six years, she gets married but secretly becomes a mistress of a rich Hong Kong middle-aged man. She also gets pregnant but this film does not indicate who is the baby’s father. The documentary story uses a handy video camera and documents a mainland female figure called Jenny Tse, who is in the process of getting a divorce from her Hong Kong husband and her daily life in Hong Kong and Shenzhen. She tries to find a job at a Hong Kong restaurant but is turned away because she cannot write traditional Chinese characters. She returns to Shenzhen and wanders on the street, shopping and dancing with other people on the street. She regrets to go to Hong Kong and declares she would rather stay in a local factory as a Dagongmei (Factory girls).

The genre of this film fits into the definition of “docudrama” that was addressed by Steven Lipkin. It features “as a hybrid form, wedding ‘documentary’ material with ‘drama’(Lipkin, 1). This creative narrative style is very unique among contemporary Chinese films, which break the traditional way of film production. However, the rapid shiftiness of the narrative form featured with a double narrative thread destroys the integrity of the film, fragmentizes the structure of the two stories, and disrupts the narrative rhythm of the film, which disturbs the audiences’ aesthetic experience to some extent. Due to the mixture of these two parts, the audiences sometimes cannot tell which part is fictionalized, or which part is a documentary. Nevertheless, rather than say the fiction part ostensibly departs from the documentary is not necessarily true, they essentially complement each other. Li’s life experience is the past of Jenny’s, her present suffering probably will be the future of Li, that is to say, Jenny is the prefigure of Li, and Li is the exact copy of Jenny. The film poster of this film also reaffirms this concept. This poster is divided into two parts. The top part portrays Li’s image in the background of the industrialized town that features several factory chimneys. The bottom part looks like the inverted image of Li but depicts Jenny’s image in the background of the commercialized metropolis that features hundreds of tall buildings near Victoria Bay in Hong Kong.

According to an interview with Tang, she did not intend to put a documentary part into this film. When almost 60% of the fictionalized part was finished, she met a mainland woman who was in the process of getting divorce with her Hong Kong husband. Tang thought it would make good documentary material and could be used in the film. However, when Tang decided to shot a film about that woman, she got married again and refused to take part in the filming. Then Tang met another woman who was also trying to get divorced from her husband who was a Hong Kong chef. In my opinion, Tang purposely puts these two parts together in order to reveal the reality and shorten the distance between artistic production and history. The documentary part not only can be a direct resource of the fictionalized part, but also can verify the authenticity of the migrants’ situation that is put on the screen. Moreover, the organic organized structure of this film leads audiences to have an overall view of a migrant’s preexistence and experiences later in life. If we only narrated Li’s story in a very matter-of-fact way, a completely fictionalized account of her life experiences, the dramatic effect of this film would be greatly reduced. Indulging in reality and fiction, we find ourselves involuntarily feeling pity on the figures, no matter if it is the protagonist or the real figure. All of the emotions are simulated by the director even if we cannot figure out how to tell the differences between fiction and reality. But who is responsible for their fate? The disabled guy? The Hong Kong husband? Or anyone else?

As mentioned above, this film clearly shows Tang’s sympathy toward these female migrants. In my opinion, Tang neither wants to contrast or complement these two figures. She attempts to deliver more on the screen. As we all know, all the film productions can be considered an artistic representation of reality. As Lipkin says, “docudrama is using narrative structure to advocate its view of its subject.” (Lipkin, 4) But what is the subject of this film? In my opinion, this film shows the female migrant’s marginal social identities reshaped by the modernization and globalization process in China. Along with the implementation of the opening and reform policy, China has experience dramatic changes in different aspects. As a result, Chinese, especially rural people are amazed by the rapid transformation of social systems and global capital flows. Tang declares she is not interested in the “half and half” experimental creative practice; instead, she is concerned with “the tension that is formed by the interconnection of these two stories. This film is not merely an individual’s story, or even a story about two people, but the construction of a very special world.” What kind of world in Tang’s eyes? It is a world full of lust, desire and commercialized lures. Although Li goes to Shenzhen not based on her own decision (she does learn English and is eager to see the outside world), she does indeed settle down in this city and does not want to come back. But Jenny regrets her move to Hong Kong and says she would rather work as a Dagongmei in a factory. Compared to her life in Hong Kong, the life of a Dagongmei is much simpler. This film shows the tension between an undeveloped provincial town and modern metropolitan cities and the tension between the lure of the western commercialization and traditional provincial life in a town in Mainland China. Tang sharply points out the modernization process in China has a great impact on reshaping people’s identity and life. Differing from the female protagonist Qin Yan in Durian Durian who goes to Hong Kong on a tourist visa but finally goes back to her hometown, the female roles in Perfect Life never return. Their identity is marked as a migrant who seeks to find a better life in a “New Society”. However, their life turns out to be a failure to some extent. Tang does not want to condemn the modernization process in China but inexplicitly criticizes the dramatic and rapid change in mainland China. Moreover, the inferior female figure is a signifier of cultural identity and China itself, who is eager to join the whole modernization process and incorporate itself into western discourse, ignoring its own identity. The female figure metaphorically represents the unequal relationship between China and the West.

I have two questions regarding this film. First, one thing is very obvious in this film: the male figures are absent, weaken, or disabled. Li always mentions her father but her father never appears on the screen, as well as her husband in Shenzhen. From Li’s words, we know her father leaves town with another woman and nobody can find him. Li’s younger brother studies in a vocational school and sells lascivious magazines to his classmates. The film ends with a shoot that Li takes a photo with her wedding photo on the couch. Why does Tang portray the male figures in the film in a negative light? Second, the title of this film is very problematic. What is the meaning of “perfect life”? Why does Tang Xiaobai want to use this as the title of the film? It is obvious Jenny’s attempt of searching for a perfect life has failed, and Li’s future is also unpredictable. Tang shows us the female figures’ dreams were shattered in the harsh reality. Does this mean seeking a perfect life will end in failure?