潛行者

潛行者
(Stalker)

安德列塔可夫斯基 Andrei Tarkovsky
1979|Color|West Germany|163 min

播映時間與地點
電影：11/14 (六) 20:30
講座：11/17 (二) 19:00
蘇格貓底二手書咖啡屋

★1980年坎城影展Ecumenical Jury獎

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《潛行者》(Stalker)是俄國導演塔可夫斯基(Andrei Tarkovsky)的作品，故事敘述因20年前一顆隕石墜落到俄羅斯小鎮，導致大批居民罹難，但此區域(the zone)卻產生奇特的變化，據說那裡有一個地方(the room)可以滿足人類靈魂最深層的渴望，軍方害怕有人進入這神秘的屋子而造成無法挽回的後果，因此將該區域圍起，並設立各種障礙加以保護。但the room的魅力依然吸引受到時代折磨而感到絕望與苦楚的人民前往挑戰，領頭者是一位訓練有素、可以避開所有軍隊和陷阱的潛行者。

《潛行者》被視為塔可夫斯基最晦澀難懂的作品之一（另一部最難懂的大概就是他接在此片後完成的《鄉愁》(Nostalghia)），30年來許多人用黑格爾(Hegel)和佛洛依德(Sigmund Freud)的學說來剖析這部電影，但似乎愈解釋愈複雜。電影製作班底為1972年《飛向太空》(Solaris)，但就如同《飛向太空》這部電影，《潛行者》的塔可夫斯基依然不喜歡著墨於未來科技的種種細節，他認為大多數的科幻電影都強迫觀眾去接受那些對未來世界刻畫入微的審視，他認為這種「未來的幻象」不是他的科幻電影所需要的，因此塔可夫斯基的觀眾無須面對千奇百怪的科技現象，他們所接收的、所觀看的則是塔可夫斯基利用科幻的意象追求哲學、心靈、靈魂或人性的本質，這是塔可夫斯基的電影面對觀眾時最吃力不討好的地方，但同時也是他最獨特的魅力。

塔可夫斯基擅長利用神秘現象做媒介，意圖探討人類靈魂與潛意識的作品。電影《潛行者》裡他數次利用長鏡頭和色彩光影的交替，進行不同階段的人類心理描摹與靈魂內部的掙扎。電影裡多次利用嬰兒與屍體、嫩芽和枯枝的對比討論生與死、剛與柔。「the room」象徵人性的幽閉，裡面充滿了針頭、藥品、宗教雕塑、武器甚至金錢，仿若揭示靈魂的內部鬥爭，是在貪婪、敗壞、毀滅和救贖中不停徘徊的人生巡禮。

當一位為了找尋靈感的作家和為了探求真理的科學家，拜託潛行者帶他們進入房間後，他們的慾望即將滿足時，卻開始對「自我真實」感到害怕而退縮。此時一路走來面臨的陷阱與挑戰變成了害怕面對自我的諷刺，the room所具備的超能力也成為強迫人類面對自我、揭露慾望真相的反射鏡，重點已不在願望是否能實現，而在人類本質的醜惡被一一攤開檢視。科學家不聽勸告總是走回頭路並質疑潛行者的行為，就代表對人性的懼怕和不肯定。當然，他的惡意也的確在進入the room後被揭發，企圖占有真理的科學家反而沉淪並迷失在這旅途中，唯有能真實面對人性的黑暗並實現自我的潛行者可以安然離開這間屋子，塔可夫斯基以道德寄予潛行者的意思不言而喻，同時潛行者也成為塔可夫斯基在電影裡做為超脫肉體與生死的最高精神象徵。

塔可夫斯基完成這部電影後就至義大利拍攝《鄉愁》，此後自我放逐再也沒有回到祖國。《潛行者》雖為探索人類靈魂本質的電影，但現實生活中這部電影卻因核爆而蓋上一層尷尬的陰影。1957年9月份的烏拉山核爆慘案一直過了32年才被蘇聯官方承認，而這核廢料爆炸事件則成為塔可夫斯基創作《潛行者》的背景。在《潛行者》完成後7年，車諾比爾核電廠爆炸，使得這塊被汙染封閉的區域被稱「the zone」，負責看守的管理員們則自稱為「潛行者」，2007年GSC Game World更以此為背景創造了一套以核爆生物變種攻擊為背景的射擊遊戲。然而這些尷尬的引用和巧合都是塔可夫斯基在創作《潛行者》時所未曾想到的。

（撰文：章聿珩）

Twenty years ago, a meteorite fell to a small Russian town on Earth, killing a large number of people. Villagers from this mysterious region known as "The Zone" have left and disappeared. Legend has it that a special room there called "The Room" can meet people's innermost desires. The armed forces are afraid of the possible consequences this room can bring about, so they enclose the zone by barbed wires and have heavily armed troops guard the place. However, people continue to venture to the room out of despair and suffering. They are led by a well-trained and experienced "stalker", who can quietly pass through the various and ever-changing traps in The Zone. A successful writer (Anatoli Solonitsyn) and a scientist (Nikolai Grinko), one for inspiration and stimulation and the other for truth, employ the stalker to lead them through the The Zone. The stalker had been trained by a famous stalker named Porcupine, who once entered The Zone with his brother and came out rich but alone and committed suicide a week later. Soon there is evidence that reaching The Zone is not the biggest obstacle, but their uncertain inner will is. Finally they arrive at the door of The Room. The promise of their innermost wishes coming true instigates fear, leading to profound enlightenment and self-discovery.

"Stalker" discusses the essence of the soul in an unforgettable way with quiet images and meaningful metaphors. Andrei Tarkovsky uses color conversion to switch between the subconscious and the outside world. It is noteworthy that no matter how the stalker warns not to take the same path twice, the scientist still returns from the same way and shows suspicion for the stalker's instruction. Symbolically speaking, it is as if the subconscious intentionally refuses our genuine desires and creates its own barriers to prevent the realization of desires. After a circuitous journey, the group of people arrive at the reception The Room, but they hesitate and are unable to confirm their desiderata. The floor is full of coins, syringe needles, weapons, as well as religious icons, which are reflections of the mind to escape from suffering. Finally, The Room is meaningless to its tired, contradictory seekers both in the physical or imaginary sense. Everything is eternally underway.

（撰文：彭中嬿）

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