關愛何事：三部1970年代的瓊瑤片

Home of Romance: Three Qiong Yao Films of the 1970s

根據資料，臺灣1970 年代改編自小說的文藝片有51 部，其中改編瓊瑤小說的占了21 部。那年代國語文藝片重要導演們中，李行拍了6部瓊瑤片，白景瑞4 部，宋存壽2 部；三人總共12 部，超出了70 年代瓊瑤片的半數。換言之，要探討臺灣70 年代的文藝片，不能忽視瓊瑤片，而那時代文藝片代表性的導演們都搭上這「瓊瑤熱」，研究他們的瓊瑤片可說就是研究70 年代的文藝片。本文選擇宋存壽的《庭院深深》（1971），李行的《碧雲天》（1976），白景瑞的《人在天涯》（1977）；它們分別凸顯了文藝片中的母女情、宗族情、家國情，呈現了那年代瓊瑤電影「多情」卻又「關愛何事」的樣貌。本文藉由類型、作者、電影史的稜鏡觀看這三位男性導演的瓊瑤片，探索瓊瑤電影王國裡的文藝風貌及情感糾結。

In the 1970s, Taiwan’s aiqing wenyi pian ruled supreme. At the time, Taiwan’s romantic melodramas were screened in theaters wherever Chinese communities amassed. This study looks back at the 1970s, revisits this era of Taiwan cinema, and reconsiders this popular film genre. The paper highlights how those romantic dramas, adapted from Qiong Yao’s romance novels, allowed audiences to indulge in escapism, and to work through the many challenges modern romantic love presents. By looking into films by major Mandarin film directors of the period, this article traces how love and romance were questioned, traditional values queried, and mobility in modernity incorporated into the Qiong Yao films of the 1970s. This study explores Song Cunshou’s You Can’t Tell Him (庭院深深1971), a film in which love and romance are tested against feminine familial bonds; investigates Li Xing’s Posterity and Perplexity (碧雲天1976), in which traditional familial pressure for posterity challenges the modern sense of romance and marriage; and concludes with an examination of Bai Jingrui’s Far Away from Home (人在天涯1977), a film in which romance of uprooted Taiwan couples is contested by the trials posed by European settings and culture.