懷舊新潮：王家衛電影《春光乍洩》中的結構

Nostalgia of the New Wave: Structure in Wong Kar-wai’s Happy Together

本文試圖解讀王家衛電影《春光乍洩》的另類懷舊策略。不同於同代華文電影中回到空間定點或歷史原點的懷舊佈局，王家衛電影裡面兩名香港男同性戀者，移位到布宜諾斯艾利斯，想要「重新開始」，在情慾關係的操演中，指向另一種想像回復、回返、回歸的可能路徑。在分分合合中，黎耀輝與何寶榮的故事解構起源神話，試探母體與性別的非本質性角色，改寫「家」的意涵，凸顯愛戀裡的尋常瑣細，翻轉浪漫／日常、奇異／平庸、聚合／分離的傳統對應關係。到最後，本文認為，《春光乍洩》企圖開出一個超人類的視野，在自然的崇高觀照下，讓人看到超越人文的終極聚合，包含一切的「快樂在一起」。

This essay tries to read the other strategy of nostalgia in Wong Kar-wai’s Happy Together. Rather than adopting the usual forms of nostalgia, for example, by way of returning to a fixed point in space or to a historical origin, the two homosexual males in Wong’s film move from Hong Kong to Buenos Aires, claiming to “start over again” and to renew their relationship, thus pointing to another possibility in locating a path of return to the very beginning. While the two men do what they can to negotiate their bumpy relationship, the story of Lai Yiu-fai (played by Tony Leung) and Ho Bo-wing (Leslie Cheung) unfolds through a series of events to deconstruct mythic origins, to question the essential nature of motherhood and gender, and to rewrite the meaning of “home.” The events highlight the banality in romance and redraw the boundaries between the romantic and the ordinary, the strange and the banal, togetherness and separated-ness. What is more, the essay attempts to show that at the end of the film, the cinematic apparatus seems to project a vision of a certain superhuman agency, which makes possible an imagining of cosmic and all-embracing “being happy together.”