從文藝愛情到家庭矛盾：《庭院深深》電影改編後的女性情誼

From Romantic Love to Family Contradictions: Female Solidarity in the Film You Can’t Tell Him

本文以宋存壽導演之《庭院深深》一片為研究對象，探討電影與瓊瑤原著小說之差異。瓊瑤小說為歌德羅曼史，富有濃烈個人風格。瓊瑤式愛情具暴烈性質，虐心亦虐身，常以身體之強烈反應代表浪漫愛的極致激情。此外，此書之情節與場景充滿廢墟、鬼魅、懸疑、秘密等典型歌德元素；女主角也與女配角──即二位柏太太──處於二元對立位置。宋存壽電影除去浪漫愛、削弱歌德氛圍、改成家庭矛盾與女性情誼的主題。片中呈現男主角的自私霸道，以及二位柏太太相互的瞭解支持。電影結局看似大團圓，導演卻以四個停格將男主角孤立於母女親情之外。電影因而可說是反羅曼史，批判父權制度下男性的自私與自以為是，暴露世代與性別的矛盾，強化女性情誼與母女親情。

This paper seeks to study the differences between the novel The Abandoned Garden written by Qiong Yao and the film adaptation You Can’t Tell Him directed by Song Chun-so. Qiong Yao’s novel is a Gothic romance with a strong personal style of extreme passion and suffering. Romantic love as portrayed by Qiong Yao is violent and full of S/M indications, and the body is often depicted as the vehicle for expressing intense passion. In addition, in the novel there are many Gothic elements such as abandoned space, ghost, suspension, and secrets. The heroine and her foil-the two Mrs. Bo-are arranged in the plots as binary oppositions. Song’s film adaptation is neither romantic nor Gothic, but instead focuses on family problems and female friendship. The film portrays the hero as selfish and emphasizes the mutual understanding and support of the heroine and her foil. The ending appears to be a happy ending, but Song uses a freeze frame of four still pictures to isolate the hero from his wife and daughter. The film can be said to be an anti-romance, exposing and criticizing patriarchy and male self-complacency. It demonstrates contradictions regarding gender and generational relations on the one hand, and on the other hand depicts female solidarity in friendship and mother-daughter relations.