这是部和lust,caution有点相反的影片(小说), 爱的痛苦由性得到缓解, 也由此化解等待的漫长, 才得以让Florentino Ariza成为那个极端的浪漫者,在作者设计的五十一年九月零四天的执着中,他似乎变成了一种理想的象征。他的行为有着两面性:以痛苦为由,放纵着自己的肉体,是个形骸放浪的诗意“绅士”;在意识里,却深深坚信自己的童贞为女神而保留。他显得那么容易受到伤害,那么的坚贞,又那么的无辜,以致任何人都能原谅他的狂热和邪恶。因为他有一颗不灭的、理想的爱情心。我想这不是一个简单的关于执着,关于爱的故事。相比起优雅的,务实的Fermina Daza和Juvenal Urbino,Florentino Ariza是活在这个真实世界之外美丽的邪恶的模范。很喜欢一段相关的评论:

this view is as simplistic, contending that the author has woven a story so dense that the reader risks falling into its trap of sweetness and simplicity if they do not pay close attention to what is happening. García Márquez himself said in an interview: ‘you have to be careful not to fall into my trap.’ This is manifested by Florentino Ariza’s excessively romantic attitude toward life, an attitude which shapes his obsession with Fermina Daza, and his gullibility in trying to retrieve the sunken treasure of a shipwreck. Ariza’s situation is able to charm the reader into sympathizing with his situation, even though he is a ‘pervert, a rapist, and a murderer’, Florentino Ariza is able to garner the reader’s sympathy, even though the reader is consistently reminded of his more sinister exploits.”

《The Dangers of Gullible Reading: Narrative as Seduction in Garcia Marquez’s Love in the Time of Cholera》

然而我又确实偏好Ariza这个人物。看着他伪装的缓解和偏执,他又是个可怕的理想实践者。作者没有偏护他的意思吧!替他装上行头,成个风情的浪漫者,成个没有廉耻的肉体,最后还给他希望和幸福,让他风雅、满足的成就了永恒的爱。

相比小说,这次我选择电影。也许在刻画其他两个主角上,电影逊色不少,缺少的对生活的矛盾和琐碎的描述,使得有些情节突兀。而小说对我来说细节实在是太多了,没有电影来得简洁。当然能坐下细细读它一遍,一定能有更多发现,但…电影画面来得华丽,尤其是音乐,相当值得投上一票。

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