安東尼奧尼「三部曲」之一：《迷情》(上)
陳恆輝

每個導演都有他的「繆斯女神」，意大利電影導演米高安哲羅‧安東尼奧尼 (Michelangelo Antonioni) 也不例外，他的女神就是莫里卡‧維蒂 (Monica Vitti)。

I chose Monica Vitti because no other actress inspires me the way Monica does; besides, she brings me good luck; before we met no actress was exactly what I was looking for.

Michelangelo Antonioni

這位曾經與安東尼奧尼過從甚密的，既美麗又有性格的女演員於上個世紀的60年代，與安氏一同開始了「關於人類情感三部曲」的旅程，展開了一連串的「奇遇」。

《迷情》(L'Avventura) 內地譯為《奇遇》，日本稱作《情事》，是安東尼奧尼1960年的作品，亦是他開始被世界影迷所注視的名作。於1960年的康城影展裡，本片與日本導演市川崑的《鍵》一同得到審查員特別獎 (Prix spécial du Jury)。雖然成績得到肯定，但卻經歷了重重波折。

1960年5得15日晚上，當影片在康城放影完畢時，莫里卡‧維蒂並沒有得到作為女主角應得的榮耀，反而哭成淚人，步出影院。其實在影片開始放影時，已經發生了一件相信連安東尼奧尼也摸不著頭腦的事情，這就是影片一開始，當響起安東尼奧尼的配樂拍擋 Giovanni Fusco 的音樂時，竟然引來哄堂大笑，甚至是喝倒彩！這個事件在 Gianfranco Mingozzi 執導的一齣名為 Antonioni: Documents and Testimonials 的紀錄片裡，莫里卡‧維蒂對著鏡頭訴說過當時的情況及自身的感受：

The screening of L'Avventura at Cannes was a real life drama. From the very beginning, from the opening titles sequence, the audience was laughing and we couldn't understand why. They were laughing at the most tragic sequence, those we had sweated the most over and we believed the most in. And this went on throughout the projection, very few followed and loved the screening of L'Avventura. When I came out of the theatre I was crying like a baby. I was desperate. I felt that all my work, all these months, where I had invested all of myself, so that we could achieve a good results were all for nothing. We had believed in this movie and it was all in vain, it was all for those laughing people and their mundane entertainment.

但在翌日，由一班真心喜歡及欣賞此片的記者們聯儲了一封抗議信，在信中除了抗議此片受到不公平的對待之外，更表揚《迷情》是一齣好電影。
主導的發起人就是羅拔特‧羅塞里尼 (Roberto Rossellini)。

雖然大會極力讚賞此片對探索新的電影語言及影片中的電影影像 (for its search for a new cinematic language and for the beauty of its images)，但對「某些人」來說，這143分鐘是很吃不消的。

有些評論家將《迷情》譽為「反情節」及反戲劇」的電影。

到底它是一齣怎樣的電影？

（待續）