酸了就要倒吊

比起前年轟動的柏格曼和安東尼奧尼接力死訊，侯麥的過世似乎更令我震動，因為他感覺不曾老去。

附上衛報的報導

French film-maker Eric Rohmer dies aged 89

Eric Rohmer, the French New Wave director known for Ma nuit chez Maud (My Night with Maud), Le genou de Claire (Claire's Knee), and other films about the intricacies of romantic relationships and the dilemmas of modern love, has died. He was 89.

Rohmer, also an influential film critic early in his career, died in Paris, said Les Films du Losange, the production company he co-founded. The cause of death was not immediately given.

The director internationally known for his films' long, philosophical conversations continued to work until recently. His latest film, the 17th-century costume tale Les amours d'Astrée et de Céladon (Romance of Astree and Celadon"), appeared in 2007.

In 2001, Rohmer was awarded a Golden Lion at the Venice Film Festival for his body of work, made over a five-decade career.

Rohmer's movies sought to portray romantic temptation and love triangles, pretty girls and handsome youths. Often they took a lighthearted, chatty form, with serious themes hidden under the surface.

French president Nicolas Sarkozy paid tribute to a "great auteur who will continue to speak to us and inspire us for years to come."

"Classic and romantic, wise and iconoclastic, light and serious, sentimental and moralistic, he created the 'Rohmer' style, which will outlive him," Sarkozy said in a statement.

Six of Rohmer's films comprised an influential cycle of moral tales that addressed questions of modern love: whether to compromise your beliefs in the face of passion, for example, or how to maintain a sense of individual freedom in a relationship.

In 1969's Ma nuit chez Maud, a churchgoing engineer, played by Jean-Louis Trintignant, must choose between a seductive divorcee and a woman who meets his ideals. The film's screenplay was nominated for an Oscar.

Le Genou de Claire (1970), tells of a diplomat overwhelmed by his desire to stroke the knee of a teenage girl he meets.

France's culture minister, Frédéric Mitterrand, said Rohmer's "very personal, very original" movies appealed to cinephiles and ordinary filmgoers alike.

Serge Toubiana, head of the Cinematheque, France's famous film preservation society, said Rohmer worked closely with his crews and described his creative process as a collaborative effort with the actors.

"He knew that he needed them and because of that he showered them with love," Toubiana told France Info radio. "Each film was a kind of shared game, with its own rules in which each person played his role."

Born in 1920 in the city of Tulle, Rohmer got his start as a literature professor and a film critic for the influential Cahiers du cinéma magazine, becoming its editor.

Though his name at birth was Maurice Scherer, he created his artistic pseudonym by rearranging the sounds in his first and last name to come up with Rohmer, he told Le Monde newspaper in 2007.

As a director, Rohmer became a leading force in France's convention-smashing New Wave cinema, alongside directors Jean-Luc Godard and Francois Truffaut, his colleagues at the Cahiers. With Claude Chabrol, another director, Rohmer published a classic study on one of their heroes, Alfred Hitchcock.

Along with his series of moral tales, Rohmer produced a cycle of modern-day relationship fables for each season of the year, and another dubbed the cycle of "comedies and proverbs," with each film taking its inspiration from a proverb. One popular film in that series was Pauline a la plage (Pauline at the Beach), focusing on a teenager on a seaside holiday.

Thierry Fremaux, who runs the Cannes Film Festival, told BFM television that though Rohmer's films weren't "trendy", they were timeless.

"He proved that you can make great movies with small budgets," Fremaux said. "And that's good to keep in mind in the times we live in."

Rohmer was a very private person, but his survivors are believed to include his younger brother Rene, and his son, also named Rene.

陰濕的寒天，下午四點已是慘藍。

晾在外頭的衣服像孤魂野鬼，窗邊幢幢影影流連不去，窺伺屋內的燈火。

我只揀了貼身衣物和毛巾進屋，用吹風機一遍遍烘乾。毛巾用舊了，攤在腿上一大片僵硬的，陣陣熱風下，來回撫著粗糙纖維，手背的溫度逐漸傳到掌心，質地似乎也暖熨了，彷彿回到前世，還是一塊柔軟的布料。這勞動讓人想起遙遠的前工業時代，女人一雙手碰觸世間一切：浸在凍水裡搓揉髒汙；滑過愛人微彎的脊梁；淘一把米或麵粉，心中數算每張嗷嗷待哺的嘴。

仔細摺好吹乾後的毛巾，一落穩妥疊放進衣櫃裡。那一刻物質上自成宇宙的寧靜，不是消費後的快感可以比擬。

冬季的冷是景氣的實體化詮釋。景氣大好時，穿紅著綠的聖誕厚毛呢套裝，厚呢帽、絨球帽、愛斯基摩毛毛帽，各式油皮漆亮長靴，加上清脆的聖誕鈴聲當背景配樂，充分演繹了物質富足的定義。就像紅樓夢中大雪吟詩聯句，一色大紅猩猩氈象徵了大觀園的巔峰時刻。

景氣衰退時，凜冽的風灌進領口，那切膚之痛彷彿赤裸裸揭露了貧窮的肉身瘡傷，在冬天赤手浸在水盆裡洗過衣的人應當可以了解這種心理創傷。大學時買不起厚外套，家教時經過張燈結彩的百貨公司，金銀碎鬚交錯的聖誕樹，必須仰頭才能望見樹頂的金星，對比身上的寒酸，裹得再緊冷風還是無孔不入，呼巴掌般刮著臉頰，更覺得在人群暖烘烘的體溫外，孤身一無所有。

紅樓夢結尾，寶玉拜別賈政一段，「......（賈政）抬頭忽見船頭上微微的雪影裡面一個人，光著頭，赤著腳，身上披著一領大紅猩猩氈的斗篷......」踏在雪地凍紅的赤腳，和盛世明媚的大紅猩猩氈並存一身，視覺意象強烈且現代化，不是奇士勞斯基三色的道德辯證，電影大師中，大約只有身兼詩人的帕拉贊諾夫用色可比。

今年據說是暖冬，但人們似乎沒有因此高興能節省治裝費。寒流一來，網路上便湧起一波波羽絨羊毛大衣合購潮，收到商品時恰巧回溫，又是一片怨聲載道。我不是泛道德化的人，不會動輒拿非洲災民說教，然而今年屢見這種現象，也不免有慘然之感。

夜裡從朋友住的大廈出來。

街上商家已熄燈，行人只是暗裡四竄的黑影，撲簌簌掠過光和眼之間。

風很強，曠清的天空，月被烏雲汪汪淹沒了一半，另一半仍是瑩白完好的半圓，從背後透出斑駁陰影。

慢慢往前走，明明如月，何時可掇。即使觸摸到那堅實冰冷的半圓，仍是無法從天上掰下。

回家後我開始流鼻水，充盈整個鼻腔的天空、街道和膨脹的虛空，也緩緩湧了出來。

例假日傍晚六七點是心理上的真空期，一切各有歸屬，只有自己空虛得快飄起來，沒有著落。剛好發現日前失眠時寫在影印紙背的文字，閃爍著化學綠光，便抄錄下來。

「愈接近生理期，身體愈暖燙，連褪下的衣物都殘留餘溫，彷彿包裹過一塊溫體豬肉。

回想白天寫的一篇文章，為什麼那樣苛刻？有聲音自問自答：那是大腦和卵巢鬥爭的結果，別太在意。

但這幾天實在被荷爾蒙折磨得難受。若它再不來，我寧可鑿開子宮，就當是演出亞陶的『血如噴泉』給自己看。」