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錯戀台北青春: 從 1960 年代三部台語片的無能男談起 Misplaced Taipei Youth: A Look at Weak Men in Three Taiyu Pian of the 1960s

作者
沈曉茵
Author
Shiao-Ying Shen
摘要

台語片是活潑又包容多種類型的電影。若專注過去偏文藝的台語片,其最吸引人的特色便是,故事中的女主角總是命運坎坷,難以尋得幸福。女主角艱辛的歷程就是電影催淚的法寶。影片中的男主角則是關愛女主角,但毫無能力改變、扭轉他倆命運中的各種險惡。這種「苦命女」與「無能男」的組合是台語片多年的主軸,也是為何台語片會被認為是一種帶有「悲情」調性的電影。本文希望透過這「無能男」的元素來審視 1960 年代的台語片,並選擇林摶秋的《錯戀》(1960)、梁哲夫的《台北發的早車》(1964)、辛奇的《危險的青春》(1969)來橫跨整個 1960 年代,看看「無能男」能帶引出台語片什麼樣的內涵。探究林摶秋的《錯戀》,可看到台語片苦命女、苦情女經驗裡難得又美好的女性情誼,及相當犀利的無能男呈現。由梁哲夫的《台北發的早車》可審視女性與城鄉的關聯,及男性面對都會時的殘弱。1960 年代末辛奇的《危險的青春》則為都會的苦命女及無能男找到出路、破解了台語片悲情的環套。同時,本文也對三部台語片的形式風格做分析,凸顯它們亮眼的電
影㔀事。

Abstract

Taiyu Pian (Taiwanese-language film, Taiwanese-dialect film)
is a vibrant part of Taiwan's cinema. This paper examines three taiyu pian of the 1960s to trace how their suffering male and female protagonists evolve over a decade of Taiwanese melodrama. The article focuses especially on the weak men in the three films to bring out the distinctive qualities of taiyu pian. The essay studies Lin Tuan-qiu's Misplaced Love (a.k.a. The Husband's Secret, 1960), Liang Zhe-fu's The Early Train from Taipei (1964), and Xin Qi's Dangerous Youth (1969).
Through this study, features of female friendship, urban-country dynamics, and filmic narrative style emerge as vital elements in the high-energy taiyu pian of the 1960s.