如果你隨著他異想天開的想法和舞蹈般的流動，消失打看就像是一首抒情詩，如同片中角色說的“如果沒有邏輯，消失就可以回來了“。

陳宏一的第二部電影承襲一貫的斧鑿風格， 卻有更多的情感深度
記者 / 何怡

消失的蜜蜂、人類的滅亡、失去的物品以及離去的情人：在電影「消失打看」中，以許多種方式詮釋“消失”這件事，這是著名的廣告及MV導演陳宏一的第二部電影作品。

這是部精心雕琢縝密製作所創造出來的視覺奇蹟，透過充滿神秘的角色以難解的敘述方式，刻劃出一段由難以捉摸的愛情以及搖擺不定的青春之間交織的輓歌。

故事的開端是廣播節目主持人Vicky (曾珮瑜 飾)尋找她突然消失的情人Dog (李大齊飾)，過程中她遇見了Cola(邱勝翊／王子飾，)、 Money (林辰唏 飾)還有刺客(林柏昇 ／Circus Kid飾)。Cola協助Vicky尋找Dog，但是唯一的線索是一張現在已經沒辦法讀取的磁片。故事中他迷戀著一個紫色頭髮少女，Money。他們曖昧不明的浪漫激怒了Money熱情而暴躁的男友刺客。

他們循線追循Dog的過程中找到了一個蛇蠍般的美人，Playing（謝欣穎 飾）；她看上了刺客，而因為Money和Cola的情愫痛苦不已的刺客不敵Playing的誘惑與她纏綿，在第二天卻自殺了。儘管刺客死去，但是在電影後段卻帶給人們希望，主角們帶領觀眾進入一個由動畫虛構的天堂，在那裡可以找到所有失去的記憶、物品和所愛的人。

陳宏一在消失打看中創造了一個封閉的世界，一個充滿年輕和吸引力的世界、一個夢幻般的風景的台北。片中無厘頭的出現和消失展現了知識分子的深度，卻也讓本片艱澀難懂。整部片洋溢著精緻的圖像、令人難以忘懷的優美音樂和迷人的明星。這部電影比導演首部作品“花吃了那女孩”更有感情，而情感的重量也提升它時尚之外的不足處。

 “消失打看”中，主角嘗試抓住那些消失的建築、人與事物；像是片中Vicky捕捉世界的膠卷相機、刺客買賣的二手古物，和可樂記錄世界上消失事物的繪畫；然而，如同他們珍惜的短暫而脆弱的青春一樣，他們的努力似乎是徒勞的。在導演的鏡頭下，年輕一代居住在自己幻想中精緻講究的世界，但靈魂的空洞卻越來越大。導演在電影中也用了一點頑皮的手段，他在片中放入電話亭樂團的張午午創作既有趣又像是鬼魅般的音樂。但是隨著三角戀的出現，整部片子卻又走向典型的青春浪漫的劇情，幾乎破壞了所有由豐富視覺所創造出的神奇魅力。

整體來說，這部片有耀人炫目的影像、美麗的音樂卻缺乏了敘事力；但是如果你隨著他異想天開的想法和舞蹈般的流動，消失打看就像是一首抒情詩，如同片中角色說的“如果沒有邏輯，消失就可以回來了“。

Chen Hung-i’s second feature is as stylishly contrived as his first, but achieves greater emotional depth

By Ho Yi  /  Staff Reporter

Missing bees, human extinction, lost objects and the departure of loved ones: Disappearance takes many forms in Honey Pupu (消失打看), the second feature film by prolific commercial and music-video director Chen Hung-i (陳宏一).

 This thread is one of the very few things that are clear in the meticulously crafted visual wonder, which is filled with enigmatic characters who tiptoe through an elusive narrative that vacillates between youthful love and an elegy of loss.

 Radio show hostess Vicky (Peggy Tseng, 曾珮瑜) searches for her lover Dog (Lee Ta-chi, 李大齊), who disappeared without a trace. While investigating she meets Cola, played by Chiu Sheng-yi (邱勝翊, better known as Prince, 王子), Money (Zaizai Lin, 林辰唏) and Assassin, played by Lin Po-sheng (林柏昇, aka Kid from boy band Circus).

 Cola offers to help find Dog, but the only clue to his disappearance is a floppy disc that cannot be read by today’s computers. He is enchanted by a purple-haired girl named Money. Their tentative romance enrages Assassin, the young woman’s passionate and hot-tempered boyfriend.

 The group’s search for Dog leads them to Playing (Nikki Hsieh, 謝欣穎), a femme fatale who has her eyes on Assassin. Heartbroken by Money’s love for Cola, Assassin succumbs to Playing’s charms one night and commits suicide the next day. Despite the death, hope is raised toward the end of the film when our youthful protagonists enter a CGI-enhanced paradise where all lost memories, objects and loved ones can be found.

 Chen creates a sealed world in Honey Pupu in which the young and attractive wander through a dreamy Taipei landscape, appear and disappear without reason while uttering words that hint at an intellectual depth, but are opaque and inarticulate. The film brims with exquisite images, hauntingly beautiful music and the alluring faces of the stars. Fortunately, the film has an emotional weight that elevates it above the stylish void that filled the director’s feature debut, Candy Rain (花吃了那女孩).

 In Honey Pupu, buildings, people and things vanish as the protagonists try to cling onto something substantial. Vicky captures the world with a film camera, Assassin trades old objects and used goods, and Cola records the disappearing world with his drawings. Yet their efforts are in vain, and what they hold dear seems as ephemeral and fragile as their youth. In the hands of Chen, the world those hip youngsters live in is dainty and dreamy, but the specter of loss looms large. The director takes a playful approach to the film, which is amusingly enhanced by the ghostly sounds made by Chang Wu-wu (張午午) from electronica group Telephone Booth (電話亭).

 But as the love triangle emerges in the second half of the film, Chen resorts to a plot that recalls a typical young romance, nearly spoiling the mysterious charm that has been built up through all the visual exuberance.

 With glittering imagery, beautiful sounds and scant narrative, Honey Pupu is, if you surrender to its whimsical thoughts and dance-like flow, a lyrical poem. As one of the film’s characters says: “If there is no logic, what disappears can back again.”


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※以上文章轉載自【TAIPEI TIMES】

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