六四事件後, 香港電影進入第二波的新浪潮, 王家衛「阿飛正傳」, 關錦鵬「阮玲玉」及羅卓瑤「秋月」等可謂於Second Wave中表現香港人非中非英身份危機, histroical irretrivability 和移民潮的代表作. 以上三位可謂各具風格, 但在89-97的 Second Wave 中有一位可能被人忽略的, 是陳耀成. 陳耀成沒有王家衛那種visual pleasure & 60年代的 nostaliga, 沒有關錦鵬的那種 femininity, 但陳耀成於「浮世戀曲」中是將香港人的惶恐直接融入本港中產, 藝術家和知識分子的生活, 帶出的是具art-house感而又對97最惶恐的「浮世戀曲」.
此片特別注重的是身份危機(identity crisis). 黃耀明和顧美華一對忘年戀的情侶, 在本港受不住家庭反對壓力,rubie的弟弟Tony（黃耀明飾演）與較他年長女友Teresa（顧美華飾演）有感愛情難容此地，復又陷於移民他方能否帶來快樂的憂愁. 另一女主角Rubie（陳令智飾演）不滿歐洲女星/導演麗芙‧烏曼 (Liv Ullman, Persona女主角) 針對香港政府強行遣返越南船民的片面批評，於是向烏曼投以一封封信件作為答辯.
究竟香港強迫遣返越南船民不人道? 難道作為「天下第一收容港」的香港就合人道嗎? 香港人不知是回歸or 遣返?
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全片多個Moment都使我very striking. 以下是一段片中rubie的朋友一段自述, 原文真是中英夾雜的, 這部港產片亦是我看過最多英文的一部:
6月4日晚上, 我在北京採訪, 聽到有幾個本港學生受槍傷入左醫院, 醫院話軍隊就快到來搜人; 我想醫院和UK embassy好近, so i make a phone call to embassy to find help, 有個鬼佬接電話, 我講我要求, 跟住個鬼佬話:
Ha! They deserve this!! why you involve in OTHER PEOPLE's business??
到6月5日, 我地接到d學生, 出面靜過鬼, 點走? 冇辦法, i find help from the embassy once again, 安排我地走.
個鬼佬問我: what passport are u holding?
我話UK (HK) Passport
個鬼佬又問我: then what kind of document are u using to come to China?
我答of course China Returning Permit (回鄉証)
個鬼佬話: As you are holding Chinese Returning Permit, in the point of view of PRC, you are Chinese. So we can't help you.
6月4日話我地non-Chinese, 6月5日話我地Chinese, on the such crucial moment, we are never be SUBJECT only the OBJECT in the history
我想起就好難過, 6月3日晚, d北京市民話要出去擋住d軍隊, 獱單車去晒天安門, 我地爭扎左好耐去唔去, 最後........成條街得我地幾個香港人匿埋酒店度, we are just a kitbizer, a passer-by in Beijing, we can only witness and cannot response. who are we? what are we?
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片中用上很多refernece, 最精釆的是一段從大平山頂, 中環到廟街一段鏡頭, 配以 Invisible Cities "City and Names. Aglara"一文voice-over, 極度貼切:
" There is little I can tell you about Aglaura beyond the things its own inhabitants have always repeated: an array of proverbial virtues, of equally proverbial faults, a few eccentricities, some punctilious regard for rules.
Ancient observers, whom there is no reason not to presume truthful, attributed to Aglaura its enduring assortment of qualities, surely comparing them to those of other cities of their times. Perhaps neither the Aglaura that is reported nor the Aglaura that is visible has greatly changed since then, but what was bizzare has become usual, what seemed normal is now an oddity, and virtues and faults have lost merit or dishonor in a code of virtues differently disturbed.
In this sense, NOTHING OF AGLAURA IS TRUE, AND THESE ACCOUNTS CREATE A SOLID AND COMPACT IMAGE OF A CITY, WHEREAS THE HAPHAZARD OPINIONS WHICH MIGHT BE INFERRED FROM LIVING THERE HAS LESS SUBSTANCE. THIS IS THE RESULT: THE CITY THAT SPEAK OF HAS MUCH OF WHAT IS NEED TO EXIST, WHEREAS THE CITY EXISTS ON ITS SITE, EXISTS LESS.
So if I washed to describe to you, sticking to what I personally saw and experienced. I should have to tell you that is A COLOURLESS CITY, WITHOUT CHARACTER, PLANTED THERE AT RANDOM. BUT THIS WOULD NOT BE TRUE, EITHER: At certain hours, in certain places along the street, you see opening before you the hint of something unmistakable, rare, perhaps, magnificient; YOU WOULD LIKE TO SAY WHAT IT IS, BUT EVERYTHING PREVIOUSLY SAID OF AGLAURA IMPRISONS YOUR WORDS AND OBLIGES YOU TO REPEAT RATHER THAN SAY.
Therefore, the inhabitants still believe they live in an Aglaura which grows only the name Aglaura and they do not notice that grows on the ground. AND EVEN I, WHO LIKE TO KEEP MEMORY THE TWO CITIES DISTINCT MEMORY, CAN SPEAL ONLY OF THE ONE, BECAUSE THE RECOLLECTION OF THE OTHER, IN THE LACK TO FIX IT, HAS BEEN LOST."
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我感到害怕不是對中國/香港有分別, 而是生於中國/香港有分別的年代的我, 對回歸後兩者分別溶化的速度吃驚. 我好像正被中國的現代化, 國際化所蠶食, 所吞滅; 歷史很快會忘記, 違棄我們生於夾縫這一代.
我們畢竟對楊利偉來港, 萬人空巷的情況感到驚恐吧!!
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