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| 圖片來源：https://reurl.cc/O0mnoD 《藍是最溫暖的顏色》的情色爭議 原文作者為 Julie Maroh，本文為作者外電編譯。 原文來源 https://reurl.cc/GmNOYG。
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今年法國甫通過同志婚姻合法化法案，坎城影展最高榮譽金棕櫚獎由以女同志生命故事為主軸的《藍是最溫暖的顏色》（Blue is the Warmest Colour）奪得，可說是全球同志界兩大盛事。此片改編自馬侯（Julie Maroh）的漫畫原著《Le Bleu est Une Couleur Chaude》，由法國導演柯奇許（Abdellatif Kechiche）執導，這是坎城影展舉辦66屆以來首度獲獎的同志電影，令人耳目一新。
引人注目的除了頂著一頭藍髮，帥氣性感的瑟度（Lea Seydoux）之外，她和艾薩丘普洛絲（Adele Exarchopoulos）的情慾戲，被媒體譽為「開創女同志情慾性愛的新境界」。各種體位紛紛上演的性愛受到矚目的同時也引起批評的聲浪，原因在於影展期間，電影中的性愛場面出現時現場出現一陣訕笑，針對這個「不懷好意的訕笑」，日前英國《衛報》（The Guardian）的電影評論專欄報導了原著作者馬侯在部落格上的回應：
「我完全不同意《藍是最溫暖的顏色》是一部色情片。關於她們如何做愛的話題，電影拍攝期間我沒有被「諮詢」過，也許是有人讓她們看主流A片市場想像女同志做愛的影片，或用手指頭模仿給她們看，這顯得非常尷尬。但這完全不是重點，重點是這部片如何被看？誰知道那些發出笑聲的人是不是帶著輕蔑的凝視？就像另一部描述年輕應召女子生活的電影《年輕與美麗》（Jeune et Jolie）可能遭遇的問題一樣，重點彷彿不在於她悲慘的人生，而是一幕幕直衝腦門的逼真性愛，這樣的凝視是不是有問題？」
「對我來說，既然兩位女主角真正的性傾向不得而知，那就表示她們是不是女同志並不重要，那只是電影，她們只是在「演戲」，性愛場面也一樣，一切都只是電影的幻像。女同志的真實人生比起漫畫或是電影實際上都來得複雜許多，我當然知道片中的性愛看起來很刺激，但有更多不激情的場面更讓我喜歡：一點也無法激起性衝動的考驗與愛情挫折、永遠愁雲慘霧的爭吵與絕望、一場長長的憂鬱告別。」「那一幕眾人訕笑的性愛場景我並沒有笑，我覺得她們兩人在當下看起來非常投入而且動人，對於影展中的那陣笑聲，也許是因為異性戀者並不知道那看起來有多荒謬，而如果同性戀者發笑了，一定是他們覺得那太誇張且沒有說服力；而不敢笑或來不及笑的人，說不定是眼前上演的這一幕正魅惑著他們心底潛藏的同性情慾。」
《藍是最溫暖的顏色》的女同志性愛也許為今年的坎城影展引起更多話題，但值得注意的是如何不再以「獵奇」的觀點觀看女同志電影，兩個女人如何做愛恐怕已不再那麼稀奇，重點是我們如何期待一部同志電影不要再陳腔濫調。
本外電編譯發表於：台灣同志家庭權益促進會彩虹電子報
Julie Maroh, as author of its source novel, has unique credentials to comment, but for what it's worth I felt the film's descent into agony and tears took it clear of titillation.
When Abdellatif Kechiche's film Blue Is the Warmest Colour screened at Cannes last week, its explicit sex scenes certainly made some waves. The story of a passionate love affair between two young women seemed to me to be acted and directed with absolute candour and integrity, though I couldn't help predicting that, as with all sexually explicit movies, some worldly pundit was bound to declare the sex scenes to be "boring". My friend Dave Calhoun of Time Out pointed to one such response.
What I didn't predict was a fascinatingly dissentient argument from Julie Maroh, the author of the 2010 graphic novel Le Bleu Est Une Couleur Chaude on which the film is based. She wrote in a blogpost that she found it a straight person's titillating fantasy of lesbian sex:
"This is all that it brings to my mind: a brutal and surgical display, exuberant and cold, of so-called lesbian sex, which turned into porn … Especially when, in the middle of a movie theatre, everyone was giggling." She also wrote: "The heteronormative laughed because they don't understand it and find the scene ridiculous. The gay and queer people laughed because it's not convincing, and [they] found it ridiculous. And among the only people we didn't hear giggling were the potential guys [sic] too busy feasting their eyes on an incarnation of their fantasies on screen."
Julie Maroh has unique credentials to comment upon and criticise this movie. And she raises important points. A young woman's sexuality, like anything else on the movie screen, is not straightforward and value-free: it is represented and constructed by its creators – in this case, largely, a male film-maker. I myself, along with many others, raised this same point in connection with François Ozon's film Jeune et Jolie, about a teenage woman becoming an escort. Was this just a male fantasy? Interestingly, Ozon's status as a gay man was often raised, defending him against the charge of exploitation. But does the director's personal sexuality indemnify him against these objections? Is it relevant, or a kind of naive hearsay?
Julie Maroh's own reaction to the film may well have been coloured by the giggling behaviour of those around her on the day she saw it. But even if the audience remained absolutely silent, her chief objection may well have been the same – that these people weren't "real" lesbians. She wrote:
"I don't know the sources of information for the director and the actors (who are all straight, unless proven otherwise) and I was never consulted upstream. Maybe there was someone there to awkwardly imitate the possible positions with their hands, and/or to show them some porn of so-called 'lesbians' (unfortunately it's hardly ever actually for a lesbian audience)."
I myself have absolutely no information about the sexual identity of the two actors in this movie, Léa Seydoux and Adèle Exarchopoulos, or how it can be "proven". Newspaper reports, Google searches, even first-person comments such as the ones extant for François Ozon give a misleadingly straightforward view. The "reality" of lesbian identity may be a more complicated, elusive business than the word implies, just as complicated as it is for straight people. The two actors were not really what they were acting – in the same way that the actor playing Macbeth is not really an 11th-century pretender to the throne of Scotland. It is an illusion. They are acting. But in the moment, as Léa Seydoux and Adèle Exarchopoulos acted out those intimate scenes, perhaps there was a spark of something real, more than real: perhaps the fiction had licensed the enactment of some reality that day-to-day existence would not permit.
Who knows? For what it's worth I entirely disagree that Blue Is the Warmest Colour is porn. Of course that charge can be levelled against any explicit material, and "porn" is a charge routinely made against anything that looks good: "food porn", "property porn", etc. But the film's sheer uncompromising explicitness took it beyond the level of exploitation or titillation, and what also took it away from porn was its treatment of the unsexy aftermath: the agony, the tears, the arguments, the gloom and the despair. This is the long goodbye – a very unporn goodbye. I didn't giggle at the sex scenes: I found them sexy, passionate and moving, in that narrative order.
Julie Maroh wouldn't be the first writer to think that a film treatment of her work is unconvincing, not real, not what was properly intended. Allowing someone to make a film of one's book means surrendering control – though not surrendering one's right to criticise. In the end, the film has to stand or fall on its own terms, and for me it is triumphantly successful. When it arrives in the UK, everyone, gay and straight, can make their own minds up.
原文出處：https://www.theguardian.com/film/filmblog/2013/may/30/blue-is-the-warmest-colour-porn
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