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繼《疾走羅拉》《快樂的謊言》重新認識新派德國電影
誘發不可思議感官新影潮 !!

《疾走羅拉》落難鴛鴦 莫里茲布雷多、法蘭嘉寶妲黛 再度攜手
《神奇四俠》《生化危機》荷里活億萬票房監製 班納伊辛加 回饋德國影壇

榮獲本屆【柏林影展】銀熊獎影帝殊榮

《感官妄想》
The Elementary Particles

香港第一發行有限公司 榮譽發行
導演、編劇： 奧斯卡羅勒 (Osker Roehler)
原著小說： 米高烏艾兒碧克 (Michel Houellebecq)
監製： 班納伊辛加 (Bernd Eichinger) 《神奇四俠》《生化危機》
奧利弗亞巴班 (Oliver Berben)
主演： 莫里茲布雷多 (Moritz Bleibtreu) 《疾走羅拉》《慕尼黑》
法蘭嘉寶妲黛 (Franka Potente) 《疾走羅拉》《叛諜追擊2機密圈套》《地下劫》《毒王》
吉斯頓安文 (Christian Ulmen)
瑪汀娜吉德 (Martina Gedeck)
蓮娜荷絲 (Nina Hoss)
級別： III
片長、戲院： 待定

電影簡介

電影根據法國著名作家米高烏艾兒碧克富爭議性同名暢銷小說《The Elementary Particles》改編，男主角莫里茲布雷多更憑本片勇奪「柏林影展──銀熊獎」最佳男主角殊榮。

伯奴（莫里茲布雷多 飾）是一所大學的高薪教師，生活卻毫不愜意──老婆走佬和中年危機的困窘，令他飽受打擊，結果患上精神病，經常出現不尋常的妄想，更需要服藥度日。伯奴逐漸發現自己對性事苛索無度，每朝每晚沉溺於性愛幻想中，最後他更願意用錢換取多角性愛的快慰，生活荒唐；反而對正常結交女友卻起不了勁。

伯奴有一個同母異父的好兄弟米高（吉斯頓安文 飾），性格內向，是一個分子生物學家。他的基因研究被誤解令他甚為沮喪，甚至對自己和人生失去所有自信，包括男女親密關係，他往往選擇逃避之。

兩兄弟同時被「如何處理異性關係」的問題困擾著，一心以為孤單命運會陪伴終老，怎料愛神之箭失驚無神刺中他倆──米高重遇兒時的可人兒安娜寶（法蘭嘉寶妲黛 飾），而伯奴則在雜交派對中，遇上能夠與自己分享性愛的姬絲汀（瑪汀娜吉德 飾），二人著迷不已。

人生就像一段段情感冒險旅程，感情沒有為這對兄弟帶來幸福快樂，畢竟面臨更多挑戰──安娜寶、姬絲汀不約而同患上不治之症。愛與慾、真實與妄想，如何抉擇是好？出人意表的結局，正展露出這部德國電影不守常規的破格勇氣。

原著小說

法國作家米高烏艾兒碧克（Michel Houellebecq）富爭議性的《The Elementary Particles》是法國暢銷小說之一。這本小說在新世紀震驚整個文壇，它不僅打破了傳統的禁忌，更成為了一本被受推崇的小說。

在德國出版時，作者米高的八本作品立即成為當地的暢銷書，其第一本小說《Whatever》更被法國人選為「最成功的DuMont作家」，僅次於日本作家Haruki Murakami。

到了今天，《The Elementary Particles》已被翻譯成25種語言，在1998年小說出版時，作家米高更為這本小說獲得法國有名的文學獎《Prix Novembre》。

專訪導演奧斯卡羅勒

問：人們經常將你與原著小說作者比較，你認為你們有何相似之處？

答：閱讀原著小說作者米高烏艾兒碧克的《The Elementary Particles》時，就像打開一份美妙的禮物。我並不能寫出這美妙的東西，但我們有很多共通點，有著同一種幽默手法以及同樣處理人物的方式。我們的生活也是平衡的，同樣是被祖母照顧成長，米高以異常的手法和真誠的同情心撰寫有關他祖父母的事情。

問：這是你第一次拍攝一部不是自己原創的電影，你拍攝這部電影是否因為原著小說非常吸引？

答：當然是。當我看完這小說，我是非常渴望這小說是由自己親自撰寫的。原著小說作者米高能夠掌握西歐200多年寶貴的歷史，他認為個人感情和基本的經濟已經正在慢慢地退化，因為人們不再熱沖於宗教，取而代之的是知識及科學研究。米高認為人與人的關係已經變得非常混亂。

我被小說中伯奴這角色的性格吸引著，他集所有壞習慣於一身。我對他兒時被母親遺棄有著身同感受。伯奴與米高的母親是一個想得到自由的人，她欲探究這個世界而不想負上任何責任，在感情方面，她是一個非常自我中心的人，身邊的人也強烈感受得到，這正正是伯奴與米高情感上受傷害的地方。

問：你如何拍攝這些複雜的情節？

答：這是一個非常困惑的事情，我們難以在小說中清晰地找出主角的定位，電影的情節是不能完全跟隨小說的內容，我們必須了解角色的一切而不會令事情太過負面，我們要在電影裡帶出生命中熱切的事情。

電影中，我們分別提及兩段發生在兩兄弟的愛情故事，並設法找出這兩段關係中最強烈的片段。因此，在電影裡，我們回顧這兄弟年輕時的片段。

問：《感官妄想》與你其他的電影有何不同之處？

答：我已經拍攝過太多認真的電影，但這並未使我重覆。我想令觀眾開心，給他們更多力量與勇氣。在這個時代，電影最大的作用是刻畫人性痛苦的一面，就像電影《美麗有罪》一樣，能夠以刻薄的幽默輕輕觸動人心。觀眾離開戲院時，能夠有一種深刻的感受，笑對命運的突變。

問：你與監製班納伊辛加是首次合作，感覺如何？

答：我與班納合作，感到非常舒服，這全因為他對電影的熱情。他可以將一本書轉變成一部電影，就像《感官妄想》，只因他喜愛這計劃。班納出身於傳統的電影學院，我在德國並不認識任何一個人像他可以簡易地了解電影語言。他從觀眾的角度去詳盡了解劇本，並尋找令觀眾更容易明白劇情的方法，他更是一個可以創作令觀眾感到驚訝的大師。

問：這是一部令觀眾有何期望的電影？

答：這電影是集中這對兄弟的故事，並對比這兩兄弟的生活及愛情態度。這電影是一部有關人的處境喜劇，並不是一部批評社會的電影。

我從監製班納學到的，就是不能讓步予觀眾，因為觀眾的期望是無法預測的。另一方面，我們不能嚇怕觀眾，但最終結局不一定是開心的，就像電影《鐵達尼號》、《金剛》、《亂世佳人》一樣。

問：你與原著作者也非常喜愛對立和挑戰，你想觀眾喜愛你嗎？

答：（笑）當然，我會想每個人也喜愛我。

專訪監製班納伊辛加

問：你為何會以這本富爭議性的法國小說《The Elementary Particles》拍攝電影？

答：首先是故事要吸引，才可能把它拍攝成電影。當我看這小說時，原著的獨創性令我著迷，因此我想將它拍成電影。

問：現在的電影大多是以不複雜的角色配以一個簡單的故事，原著的故事並不是這個類型，這在商業上是一個冒險嗎？

答：最大的商業風險是監製認為他非常了解觀眾的需要，但這對導演和監製來說是一個陷井。如果你只跟從主流、只關心商業上的成功，這是註定失敗的。如果我們知道成功的祕訣，早已成為百萬富翁，不必再拍攝電影了。

作為電影製作人，有兩件事情是必備的：第一，就是你必須努力去創作一些前所未有的事情。第二，就是故事必須能夠感動自己。就以貝多芬的【Seventh Symphony】為例，這故事能夠感動我，但我並不能解譯為何這故事能夠感動我。就像這電影一樣，這故事能連繫到我的生活，我被情節衝繫著。但這不是重點，最重要的是獨創性。

問：很多人也認為這小說是不能拍攝成電影的……

答：在我拍攝首部電影時，他們已經是這樣說了。首先是《The Never Ending Story》、及《The Name of the Rose》，然後是這部電影。當遇到這個問題時，你必須先找出這小說故事的重點，而這重點應該是關於人性的。所以我從沒有從理論的角度拍攝有關社會問題的電影，這不是電影的作用。《感官妄想》是一個從兒時到成人一直改變的傳記故事，就是角色整個人生的命運色彩令這電影的元素更為豐富。

問：這小說是否反映了現今社會及其價值呢？

答：這是一部透過主角的命運去反映20世紀末的電影。

問：這電影與原著小說有何不同？

答：小說與電影是不同表達藝術的方式。「拍攝小說」是一個誤解，應?是「拍攝一部來自原著小說的電影」。我們不是從小說的第一章開始去拍攝這部電影，我們花一段時間，其至幾星期去閱讀小說，但電影只長約兩小時，小說只是為讀者提供一個影像的大綱，但電影就必須提供一個實在的影像。因此電影有其獨特的節奏，劇情必需精心設計，電影的骨幹和結構必須與小說相互說明。

問：在小說裡，作者喜歡以一種對立的態度看待性，而電影如何處理這個課題？

答：我相信性是生活中重要的事情，所以在電影裡，我們以大量的情節處理性這個課題。這是小說和電影裡非常重要的元素。

問：對監製來說，需要處理劇本的對白是非常奇怪的……

答：人們忘記了我入行時不是一開始便當導演與監製，當時我是一個編劇。對一個監製而言，一個好的劇本是必須的，所以唯有參與其中才能得到好的劇本。

問：你認為《感官妄想》的故事主要是針對男性嗎？

答：女性相反對這故事感興趣，這是令我感到驚奇的。我想女性大概是喜歡「有驚喜的故事」，而男性則想任何事情也來得簡單些。因此，我想無論男性或女性看這電影也會得到樂趣。

幕後功臣簡介

監製：班納伊辛加 (Bernd Eichinger)

1973年，班納伊辛加畢業於慕尼黑的電視電影學院一年後，成立自己的製作公司Solaris Film。其製作公司與多名導演包括Wim Wenders、Alexander Kluge、Edgar Reitz、Hans-Jurgen Syberberg拍攝電影，令德國的電影為世界所認識。

單在德國，已有超過8千萬的觀眾觀賞過班納出品的電影，在國內國外亦得到非常好的票房紀錄，其作品包括荷里活億萬票房巨獻《神奇四俠》、《生化危機》；《Christian F. - We Children from Banhof Zoo》、《The NeverEnding Story》、《The Name of the Rose》、《The House of Spirits》、《Maybe, Maybe not》。

導演、編劇：奧斯卡羅勒 (Osker Roehler)

奧斯卡羅勒在1959年出生，其後在80年代初移居柏林，開始其自由記者及作家的生活。在1984年，以《Das Abschnappuniversum》出版幾個短篇作品後，他為不同導演，包括Niklaus Schilling、Christoph Schlingensief和Mark Schlichter編寫劇本。在1997年，奧斯卡拍攝其首作電影作品《Silvester Countdown》。2000年，奧斯卡憑《Die Unberuhrbare》獲得德國電影獎項。

原著小說：米高烏艾兒碧克 (Michel Houellebecq)

米高烏艾兒碧克一直探索人們是怎樣在不同的關係中迷失自我。這課題使他的作品一直受讀者歡迎，亦令評論家感到挑戰。

米高於法國1958年出生，修讀農業機械學位，他在20歲時已開展其文學事業。他的首部詩集作品在1985年出版，並於1994年以其祖母的姓氏為筆名首次出版小說作品《Whatever》，這部作品很快便翻譯成多種語言，使米高獲得國際的認同，故事以一個對性、對社會感到沮喪的電腦專家為主角，從而帶出現今社會的消沉及憤世思想。

1998年，米高的作品獲得「Grand Prix National des Lettres Jeunes Talents」獎項，其作品包括《Interventions》、《The Elementary Particles》、《Lanzarote》、《Platform》、《Against the World, Against Life》、《The Possibility of an Island》。

不一樣的聖誕鉅獻

12月14日 愛慾兩心痴

The Elementary Particles《感官妄想》

based on the novel by Michel Houellebecq
written/ directed by Oskar Roehler
featuring Moritz Bleibtreu, Christian Ulmen, Martina Gedeck, Franka Potente, Nina Hoss, Uwe Ochsenknecht, Corinna Harfouch, Jasmin Tabatabai, Tom Schilling
produced by Bernd Eichinger, Oliver Berben
HK distributed by First Distributors (H.K.) Ltd.
Category III
Running Time tbc
Theatre Line-up tbc

HK Releasing date December 14, 2006 (Thursday)

Synopsis

Michael (Christian Ulmen) and Bruno (Moritz Bleibtreu) though half-brothers, are completely different. They share only a mother (Nina Hoss) in common who neglected them to lead a carefree jet-set life leaving them in the care of separate grandparents. Introverted molecular biologist Michael is so warpped up in his genetic research that he shies away from intimacy while Bruno is a slave to his fantasies paying for sexual favors.

Everything changes when both mean now thirty-something, find love. Michael happens to re-unite with his childhood sweetheart, Annabelle (Franka Potente) and Bruno meets Christiane (Martina Gedeck) who shares and enjoys his sexual obsessions. Although it seems that luck is finally on their side, by a cruel twist of face, both women suddenly become seriously ill. Stunned, Bruno and Michael must deal with the aftermath and decide whether to stay in difficult relationships or return to their lonely lives.

The Novel

Despite, or perhaps due to, the controversy surrounding the author Michel Houellebecq, Les Particules elementaires (The Elementary Particles) was a best-seller in France (Flammarion, 1998). A literary shocker of the new millennium, it not only broke taboos but also became a cult book. Published in Germany by DuMont, all eight of Houellebecq's books, among them his first novel Extension du domaine de la lutte (Whatever), have hit the bestseller list, making the Frenchman the "most successful DuMony author" alongside Haruki Murakami, the Japanese writer. To date, the novel has been translated into more than 25 languages. In 1998, the year of its publication, Michel Houellebecq received the prestigious French literary award "Prix Novembre" for this novel.

Interview with Oskar Roehler

You have often been compared with Michel Houellebecq, the author. Do you see any similarities?

Reading Michel Houellebecq's novel The Elementary Particles was like opening a wonderful present. I never could have written anything like it. That said, there is a strong connection between us. We have a similar sense of humor and deal with people the same way. Our lives also have parallels; we were both raised by our grand-mothers. Houellebecq writes about his grand-parents generation with unusual and genuine compassion.

This is the first time you've filmed a story that you didn't write yourself. Did you film The Elementary Particles because you felt such an affinity to the book?

Definitely. When I put the book down, I knew for sure that this was a novel I wished I had written. Houellebecq managed to condense 200 years of the history of values in Western Europe. His premise is that personal relationships and basic economic conditions are slowly deteriorating because people have turned away from religion, and are driven by a thirst for knowledge and scientific research. Relationships, according to Houellebecq have become tangled jungles.

I was intrigued by the Bruno character, who has just about every conceivable human vice. He was also rejected by his mother in childhood; something I could identify with. An It-Girl, the mother of Bruno and Michael wanted to be free and "dig" the world without considering her responsibilities. In terms of relationships, this was pure ego-tism, felt most keenly by those closest to her. This is why these brothers are such emotional wrecks.

How did you manage to make a film out of this complicated material?

It was fairly difficult to map out the puzzling novel in a way which clearly showed where the protagonists were coming from. We quickly realized there was no way the film could correspond to the novel on a direct basis. We had to figure out what the characters were going through without giving the whole thing too negative a flavor. If you are going to make a film you should at least try to portray some passion for life.

The narrative we filmed is divided into two love stories, featuring two brothers. We tried to plunge into the most intense moments of these relationships. And we came up with a new concept. We needed flashbacks to show the brothers when they were young.

How does The Elementary Particles compare to your other films?

I've done enough serious films and don't feel much like repeating myself. I want to make the audience happy; give them strength and courage. In our day and age the greatest challenge of cinema is to portray human misery - like in American Beauty, with a light touch or biting humor. People should go home with a cool feeling, able to laugh about the quirks of fate.

What was it like working with Bernd Eichinger for the first time?

I felt totally comfortable with him and his views on art. This is probably because he's a passionate cineaste who speaks the language of film. He can take a book like The Elementary Particles and project it onto the screen - by just following his instincts. I don't know anyone else in Germany who is able to understand the semantics of a film so quickly. He also comes from the classic school of film. From the word go, he scrutinizes the screenplay, trying to make it as amusing as possible for the audience. He is constantly seeking new ways to make a scene easier to digest. Eichinger is a master at dodging expectations and creating surprising twists.

What kind of film can the public expect?

We concentrated on the story of the two brothers. We contrasted their very different lifestyles and love lives. The core of the film is a melodrama about real people and not a theoretical social critique.

If I've learned one thing from Bernd, it's not to make any concessions to the audience, because at the end of the day, moviegoers are unpredictable. On the other hand, one mustn't scare off the public either and things don't always have to end happily as we can see in films like Titanic, King Kong and Gone with the Wind.

You are similar to Houellebecq in that you love to polarize and provoke. Don't you want people to like you?

(laughs) Of course, I want everyone to love me!

Interview with Bernd Eichinger

What inspired you to film The Elementary Particles, such a controversial French novel?

What make a film in the first place? Something about the story has to fascinate you. When I read the book, I was struck by its originality, and immediately wanted to turn it into a film.

The trend seems to be for light simple stories with uncomplicated characters; Houellebecq doesn't exactly fit into that category. Is this a conscious commercial risk?

The greatest commercial risks are when producers think they know exactly what people want. It's a trap for every producer and director. If you simply try to follow a trend or accommodate a mood you've already set yourself up for failure. So, as far as I'm concerned these considerations about commercial success are superfluous. If we really knew what worked, we'd all be millionaires by now, and wouldn't need to make any more movies. What filmmaking comes down to are two things: One, you need to keep working on something that's never been done before. Two, the story itself has to get to you. Take the example of Beethoven's Seventh Symphony. It grabs me. But ask me to explain how or why - and I can't tell you. It's the same with this novel. The ideas there relate to my life at present, they speak to me. The material might be shocking, but that is irrelevant. What counts is originality.

People have been speculating, for some time now, that this novel is un-filmable...

They've been saying that for as long as I've been making films. First, they said it about The NeverEnding Story, then about The Name of the Rose, and now Perfume. As a rule you question every novel, trying to find the underlining story. The only prerequisite for me is that it has to deal with people. That's why I could never film social conditions in a theoretical way. That's not what movies are all about. The Elementary Particles is exclusively about very extreme life stories, about people we watch change from children to adults. What makes this material so enticing is the sharp insight we get into these characters and their fate.

Does that mean this novel is a mirror of modern society and its values?

It is definitely a film about the end of the 20th century. But let me say this again: the situation is described through the personal fate of each protagonist.

How different is the film from the novel?

Novels and films are separate art forms. It seems somehow wrong to say "filming a novel". It would be better to call it: "making a film out of the material of a novel." We would not be doing ourselves any favors if we tried to film The Elementary Particles starting on page one of the novel. You read a book over a period of days or weeks, a movie is only two hours long. While a book provides its reader with an outline of images they see in their minds, a movie has to deliver these specific pictures. That's why films have a particular rhythm. The drama and the build-up have to be constructed in a special way. The skeleton or structure of a film has to be put together in a way that illustrates the novel.

In his books, Michel Houellebecq likes to polarize attitudes on the subject of sex? How does the film handle this?

I believe that sexuality is a dominant factor in our lives. and what really motivates us in the end is a certain aggression that has a lot to do with sex. And that's part of the book and therefore an element of the film.

It is strange for a producer to be so involved in the script...

People tend to overlook the fact that I began my career, not as a producer or a director but as a writer. it is the job of every producer to make sure he has a good screenplay. And you can only do that if you take part in the writing.

Do you think The Elementary Particles will appeal more to men?

On the contrary, Women will probably be most interested in this film. I'd be very surprised if it went the other way. Women are usually more attracted to "twisted stories." Men want to keep things simple. But women are prepared to value films they might not be open to right away. that's why I think that both men and women will want to see this film and find it interesting.

Biography

Director/Screenplay - Oskar Roehler

Born in Starnberg on 21.1.1959. He moved to Berlin at the beginning of the 1980s, where he worked as a freelance journalist and writer. After publishing a volume of short stories entitled "Das Abschnappuniversum" in 1984, and writing screenplays for Niklaus Schilling, Christoph Schlingensief and Mark Schlichter, he made his feature film debut in 1997 with "Silvester Countdown". His film, "Die Unberuhrbare", received the Golden German Film Award in the year 2000.

Producer - Bernd Eichinger

In 1973, one year after graduating as a film director from the Academy of Film and Television in Munich, Bernd Eichinger set up his own production company: Solaris Film, which made German cinema famous again on an international level through films directed by Wim Wenders, Alexander Kluge, Edgar Reitz and Hans-Jurgen Syberberg.

In Germany alone, more than 80 million moviegoers saw Bernd Eichinger's films. The following motion pictures are among his many national and international box officer hits: Christiane F. - We Children from Banhof Zoo (Wir Kinder vom Bahnhof Zoo), The NverEnding Story (Die unendliche Geschichte) The Name of the Rose, The House of Spirits, Maybe, Maybe not (Dre bewegte Mann) and Resident Evil.

Based on the novel - Michel Houellebecq

Michel Houellebecq explores how people can lose themselves in relationships. This often delights fans buy also consistently provokes critics. His fan site (www.houellebecq.info) provides a list of his literary "influences" among them: Baudelaire, Brett Easton Ellis (American Psycho), Kant and Thomas Mann.

This French "enfant terrible" (born in 1959), who holds a degree in agricultural engineering, began his literary careen at the age of 20. His first poems were published in the Nouvelle Revue de Paris in 1985. This led to the publication of H.P.Lovecraft, contre le monde, contre la vie (H.P.Lovecraft: Against the World, Against Life) in 1991.

In 1994, he published his first novel, Extension du domain de la lutte (Whatever) that he wrote under a pseudonym, using his paternal grandmother's maiden name. It was soon translated into several languages. The tragicomic adventures of the protagonist, a sexually and socially frustrated computer expert, brought the author a larger and more international audience, who considered him a modern-day philosopher with a world view fluctuating between depression and cynicism.

In 1998, he received the Grand Prix National des Lettres Jeunes Talents for his complete works. Later, that same year, Interventions, a collection of his essays, and his second novel, Les Particules elementaires (The Elementary Particles) were published. The latter went on to be translated into over 25 languages. In 1999, he col-laborated on the screen adaptation of his novel. Whatever with director Philippe Harel.

Houellebecq's controversial socially critical book of texts and photographs Lanzarote came out in 2000 and in 2001, his novel Platform was published. this was followed by two volumes of poetry and the prose version of Against the World, Against Life. In the autumn of 2005, Houellebecq's new novel The Possibility of an Island (French original title: La Possibilite d'une ile) was published. This book portrays an immortal cloned "neo-human".

In addition to his literary output, Michel Houellebecq also works as a journalist, writing articles for many newspapers and magazines.

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