尼罗河女儿

这是一部不必过多去诠释的电影。全片采用是很传统的的叙事线，从铺陈到矛盾集中爆发，都是是淡淡的阴郁感，是美好步一步消逝的过程。画面是侯孝贤一贯的画风，大量的留白，定格镜头让人物自己说故事，每一个定格镜头取景都非常好，灯光和声音控制的恰到好处。用孟菲斯暗喻女主对阿三的喜欢。阿三的女友从头到尾几乎没有一句对白，但完整的衬托了女主的情感起伏。最精巧的角色设置是小女孩，让阴郁的基调保留了一丝光线，脑示一种还没消失的美好。

Recently upgraded with a renovation in both DVD and BluRay formats,Hou Hsiao-hsien’s 8th feature film, DAUGHTER OF THE NILE is chronologically pigeonholed between his COMING OF AGE Trilogy (1984-1986) and TAIWANESE HISTORY Trilogy (1989-1995), which might partially account for its unregarded predicament. Its title borrows from a Japanese manga which regularly occupies the thoughts of our protagonist Hsiao-yang (Yang Lin), a 20-year-old girl juggling between moonlighting in KFC and night school, she also shoulders on the onus as a materfamilias of the household living on the fringe of the metropolis Taibei, her mother died of cancer, his father (Tsui) is perennially absent and works in the southern province, an elder brother Hsiao-fang (Kao) is a burglar, who recently opens a bar with his chums, plus, there is a younger sister (Tsai) for her to minister to.

The film meanders in Hou’s trademark slow pace through the unfazed lens of principally static frame and narrative elisions to contemplate life’s vicissitudes being inflicted on those who are very close to Hsiao-yang (males only), under its sublimely lyrical score. She carries a torch for San (Yang Fan), one of Hsiao-fang’s friends, who doesn’t reciprocate her affection and is perilously involved with a married woman with gangster background, and this relationship will eventually not just become his undoing but also torpedo Hsiao-fang’s business with a knock-on effect, what Hou tries to evoke with its youngster characters is a permeating atmosphere of angst, chagrin, ennui, unrest and nostalgia in a society casts no hope on those marginalized.

In the leading role, Taiwanese pop singer Yang Lin is a far cry from Hou’s future muses Annie Yi andShu Qi, and has no courage to shuck off her“good girl” nimbus except in one scene, trying stiltedly to play tough when confronting another classmate in the lady’s room, elsewhere, Hsiao-yang is basically distanced from the tragedies befall on her beloved ones, a dejected receptacle passively receiving the bad tidings. On the other hand, Jack Kao, who pensively withholds his usual bovver impulse, stands out as a morose chain-smoker wrong-footed by fraternal impetuosity and its repercussions. Additionally, the puppeteer Li Tianlu, whose memoirs would later be transposed by Hou into THE PUPPETMASTER (1993), sweetly plays a gabby grandfather to tone down the often depressed aura in the two-by-four abode where the family stays, his harangue on a nagging daughter-in-law and comments on farting imbues a veristic vibe which would be endearingly cherished in Hou’s tentative sortie of delving into the mindset of Taiwan’s urban youth, but there is no correlation with the Nile whatsoever.

referential points: Hou’s THE ASSASSIN (2015, 8.7/10), A CITY OF SADNESS (1989, 7.8/10), Edward Yang’s A BRIGHTER SUMMER DAY (1991, 8.9/10).

少女林晓阳爱看漫画，常幻想自己是细川智荣子少女漫画《尼罗河女儿》主角。她生活在繁华的台北，白天在肯德基当店员，晚上在夜校读书。晓阳与家人住在一座简陋的平房里，祖父是个风趣的老头。父亲在嘉义当员警，常年在外执勤。母亲去世后，晓阳肩负起母亲的职责，照顾上了年纪的父亲及上学的妹妹，并整天为哥哥担心。 哥哥与朋友合开一家餐厅，白天工作，晚上当小偷，却能照顾到家人。父亲和哥哥爆发冲突时，晓阳总是站在哥哥一边。她暗恋上哥哥的朋友阿三，却不知阿三爱着别人。种种事实让她感到气愤、悲伤和绝望，并在遭受打击后成熟清醒。

侯孝贤作品，1987年，正好是三十年前。

女主角本来要找一个更年轻的女孩，不过这个女主角是投资要求用的，为此修改了人物背景。怎么才能让她喜欢上尼罗河女儿这本漫画呢？二十来岁已经不太合适，因为很幼稚。

病逝的母亲，晚上做小偷白天开餐厅的哥哥，上面还有祖父，下面还有妹妹在上学。父亲又常年在外，很少回家。每个人都与她有直接关系。她要把心思用在每个人身上，照顾妹妹，担心哥哥。年纪轻轻就有了重担。

这样一来，喜欢漫画就可以理解了，人要有一个可以逃避世俗生活的地方。这样才不会被生活压垮。电影几乎没有配乐，只是把生活展现给你看，让你看生活的无奈，让你旁观生活的无聊无趣。因此电影显得沉闷，这也是生活的样子。

侯孝贤受到沈从文很大的影响，看过一点沈从文的散文，写的非常美，写生活的艰难和痛苦，如此明净的呈现在太阳底下，还是有一点距离的观看。有距离可以看的更清楚，这就是他的电影和很多人不同的地方。没有那么多代入感，只是让你看，让你去想。

看的时候有条弹幕很好玩，那一幕有城市的霓虹灯和川流不息的车辆，于是说万恶的资本主义，八十年代就车水马龙。这可以引起我们的会心一笑。

后期父亲又受了枪伤，把生活表现的非常真实，她喜欢哥哥的朋友死了，轻描淡写，听说这件事之后也没有太多的反应，这反而比悲伤流泪有更强大的力量。一个人的死亡，在没有关系的人眼中是如此轻松平常。希区柯克的电影里，还有很多电影里，死亡都是一件大事，死亡都能触动人心。在这里，就是不会让你产生那种认同感，反而觉得人命如蝼蚁，实在是侯导所说的苍凉。

你无可奈何，不是说如果不那样，如果早走的话，等等假设可以说服的。

成长总是伴随着痛苦，青春就是连接着无奈。

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