曼努爾的宿命Manoeldansl'îledesmerveilles(1984) 曼努爾的欲望/曼努爾的抉擇/ManuelontheIslandofWonders/Manoel'sDestinies/LesDestinsDeManoel
導演：RaoulRuiz
編劇：若昂·伯特洛/LeonorPinhão/勞爾·魯伊斯
主演：RubendeFreitas/特麗莎·馬德魯加/FernandoHeitor/MarcoPaulodeFreitas/迪奧哥·多瑞亞/VascoPimentel/CecíliaGuimarães/JosédeFreitas/AurélieChazelle/MiguelSilva/PedroM.Ruivo/PedroFernandes/ClaraRolim/LuisGaspardaSilva/TonyJessen/IsabelBranco
語言：法語/葡萄牙語
類型：劇情/兒童/奇幻
上映日期：1984(葡萄牙)
葡萄牙/法國 50分钟
曼努爾的宿命Manoeldansl'îledesmerveilles(1984)的劇情介紹
ThisthreepartFrenchTVserialforchildren(alternateversionsexistasafeature,Manoel'sDestinies,anda4partPortugueseTVserial,AdventureinMadeira)isthefavouriteofmanydevoteesofRaúlRuiz.ThisisbecauseittiestheenchantmentandmysteryofLewisCarroll,CarloCollodiandtheBrothersGrimmtothefilmmaker'sexperimentswithnarrativestrategiesandwhathecallsthepentaludicmodelofstorytelling(wherecharactersarethrowndice-likeintocombinationsandsituationsgovernedbytheplayofChanceandDestiny).
Butthisfilmforchildrenisamonghismostcomplexworks,hardtograspinitstotality.Oftenitcanseemanarbitrarycollectionoffree-associationalimagesandwords,borderingonnonsense.Butattentiveviewerswillhavethestrongsensethatthereismethodbehindthisnear-madness.Otherwise,itcouldneverproducetheintenseemotionsitsoclearlyoffers.Ruiz'sobsessionsfromfilmtofilmbindthefragmentstogether–withinasingleworkandacrossprojects–andtheemotioncomesfromthetotallyunexpectedforkingtakenwithinawell-wornterritorialmap.
PartOnepresentsuswiththreepossibleworlds.Ineachworld,sevenyear-oldManoelhasadifferentresponsetoanentreatyfromtheoutsideworld.Fittingly,inthisfilminwhichnothingcoincides,thethreepartsofthestorydonotcoincidewiththethree-episodestructure(thetrinity-formrecursfrequentlyinRuiz).Inthiscase,past,presentandfuture–theunholytrinityorTimeensoi–isthefilm'sveryprotagonist,variouslycalled'longago'(PartOne),'now'(PartTwo),and'future'(PartThree).Attheoutset,thisgivesthestoryanapparentorderbeforedigressionstakeitover.
PartTwo(thestatusofwhichisatfirstconfusingsinceitbeginsafterthethreemini-narrativesofthefirstPartandbeforetheendofEpisodeOne)isentitled'ThePicnicofDreams'.Whilstvaguely'keepingtothestoryline',itveersoffinmanydifferentdirections,wherethethematiccouplingordinary/specialreplacesthefamiliar/unknowndualismofPartOne.(EachPartisguidedbyathematic'dominant',apairofnotionsthattendtoexchangetheirmeaningsasitprogresses.)
PartThree(beginninginEpisodeTwo),entitled'TheLittleChess-Champion',handsthe(untilnow)off-screenvoice-overnarrationtoManoelhimself.Hepromisestotellhisownstory,butaddsthatit's'astorythatImadeupinmydistantchildhoodandthathappensinthefuture'.ThetoneislessBaroque,moreGothic,asRuizexploresthe'wondersofthenight'.Thefilmmaker'sobsessioninthissectionconcernsperceptionandthedecipheringofsecretsignsandcodes.
Butthisfilmforchildrenisamonghismostcomplexworks,hardtograspinitstotality.Oftenitcanseemanarbitrarycollectionoffree-associationalimagesandwords,borderingonnonsense.Butattentiveviewerswillhavethestrongsensethatthereismethodbehindthisnear-madness.Otherwise,itcouldneverproducetheintenseemotionsitsoclearlyoffers.Ruiz'sobsessionsfromfilmtofilmbindthefragmentstogether–withinasingleworkandacrossprojects–andtheemotioncomesfromthetotallyunexpectedforkingtakenwithinawell-wornterritorialmap.
PartOnepresentsuswiththreepossibleworlds.Ineachworld,sevenyear-oldManoelhasadifferentresponsetoanentreatyfromtheoutsideworld.Fittingly,inthisfilminwhichnothingcoincides,thethreepartsofthestorydonotcoincidewiththethree-episodestructure(thetrinity-formrecursfrequentlyinRuiz).Inthiscase,past,presentandfuture–theunholytrinityorTimeensoi–isthefilm'sveryprotagonist,variouslycalled'longago'(PartOne),'now'(PartTwo),and'future'(PartThree).Attheoutset,thisgivesthestoryanapparentorderbeforedigressionstakeitover.
PartTwo(thestatusofwhichisatfirstconfusingsinceitbeginsafterthethreemini-narrativesofthefirstPartandbeforetheendofEpisodeOne)isentitled'ThePicnicofDreams'.Whilstvaguely'keepingtothestoryline',itveersoffinmanydifferentdirections,wherethethematiccouplingordinary/specialreplacesthefamiliar/unknowndualismofPartOne.(EachPartisguidedbyathematic'dominant',apairofnotionsthattendtoexchangetheirmeaningsasitprogresses.)
PartThree(beginninginEpisodeTwo),entitled'TheLittleChess-Champion',handsthe(untilnow)off-screenvoice-overnarrationtoManoelhimself.Hepromisestotellhisownstory,butaddsthatit's'astorythatImadeupinmydistantchildhoodandthathappensinthefuture'.ThetoneislessBaroque,moreGothic,asRuizexploresthe'wondersofthenight'.Thefilmmaker'sobsessioninthissectionconcernsperceptionandthedecipheringofsecretsignsandcodes.
曼努爾的宿命Manoeldansl'îledesmerveilles(1984)的影評
Manoel on the Island of Marvels (3 part TV series, France, 1985)
Fergus DalyThis three part French TV serial for children (alternate versions exist as a feature, Manoel’s Destinies, ...
兒童視角的奇幻題材再恰切不過，因為“孩子們相信自己看到的都是真實”，無論是意欲擺脫現實的幻想，還是以“過去時”講述的“未來”，更或者隻是一場場童年夢境的拼接，七歲的曼努爾再創了一個獨屬他的世界——那裡有斑斓如夢的大海和海盜，有偷寶藏的魚，有少年和成年後的自己鏡像，遙遠的海之盡頭更有陰郁大宅的傳說；第一集最易懂，曼努爾在一次次假定重設的人生中努力避開死亡，而終局無法避免，後面兩集越來越迷幻放飛。
RaoulRuiz 的兒童電影，如果畫質更佳的話有些地方看起來會更精彩。配樂非常強大，對經典童話的自我發揮非常獨到，音樂尤為出彩，靈動詭谲妖異绮麗皆有。Ruiz及兒童劇的愛好者可以看看。
重看。充滿魔力的叙事機杼，徜徉在這樣的世界中，無所謂怎樣發展。
一直在尋找這樣的夢境
後面兩集越來越晦澀難懂(好的那種)