Taiwan International Documentary Festival
台灣競賽提名

Directed by 吳文睿
幾年前,我讀到學者/攝影評論者郭力昕寫的一篇〈論攝影與記憶〉,其中他對「攝影是保留記憶的一種有效方式」抱持相當保留且質疑的態度,並以「家庭照片」做舉例,說家庭照片:「不容易看到或完全看不到家人賭氣、爭吵、意外受傷、離婚、死亡等時刻。家庭相片提供一種關於家庭或生活的理想圖像,以及美好、陽光面的劇本,排除生活或生命中同樣真實的、陰影裡的那一面。」 還記得讀到這裡時我相當不服氣,心想:我家族裡就有一位親戚是什麼照片都拍的呢! 幾年後,決定拍攝《告別進行式》的其中一個原因,正是為了反駁郭力昕的這個論點。
《告別進行式》的拍攝過程,其實有二部片同步進行:一部是主角──我的小叔公交給我的任務──未來告別式上放映的影片;一部就是你現在正在看的《告別進行式》。 前者任務單純,進行得非常順利;後者就曲折多了,主見超強、點子超多,又是第一次當紀錄片被攝者的小叔公嘴巴上雖說:「你要拍什麼我都不管啦!」卻又不時丟出各種各樣的點子或建議。 於是最後,我也將這段「拍與被拍」的關係以後設的手法放進敘事線裡,並以之作為影片的開頭和結尾。
整部片的黑色幽默調性在正式開拍前就決定了。決定的原因之一,是在叔公家裡看到那張他用「兒子的名義」寫給自己的告別書,當下強烈的荒謬感受為整部片訂下了敘事的基調。 第二個原因,大概是剪公視「觀點短片」的徵件片花期間,一直反覆聆聽日本前衛爵士音樂家清水靖晃80年代的作品《案山子》,其中的突梯氛圍也影響了全片的風格走向。
拍攝過程中,隨著叔公一一完成他的告別代辦事項(包括最重要的──交辦我做的影片),我一邊構思剪接手法、一邊煩惱這部片似乎總還缺了點什麼,卻苦思不得其解。 然而,紀錄片之神總會在你意想不到之時降臨。 不久之後,迎來了過年,吃完團圓飯的除夕夜,我們全家族聚在老家客廳看著賀歲節目,坐在一角的叔公突然從口袋掏出一張DVD燒錄片,得意的說大家要不要看他剛完成的「未來道別談話」啊?親戚們面面相覷,又不好推卻老人家的熱情,幾個叔叔七手八腳翻出藏在櫃子深處的DVD播放機,不知多久沒用的老機器經過一翻拆機又敲敲打打才終於播出影像,更增添了幾分荒謬的氣氛。 於是,全家族在叔公的「道別談話」中度過了一個畢生難忘的除夕夜。這個高潮事件來得太突然,殺得我手忙腳亂,所幸最後還是順利完成了拍攝任務。
《告別進行式》在公視「紀錄觀點」播出當晚,我和製片二人戰戰兢兢的到小叔公家陪他看片,過程中我不時偷瞄他的反應,見他既專注又不時流露困惑的神色。全片播畢,他沉默了好一陣,終於忍不住開口:「我一直以為你是要拍『一個獨居老人怎麼樂活』呢⋯⋯怎麼會拍成這個樣子?」 我苦笑無言以對。 幾天後,我接到小叔公的電話,電話那頭他歡快的說已經幫我寫好了「影片說明」,建議放在全片開始之前,「這樣觀眾才看得懂!」 藉此機會,原文照登如下: 「『吳筱惠先生1935-20??』短片旁白 本片的主題是敘述一位現年(2017)已經八十三歲的吳筱惠先生,如何欣然接受和安排他未來人生必走的歸程。他把過去數十年的珍貴照加以彙整成三十餘冊,並生前與親朋好友話別。他認為一個人活在世界上最好要能夠多采多姿,並對家庭、對社會有貢獻,才不會白來地球一趟。 編導吳文睿謹識」

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