2018
British Independent Film Awards
最佳紀錄片提名
最佳紀錄片提名
法蘭克的b面人生 克里斯西維的戴上頭套後的另一個身分就是法蘭克，有創造力的他人生普普通通，但一場意外化身的法蘭克，成為新的傳奇，這讓我聯想到重金搖滾雙片人，也讓克里斯西維沉醉在法蘭克的世界裡‧ 法蘭克身分讓克里斯西維可以瘋狂做自己，但也迷失到給了他家庭生活不少困擾，到底法蘭克和克里斯西維哪個是身分本尊？只可惜讓克里斯西維回到真正的唯一身分已成往事，荒唐可愛吸引人又有點悲傷的傳記故事‧
《法蘭克的B面人生 》（Being Frank: The Chris Sievey Story）敘述是克里斯西維（Chris Sievey）與法蘭克塞德波頓（Frank Sidebottom）成長與幻滅。 而相同的主題，也在2013年拍成電影。由「萬磁王」麥克法斯賓達，演出帶著頭套的主唱法蘭克，迷幻搖滾風格的黑色喜劇《法蘭克》風靡全球，與實力派女星瑪姬葛倫霍，和新生代小生多姆納爾格里森，呈現另一風格的荒謬喜劇！ 克里斯西維（Chris Sievey）從小對生命充滿熱情，並且樂於嘗試各種新奇事物。永遠有源源不絕的點子，從他腦中浮現。無論是否受到社會認同，他不斷創作，嘗試不同的樂團組合，企圖構建自己的美好地（wonderland）。 然而，他最具代表性的創作，卻是創造神秘人偶法蘭克塞德波頓（Frank Sidebottom）。他發了19張專輯，結果一首歌都沒紅！創作這麼多年，最後卻輸給自己制作的「法蘭克」的紙漿頭套！ 而「法蘭克」原本只是克里斯西維（Chris Sievey）為了參加化裝舞會做的道具，卻意外竄紅，佔盡所有版面。 法蘭克和腹語娃娃小法蘭克、沒有頭的小丹妮絲建構奇葩的反主流世界，用另一種眼光、另一種行為模式回看世界，在這裡一切以反邏輯為基礎，在陷入瘋狂以後，當一個頭套人物，站上舞台演唱，看似瘋狂且荒謬的種種舉動，是不是也呈現了社會某個層面的扭曲價值觀？ 而這個虛擬人物，在每一場表演後，獲得如雷掌聲，成為巨星，於是漸漸有了自己的人格，且逐步吞噬克里斯真正的自我。在浮華世界裡，逐漸迷失的克里斯，也慢慢失去自己的生活，他已經成為「法蘭克」操縱的人偶，一切只能不斷失控⋯⋯ 《法蘭克的B面人生 》與《法蘭克》 兩部影片中，全面展現獨特的迷幻搖滾風格，而《I Love You All》成為年度最動聽的電影主題曲之一，讓人無法不愛上這位瘋狂法蘭克！
看似充滿荒誕、瘋癲、反叛的傳奇人生，其實都是在告訴我們：「這只是追求生命之所愛的必經之路。」克里斯西維用他一輩子的時間，實踐自己的夢想，把握每一次的機會，也許結局未必是想要的，但至少沒有留下一絲的後悔，隨著他的離去，他那不朽的靈魂，會隨著他的音樂、著作、影像，世世代代的流傳下去。也許，這就是身為世代天才，既憂傷又壯烈宿命吧？！ 片中也不斷探討，克里斯與法蘭克，究竟是同一個人嗎？法蘭克的行為和創作，到底是屬於克里斯或法蘭克呢？或是法蘭克其實是克里斯潛意識的自我投射？如此的哲學命題，值得我們討論與省思。
這是一部有點creepy、有點可愛、有點有趣、卻有點悲傷的電影，隨著法蘭克的步伐進入天才的世界，雖然無法身歷其境（畢竟並非每個人都是天才），但是一步步地窺探天才的世界，了解他們的想法與邏輯，是這部影片帶給我最大的啟發。
1:19:34 延伸閱讀：《法蘭克札帕：從前衛到當代》（Winter, 2021） 無論是Chris Sievey跨足影像到音樂多種媒材、包辦自己作品的所有環節以便全權掌控、創作大量最終束之高閣的音樂作品，都讓人想到Frank Zappa，不過後者當然在音樂上取得了更大的名聲與成就，卻也對Chris Sievey亟欲追求名利表現地更加不在乎（當然這兩件事之間可能有因果關係）。 . 這個五年計劃作為Chris Sievey和Frank兩個角色在衝突、挫敗後的捲土重來，展現了他們對主流市場的更多掌握，懂得要累積資本以便自由創作。這其實也呼應到Frank Zappa在紀錄片中展現的人生哲學，他在人生晚期分享自己的創作心法，是要先創作商業上可以獲得一定成功的作品，等到賺了足夠的資本，才能拿這些錢去製作自己真正希望實現的音樂作品。而這些音樂作品，不是給別人聽的，是給自己聽的，「如果有人也有興趣聽，那我也很開心。」Zappa說道。
音樂傳記紀錄片時常令人感到疲乏的原因之一就是呈現方式過於單調，如果音樂人留下的影像紀錄充足那通常不會太慘，最糟的就是要看一堆新聞片段搭配talking heads訪談畫面，而完全喪失電影作為一種媒介的獨特魅力，成為新聞專題報導或長篇回顧文章。 . 《法蘭克的B面人生》無疑讓人耳目一新，多虧Frank和Chris Sievy生前大量的創作，讓我們宛如跟著導演一同進入他家中的地下室，然後開始翻箱倒櫃，尋著日記上的紀錄把節目單、錄影帶、唱片一一歸檔。電影也努力呈現出一部珍藏集或相簿的質感，我們看得到原始卡帶的筆記、訪談時也在四周貼滿了作品、介紹新的收藏出場時會先讓大家看看封面，但沒有影像的時候就誠實地說這段沒有錄影紀錄。如此一來，觀眾不再是透過電影作者或訪談人物武斷詮釋被攝者的一生，而是可以透過他的作品去直接認識一個人。（如果你覺得不夠的話，甚至還可以幫忙解開邊框上的密碼）
戴上面具，有了人設，反而更自由了，「在台上」跟「做自己」其實並不互斥，上台的你可能和平常不同，但那也是你。不只要理解每個人的不同，更要能接受每個 不同的自己。
專輯的B面放進電腦裡竟然有動態歌詞，那一段我真的嚇壞了。
他說，夢想是做自己喜歡的事。在熱愛的事物面前，所有的努力都是快樂的，有時被人問說：「這條路不好走吧，辛苦了（鼓勵眼神）」都會覺得，還真的很不辛苦，但也感謝對方的鼓勵。
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