最近情緒不穩，得貼一些美少年、帥哥抒緩一下！
蠻訝異這位三十多年前美少年的扮演者居然比007詹姆斯龐德的皮爾斯布洛斯南還小二歲！在書店買有他劇照的小說還以為他作古很久。
http://www.youtube.com/watch?v=4kpJehOi2p4

其實去年我就買了DVD，還沒決定要寫什麼，也許對這部我自己有點期許！在IMDB網站討論這部電影，有人貼了這個網址，我自己試著翻譯但有些句子我很難理解就略過了
http://www.guardian.co.uk/women/story/0%2C3604%2C1063735%2C00.html

我被利用了
比詠安德萊森----魂斷威尼斯中的美少年達秋，告訴麥特西頓成為葛利爾新書的封面為何感到憤怒

Thursday October 16, 2003
The Guardian

比詠安德萊森只看過葛利爾新書的封面，就非常不高興！真正的理由是安德萊森認葛利爾的新書不過是典型結合藝術史與擺設用的情色照罷了。
1970年，15歲的比詠安德萊森出飾由維斯康堤導演，改編自德國大文豪湯瑪斯曼的小說魂斷威尼斯中的達秋。一夜之間，安德萊森成了名人，飄逸般的美且又金髮的他成了由狄鮑嘉飾演古斯塔夫亞森巴赫的致命美的象徵，但不止他一人！
葛利爾在她書中評論：這男孩喪失成為女性注視焦點！
但自從他出現在維斯康堤的電影裏，安德萊森感受到男性與女性的注視。使用他的影像在“男孩們”只不過是非善意的因素，他說：我覺得被利用到近乎到厭惡！
他主觀意識有一半來自道德感，他解釋從他斯德哥爾摩的家鄉：“我認為有些成人對少年之愛是違反規則的，“也許情感上，也或許是知識上，我被搞混了---因為我意識到那種愛是什麼！”
他所謂“那種愛”的經驗始於1970年坎城影展電影節，維斯康堤的電影首次成了大熱門。“我只有16歲，維斯康堤跟劇組帶我去一個同性戀夜店，幾乎所有人都是同性戀。店裏的侍者們讓我感到非常不自在，他們緊盯著我的樣子好像餐桌上可口的菜餚”他回憶道。
“我知道我不能反應，那可能造成人際關係上的隔絕，但那是許多次偶遇中的第一次！”
安德萊森斬釘截鐵說他不是恐同性戀-----“我花太多時間被認做是那一群”----但“世上最美麗男孩”的標籤牢牢固定在身上，不管到那個地方。儘管如此，他的崇拜者也不全都是男人。魂斷威尼斯成功之後，他被祖母說服去日本，因此片在當地大賣座。因她是第一個申請到成為日本為瑞典片的宣傳-----“她覺得我如此有才能應該讓全世界都知道，”他苦澀地回憶：“她當然願望成真！”在那幾週，他錄了兩首流行歌曲，也參與幾部廣告片。正當安德萊森在日本演出，他發現自己被女孩們團團包圍：“你如果看到披頭四在美國的照片？就像那樣！那時真是瘋狂！”

安德萊森的真愛是音樂，高中畢業之後，他申請就讀音樂學院，卻沒通過。他自己請瑞典最有名的音樂家在家自修。從日本回來後，他曾有野心去組一個類似艾靈頓公爵那種爵士樂樂團。可是他發現他很難爭取其他角色的壓力！他花了一年時間在巴黎等待麥爾坎李的電影“可愛的傳信人”開鏡，結果沒拍成。“我總結我的事業一個字，”他說：“混亂！”
他搬到哥本哈根一年跟女友在一起，同時也為了匿名。但他演的達秋像鬼魅般持續纏著他。“最糟的是沒人要注意我的企圖心，你真正的夢想是什麼？而是你只要表現你的美麗，就這樣！”
“我記得在朋友家的宴會第一次的音樂演出，知名的作曲家卡爾艾瑞克威靈“他回憶，“人們鼓掌到最後，那沒什麼，”但一位穿套裝的女士向前跟我說：“哇，你真的會演奏！“
作為永恆的美麗男孩不是什麼好事，反而是種詛咒。“我好比籠子裏的奇特動物！”也因成名太早，扭曲了他日後的發展。“即使到今天，我都不曉得如何調情。當你只要彈根手指…..成為名人喪失許多社交訓練。”

那不很奇怪嗎？他應該發現自己很適合當女性主義一個渴望的象徵？


“那是諷刺的！”他回應道。他花了大半成年時光只為了隱形，成為人群中的一員。他曾想過改變外貌嗎？
“不只是我的外表，也包括我的身份！”48歲的他與15歲的他在外表上己有差距，：“年紀大的女性似乎仍認得出我，儘管我努力地當個無名氏。”
今天，他談到自己做過的一些工作，希望由他負責鍵盤的樂團，SVEN-ERICS，自60年代起換過不同陣容，能繼續下去。在80年代初期，他女友懷孕，安德萊森在戲劇學院找到一份工作，管理斯德哥爾摩一家小戲院，做所有工作從導演、燈光甚至是洗碗。這可能是他一生中最滿意的時光：“你可以想像能拒絕電影的感覺多好。”經歷過小孩死亡與離婚，他最近重拾表演工作，儘管限制在舞台表演(田納西威廉斯的劇本)。令他吃驚的是，他發現自己很喜歡----感覺是自己的選擇。“我必須跟這幾天作戰，正如其他人，”他說”，這種感覺真的很好”。
有時他仍看到海報或戲院廣告傳單上的達秋影像，曾令他感到情緒激動，現不再有了。“我的事業最初曾在頂端然後快速下滑，”他說：“那感覺很寂寞！”
但葛利爾的“男孩們”仍激起他的憤怒，：“她跟出版商應該先問問我！”
“是的。但如果他們真的這麼做你會答應當封面嗎？”
“當然不會！”

英文原文
“I feel used”

Bjorn Andresen - the beautiful Tadzio from Death in Venice, tells Matt Seaton why he is furious about being on the cover of Germaine Greer’s new book

Thursday October 16, 2003
The Guardian

Bjorn Andresen has only seen the cover of Germaine Greer’s new book, but he is not very happy about it. The reason is that Andresen is - or rather, was - the boy whose image adorns the front cover of The Boy, Greer’s characteristically feisty combination of art history and coffee-table erotica.
In 1970, the 15-year-old Andresen played Tadzio in Death in Venice, Luchino Visconti’s adaptation of a Thomas Mann story. Overnight, Andresen became a celebrity, adored as the ethereally beautiful, blond-locked boy who becomes a fatal object of desire for Gustav von Aschenbach, played by Dirk Bogarde. But not just for him.

”The boy is the missing term in the discussions of the possibility of a female gaze,” remarks Greer in her book. But ever since his appearance in Visconti’s film Andresen has felt the scrutiny of both male and female gazes. The use of his image on The Boy is just one more unwelcome instance, he says: ”I have a feeling of being utilised that is close to distasteful.”

His objection is partly moral, he explains, talking from his home in Stockholm. ”Adult love for adolescents is something that I am against in principle,” he says. ”Emotionally perhaps, and intellectually, I am disturbed by it - because I have some insight into what this kind of love is about.”

His experience of ”this kind of love” began at the Cannes film festival in 1970, where Visconti’s film first became a sensation. ”I was just 16,” Andresen relates, ”and Visconti and the team took me to a gay nightclub. Almost all the crew were gay. The waiters at the club made me feel very uncomfortable. They looked at me uncompromisingly as if I was a nice meaty dish.

”I knew I couldn’t react,” he says. ”It would have been social suicide. But it was the first of many such encounters.”

Andresen is adamant that he is not in the least homophobic - ”I spend too much time with gay people to be” - but the tag of ”most beautiful boy in the world” dogged him wherever he went. Not that his admirers were all men, by any means. On the back of his success with Death in Venice, Andresen was persuaded by his grandmother to go to Japan, where the film had been a big hit. It was she who had first applied to an advert in Sweden for film parts for children - ”She felt I was so talented and should be world famous, you know how it is,” he says drily. She certainly got her wish: in the space of a few weeks, he recorded two pop songs and appeared in several commercials. When Andresen performed in Japan, he found himself mobbed by girls: ”You’ve seen the pictures of the Beatles in America? It was like that. There was a hysteria about it.”

Andresen’s true love was music. After school, he applied to study at music college, but didn’t get in. Instead, he took piano lessons privately with one of Sweden’s most highly regarded teachers. His ambition, after his return from Japan, was to start a Duke Ellington-style big band. But he found himself under pressure to take other film parts. He spent a year in Paris waiting for Malcolm Leigh to start shooting a film called How Lovely Are the Messengers, which was then never made. ”I can summarise my career in one word,” he says. ”Chaos.”

He moved to Copenhagen for a year, to be with a girlfriend, but also in an attempt to find some anonymity. But his role as Tadzio continued to haunt him. ”The worst thing of all,” he says, ”is that no one pays attention to your ambitions, your dreams or who you really are.” He was merely expected to be beautiful, that was all.

”I remember playing the first movement from Liszt’s E flat major concerto for a party at a friend’s house - a well-known Swedish composer, Karl-Erik Welin,” he recalls. ”People applauded at the end; it was no big deal. But then this young woman in a suit came forward and said, ’Wow! You can actually do something!’”

Being immortalised as a beautiful boy was not a blessing, but a curse. ”I felt like an exotic animal in a cage,” he says. And because it happened so early in his life, it distorted all his experience for years afterwards. ”Even today,” he says, ”I don’t know how to flirt. When you have only to snap your fingers... there’s a lot of social training you miss out on as a celebrity.”

Isn’t it strange, then, that he should find himself just now appropriated as an object of desire by a famous feminist? Wasn’t part of feminism’s original protest against precisely such ”objectification”?

”It is ironic, yes,” Andresen remarks. He has spent most of his adult life seeking to be invisible, just one of the crowd. Has he ever been tempted to alter his appearance?

”Not only my appearance, but my whole identity,” he says, with feeling. Finally, now, at the age of 48, he bears sufficiently small resemblance to the 15-year-old version of himself. ”Kind, elderly women still seem to recognise me, but I’ve been working hard to reach anonymity.”

Today, he describes himself as being between jobs, but hopes that the band he plays keyboards for, Sven-Erics, which has been around in different line-ups since the 60s, still has life in it. In the early 80s, after his girlfriend became pregnant, Andresen finally went to theatre college, which led to a job running a small theatre in Stockholm, doing everything from directing, to lighting and dishwashing. It was perhaps the most satisfying period of his life: ”You can imagine how good it felt to turn down film work.”

Since then Andresen has survived the death of one of his children in infancy, and ”the inevitable divorce”. He has even resumed his acting career recently, though strictly only on the stage (in a Tennessee Williams play). Almost to his surprise, he found he loved it - because it felt like his choice. ”I have to fight these days, just like anyone else,” he says, ”which actually feels quite all right.”

Sometimes he still sees his image as Tadzio in a poster or in a cinema flyer; it used to cause him irritation, but not any more. ”My career is one of the few that started at the absolute top and then worked its way down,” he says. ”That was lonely.”

But as for Greer’s The Boy, the issue still rankles. ”She, or the publisher, might have asked me beforehand,” he observes.

Yes, but if they had, would he have given his permission?

”Of course not. Not until hell freezes over.”

這張封面照讓他本人很不爽！因為是裸上身的。之後的遭遇我蠻難過的！但如果不是他，怎能說服觀眾為何那大作曲家會被一個美少年迷住？寧願病死也不離開有瘟疫的威尼斯？
聽說法文版DVD有收錄當年選角的情形，可台灣版沒有。有網友偶爾在電視看過提到所有試鏡者中他的長相最突出。原本導演維康堤堅持要找個十一、二歲男孩扮演達秋，結果因15歲的比詠安德萊森相貌出眾獲選，導演就順便修改劇中年齡。
當初我從書店偶爾翻開好時年出版社的翻譯圖文小說，魂斷威尼斯，封面就是有這位美少年引起我的好奇心。如果不是有附好幾張圖，我根本不會花我積蓄的零用錢買下這本中文翻譯爛再加內容枯燥的書。我很沒耐性看文字敍述，這幾年有學說提到閱讀困難症證實了以前的症狀，在之前買的費雯麗，也是看圖的時候多，長篇字又小的傳記，我不知花了多久才看完？更別提湯瑪斯曼的短篇加上出版社為了頁數硬湊了中篇推理小說後來終於在窮極無聊時看完。看完翻的中文文意讓我莫名其妙的魂斷威尼斯，並沒讓我想要看電影；
主要是沒管道(問錄影帶出租店沒人聽過)
有點精神上男男戀的主題八成新聞局一定禁演(居然沒被梁良列入百大禁片?)
還有小說讀的很悶，電影有可能悶得我神遊太虛，不過那時我才唸國中。
結果我錯了，片中不時的曖昧眼神交會讓我聚精會神看到完，因為視覺(人)太美了！再加上年紀已長，經歷過一些挫折與傷心，很多感覺都不一樣了。