25話: 從導演分鏡看奧斯卡的一臉陰沉 Fersen’s Return and the Myth of the "Wonderful Person"
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奧斯卡聽到小王空降凡爾賽宮之後，一臉陰沉的表情 Oscar's long face upon hearing Fersen parachute-in |
1979 年的《凡爾賽玫瑰》動畫是非常寫實的社會批判劇，導演對於貴族社會的批判非常嚴厲，尤其以 25 話為最，一開始安德列的蘋果就被轟個稀爛、中間奧斯卡又被凌遲。
The 1979 anime Lady Oscar is less a romance and more a harsh critique against a failing aristocracy. This is best captured in Episode 25, which opens with Fersen blasting André’s apple, a symbol of his patient love for Oscar, and as the chapter unfolds, we witness Oscar's silent agony as an established "backup" in a love triangle.
第 25 話開篇顯示了 Fersen (菲爾遜/費爾森) 離開十分悠長的時間之後，應該是1786至1787年間，距離大革命已經不遠，但自然的景色恆常不變，同樣的晚霞與河流，如同 F 離開的時候。奧斯卡剛結束射擊練習。18 世紀的火槍很不穩定，在交接槍枝的時候槍口必須朝著地面或是天空以免發生危險，所以安德列從奧斯卡手上接下槍枝的時候，採取了一個低姿態，這象徵了他們地位高低。像這樣高低姿態的畫面在29話，當奧斯卡一副死人臉從馬上俯視安德列、匆匆交代完業務就走的時候會再出現。
Episode 25 opens years after Fersen’s departure, likely between 1786 and 1787. While the French Revolution looms on the horizon, the natural scenery, the unchanging sunset and river, suggests a world frozen in time. The scene begins with Oscar finishing her shooting practice. Because 18th-century firearms were notoriously unstable, safety required the muzzle to be pointed toward the ground or sky. Consequently, André takes the weapon from Oscar with a low, submissive posture, a physical gesture that reinforces their disparate social statuses. By Episode 29, this vertical power dynamic will show again; Oscar looks down at André from horseback with a hollow & haunted expression, and her rushed commands before hasting to leave is only heartbreaking.
安德列在這個場景裡面，他好整以暇把槍枝收到箱子裡，一枝一枝擺好，這是愛，而奧斯卡對他的依賴，這也是愛，但是，她不知道自己愛他，但她已經知道安德列愛她 (根據她在 37 話告白之夜所說)。
As André handles the firearms, he methodically places them back in the box; it is a physical manifestation of his patience and care for Oscar. Oscar, in turn, shows her love through her complete dependence on him. At this stage, she is conscious of André’s feelings (as evidenced by her later confession in Episode 37), but she remains blind to the fact that she loves him in return.
F 回歸的第一件事就是把安德列的蘋果轟個稀爛 (蘋果代表安德列的愛)，然後安德列只能眼睜睜看著奧斯卡奔向他。
The following scene is a violent disruption of this quiet devotion: Fersen blasts André’s apple to pieces, shattering the very symbol of his patient love. In the wake of the shot, André is left paralyzed, forced to watch as Oscar runs past him and toward Fersen.
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| 他只能眼睜睜看著她奔向另個男人。 What can he say and what can he do? He can only watch her running to another man. |
這部動畫很少解釋人物心情的台詞，純粹透過「演員」，也就是作畫+配音，讓觀眾感悟，但對不懂日語的外國人而言這是一種隔閡，如果導演的功力好，他的運鏡時常可以彌補這個缺憾。但是安德列面對自己的蘋果被打爛的這個表情很到位，我可以充分感受他那種訝異。
One of the anime's feature is its reliance on pure visual storytelling. Rather than spelling out every emotion, the anime lets the animation and voice acting do the work. However, for those who don't speak Japanese, it takes the director’s camera skill to ensure the feelings are never lost in translation. André’s face when his apple is smashed is a perfect example, the animators captured his shock so vividly that no dialogue was needed to feel his pain. My respect and awe to the animators.
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| 蘋果被打爛的安德列 Andre seeing his apple being smashed |
這一話有許多 Fersen 露齒燦笑的自信畫面：🦷✨
Episode 25 features a couple of scenes showing Fersen talking and laughing with big shiny teeth.
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| Fersen 的自信燦笑 (Shiny Teeth Fersen, Mr. Perfect) | 英俊、多金、名校出身、家世顯赫的三鷹並非女主角的真愛 | ||
Fersen 挾著從美洲回來的光環，一開場就把安德列的蘋果打個稀爛，正常情況下兩男相處會互相較勁，但 Fersen 是超級大貴族，又有戰功，安德列連一點錢跟地位都沒有，要怎麼跟他比？所以導演把安德列描繪成一個無私、成熟穩重的男子，體現在他熱情地款待 Fersen，能優先考慮奧斯卡的幸福而不是他自己的幸福。
Fersen returned from America as a war hero, and he smashed André's apple. Normally, André might have wanted to compete, but he is acutely aware of the social chasm between them. André knows he cannot compete with a 'super-aristocrat' who has the money, title, and military glory. Instead of reacting with outward jealousy, André displays a profound maturity. The director highlights his selfless and mentally mature nature through his hospitality toward Fersen. He prioritizes Oscar’s happiness over his own.
Fersen 常常利用奧斯卡在性別上的模糊性，他說：「(...) 不禁讓人感嘆神為何將妳生為女性」，奧斯卡的反應是乾笑了一下，而安德列則靜靜地瞥了她一眼。由於安德列是她的保鑣，也是唯一瞭解她內在矛盾與衝突的人，所以對於此類對奧斯卡調情似的言論他相當敏感，他的反應也凸顯他對她的保護欲與關心，但同時又能保持得相當低調。
In a tea scene between the three, Fersen said: "(...) It's nothing short of a mystery that God made you a woman." This signifies that Fersen does know Oscar is a woman, and I doubt that he manipulates Oscar's ambiguous identity: She is his female solace when he seeks comfort, and a "male" colleague safely out of reach when he needs distance. To his remark, Oscar gave an sheepish smile while Andre quietly cast a glance at her. As her bodyguard and the only one who truly knows her inner conflicts, Andre was quite sensitive to people's flirtatious remarks to her. His reaction highlighted his protectiveness and concern for her.
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| 安德列悄悄瞥了奧斯卡一眼 Andre quietly cast a glance at Oscar |
Fersen 的發言表示他確實知道奧斯卡是女性👩🏻，當他需要傾訴時，她是能提供女性安慰的聽眾；但當他需要維持距離時，她是不能被追求的男性同僚。Fersen 的行為自私自戀、延緩了奧斯卡在感情上的成長。他的持續存在和他的痛苦消耗了奧斯卡的女性能量，讓奧斯卡得以繼續否定她的真實情感，延緩了她直面白我的時間。然而由於整個動畫長達 40 話，動畫製作小組採取這樣的敘事，目的是拖戲，這有現實上的考量。如果讓奧斯卡跟安德列早點開始談戀愛，可能就要採取分分合合的戀愛關係，才能拖上 40 話，但就離原著更遠，不過優點是奧斯卡不會顯得那麼蠢。
Fersen’s presence essentially stalls Oscar’s emotional growth. His constant reliance on her drains her emotional reserves, allowing her to continue denying her true self. From a production standpoint, the animation team likely adopted this narrative to stretch the story across its 40-episode run. Had Oscar and André’s romance blossomed earlier, the writers would have been forced to use 'on-again, off-again' tropes to fill the time, a departure from the source material. While the current pacing respects the original manga, the downside is that it occasionally makes Oscar seem oblivious, or even 'stupid,' to the love staring her in the face.
出崎導演這個一鏡到底的長鏡頭算是相當出色。但我實在無法恭維這裡的奧斯卡，等到 28 話她斷絕 Fersen 以後才會長大，那之後她的畫法會比較中性，虹膜會被畫小一點，眼睛細長一點，臉也長一點，因為圓臉大眼暗示的是感性與天真。
This long take is a proof of Director Dezaki’s mastery, that I only have respect and awe for. However, I find it hard to sympathize with the Oscar here. She remains emotionally frozen until she sever ties with Fersen in Episode 28. Following that separation, her character design undergoes a subtle but profound shift. To shed her 'naivety,' the animators move away from the rounder face and huge irises associated with sensuality and innocence. Instead, her features become more neutral and slender, and her eyes narrow—a visual transformation that mirrors her new, hardened resolve.
虹膜誇大的奧斯卡象徵著感性天真的一面，這裡的奧斯卡說出了一句名言：「眼前的 Fersen 就是世上唯一她被允許愛上的人。」(今ここにいるフェルゼンは、私がこの世でたった一人、愛してもよいと思った人；Fersen, the man right before her now, is the one and only man she's "felt" she was allowed to love.) 這句話暗示她內心並非自由的、很可能世上尚有她不能愛的人。無形的「階級」障礙，決定了誰才是「合格」的伴侶。她執著於 F 伯爵，並非追隨自己的內心；她只是緊緊抓住貴族世界尚未嚴格禁止的唯一一條愛情之路。
Fersen’s decision to return to Marie Antoinette effectively cements Oscar’s status as a mere "backup." Started the scene where Fersen and Antoinette reunite, from 11:00 to 14:33, for a total of three and a half minutes, the director employed parallel editing (cross-cutting) to heighten the dramatic tension. The camera lens is panning between Fersen’s romantic reconciliation and Oscar’s suffering, the director creates a cruel contrast: the sweeter the main couple becomes, the more miserable Oscar becomes. It is a slow and methodical piece of emotional torture. Once Fersen and the Queen make up, Oscar is discarded, no longer needed, she is simply put aside like a used tool.
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| 長達 3 分半鐘的篇幅，導演運用了平行剪輯 (Parallel Editing)、或稱交叉剪輯 (Cross-Cutting) 的手法 For a total of three and a half minutes, the director employed parallel editing (cross-cutting) | ||
此前的奧斯卡可謂人牽不行鬼牽矻矻行，還好安德列暗示性開導她她聽懂了🥵💦。動畫的安德列是個好哥哥跟極品好男人，他就輸在沒錢沒地位而已。
As good advice always falls on deaf ears, but fortunately she gets it as Andre plays her mentor and implicitly advices her that she's only a backup to Fersen. The anime Andre is a mentally mature and perfect guy, with the only disadvantage of lacking money and status.
奧斯卡聽到安德列講 Fersen 空降凡爾賽宮之後，一臉陰沉的表情。她不僅確立了備胎地位，連工作也被排擠到，還不能避免的要跟小王照面，這種下了她最終離職的因。她這時精神狀況不佳，這種備胎遭遇的人一般會覺得被背叛、懷疑自我價值。需要一番重建認清自我價值不是建立在被某人依賴才行。但是，像她們這種 18 世紀的宮廷特權，女貴族被男貴族騙似乎常見，有一部舊片叫危險關係的就講這回事，還是當時的 1782 年文學改編的，因為那一小群人就是這樣。動畫真的是一部很實際的劇集。要等一個月後，28話小王才會再因為與瑪莉戀情的痛苦來找她，那時小王就會被奧斯卡斬斷了。Oscar’s long face upon hearing Fersen parachute-in. Her function in the court of Versailles is sidelined. The following episodes 26 and 27 unfold her unauthorized intervention in the Black Knight case which isn’t her job. Perhaps driven by her marginalization in the court, she is desperate to prove her merit so she sticks her nose in the case of the thief. Her intervention finally leads to the tragic loss of André’s eye. At this point, she is in an unstable mental state. People treated as an emotional backup triggers a sense of betrayal that forces them to doubt their self-worth. They need to reconstruct their self-value, realizing it isn't defined by someone else's reliance. Such necessity explains why she's so desperate to put her male armours back on in episode 28. This dynamic is not merely personal but historical; the emotional exploitation seen in the anime mirrors the toxic narcissism of the 18th-century French aristocracy. It is the same social atmosphere captured in the 1988 film and 1782 literature Dangerous Liaisons, reflecting a class that played with hearts as if they were chess pieces. The anime, in this sense, is a starkly realistic portrayal of a failing nobility. We must wait until Episode 28 to see Fersen return to her seeking solace once again, only this time, he will be rejected once and for all.
在主要的那一對和好之後，備胎自然是被晾到一邊。這時備胎心裡還能想著：以女人的身分覺得小王是很棒的人，這一定是真愛(反串要註明)。被當作感情備胎最終喚醒了她的女性情感… 這是一種什麼情況？動畫中除了第一集以外，奧斯卡的性別掙扎不太明顯。不久之前，她不是還在心裡獨白小王是世上唯一她「可以」、「能夠」傾心的人嗎？所以編劇這樣塞原作的主題到動畫裡面，有一種不太協調的感覺，畢竟人物性格跟人物間的互動已經跟原作不太一樣。After being put aside, it is at this exact moment of neglect that the script expects us to believe Oscar thinks for the 1st time as a woman that Fersen is a wonderful person... To suggest that being treated as an emotional spare is what finally awakens her womanly feelings is an insult to her character. In the anime, except for episode 1, Oscar’s gender struggle has been largely invisible. Didn’t she just monologue a few moments ago that Fersen being the only one in the world she “could” love? As such, her sudden shift of “for the first time as a woman” feels flat. The anime’s Oscar-Fersen interaction has deviated from the original manga, it’s really not necessary to throw in a manga’s theme here.
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| 被晾在一旁之後，奧斯卡以女人的身分覺得小王是很棒的人 After being putting aside, Oscar thinks Fersen a "wonderful person" for the 1st time as a woman |
我對小王看法很簡單：愛就是承諾與結婚，不愛就不要做模糊界線的事，畢竟，提供情感慰藉這種事，是伴侶級別的事。一個成熟的男人是能夠對自己的感情負責，而不是到處尋求慰藉，尤其是向一位定位為朋友的異性索求。備胎要再等到主要的那一對吵架之後，男的才會再來找她，很快在 28 話就會上演了，他就會被奧斯卡喀喳剪斷。As a man, there is a fundamental lack of maturity in Fersen. My view is simple: to love is to commit. If you don't love someone, you don't blur the lines. A mature man takes responsibility for his own emotional issues; he doesn't turn to the comfort from a woman he has already friend-zoned just because his primary relationship is hit a snag. The "backup" is only relevant when the main couple is fighting, a toxic pattern that Oscar finally, mercifully, kills off in Episode 28.
最後是女裝場景。這是原作裡的經典場景，但在動畫裡面有點蒼白無力，主要原因是奧斯卡的台詞：「私は諦められる」(我可以放棄，或：我可以死心了）。問題是在動畫中，小王是主動糾纏者，所以被動的那個人死心或放棄等於沒用。原作中的奧斯卡常常主動找小王，所以她講放棄才有意義。 或者，從來沒有付諸行動的動畫奧斯卡，她就是個愛幻想的人、無知少女辦家家酒… 動畫已經把性格跟人物間的互動改得跟原作不太一樣，所以塞入一些原作的經典場景顯得不太協調。動畫導演跟製作單位大概想要保有更多原作的元素所以決定這樣做。 所以小王在 28話還會再來糾纏備胎，他就會被斬斷了。
And, finally her dress and a dance with Fersen. This iconic scene from the original manga falls rather flat in the anime. Mainly due to Oscar’s line, something like she can give up on Fersen now. (これで私は諦められる) In fact, it’s useless for the anime Oscar to give up because she never actively goes to Fersen (except asking him to leave France) but Fersen goes to her for solace whenever he’s troubled by his painful relationship with Marie Antoinette. So it allows the reading that anime Oscar is a women living in a bubble and plays house with Fersen. By not acting on the “love”, she keeps the fantasy from shattering. Unlike anime Oscar, the manga Oscar actively goes to Fersen more often and develops emotions for him. So it makes sense for the manga Oscar to say something like she can give up on Fersen. Therefore, later in the anime, in episode 28, we will see the soft-imprudent Fersen visit his emotional outlet, Oscar, once again driven by his painful relationship with Marie Antoinette, and Oscar will discontinue his further interaction with her.
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