《香水》叙事对象的奇异性和特定性,决定了小说和电影在符号运用、修辞操作、叙事话语的选择上具有相当大的差异性。这种差异性主要体现在两个方面:其一,文字言说与影像观照的话语方式不同,前者奠定了小说的丰赡与犀利,后者则导致了电影的温情与多样性。其二,小说叙事的反讽基调,建构了文本的否定性意蕴和精神批判之力;电影叙事的包容性特色,使影片的中心意象涂抹上一层拯救性色彩。尽管影片的改编是成功的,体现出了影像美学的再创造和新的意象追求,但就《香水》这类以否定性意蕴和精神批判之力见长的小说及其中心意象而言,其魅力和深邃主要建立在语言文字乃至文学叙事的描绘力和修辞性上,并非适合电影改编的题材和主题。 The singularity and specificity of the narrative object of “perfume” determine that novels and movies have quite different differences in the choice of symbols, rhetorical operations and narrative discourse. This difference is mainly reflected in two aspects: First, the words and images of the discourse of discourse in different ways, the former laid the feng support and sharp novel, which led to the film’s warmth and diversity. Second, the irony tone of fictional narration constructs the negative implication of the text and the power of spiritual criticism. The inclusive features of the film narrative make the central image of the film smear a salvation color. Although the adaptation of the film is successful, it reflects the re-creation of the aesthetics of the image and the pursuit of a new image. However, the charm of the novel and its central image, such as “Perfume”, which is based on the negative connotation and the critique of the spirit, And deep mainly based on the linguistic and literary narratives of rhetoric and rhetoric, not suitable for film adaptation theme and theme.