本文以西班牙導演古迪葉雷茲‧阿拉貢（Manuel Gutiérrez Aragón, 1942-）二○○二年的電影《吉訶德騎士》（El caballero Don Quijote）為主軸，探討電影導演如何詮釋小說《吉訶德》（Don Quijote de la Mancha ）。《吉訶德騎士》改編自塞萬提斯（Miguel de Cervantes Saavedra, 1547-1616 ）一六一五年出版的《吉訶德》第二部。面對繁複多元的小說情節與內涵，以及四百年來《吉訶德》在世界文學的地位，古迪葉雷茲‧阿拉貢如何拿捏處理文字到影像的轉換和互文？後現代思潮瀰漫的二十一世紀初，古迪葉雷茲‧阿拉貢如何看待西班牙黃金世紀從文藝復興過渡到巴洛克時期的吉訶德仕紳及其社會？諸此種種，我們可見古迪葉雷茲‧阿拉貢透過電影，或隱或現呈現十七世紀戲劇創作所凸顯的喜劇效果。對人物瘋癲的延變與詮釋方面，則試圖呈現一個較易讓人理解且人性化的吉訶德。在電影取景與色彩學烘染下，古迪葉雷茲‧阿拉貢的電影瀰漫著西班牙帝國殖民的盛衰氛圍，以及民族主義的情感。

This article studies the movie The Knight-errant Don Quixote (El caballero Don Quijote, 2002, by Spanish director M. Gutiérrez Aragón), an adaptation of the second part of Cervantes’s Don Quixote. It aims to analyze the difference between the personality of Don Quixote and that of Sancho Panza in both the novel and the movie, as well as Gutiérrez Aragón’s leitmotiv. While Gutiérrez Aragón projects certain Spanish image and nationalism through the mise en scène, color symbols and shooting techniques, evoking the Golden Age of Spanish Empire in the 16th and 17th centuries, he also offers his distinct interpretations as a Spanish director in relation to many Quixote movies shot in the past by other directors. In addition, this article also focuses on the comic effect shown by Sancho Panza in order to appreciate Cervantes’s talent in drama and Gutiérrez Aragón’s investment in theatrical representation. Moreover, the different ways of thinking about the madness of Don Quixote between Cervantes’s times and the modern society cause Gutiérrez Aragón to present a more human and comprehensible Don Quixote.