“我想,我们总是要为我们的所作所为负责。我们是自由的”
“即使我忘了我有责任,可我仍有责任”
“我想告诉你,你是无处可逃的。everything is beautiful,你需要的仅仅是对某事产生兴趣。”
“毕竟,东西就是他们本身”
“消息就是消息,盘子就是盘子,男人就是男人,以及生活....就是生活”
一个人为什么必须说话呢?
人不应该常常交谈,而应该活在沉默中。
有时候说的越多,言语表达出的东西越少。
看法国电影配英文字幕的中国观众。
不知道为什么就变成了这样。
但证明好电影阻拦不了。
人们想看的冲动。
除结尾不喜欢。
挖到宝的。
一天。
真好~
嘻~
Nana: Why are you reading?
Parain: It's my job.
Nana: It's odd. Suddenly I don't know what to say; it often happens to me. I know what I want to say. I think about whether it is what I mean. But when the moment comes to speak, I can't say it.
Parain: Yes, of course. You've read the Three Musketeers?
Nana: I saw the film, why?
Parain: Because in it, Porthos, this is really in Twenty Years Later, Porthos, all strong, a little stupid, he has never thought in his life. He has to place a bomb in the cellar to blow it up. He does it. He places the bomb, lights the fuse, then he runs away of course. But suddenly he begins to think. What about? How is it possible to put one foot before the other? You must have thought about that too. So he stops running. He can't go on. He can't move forward. The bomb explodes, the cellar fell on him. He holds it up with his shoulder. But after a day, or maybe two, he is crushed to death. The first time he thought, it killed him.
Nana: Why did you tell me that story?
Parain: No reason, just to talk.
Nana: Why must one always talk? Often one shouldn't talk, but live in silence. The more one talks, the less words mean.
Parain: Perhaps. But can one?
Nana: I don't know.
Parain: I've found that we can't live without talking.
Nana: I'd like to live without talking.
Parain: Yes, it would be nice, wouldn't it? Like loving one another more. But it isn't possible.
Nana: But why? Words should express just what one wants to say. Do they betray us?
Parain: But we betray them, too. One should be able to express oneself. It has been done in writing. Think: someone like Plato, can still be understood - he can. Yet he wrote in Greek, 2,500 years ago. No one really know the language, at least not exactly. Yet something get through, so we should be able to express ourselves. And we must.
Nana: Why must we? To understand each other?
Parain: We must think, and for thoughts, we need words. There's no other way to think. To communicate, one must talk, that is our life.
Nana: Yes, but it is very difficult. I think life should be easy. Your talk of the Three Musketeers may make a good story, but it's terrible.
Parain: Yes, but it's a pointer. I believe, one learns to talk well only when one has renounced life for a time. That's the price.
Nana: So, to speak is fatal?
Parain: Speaking is almost a resurrection in relation to life. Speech is another life from when one does not speak. So, to live in speech, one must pass through the death of life without speech. I may not be putting it clearly, but there's a kind of ascetic rule that stops one from taking well until one sees life with detachment.
Nana: But one can't live everyday life with... I don't know
Parain: With detachment. We balance, that's why we pass from silence to words. We swing between the two because it's the movement of life. From everyday life one rises to a life we call superior, the thinking life. But this life presupposes one has killed the everyday too elementary life.
Nana: Then thinking and talking are the same thing?
Parain: So I believe. Plato said so, it's an old idea. One cannot distinguish the thought from the words that express it. An instant of thought can only be grasped through words.
Nana: So one must talk and risk lying?
Parain: Lies too, are part of our quest. Errors and lies are very similar.
Nana: (Tries to interrupt)
Parain: I don't mean ordinary lies, like I promise to come tomorrow, but I don't, as I didn't want to. You see, those are ploys. But a subtle lie is a little different from an error. One searches and can't find the right word. That's why you didn't know what to say. You were afraid of not finding the right word, that's the explanation.
Nana: How can one be sure of having found the right word?
Parain: One must work. It needs an effort. One must speak in a way that is right, doesn't hurt, says what has to be said, does what has to be done, without hurting or bruising.
Nana: One must try to be in good faith. Someone told me: "There is truth in everything, even in error."
Parain: That's true. France didn't see it in the seventeenth century. They thought one could avoid error, and what's more, that one can live directly in the truth. It isn't possible. Hence Kant, Hegel, Germany philosophy: to bring us back to life, and makes us see that we must pass through error to arrive at the truth.
Nana: What do you think about love?
Parain: The body had to come into it. Leibnitz introduced the contingent. Contingent truths and necessary truths make up life. German philosophy showed us that in life, one thinks with the servitudes and errors of life. One must manage with that, that's true.
Nana: Shouldn't love be the only truth?
Parain: For that, love would always have to be true. Do you know anyone who knows at once what he loves? No. When you are twenty you don't know. All you know are bits and pieces, you make arbitrary choices. Your "I love" is an impure affair. But to completely at one with what you love you need maturity. That means searching, that is the truth of life. That's why love is a solution, on condition that it is true.
字幕来源: //www.youtube.com/watch?v=VUp_du3awI0
与Nana交谈的学者为法国哲学家 Brice Parain (Courcelles-sous-Jouarre, 10 March 1897 - 20 March 1971 ) //en.wikipedia.org/wiki/Brice_Parain
在法师展观看这部影片时,有那么好几次,我暗暗感叹:娜娜一定会是卡比利亚的好姐妹。《卡比利亚之夜》和《随心所欲》像是费里尼和戈达尔的隔空击掌。
娜娜觉得沦落风尘是自己的选择,和他人无关。她是自由的,她有权选择,她随心所欲地生活,也为自己的随心所欲负责。她用朗诵般的语调耸着肩和朋友说着,我举手,我有责任;我转头,我有责任;我不高兴,我有责任;我闭上眼睛,我有责任;我忘了我有责任,我仍然有… 她不是悲戚的,她把自己借给他人,把自己留给自己。
卡比利亚也是如此,用悲惨形容她并不合适。虽然她的生活过得着实不易,她还是满足的。在大明星跟前也不露怯,你该看看她如何挑眉撇嘴:我甚至有一支温度计!那不是说她很物质,只是她更朴实,不会那么流畅地表达自己,也不像娜娜那么爱聊生命,她说想太多脑子会爆炸的,带着上下翻飞的意大利鸡爪手势。
随心所欲里讲到一个小孩写的关于一只鸡的故事,鸡有inside和outside。移除outside,你看到了inside。移除inside,你才能找到soul。
于我来说,卡比利亚流露最深处的soul是在舞台上,在催眠下戴上花环陷入幻想的那一刻。这么狗血神神叨叨的玛丽苏超现实幻想却被费里尼拍得那么动人。
而娜娜的灵魂时刻可能不是在咖啡馆和陌生人力所不逮地大聊哲学,而是直视着银幕上的圣女贞德,与她同呼吸地流下泪水。
也被投币点唱机音乐响起的那一刻折服。不如跳舞,娜娜跳得不算好看,男人们或是冷眼忽略或是嫌弃,那都不重要,她开心地转来绕去,音乐停止时她靠着柱子,有那么片刻的怅然。卡比利亚从幻想中惊醒感到的也是羞愧,无所适从。她也跳过一段,向《雨中曲》致敬的街头起舞,一下子变成了《大路》里的杰索米娜,跳得也不算好看,那也不重要,随性尽兴的生命之舞最重要。
我忍不住大胆而超主观地猜测,王家卫很有可能从这两部电影里摄取了几丝游魂,注入了《重庆森林》里的阿菲。
她们的结局。卡比利亚站在悬崖上,将要和他结婚的男人问,你会游泳吗?整个影厅恍然大悟:啊…这男的又又又是来谋财害命的…大家为她着急,也伴随着一些轻笑声:你怎么又又又被骗了...卡比利亚太后知后觉,所幸那男人还有仅存的善意,带走了她的钱,留下了她的命。她失魂落魄地走在黑夜的大路上,一帮善良的陌生人载歌载舞簇拥着她,她的笑脸上落下一滴黑色眼泪。神一般的光辉时刻,那不会是现实,只是费里尼不忍心。
好姐妹娜娜则是被拉皮条的男人拽去卖给别人,她抗拒,想逃,被决绝地给了一枪,扑倒在大街上,电影结束。戈达尔比费里尼狠心,也更写实,影厅传来很多轻声的哈?
一部电影的时间对她们来说意味着什么?卡比利亚竖着的眉毛慢慢低顺下来,费里尼电影里的风尘女总是朝天竖着眉毛,怒气冲冲的喜感大于其瘆人的程度。娜娜则是挂着越来越自如轻佻的神情,和她刚开始看到的街边女人一样漫不经心地裹了裹外套,四处张望,熟稔地转换鞋尖方向。
法国和意大利电影里的六十年代,为自己找出路的女性角色往往在站街,就像电影里民国时期的上海,穿着旗袍的独立女性不是小三就是间谍,或者…都是… 乱世无序无依,只能出卖自己,毕竟那是耳边会突然响起枪声的战后欧洲,生活本身就是失序而混沌的。当然堕落天使的特定身份也自带把身体给别人灵魂给自己的反差,娜娜和卡比利亚尤其如此,虚无和迷惘的内外壳里裹着高贵的自尊。她们没有完全垮掉。
去年的意大利大师展,映前播放了博洛尼亚电影资料馆馆长的导赏视频,颇为嫉妒地看着他背对着超大幅阿玛柯德海报说道:这次影展将透过意大利电影大师的目光,带领大家去看真实的意大利,进一步了解二十世纪的意大利,了解意大利的精髓。
很简单而有分量的几句话,那些绝非传统意义上的好看和靓丽光鲜的电影,甚至相反是关于拒绝工作的落魄乞丐,去偷自行车狼狈被抓的父亲,无能狂吠又惶惑痛哭的江湖艺人... 他说那些是意大利的精髓。当时听到大为感动。
影片分为12个章节,通过12个生活片段的组接呈现了一个追求演员梦的年轻女孩在电影梦碎后为了钱成为了妓女,与嫖客产生感情后想要过上正常生活却被杀死的故事。戈达尔几乎舍去了一切外在的戏剧冲突,用大量安娜.卡里娜的脸部特写,动作和招牌式的旋转横移镜头在各自成立的片段中将内在戏剧张力逐步呈现。急起急停的配乐依旧延续着戈达尔反常规的试听语言实验。
开头女主娜娜在咖啡厅与男友分手的片段两人始终背对镜头,这一省略人物信息的反常规影像在挑战观众观影逻辑的同时也加深了影片的无望气质。她在唱片店柜台双眼无神吊儿郎当的工作状体在横移镜头下将工作细节随着角色的移动充分展现。她因为没钱被房东赶了出来,无家可归的娜娜在影院看徳莱叶的《圣女贞德》,圣女贞德被宣判后流泪的脸部大特写与娜娜流泪的特写交相辉映,现实与电影同时被审判。她成为了妓女,她为自己工作,她拒绝接吻。她为了赚到更多钱,跟随陌生男人加入了有组织的卖淫团队。在化妆,揽客,脱衣,收钱的蒙太奇中画外音以提问和回答的方式播报着妓女守则和价格清单。戈达尔是用蒙太奇表现幽默的高手。她在桌球厅里的独舞俏皮可爱,旋转横移镜头一气呵成,文艺的妓女。她在咖啡厅与哲人的对话:
人为什么总是必须交谈?说得越多,话意味着更少。
生存离不开交谈。
我想离开交谈的活着。
那更不错,但是不可能。
我们为什么一定要相互了解?
我们必须思考,思考使我们需要说话。
是的,但很艰苦。
只有当一个人暂时已经放弃生命,才学的好交谈。
那么,说话是致命的?
说话是几乎关系到生命复苏的,说话是来自当一个人不说话时的另一个生命。生活在对话中,人必须无声的通过生命的死亡。有一种禁欲主义的规章是阻止人交谈得好直到有人能超然于世。
我们平衡,所以我们从静默到说话,我们在两者间徘徊,因为这是生活的运动。但这生活预示着人每天都在被谋杀。
想和说是同样的事情吗?
柏拉图说人不能从说的话中分辨出思想,想法的瞬间只能通过话来抓住。
所以就有人说话并冒着说谎的风险?
谎言也是我们寻求的一部分,错误与谎言是极其相似的。一句精妙的谎言与错误还是有些许不同的。找来找去还是不能从中找到真的话,那就是你为什么不明白你要说什么,你担心找不到真话。
怎样才能确定找到了真话?
人一定会用正确的方式说话的,说他不得不说的,做他不得不做的来远离伤害。
凡事皆有对的成分,即便在错误中。
康德与黑格尔说让我们回归生命的本质,让我们明白只有认清了错误才可获知真相。
你对爱有何看法?
这是人都要面对的事情。随机真相和必要真相构成了生活,在生命中,人只考虑生命的劳苦和错误,那人一定会设法应付真相。
爱不应该是唯一的真相吗?
爱应该会总是真的,你知道任何马上知道他所爱为何的人吗?不,你20岁时不知道,你只知道零碎的东西,做出武断的选择。你的“我爱”是不纯的事物,要完全的去爱你所爱的,需要探求,这就是生命的真谛。
她爱上了一个嫖客,她停止了接客,憧憬爱和未来。她违反了妓女守则,倒在了枪口下。
Godard月,16号晚在BFI终于见到了我多年女神Anna Karina,一位健谈、和蔼可亲又有趣的女士,对了话,如梦似幻……
桑塔格那篇著名的影评,其实也只是点到为止,开了一个小小阐释的角度。但是结论却很清楚,这是一部除了结尾,几近完美的电影。
戈达尔第3部长片,威尼斯评审团大奖。1.12幕分段,依镜头次序拍完并只取初拍镜次,镜头运动宛若人眼般活力四射,好奇主动。2.内外多重文本,女性欲脱离边缘地位"男性化"只有死亡,一如[圣女贞德蒙难记][椭圆画像]与火枪手波尔多斯。3.中断的配乐与突然静默,机关枪抖动式跳接。4.第11幕,语言与爱。(9.5/10)【2021.1.9.上海影城2K修复版重温】还是在玩混搭与解构,如纪录片式拍摄风格+各种游戏式间离手法;分章节/分幕制造断片感,却又在每一幕开头写明情节、人物或环境的关键词;突兀却点题的哲学论文式探讨,对语言的反思与声画分离实验上承[女人就是女人],妓女议题则下启[我略知她一二]。消去配乐的[圣女贞德蒙难记]与咖啡馆窗外的假街景很间离。从后方与侧面多角度拍卡里娜,果然真爱。其他迷影梗:露易丝·布鲁克斯式发型,[祖与占],墙上的泰勒。
本该给观众留下些什么情感的故事,最终却给观众留下一堆思考,这就是这部电影的意义吧。但是,戈达尔本人无疑也是个矛盾体:他一方面强调着语言和交流,另一方面又显而易见地拒绝着观众,无论他怎么诡辩;一方面让一切都发生在最表象的画面上,拒绝给予解释,另一方面却又因为他的影评人身份作祟,不断地通过引用/反对他者来构建自身。不如这么说:当他试图站在电影反面的时候,也一定丢掉了一半电影。
戈达尔对其跳剪、宣言等独特手法最为节制的一部电影了吧。可能真是太爱安娜,以致于不舍得“随心所欲“的雍破坏一切的新浪潮思想和政治化电影做法,去破坏贞女与妓女的形象平衡度,以及那些从中蔓延开的完整悲剧。
安娜卡里娜乃至全片那种令人难以抗拒的优雅与忧郁,台词间的微妙联系,圣经般的摄影,极简却细节丰富,戈达尔精确的调度水平可见一斑,和精疲力尽时期区分开来但还完整保持了自己的风格,美妙。
所谓才华,就是做什么都对。
“说话越多,没有意义的话也就越多…不用说话也能生活,一想到这点我就觉得很惊讶” 第二部戈达尔,感受好一点了…喜欢“吹气球”、“桌球室跳舞”、“妓院抽烟”三场戏。娜娜的美,是镜头都不足以构画的!
2021-1-9重看;特写、移镜、长镜、空间、构图、阴影。开场酒吧里背部的来回凝视,《圣女贞德》的面部互文,谈论《基督山伯爵》波多斯的哲学家,跑过《祖与占》的海报,爱伦坡的故事,结尾与《精疲力尽》的呼应。十二个章节的结构与随性灵动的调度设计。
8.4 十二幕剧,正侧面看个遍,就后脑朝着你,妓女行业介绍,绕台球室独舞。她看圣女贞德看哭了,她不是个妓女,她是个存在主义妓女。
她说:"我举手,我有责任;我转头,我有责任;我不高兴,我有责任;我抽烟,我有责任;我闭上眼睛,我有责任.即使我忘了我有责任,可我仍有责任.我想告诉你是无处可逃的.凡事都是好的,你需要的仅仅是对某事产生兴趣.毕竟,东西就是它们本身."其间,不经意地舔着嘴唇.
透析生活的娼妓,命运如纸薄,禁不起这么执着的追问。形式感更强,零散碎裂,又精光毕现。
《圣女贞德受难记》的片段——对肩上脸部的突出、《朱尔与吉姆》的海报,遮挡乃至背对观众的对话与消除环境声配合主角的思考和给观众留下空隙。和哲学家对话、爱伦坡的故事,以及爱上想要摆脱后的突然死亡,都完美的融合在影片的叙事氛围中。当然此片最动人的还是Nana的神情——如此神秘如此迷惘。
资料馆…看到好几个戈达尔哲学退场的朋友…还有好几个戈达尔美学屏摄的朋友…还有好几个在戈达尔式只有画面没有声音时义务配音的呼噜兄…
[2019年10月戈达尔√] 奖项收割机时期的戈达尔。可能做得最有趣的还是声音,技巧用的比较节制(跟他最具挑衅的片子比起来)但是不少地方依然很新颖(旁白、音乐、完全静场等等用的都很不错,皮条客朗读法国妓女现状那段太讽刺了,戈达尔应该自己还担任了一段配音[imdb显示未署名])。除了有趣的小标题之外还用到了字幕技巧。把女主角的脸跟德莱叶的[圣女贞德的激情]混剪非常好。最后拐到存在主义哲学探讨上其实有些跑偏了。
“黑短发大眼睛,懂电影会跳舞,聊哲学谈情感,爱抽烟性冷淡,有个性多薄命”
戈达尔让观众忘记了女主角的妓女身份,就像卡拉克丝让观众忘记男女主人公以外的世界一般,两人都拥有专注的叙述力量,叙述,叙述~
疙瘩儿的娼妓——黑短发大眼睛,懂电影会跳舞,聊哲学谈情感,爱抽烟性冷淡,有个性多薄命
“人生在世”。戈达尔镜头里的安娜卡丽娜永远美丽又充满灵气,她就算变成卖淫女我也觉得她纯洁得像天使。。“把自己借给他人”原来是这个意思。。。天啦噜一天之内看了两部这么不同却各自精彩的电影,我愿意死在影院!
法国新浪潮时期各种刻意标新的手法看着真是特别烦。