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“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~
在资料馆观看了这部戈达尔的名片,当场座无虚席,我与朋友坐在最后一排,看人头翕动。随着电影发展,大家纷纷开始小声交头接耳,原因比较明显,看不太懂。
我居住的地方是一个影视园区,其中大多数人都是影视方面的创业者,会来光顾这家资料馆的想必也是同一批人。恰恰是这部分观影人群,更容易被本片误导,把握不到其中的核心意图——这里的对话要推进怎样的剧情、表达怎样的人物关系?这个镜头语言要表达导演怎样的含义?这个人物对核心表意有怎样作用……
在我看来,这部影片表达的是语言的失效。当人与人之间沟通的最重要手段——语言,变得不可靠时,一个美丽至极的女人将经历怎样的人生。
首先,影片百分之八十以上的时间都用在了对话上,而仔细分析后就会发现,这些人物间的对话大多数都是莫名其妙、言不达意的。答非所问,无法准确表达自己的感情,说到痛处,只能重复——影片中出现了两次非常不自然的重复。
“这关你什么事?这关你什么事?这关你什么事?这关你什么事?这关你什么事?这关你什么事?”
“别这样,娜娜。”
中间娜娜在餐厅中和那个萍水相逢的老人的谈话,直接点题地说出了这个主旨——语言的效果,关于谎言和言不达意。有趣的是,就连这一段表达中心思想的对话,两人大多数时候还在自说自话。语言在这里也是失效的。
其次,声音上。影片中出现了数次突然的消音,有时甚至是角色或旁白还在说话的时候。这时就会看到空有嘴唇翕动、字幕告诉我们她在说什么,但声音全无。失声和失语的类比。
最后,配乐是一段令人印象深刻的小段重复,这段忧伤的音乐片段不时出现。除了另外两个地方用了影片中场景内出现了的歌曲作为场景配乐,这个选段是本片唯一的配乐,从头到尾没有变化,没有渐进。这也暗示了娜娜的境遇从头到尾都没有变过,在这个语言失效的世界,她的结局从一开始便已注定。
本片的节奏非常稳定,将娜娜无奈又颓唐的生活娓娓道来。因为对话的段落非常之多,我们便欣赏到了戈达尔除了正反打外,对对话场景的各种有趣的处理方式,其中很对是有开创性的。
最令人印象深刻的还是娜娜站起身,用手量自己的身高,天真可爱简直要溢出荧幕。我将来也要给我喜欢的姑娘拍出这种感觉的电影。
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。
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
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。
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。
所谓才华,就是做什么都对。
[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。
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
法国新浪潮时期各种刻意标新的手法看着真是特别烦。
“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!
“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。
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。
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。
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。
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……
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…
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.
“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!
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。
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。
《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。