Film Socialisme Annotated A guided tour through Jean-Luc Godard's most allusive film 原载于 2011 年 6 月 7 日
一年前,一个不具名的法国团体在独立网(Independencia)上发表了对《电影社会主义》的笔记和注释,洋洋千言。 后来,这篇文章重新出现在西班牙语在线刊物《光》(Lumiere)关于《电影社会主义》的特刊(descargar el numero Film Socialisme integro)上,扩充了内容、署了名,并译为了西语。 在这个西语版中,这个“法国团体”的成员露面了:吉约姆・布尔瓜(Guillaume Bourgois)、尚-路易・勒特哈(Jean-Louis Leutrat)、苏萨讷・梁德哈-纪格(Suzanne Liandrat-Guigues)、阿尔杜尔・马斯(Arthur Mas)、马尔西亚勒・毕萨尼(Martial Pisani)和包利尼・苏拉(Pauline Soulat)。 他们一道分享了从字幕卡(intertitle)切入影片的思路,分享着媒体资料的来源,在这部可能是戈达尔影射最多的长片里,在各个历史地点和人物之间理出头绪,而这也是戈达尔留给观众用自己的头脑去做的。
A year ago, an anonymous French collective published a few thousand words of notes and annotations on Film Socialisme for the Web site Independencia. The piece resurfaced in the Spanish online publication Lumiere some time later, expanded, credited, and translated into Spanish for a special issue on Film Socialisme [click "descargar el numero Film Socialisme integro" to download the PDF]. In this Spanish version the members of "the collective" are revealed: Guillaume Bourgois, Jean-Louis Leutrat, Suzanne Liandrat-Guigues, Arthur Mas, Martial Pisani, Pauline Soulat. Together they divvy up approaches to the movie based on its intertitles, pass around sources, and make the sorts of links and connections between historical places and people that Godard, in what's possibly his most allusive feature film (currently showing in New York at the IFC Center), has left for the viewer to bring together in his/her own mind.
以下既是对影片本身,也是对法语版以及西语版注释的一个取样、探索。西语版注释不仅包含法语原版的几乎全部内容,而且在长度上扩充了两倍。下面未翻译的部分中,有关于动物和 80 年代戈达尔关于动物的项目的笔记;有关于电影中俄罗斯间谍的来源,那是一个在她的祖国著名的虚构的侦探;还有关于全片中反复出现的一个不起眼的埃及法老。以下片段译自这两个信息源,至少包含了一些不尽相同的词句,而其结果,就是用第 3 种语言(英语)提供了第 3 个版本,却诡异地和这部片子相得益彰——片中正是把世界展现成了巴别塔的废墟。 所有这些只是线索,来找到可能切入影片的思路,但我也希望提出影片使用的这些名词,能对人有所启发。
感谢艾乌黑尼欧・兰奇(Eugenio Renzi)、费尔南多・冈佐・古埃斯塔(Fernando Ganzo Cuesta)。献给勒特哈。
——大卫・菲尔普斯(David Phelps)
What follows is as much a sampling and exploration of the movie itself as it is of the French and Spanish versions of the annotations. Both are longer than the translation below; the Spanish version is about twice as long as the original French, and contains nearly its entirety. Among some of the sections not translated below are notes on animals and Godard's '80s animal project; on the source of the movie's Russian spy, a famous fictional detective in her homeland; and on an obscure Egyptian pharaoh who recurs throughout the movie. The excerpts below, translated from both sources, include at least a few lines unique to each, and the result, weirdly appropriate to a movie that shows the world like the ruins of Babel, adds a third version of the notes in a third language. I've tried to mark my elisions with a "[...]" in case, at any point, an enterprising polyglot and Godard fan would like to start an open-source translation of the rest. Altogether these only hint at the approaches that might be taken to the movie, but in giving some of the terms in which it operates, will hopefully inspire more. Thanks to Eugenio Renzi and Fernando Ganzo Cuesta. For Jean-Louis Leutrat. —DP
无可奉告。
《电影社会主义》最终的字幕卡,让人想起欧洲新闻台(Euronews)一档著名的同名节目,而且好像预告了导演会缺席戛纳,也预告了面对影片招来的评论时的虚弱。 因为不可能临时起意,来阐释一个我们不知如何描述的东西。 因此,我们绝不敢给《电影社会主义》盖棺定论。而是最好从盘点字幕卡“像这样的东西”(choses comme ça)开始:这句话接二连三地出现在屏幕上,为我们讲着故事,也推进了故事背后的各条叙事线索。 影片的 5 个预告片把《电影社会主义》的一系列潜在的主题都叠加了一起;现在轮到我们打开资料夹、列个清单了。
"No comment," Film Socialisme's final intertitle, evoking a famous Euronews program, seems to predict both the filmmaker's absence at Cannes and the frailty of the comments leveled at the film. For it's impossible to propose an off-the-cuff interpretation of an object we wouldn't know how to describe. Far be it from us, then, to offer the final word on Film Socialisme. Better to start here by taking stock of some of the "choses comme ça" ("things like that") that, one after another, arrive onscreen to tell us stories, and then to pursue the narrative threads behind these stories. The movie's five trailers superimpose a series of possible subjects for Film Socialisme; now it's our turn to open the files and make an inventory.
首先,为什么把电影和社会主义联系到一起? 戈达尔提过他有深挖产权、知识产权这些概念的想法; 他这部作品拍了 4 个人组成的集体。吕西安(Lucien)这个角色,是马尔丹一家的儿子,穿着件苏联颜色的 T 恤。
戈达尔在《孩子扮俄国人》(Les Enfants jouent à la Russie)里穿过一件类似的短袖(黑色,而非红色),还评论说:
这是我之前在德国买的......在一部叫《电影社会主义》片子里,我们还是可以展现一些社会主义的标志的。
当被问及“社会主义”一词是否对他还有意义,他答道:
如果我谈的是事物的深度、海的深度和卢梭的深度,那么是(有意义)的。一开始,这部片取名《社会主义》,但这个词涵义太过丰富了。而《电影社会主义》则不一样:一个哲学家(尚-保罗・居尔尼耶 [Jean-Paul Curnier])给我写了 12 页的信,说看到“电影”出现在“社会主义”边上真是太好了,因为合在一起就有了另一个意思,甚至意味着“希望” 。
在为《电影社会主义》而作的书的结尾,戈达尔和居尔尼耶重现了这个辩论。居尔尼耶把“电影”和“社会主义”联系到一起,并指出两者在 21 世纪初的式微:
最终,对于这两者的极其缺乏野心,我充满了感情,而这些野心如今却被无休无止的不成熟(crudeness)所利用。分别能实现这两者的地方,没人去触及;而通向这个地方的通道,却被堵住了。电影-政治(Cine-politics)、电影-社会主义:两者都静静地呼唤形式上的创新。它们自己的形式上的创新,那些不能超越它们源头的形式上的创新。
一个形式上的创新?对于这个讨论事项,《电影社会主义》老练地作了答。
多数时候,戈达尔对他那些文本的修改是不大的。而德尼・德・胡什蒙(Denis de Rougemont)的《用手思考》(Penser avec les mains)出现的那个蒙太奇,比起来更为复杂:
“manifesto”(宣言)一词里有“main”(手)。屏除(dismiss)了宇宙的,并不是一种骄傲之情——一个理念——一个微笑。
但胡什蒙写的其实是:
而在“宣示”(manifester)一词里有“main”,[...]而不是一种骄傲之情,也不是一个要从杰里科(Jericho)走上危险路途的理念。
对于胡什蒙,爱不是骄傲,也不是理想主义这些东西。在片中,“理想”可以与“骄傲的感情”、“屏除了宇宙的一个微笑”配对,这是戈达尔在 Mediapart 网所作的一个访谈中描述社会主义时使用的词语,而这又来自瓦乐希(Valéry)的一首诗《关于一个声音的诗篇》(Psaume sur une voix)——那是关于马拉美的一篇文章,我们在《电影史》(Histoire(s) du Cinéma)第 4 章开头可以听到:
那是一个柔和、微弱的声音,讲述着伟大的事。
而至于“屏除了宇宙的微笑”,是在本片的第 1、3 部分中出现的,借了尚-达尼艾乐・波莱(Jean-Daniel Pollet)的影片《地中海》中的一尊希腊雕像之口说了出来。每个人都可以按自己的偏好来知觉、认出和铭记——这就是游戏规则......
Mostly, Godard's modifications to his texts are insignificant. More complicated is the montage with Denis de Rougemont's Penser avec les mains (Think with your hands): "In ‘manifesto,' there is ‘main' [hand]. Not a proud feeling—an ideal—a smile that dismisses the universe." But Rougemont wrote: "And in the word ‘to manifest' is ‘main,' (...) not a proud feeling, nor an ideal that follows the path of Jericho." [...] For Rougemont, love is not proud, nor idealistic, etc. In the movie, "ideal" can pair with "proud feeling" or "a smile that dismisses the universe," an expression Godard uses to describe socialism in an interview with Mediapart, and that comes from a Valéry poem, "Psaume sur une voix," about a Mallarmé text we hear at the start of chapter 4 of Histoire(s) du Cinéma: "Of a voice soft and feeble, telling of great things." As for the "smile that dismisses the universe," it's floated by a Greek statue in Jean-Daniel Pollet's Méditerranée, present in the first and third parts of the film. Each person will perceive, recognize, and retain according to his inclination: such is the rule of the game...
《电影社会主义》反复出现的许多物品中,至少有两个连起了叙事的不同部分: 没有时针的手表、图片摄影机——后来又变成了电影摄影机。 这两个具有矛盾性的机器跨越了地中海,从一个人手上传到另一个人手上。
现在几点了?(德语Wie wil Uhr ist es)正是时候。
影片最后的台词,让我们想起了金表——它出现在影片开头,又在中间部分得到进一步描绘。 手表的主人——法国电视三台的女摄像师,向吕西安解释了手表的功能,而吕西安则惊奇于指针的缺失:
- 这个表来自埃及。是在泰尔-埃尔阿马那(Tell Armana)找到的。
- 那时候还没有小时什么的啊。
- 是没有,但有时间啊,可以看时候晚(法语 la nuit des temps)还是时候早(法语 le jour des temps)来判断。
Of Things Among the many objects circulating through Film Socialisme, there are two, at least, that link different parts of the narrative: the watch that doesn't give the hour and the still camera that will become a movie camera. Two contradictory machines that cross the Mediterranean, passing hand to hand. "Wie wil Uhr ist es? Just the right time." The movie's final dialogue recalls the gold watch evoked in the first minutes, and portrayed in the central section. Its owner, the camerawoman of France 3, explains its function to Lucien, who's surprised at its absence of hands: "It comes from Egypt. It was found in the Tell Armana." "But there's no hours or anything." "Yes, but there's time, the dawn of time [la nuit des temps, literally "night of time"] and the daybreak [le jour des temps, "day of time"] that will decide."
这件来自品牌“夜与昼”(Nuit et jour)的首饰,在第 1 部分中已经出现在贡斯坦斯(Constance)的手腕上,引起了她的教子吕铎的兴趣:
为什么你说这块表像金子一样珍贵?它连计时都不行。
为什么这件独特的物品会出现在片中两个黑人女子的腕上?答案只有一个:第一个人在阿尔及尔上船,却在埃及停留时弄丢了表。于是,表串起了影片的三部分——“像这样的东西”、“欧罗巴往何处去”(Quo Vadis Europa)和“我们的人性”。
This jewelry, from the brand Night and Day, was already on Constance's wrist in the first part, and elicits the interest of her godson, Ludo: "Why did you say it's worth gold? It doesn't even mark the time." A sole solution for why this singular object is on the wrists of the movie's two black women: that the first, who embarked at Algiers, mislaid it at the Egyptian stopover. The watch would then be the link between the three parts of the movie: "Things Like That," "Quo Vadis Europa," and "Our Humanities."
各部分之间还有另一件常见的物品:图片摄影机。在科斯塔号船上,游客们对着风景和周围停不下来地拍照;而戈达尔也会用一台这样的数码摄影机拍几张。相反的是,在第 2 部分中,却没有这些五花八门的设备,而是被一个数码摄录机取代。对戈达尔来说,这是图像制作的两种“不好的”方式,而他在第 3 部分用那些伟大的摄影记者——的工作来反对之:先是罗伯特・卡帕,其标志就是他的一幅著名的肖像照,还有罗曼・卡门(Roman Karmen)——卡门 1936 年在巴塞罗那遇到了卡帕。而在最后的部分中手持一部电影摄影机的摄影师是卡帕,那可不是意外。 戈达尔特意忽略了电影和摄影的差异;他从不对重复感到疲倦,自从《远离越南》开始,两张照片就足以制造一个蒙太奇,也就是说可以制造电影。这就跟 ABC 那么简单,而最后我们看到手持摄影机的,就是一个孩子,叫阿丽莎(Alissa)。
Another common object between the sections: the still camera. On the Costa ship, the tourists won't stop taking photos of the landscape or its surroundings; Godard will also make use of one of these digicams to shoot certain shots. In the second part, by contrast, there's no trace of these versatile gadgets, now replaced by a single digital camcorder. Two "bad" ways of making images for JLG, who opposes them in the third section with the work of the great photojournalists: Robert Capa, signaled by a famous portrait, but also Roman Karmen, who met him in Barcelona in 1936. And it's no accident if it's the photographer, Capa, who holds a movie camera in the final part. Godard voluntarily ignores the difference between cinema and photography; he's never tired of repeating, since Far From Vietnam, that two photos are enough to make a montage, that is, cinema. It's as easy as ABC, and it's a kid, Alissa, who will last be seen camera-in-hand.
在影片的第 3 部分中,戈达尔展示了密涅瓦的鸟——一只猫头鹰,似乎是站在希腊剧院的台阶或者敖德萨阶梯上;这显然在致敬克里斯・马尔凯(Chris Marker)。
这个希腊,我们从她那里继承了一大笔债。一个双面的债。既是民主,但按照汉娜・阿伦特,也是亚里士多德式逻辑之下的极权主义:
问题是我们照搬了在古地中海时期他们超越了的模式。那个模式沾染了他们的香气、他们的颜色,还有他们索要的西方世界的整个生活。
Greece [...] In the third part of the movie Godard shows Minerva's bird, an owl that may be on the stairs of a Greek theater or the steps of Odessa; the homage to Chris Marker is clear. [...] Thus Greece, for the considerable debt we've inherited from her. A double-sided debt. Democracy, but, according to Hannah Arendt, also the totalitarianism of Aristotelian logic: "The thing is we're copying the same model they surpassed in the ancient Mediterranean. It's been tinted with their perfume, their colors, and all their claims for the entire life of the western world."
《电影社会主义》的第一个镜头展现了一个农场上的一对鸟儿。鹦鹉,西班牙语叫 el loro(原意为金子)。 而金子就是问题所在:上面提到的表、阿丽莎的金项链、赌场,还有个神神秘秘的旅人叫“奥托・哥德贝尔格”(Otto Goldberg,字面意思为金山)、一个位于瑞士外省的加油站的“黑色金子”(石油),以及 1936 年秋从西班牙银行的储备运往苏联的金子。这笔财宝,更为人所知的名字是“莫斯科黄金”,1936 年 9 月 14 日从卡塔赫纳(Cartagena)运走,之后装上了 4 艘苏联的船,于 10 月 25 日驶往敖德萨港。
而戈达尔重写了故事,想象金子是由 1937 年创立的法国航海(France Navigation)公司在巴塞罗那装上船的;抵达敖德萨时,船只丢了 1/3 的货,都被德国人盗走了,剩下的 1/3 强则在前往莫斯科的路上,被共产国际负责在西方的宣传的威利・门岑贝尔格(Willi Münzenberg)扣下了。 所以,戈达尔用前后矛盾的日期讲了一个传奇,却没有漏掉现实中的出发港,于是付出的是地理上互相矛盾的代价——在影片的第 3 部分中,卡塔赫纳的罗马圆形剧场却被放在了来自希腊的一系列图像中。
Of Gold The first shot of Film Socialisme shows a pair of birds on a branch. "Parrots"; loro ["el oro": the gold] in Spanish. Gold is the question: of the aforementioned watch, Alissa's necklace of gold, the casino, but also an obscure traveler who goes by "Otto Goldberg" ("the mountain of gold"), the "black gold" of a Swiss province gas stop, and the transport, in the autumn of 1936, of the Bank of Spain's reserves to the USSR. This treasure, better known by the name "the Moscow Gold," was taken to Cartagena [Spain] on September 14, 1936, and afterward sent in four Soviet ships that left for Odessa on October 25. Godard retells the story by imagining that the gold was loaded in Barcelona by the company France Navigation, founded in 1937. Upon arrival in Odessa, the ship would have lost a third of its load, robbed by Germans, and a third more in the trip to Moscow, sequestered by Willi Münzenberg, responsible for the Comintern propaganda in the West. So Godard tells a legend based in contradicting dates, but doesn't omit the actual port of departure, at the price of another geographical contradiction: in the third section, the Roman amphitheater of Cartagena is now included in a series of images on Greece.
在这个首次穿越地中海的航行中,《电影社会主义》的游船从阿尔及尔(Argel)回到巴塞罗那,但正如一位乘客惊讶地注意到的那样,期间经过了敖德萨。因为影片正是对扣押莫斯科黄金所作的一个调查。 一位年轻的俄罗斯女孩——上校凯敏丝基亚(Kamenskïa),正在调查从敖德萨到首都中间消失的 2/3 的财宝,然后发现一个老人——高德贝尔格应该换了个身份来参与盗窃第一笔1/3 的黄金。 从那时起,对话中提到巴勒斯坦银行的黄金,同样也是离奇消失,而这也说明了为什么一对巴勒斯坦夫妇和一个摩萨德特工会出现在船上。
To this first trip across the Mediterranean, the cruise of Film Socialisme responds, now returning from Argel to Barcelona, but, as a surprised passenger remarks, passing through Odessa. For the movie is an investigation precisely into the seizing of the Moscow gold. A young Russian girl, Major Kamenskïa, is investigating the two-thirds of the treasure that vanished between Odessa and the capital, and finds Otto Goldberg, an old man who would have participated under another identity in the theft of the first third. From there, the dialogue references the gold of the Palestinian bank, which would also have disappeared in mysterious circumstances, and which we might imagine justifies the presence of a couple Palestinians and a Mossad agent on the boat.
戈达尔重拾了由费尔南・布罗代尔在 1946 年的一篇文章中所启动的一个故事的线索,而影片第 3 部分对此是这样引用的:
钱和文明:从苏丹的黄金到美国的金钱。
这位著名的历史学家展示了对黄金的占有如何为接连窃取黄金的那些政权而确保了后来的财富。从这个视角看,西班牙黄金的旅程只是一个 16 世纪就开始了的故事的结尾,而电影人却将其转变为一个 20 世纪的神话。
世界历史的篇章就这样押韵了。押的就是传说中的金钱之韵。
布罗代尔文章的结语同样可以作为《电影社会主义》的结论。
Godard picks up on the thread of a story launched by Fernand Braudel in a 1946 article cited in the movie's third part, "Money and civilization: from Sudan gold to American money." The famous historian demonstrates how the possession of gold has assured the subsequent wealth of powers that stole it one-by-one. From this perspective, the journey of the Spanish gold is only the end of a story that started in the 16th century, and which the filmmaker transforms into a 20th century myth. "And so rhyme the chapters of world history. With the cadence of the fabled money": the last words of Braudel's essay could serve equally as Film Socialisme's conclusion.
如今变了的,是混蛋们都很真诚。
在第 1 和第 2 部分中,这话说了两遍。 可说的是哪些混蛋?首先是里夏尔德・克里斯特曼(Richard Christmann),第 1 部分的主角们围绕着他而展开的一个历史人物。一个纳粹情报网阿勃维尔(Abwehr)的这位老特工,在二战中曾是一名双面或者三面间谍。1940 年,在戈达尔的虚构中,他参与了在巴塞罗那和敖德萨之间对西班牙黄金的盗窃。此外,他还负责逮捕了人类博物馆(Musée de l'Homme)的抵抗网络的成员,并且拷打了其中的成员阿丽丝・西莫奈(Alice Simmonet)。后来,他被发现为阿尔及利亚民族解放阵线服务,之后则成了“拜耳和罗讷-普朗克(一家法国制药公司)的代表”。他用过的假名有莱奥泼尔德・克里维茨基(Léopold Krivitsky)、马尔库斯(Markus)和莫伊斯・施穆克(Moïse Schmucke),而在游轮上则以高德贝尔格的身份出现。另外两名乘客把他搜了出来:凯敏丝基亚少校,负责为俄罗斯政府寻找不翼而飞的黄金的踪迹,以及戴勒马斯(Delmas)中尉——戈达尔在 Mediapart 的采访中,说他是西莫奈的旧情。
Of Bastards "Today what's changed is that the bastards are sincere": the phrase is pronounced twice, in the first and second parts. But which bastards? Richard Christmann above all, a historical character around whom the protagonists of the first part orbit. This old agent of the Abwehr, a Nazi information network, had been a double or triple agent in the Second World War. In 1940, in Godard's fiction, he would have participated in the embezzlement of the Spanish gold between Barcelona and Odessa. He had, besides, the job of arresting the members of the Musée de l'Homme resistance network, and Alice Simmonet, whom he tortured. Later he's found in the service of the Algerian National Liberation Front, afterward "representing Bayer and Rhône-Poulenc [a French pharmaceutical company]." Known under the pseudonyms Léopold Krivitsky, Markus, and Moïse Schmucke, he presents himself as Otto Goldberg on the cruise. Two other passengers search him out: Major Kamenskïa, charged with finding the trail of gold that vanished for the accounts of the Russian government, and Lieutenant Delmas, to whom JLG, in the Mediapart interview, ascribes an old flame for Simmonet.
他们擦肩而过的不同乘客,来穿越地中海的原因各种各样:一个摩萨德间谍镶着金牙,一对巴勒斯坦夫妇,3 个知识分子(分别是作家、哲学家和经济学家),一位年轻女人贡斯坦斯,以及她的伴侣和她的教子吕铎,而吕铎与克里斯特曼的孙女阿丽莎交上了朋友。这与其说是一次游船旅游,不如说是一届国际混蛋峰会。当老人和年轻女孩穿过大厅时,他们被一个监控摄像头观察着:乘客们在监视着间谍。
后来,戴勒马斯做了《影子写手》《绿区》的主人公所做的事:他在互联网上寻获信息。技术规格表、机密的罪行、国家机密——从今以后,一切都可以从谷歌得到。
民主和悲剧在雅典的佩里克利斯和索福克勒斯的手下结合在了一起。他们的独生子:内战。
在《电影社会主义》所构建的 20 世纪的历史中,古希腊的这一遗产成了核心事实,而各种的意识形态和事件都围绕着它来安排。西班牙,特别是巴塞罗那,在 1937 年 5 月成了共和派之间一场自相残杀的战斗所发生的剧场,还有战后的希腊、1905 年的敖德萨,甚至巴勒斯坦,都不仅是社会主义的大写的历史(History)的碎片,而是一场永恒的兄弟之间-内(civil-fraternal)战的现场。当然,是有可能回味以下戈达尔的末日论调,但不可能的是对此悔过。因为《电影社会主义》是一首“悲哀之歌”,一曲悲怆的(pathétique)哀歌,就像第 2 部分的卫生间放的贝多芬奏鸣曲《悲怆》。
Of (Hi)stories "Democracy and tragedy were married in Athens under Pericles and Sophocles. A single child: the Civil War." In the constructed history of Film Socialisme's 20th century, this legacy of ancient Greece becomes the central fact around which ideologies and events are arranged. Spain, in particular Barcelona, which was in May of 1937 the theater of a fratricidal combat among Republicans, but also post-war Greece, 1905 Odessa, and even Palestine are all not only History's pieces of socialism but the sites of an eternal civil-fraternal combat. Of course it's possible to relish Godard's apocalyptic tone, but impossible to regret it. For Film Socialisme is a "song of woe," a lament pathétique, like the Beethoven sonata of the same time which is heard in the bathroom of the second part.
这段欧洲历史也是抵抗运动的历史:埃及人在影片《再见,波拿巴》中反对拿破仑的历史,那不勒斯人反对德国驻军及其意大利盟友的历史,当然也是法国抵抗运动的历史,包括对人类博物馆的抵抗网络和“马尔丹(Martin)一家”的追忆。 但最后提到的这点,是在给中间部分作结的那些字幕卡之中得到了引用和解释的,而这无疑掩盖了更多的指向。因为实际上,戈达尔把两个没有任何关联的抵抗网络结合在了一起。
第 1 个——“马尔丹一家”,是科尔马地区周围的一个组织,负责将战俘和阿尔萨斯地区的抵抗组织成员偷渡出孚日山脉和瑞士边境。这个任务肯定得到了这位电影人(戈达尔)重新的注意,因为他就是在罗勒(Rolle)边上的一个瑞士车库里,拍摄了一户法国家庭在一次选举活动中的日常生活。
第 2 个,则是“解放与联邦”(Liberate and Federate),那是 1942 年在图卢兹,围绕着西尔维欧・特杭丹(Silvio Trentin)这个人物而有效地建立起来的;他是一位 1926 年在法国避难的意大利老议员、一位社会主义知识分子和联邦主义者,也是“欧洲合众国”的一位信奉者。 对于电影人在两个组织之间串起的奇怪的关系,至少有两种解释。 首先,“马尔丹”的团体是存在过的,由乔塞普・霍维哈(Josep Rovira)领导;那是一位马克思主义统一工人党(POUM)在加泰罗尼亚的共和派,负责穿越比利牛斯山脉,而且还是在图卢兹活动的逃生网络 Vic 的一份子。 此外,还有对于 50 年代初的一个口号的记忆——戈达尔在他对侯麦的简短致敬中提过这个: "解放昂西・马尔丹(Henri Martin)。“ 作为一名共产主义抵抗组织的成员,这位士兵兼水手因为参与破坏活动的共谋和宣传反对印度支那战争而被监禁。 电影从重新联合了两个抵抗运动的一幅拼贴出发,通过在墨索里尼上台后动员起欧洲的伟大政治斗争,到欧洲的去殖民化和建设,中间经过西班牙内战和二战抵抗运动,从而编织了一条团结的路线。而这条团结路线的名字,就叫以社会主义。
在影片的第 3 部分“我们的人性”中,戈达尔提出了另一种“抵抗”的人物,而且这一次很私人:他的叔祖父泰欧道尔・莫诺(Théodore Monod)。在他穿越毛里塔尼亚探险的那些图像中,电影人让我们听到了尚・热内(Jean Genet)的一句话,呼吁着另一种解放,即语言的解放:
把语言的所有意象都藏起来,并随意取用,因为它们在沙漠中,而你必须找到它们。
戈达尔总是准备好了给他的诋毁者推波助澜,而在《电影社会主义》中更是极大地增加了引文,从拉罗什富科一直到昂西・吉诺(Henri Guaino),也增加了多门语言,甚至连他的那些声音来源也大增了,同时还令人惊讶地使用了立体声。
对话,鸡奸。 (注:很明显,这是个不恰当的翻译。原文“对话,性交!”(Dialogue, foutre!),是“1834 年 11 月 26 日”出自司汤达之手的。“Foutre“的英语是”fuck“,而这个”fuck“历来都保持着其粗俗以及性的内涵:两种事物之间——在某个程度上的——一种联结、一种交换和对话)
司汤达的这句话出现在了出版的影片剧本的封底上,为全书定下了基调。而这个基调又会是被随便的态度所掩盖的老练。 当扮演戴勒马斯的演员说话结巴的时候,电影制作者(戈达尔)决定保留这条拍摄,不管这是不是加倍的“糟糕”,因为有人在后面听到是他自己告诉演员继续的。这也是昂德黑・S・拉巴尔特(André S. Labarthe)在《女人就是女人》的拍摄前后那阵子所指出的:戈达尔保留了那些意外和错误,甚至是被技术失误所损坏的镜头。因此,高德贝尔格种种之前的身世是由一些定格镜头来隔开的,直到镜头成了一条条像素带,搞得观众还以为是放映有问题。
Of Words Always ready to fuel his detractors, in Film Socialisme Godard multiplies the citations, from La Rochefoucauld to Henri Guaino, the languages, and even his sources of sound, with a surprising use of stereo. "Dialogue, buggery"2: Stendhal's phrase, featured on the back cover of the published script, sets the tone. Once again this tone will be sophistication under the cover of the offhand. When the actor playing Delmas stammers, the filmmaker decides to keep the take, however doubly "bad" since he himself is heard, from behind, telling the actor to go on. This is what André S. Labarthe noted around the time of A Woman Is a Woman: Godard keeps the accidents and mistakes, even when the takes are spoiled by technical blunders. So the story of Otto Goldberg's previous lives is punctuated by freezes, until the shot becomes striped with a band of pixels, leaving the viewer to assume there's a problem with the projection. [...]
......毫无疑问,《社会主义》与《动物》(The Animals,80 年代晚期戈达尔计划中的项目名称)另有联系。在第 1 部分“像这样的东西”中,我们看到了许多动物,鹦鹉和猫,成双成对地叫唤,而马尔丹车库里的动物却是沉默、孤独的。然而,对孩子们的分组正好相反,尽管他们也被分为两组:那些既看又听的孩子,阿丽莎和吕铎,是在影片的第 1 部分,并短暂出现于影片的最后部分,然后是那些既盘问又讨论的孩子,弗洛西讷(Florine)和吕西安,出现在了中间段落。动物和孩子们只能一阵阵地(in bouts)表达自己,因为他们无法与周围的人同时掌握权力。
而在第 2 部分,显然是由孩子们来展示他们的权利了。不仅如此,他们的年轻,就是他们当选的主要理由。
有了 20 岁年纪。有理性。有希望。当你的政府错了的时候,要有理性(法语 Avoir raison)。 (注:考虑到 Florine 心中的宣言——”用‘to have’(拥有)取代‘to be’(成为)“——这是一句无法翻译的台词,单这句话也许就能充分证明,给戈达尔(影片)配的(外语)字幕简直是无人会说的纳瓦霍语。法语用词很基础: ”Avoir vingt ans. Avoir raison. Garder de l'espoir. Avoir raison quand votre gouvernement a tort.“ 这要是在教科书中会被译成: “To be 20. To be right. To maintain hope. To be right when the government is wrong.” 但当“to have”的相对性被“to be”的本质主义所取代时,整个的意义就变成了比Florine站在“正确”一边还要自以为是的东西了,从而错过了“avoir raison”的简洁:to have reason)
这就是弗洛西讷在他们的卫生间向她的母亲描述的纲领。这不禁让人想起夏尔勒・佩吉(Charles Péguy)在《我们的青春》(Notre jeunesse)(1910 年)中的宣言,刊登于 1957年 10 月 3 日《快报》的封面,宣告了新浪潮的到来:
20 年了。我们是中心和心脏。轴心也经过我们。得由我们的手表来看时间了。
在影片的所有角色中,弗洛西讷是无疑有着最重要的对话的人,几乎独占了中间部分的讲话。从她首次登场开始,靠在加油机上,手里拿着书,这个女孩就摆出了宣讲的姿势。
就像《中国姑娘》《周末》中的尚-皮埃尔・莱奥(Jean-Pierre Léaud),她用戏剧手法(theatrical rigging)重演了法国大革命。 而在她所读的书中,有个女演员的角色与她同名。弗洛西讷,是巴尔扎克的小说集《人间喜剧》中一个特别早熟的女主角,在小说《幻灭》中首次亮相,而她之所以出名,得益于记者们报道了她在戏剧全景(Panorama Dramatique)剧院的最早的那些演出,特别是得益于故事主人公吕西安・德・吕邦泼雷(Lucien de Rubempré)的一篇文章。 弗洛西讷和吕西安发现他们的名字来自巴尔扎克,而在第 1 部分的一个镜头中,吕铎给了阿丽莎一本昂德黑・纪德(André Gide)的小说《窄门》,被她立即打开了。而在这本书中,女主人公正是被叫作阿丽莎。
所有这些,除了在名称上玩的游戏之外,都可以解释电影中的 4 个孩子面对成年人的焦虑时的轻松自信:当成年人为自我表达而挣扎,孩子们却对他们自己的文本胸有成竹。 卢斯托(Lousteau)在《幻灭》中说,弗洛西讷“是世界上最伟大的小说读者”。而在她进入其场景之前,剧本作者杜・布吕艾勒(Du Bruel)给了她一些最后的建议:
Of all the characters in the movie, Florine is without a doubt the one with the most important dialogue, practically monopolizing speech in the central part. From her first appearance, leaning against a gas pump, book in hand, the girl is posed for proclamations. Like Jean-Pierre Léaud in La Chinoise and Week-End, she replays the French Revolution in theatrical rigging. And so in the book she's reading, a character of an actress shares her name. Florine, a particularly precocious heroine of Balzac's Comédie Humaine, debuts in Lost Illusions, in which she becomes renowned thanks to journalists who cover her first steps at the Panorama Dramatique, and in particular thanks to an article by Lucien de Rubempré, the protagonist of the story. Florine and Lucien find their names originating in Balzac, while in a shot from the first part, Ludo gives Alissa a copy of an André Gide novel, La Porte Etroite [The Narrow Doorway], which she opens immediately. A book in which the heroine is called—precisely—Alissa. All of which might explain, beyond the play of the titles, the easy assurance of the movie's four kids faced with the anxieties of the adults: while the latter struggle for self-expression, the former know their texts by heart. Florine, says Lousteau in Lost Illusions, "is the greatest novel reader in the world." And before she enters into her scene, Du Bruel, the author of the play, gives her some final advice:
我的小弗洛西讷,你对你的工作(roll)很熟悉了吧?你的记忆力没问题。扮演第 2 幕中的场景,要干脆,要尖锐。小心地说这句:我不爱你,就像我们决定的那样。
在贯穿全片的叠句中,弗洛西讷的父亲会问她这个问题:
好吧,弗洛(Flo),可你为什么不爱我们?
这也是居于《电影社会主义》核心的代际冲突的对象:那些想扮演一个角色的人和那些坚持进行一个对话的人的互不理解。
"Ma petite Florine, you know your roll well, eh? No issues with your memory. Play the scene in the second act with cutting, with sharpness. Say it carefully: I don't love you, just as we decided." In refrains throughout the movie, Florine's father will ask her the question: "Ok, Flo, but why don't you love us?" This is also the object of the generational conflict at the heart of Film Socialisme: the incomprehension between those who want to play a role and those who insist on a dialogue. [...]
克里斯特曼的一系列假名是戈达尔的发明:克里斯特曼曾被称作阿尔诺(Arno)或阿尔芒(Armand)、霍嘎・欧雷・克拉斯(Roger Ole Class)、霍柏尔特・舒赫(Robert Schürer)、汉克・杨多尔(Henk Jandoel)、里夏尔德・肖莱(Richard Cholet)、马尔库斯(Markus),但从没有叫过高德贝尔格、莫伊斯・施穆克或莱欧波勒・克里维茨基。前两个名字一个是将一个犹太姓氏与一个德国名字联在一起,另一个则将一个德国姓氏与一个犹太名字联在一起。魏莱姆・施穆克(Wilhelm Schmucke)是巴尔扎克的《人间喜剧》(《邦斯舅舅》《夏娃的女儿》《交际花盛衰记》)中的一个人物。高德贝尔格,则如影片所示,意为一座“金山”,而莎拉・多德贝尔格(Sarah Doldberg)其实是“红色乐队”(译注:苏联的间谍组织)一位成员的名字,其领导人莱奥泼尔德・特雷伯(Leopold Trepper)自称奥托。此外,在克里维茨基的背后,隐藏着的是苏联间谍瓦尔特・格尔马诺维奇・克里维茨基(Walter Germanovich Krivitsky),在这里他的名被改成了莱奥泼尔德(特雷伯)的名。
Secret Information The series of pseudonyms for Christmann is Godard's invention: Christmann has been called Arno or Armand, Roger Ole Class, Robert Schürer, Henk Jandoel, Richard Cholet, Markus, but never Otto Goldberg, Moïse Schmucke, or Léopold Krivitsky. The first two names associate a Jewish last name with a German first, and a German last name with a Jewish first. Wilhelm Schmucke is a character from Balzac's Comédie humaine (Cousin Pons, A Daughter of Eve, Splendors and Miseries of Courtesans). Goldberg, as the movie indicates, means a "gold mountain," but Sarah Doldberg was the name of a member of the "Red Orchestra," whose leader, Leopold Trepper, called himself Otto. And behind Léopold Krivitsky is hidden the soviet spy Walter Germanovich Krivitsky, whose name has been changed to that of Leopold (Trepper's).
克里维茨基在他的回忆录《在斯大林的特务部门工作》(In Stalin's Secret Service)中回忆了莫斯科黄金在敖德萨的逃之夭夭。根据历史学家的说法,这个臭名昭著的“莫斯科黄金” 关系到苏联的要害 ,其事实如下:
从 1936 年 7 月到 1937 年 3 月,法国银行吞并了几乎 1/3 的西班牙储备,总共 194 吨,价值约 400 万法郎。这就留下了 2/3 的储备,更不用说卖给美国政府的 1225 吨。最大头的 457 吨,被运往莫斯科,而之后西班牙黄金又将被运往卡塔赫纳,并存放在阿尔加梅卡(Algameca)重重加固的房间里,那是一个无法进入的洞室。
Krivitsky recounts the escape of the Moscow gold in Odessa in his memoir, In Stalin's Secret Service. According to historians, the facts about this notorious "Moscow gold" at the heart of the USSR, are the following: In total, from July, 1936, to March, 1937, the French Bank absorbed almost a third of the Spanish reserves, 194 tons, of a value around 4 million Francs. (...) That leaves two thirds of the reserves, never mind the 1225 tons sold to the US government (...). The greater part, 457 tons, was sent to Moscow, after which the Spanish gold was to be transported to Cartagena and deposited in armored housing in Algameca, an inaccessible grotto.
因此,西班牙黄金被瓜分并送往了各个目的地:主要是法国和苏联,其余的(1/4?)去向无人知晓。显然,这种不确定性边际是有益于激发想象力的。1957 年,尚・杜维诺(Jean Duvignaud)出版了《共和国的黄金》(The Gold of the Republic),而在这部小说中,法国抵抗组织寻找着西班牙共和国政府的宝藏。
为什么西班牙黄金还在那么多隐藏的途径中流通,就像一个死人的血,却穿越了比利牛斯山脉,或者再次在海上航行?
而且从画外说出的第一句话开始,这种关于消失的图像就反复出现:
- 钱是公物。
- 那么,就像水一样。
- 正是如此。
从这里开始,种种联想就从影片这口活水中喷涌而出:黑海、黑金、黄金的诅咒(正如我们所说的海洋的诅咒)。
Thus, the Spanish gold was divvied up among various destinations: primarily France and the Soviet Union—and the rest (a fourth?) is harder to figure. Certainly, such a margin of uncertainty can stir the imagination. In 1957, Jean Duvignaud published The Gold of the Republic, a novel in which the French Resistance searches for the treasure of the Spanish Republican government. "[...]Why does the Spanish gold still circulate among so many obscure pathways like the blood of a dead man, traversing the Pyrenees or navigating—once again—the sea?" And from the first words spoken offscreen this image of vanishing recurs: " ‘Money is public property.' ‘Like the water, then.' ‘Exactly.' " And from here the associations that spout from the movie's wellspring: the Black Sea, black gold, curse of the gold (as we'd say the curse of the sea).
戈达尔将西班牙黄金一分为三,但这是以他自己的方式。卡门斯基亚说:
回敖德萨的时候,1/3——1/4——消失了。还有 1/3 在莫斯科。
戴勒马斯后补充说:
对第一个(1/3),我有我的怀疑,而至于最后一个(1/3),我们必须在共产党的档案中深挖。(深挖)威利・门岑贝尔格。
凯敏丝基亚少校对高德贝尔格说:
我不在乎你把西班牙黄金藏在哪里,我看重的是找到剩下的。
因此,财宝的一部分应是被高德贝尔格(克里斯特曼)所抢,而另一部分则被门岑贝尔格掠走了。正如戈达尔所说:
我想象德国人扣下了船,上面有部分黄金,正如片中的法国老警察所说的那样。可那个在档案馆里寻觅的俄罗斯女孩却告诉自己:逃走的 1/3,是共产国际拿走了,剩下的最后进了路易・道里维(Louis Dolivet)的口袋,没有别的办法来解释这笔财富了。
于是戈达尔把他的片子变成了一幅三联画,与“三面间谍”相呼应。这部片之所以令人费解,是因为历史资料本就如此,而且还消失在了表面的日常生活之下。 另一面,由于戈达尔炸开了他的那些故事,只是从一个化为粉末的整体中释放出一些碎片,所以事情之间的联系就更不清楚了。
Godard partitions the Spanish gold in three, but in his own way. Says Kamenskïa: "Returning to Odessa a third—a fourth—had disappeared. And another third in Moscow." Later Delmas adds: "As for the first [third], I've got my suspicions, and as for the last, we have to look deep in the communist archives. Willi Münzenberg." Major Kamenskïa says to Goldberg: "I don't care where you've hidden the Spanish gold, but I value finding the rest." Thus a part of the treasure would have been robbed by Goldberg (Christmann), another by Willi Münzenberg. As Godard has said, "I imagined that the Germans had seized the boat, which had a part of the gold, as the old French policeman says in the movie. But the Russian girl who's searching in the archives tells herself: the third that escaped, it's the Comintern that took it, and the rest ended up in the pockets of Louis Dolivet, there's no other way to explain the fortune." And Godard turns his movie into a triptych with an echo of a "triple agent." The movie is obscure because the historical accounts are too, and have disappeared under the mask of daily life. The connections, on the other hand, are much less clear when Godard dynamites his stories, and only releases fragments of a pulverized whole.
在这些事件的背后,戈达尔还有个故事后悔没纳入《电影史》,而这个故事在《电影社会主义》中也从未提及,但在1997 年首次得到了解释:
那就是道里维的故事。那是在塔蒂去世前五六个月,告诉我的......我去找他做一个采访。我告诉他我可以带他去一个咖啡馆。他回应说他可以付钱,并拿出一枚硬币。一枚西班牙银行的金币。“这是被斯大林抢走的西班牙财宝所剩下的。”他这样告诉我。这是道里维给他的,那是第四国际的一个人员。我知道这个,因为道里维是我在格雷电影公司(Gray Films)的第一个联系人,早在布豪贝尔格(Braunberger)之前。道里维是《阿卡丁先生》《玩乐时间》的制作人。此外,在《阿卡丁先生》中有个镜头可以看到道里维。塔蒂向我解释了这两件事的关系。道里维曾是门岑贝尔格的助手,而门岑贝尔格则击败了法国情报机构,并制作了许多影片和杂志。他把钱存在瑞士,而这钱在战后就被道里维继承了。用这笔钱,道里维制作了《阿卡丁先生》,这是一个对斯大林的故事的隐喻,发生于西班牙。之后,道里维一定是——又一次从门岑贝尔格那里——继承了来自西班牙银行、被斯大林扣押、藏起来的一点钱......这是我想拍的一个故事:《阿卡丁先生》和《玩乐时间》的真正关系是什么?是西班牙银行和西班牙共和派的黄金吗?......用这些钱,道里维制作了两个灾难性的项目,同时也是两部美丽的影片。这些就是关联,是通常不会去建立的关系。
西班牙银行的金币在片中主要以阿丽莎佩戴的一条项链的形式出现。
Behind these events, never named in Film Socialisme but explained for the first time in 1997, is a story Godard regretted not including in Histoire(s) du cinéma: It's the story of Louis Dolivet. Tati told me it, five or six months before he died.... I went to see him for an interview. I told him I'd take him out to a café. He responded that he could pay, and took out a coin. A gold coin of the Spanish Bank: "This is what remains of the Spanish treasure robbed by Stalin," he told me. It had been given him by Louis Dolivet, who was an agent of the Fourth International. I knew it because he'd been my first contact, before Braunberger, at the time of Gray Films. He was the one who produced Mr. Arkadin and Playtime. Besides which, there's a shot in Mr. Arkadin where we see Dolivet. Tati explained to me the relation between the two. He'd been an assistant to Willi Münzenberg, who had conquered the French intelligence and had produced movies, revues. He had money in Switzerland, which Dolivet inherited after the war. With that money, he produced Arkadin, which is a metaphor of the Stalin story and takes place in Spain. After, Dolivet must have inherited—once more from Münzenberg—a bit of money from the Spanish Bank that Stalin must have seized to stash away....It's a story I'd like to do: what is the real relation between Mr. Arkadin and Playtime? Is it the gold of the Spanish Bank and the Spanish republicans....With that money Dolivet produced two catastrophic projects, but two beautiful films. Those are the links, the relations that aren't normally established. The gold coins of the Spanish Bank appear in the movie mainly in the form of a necklace worn by Alissa.
在《电影手册》1967 年刊登的关于《地中海》的一篇文章中,戈达尔对这部片子大加赞赏,毫不犹豫地将年轻的波莱比作俄耳甫斯(Orpheus)。这个有趣的赞美,不是随意为之的:抓住了戈达尔注意力的,是影片如何把一次旅行转变为了一次神话般的横渡,以纪录片的图像构建了一个传奇的地中海。 由此,《电影社会主义》也是各个传奇的一个集合。比如西班牙黄金的传奇,被认为是一个诅咒,因为它毁掉了印第安人以及后来的西班牙人,接着被纳粹征用,其中的 2/3 还被苏联偷走了。这还不算阿丽莎的项链,无疑是来自她祖父的宝藏的那些金块所制成的,在片尾以此判了她死刑。 在《名模迷踪》(Face of Terror)——《电影社会主义》片头引用的这部不知名的动作片中,是一个年轻美国人在巴塞罗那一个奇怪的恐怖主义案件中的失踪,导致她的哥哥接管了她的任务。 帕科・伊巴涅(Paco Ibañez)演唱的何塞・奥古斯丁・郭伊蒂索洛(José Agustín Goytisolo)的诗《胡莉娅的话》(Palabras para Julia),我们已经在《电影史》第 2B 集的开头听到,而在《社会主义电影》中,这首诗又两度出现。它涉及到另一起失踪事件,即诗人的母亲胡莉娅,1938 年在巴塞罗那的一次爆炸中丧生。这是加泰罗尼亚首都的诅咒,而威尔斯的影片中的阿卡丁先生将成为其又一个受害者。 巴塞罗那是一个神秘现象的场所,而这个现象同时标志着这次海上航游的起点和完成。 在影片奇怪的、多棱镜式的安排中,也就是在纪德的“窄门”中,一切都始于并终于西班牙内战,仿佛有可能提前读解了 20 世纪的命运。
Of Legends In an article on Méditerranée in Cahiers du cinéma in 1967, Godard acknowledges his admiration for the film, and doesn't hesitate to compare the young Pollet to Orpheus. However curious, the compliment isn't haphazard: what captures JLG's attention is the way in which the film transforms a tourist trip into a mythological crossing, conceiving a legendary Mediterranean out of documentary images. In its way, Film Socialisme is also a collection of legends. Of the Spanish gold, for example, considered a curse since it ruined the Indians and later the Spanish, that served the Nazis, and that was, two-thirds of it, stolen by the Soviets. That's not even counting Alissa's necklace, made from gold pieces undoubtedly taken from the treasure of her grandfather, that condemns her to death at the end of the movie. In Face of Terror, an obscure action film cited in the credits of Film Socialisme, it's the disappearance in Barcelona of a young American in a strange terrorism case, that leads her brother to take over her mission. "Palabras para Julia," the poem by José Agustín Goytisolo sung by Paco Ibañez, already heard at the start of chapter 2B of Histoire(s), comes back twice in Film Socialisme. It concerns another disappearance, that of Julia, the poet's mother, killed in a bombing in Barcelona in 1938. It's the curse of the Catalan capital of which Mr. Arkadin, in the Welles film, will be another victim. Barcelona is the place of a mysterious phenomenon that marks both the origin and completion of the cruise. In the strange, prismatic arrangement of the movie, which is also Gide's "narrow doorway," everything starts and ends with the Spanish Civil War, as if it were possible to read, in advance, the fate of the 20th century.
在《电影史》的第 3B 集中,戈达尔向昂西・朗格瓦的致敬令人动容:
我们没有一个过去,而这个来自梅西讷大街( 注:avenue de Messine,巴黎的一条显赫的街)的人给了我们一份礼物,那就是在印度支那、阿尔及利亚的一个过去所蜕变成的现在。当他第一次放映(马尔罗的)《希望》(Espoir)的时候,使我们起步的不是西班牙战争,而是对种种隐喻的联想——也就是博爱(fraternity)。
一份从影片的其他两个原则所延伸出来的博爱。 首先,所有图像生而平等,不管是来自手机还是高清摄像机,也不管是来自直接发行 DVD(direct-to-DVD)的片源还是《战舰波将金号》发黄的图像。
其次,去比较无可比拟的东西的自由,这是弗洛西讷在第 2 部分的心愿之一。5(戈达尔在采访中说是本雅明的一句话,在第 1 部分中借凯敏丝基亚少校之口说出)
自由、平等、博爱:这就是造就一个隐喻的公式了。
戈达尔的片子无论你是否喜欢,或是催眠,都无可争议地成为了世界电影地图中的一块领地。踏入这片领地的冒险者,或许怀着敬畏,或许怀着猎奇,或许只是误入。这片孤独的岛屿,没有与其他陆地相类似的景观,屡屡打破任何习以为常的经验,是怀疑主义者和偶然性的乐园。它不满足于任何现世的解决方案,包括暴力革命,而这里的暴力革命也只是作为一种推翻现实的怀疑态度存在——而非终极解决方案。
戈达尔的思维就像是这摄像机,徜徉在豪华游艇的甲板上——一个悲悯的思考者,同时也是个愤世嫉俗的家伙——他观察着人类,同时摄像机也不断地挑战着人类——背负着欧洲沉痛的历史——不是我们中国人在宣传中所熟知的屈辱史,而是20世纪以来欧洲人的精神危机。暴力革命这是延缓此精神危机的鸦片,戈达尔明白这一点,但他还是采取了某种亲巴勒斯坦的立场——不是出于对犹太人的恨,而是他面对欧洲精神危机所做出的条件反射式的生理性抽搐。他观察着这游轮上的客人,平静,宿醉,奢侈,自由,优雅,年迈——却在其下暗藏着欧洲无希望的未来——颇具争议的论点“因自由而腐朽”——一种悲凉油然而生,却绝不向上帝祷告——弃船,弃船,弃船,他发出着绝望的呼喊或启示。
戈达尔的摄影机的确扮演着思维的作用,这一点与爱森斯坦很像。后人称其为理性蒙太奇。但却被诟病颇多。认为其违背了电影的本质,把电影当作是理性的工具——如此这般,康德的《纯粹理性批判》也可以被拍成电影。随后,电影的发展走向了感官优先的方向——理性的失败。这造成了一系列的问题,观众乃至导演丧失思考能力,至少是被镜头所拍摄的事物限制,而不像思维那样天马行空,电影的穿透力降低,却换来了视觉得出的一些廉价结论。这不仅仅是好莱坞的问题,而是全部电影的问题。因此,画外音在《电影社会主义》中占据了重要地位,直接电影的同期声被抛弃了。虽然画外音曾经在纪录片历史上臭名昭著,成为扭曲纪录片客观性的主要凶嫌。但戈达尔的画外音完全就不是扮演这样的作用,他的声音忧郁而犹疑,像个早熟的孩子。我怀疑他是在读书的过程中摘抄下一些他为之所动的句子,再构思与句子相关的画面的。句子和句子构成了剧本,画面与画面构成了另一个剧本,两者叠在一起,像是套色。而格里尔逊式的纪录片只有一个文本剧本,影像是以配图的形式填入的,沦为文本剧本的图解说明——高度扭曲了影像本身的真实性。但无论如何戈达尔绝不是通过镜头来思考问题的。
电影本身并没有传说中的那么晦涩难懂,反而是活泼有趣,有点像去年“影像之书”的雏形,去年的信息量不是一般影迷能接受的..戈达尔依旧是实验性和先锋性的主流人物,打破时间和空间对电影本身的限制,再添加一点艺术成分(如绘画),拉丝的材料是多而广,戈达尔的运用方法是少而多—单一素材用不同方法拼接(高反差、卡带、停格、推拉、割裂声画...)。形式无序衬托出内容的统一,之所以看不懂大部分原因应该是戈达尔的社会学学的太好举的例子图上距离太远,我们不太能get到他的点..比如说Odessa和巴勒斯坦的犹太人。戈达尔似乎有点反犹主义和反殖主义。西班牙内战、二战使欧洲人性堕落而物质起飞。片中更出现了许多相机/摄影机,寓意着电影制作的表层大众化,内核的空洞。哲学大家明确指出世界最后是zero and nothing。配乐与电影史类似。副标题应为“不存在的摄影机”,回归电影本我—忠实的记录者,还有你永远找不到的剧本~
When the law is unfair
Justice precedes law
No comment
http://cinema-scope.com/wordpress/web-archive-2/issue-43/spotlight-film-socialisme-jean-luc-godard-switzerlandfrance/ http://www.davidbordwell.net/blog/2012/02/06/the-ship-of-statements-sails-on/
我们操蛋的马克思老师叫我们写这部电影的影评!!!
这个时代终于迎来了这部电影,伟大得我看完真的不知所措
带中文字幕又看了一遍,还是无法完全理解本片,打四星出于尊重
no comment
B / 很难理清到底是什么吸引我看下去的,也没办法找出某种肯定性的语汇进行归纳,而只能以否定进行排除。拒绝“叙述麻醉剂”,也拒绝全然崩溃的碎片;拒绝视听的整一,也拒绝影像的纯净与声音的连续;拒绝封闭的阐释空间,也拒绝纯粹内外转译符号分层的表意。一种不在“梦境”之中的梦呓,或是不“撕裂”的断裂。这莫非便是索亚所说的第三空间?
也只有林奇老师的内陆帝国可以打败你了
NO COMMENT里面还有小白……
那,听一个既不是艺术家又不是政客的人谈艺术和政治,是不是幼稚可笑且不可理喻?
小白,你上电影了
大哥,你是神,不過作為作業的參考確實不錯。
钱如海水的比喻诗意又讽刺,那么,非洲即是没有希望的荒漠,欧洲则沉沦在其中,随着被提纯的夜店噪音所舞动,三段式的影片集结了可能是新世纪戈达尔最强大的创作力,数字影像从未如此美丽,却同时将一切荒谬所揭露,历史则以模糊化的面目令人困惑,影像背后的真实世界,“不予置评”。
第63届戛纳电影节一种关注单元入围 疏离感 突出前景 多重性 开放性
No Comment 一早知戈达尔实验,但是原来连字幕翻译都可以玩实验?
无法作评。自己还不具备理解戈达尔此类片子的能力。他已经逐渐转化为社会学家了。DVD花絮里的访谈能让我稍稍对影片有所认识,“社会主义用一个微笑打发了世界。”
听一个玩艺术的谈政治,就好比听一个政客谈艺术,幼稚可笑且不可理喻。
在实验的道路上越走越远.俺没评分的能力.
这是一部值得咂摸三遍的电影。大师之作,依然无与伦比。
no comment
浮躁的摄影,至于剧情-------什么,你看戈达尔的电影还要看剧情?你傻逼么....