法式不搭调
典型的Jacques Tati式喜剧,一个和世界不搭调的主角,大段大段的场面调度和长镜头,侃侃深情的批判主义,什么是电影的绝好范例。
塔哥考证过,Tati是做Music Hall出身,他曾说不搞Music Hall就出不来喜剧。Tati的另外一个传统是哑剧,他演过哑剧,这也算是欧洲的传统了,或许也是让他肢体语言极其丰富的原因。
以下「Mon oncle」上映前,戈达尔对Tati的短评,没得说,有见地。老歪译得也好。
戈达尔评Jacques Tati
因为有他,法国「新现实主义」诞生了。就像在罗马,在这个充满灵感的不设防城市里,举办的一场盛大的嘉年华,但在同时,这嘉年华也有点走味,只因里头出现了,愈来愈多的,不说话的于洛先生。于洛先生,招待我们去品尝生命,那些神秘的甘美和苦涩的滋味。
是的,这个傻兮兮,四处闲逛的于洛先生,纯然是个诗人,就好比是「Tristan l’Hermite」[1]曾有过的,那样的诗人的面貌。他总是无事生非,没事找事。他总有办法去拍个海滩的场景,只为了表现孩子盖个砂堡,然后哭得比海浪还吵。他也会去拍一场戏,只为了在远远的背景里,有扇窗子被打开,(说真的,这场戏真的很好笑),就是简单的一扇窗子被打开,就能让Tati兴趣盎然。万物皆可、无物无不可、草叶、一个风筝、一票孩子、某个小老头、以及所有、所有的事物,只要曾经发生过的,只要是不正常的,只要是迷人的。
Tati拍喜剧的那根筋,来自他对奇异事物的直觉,你要想跟他好好谈次话,根本是不可能的,他是个超级的反理论专家,他的电影,如果没了Tati,只剩下他的那些点子,叫别人来拍,就会立刻完蛋。于洛先生的假期会立马一文不值。打从Max Linder之后,凭着他拍的两部杰作,Jacques Tati已经是法国影坛最佳的喜剧导演,现在,也许「Mon oncle」将会是他的第三部杰作,而且,是最好的一部。
[1] Tristan l’Hermite Francois l’Hermit(1602-55)的笔名, 法国诗人,剧作家,小说家。
Godard论Tati goodfella
With him, French neo-realism was born. Jour de Fete resembled Rome, Open City in inspiration. Less liked because more reticent, Hulot, too, invited us to savour in secret the bitterness and the pleasures of life. Yes, this moon-man [1] is a poet, as Tristan the Hermit [2] once was. He sees problems where there are none, and finds them. He is capable of filming a beach scene simply to show that the children building a sand castle drown the sound of the waves with their cries. He will also shoot a scene just because at that moment a window is opening in a house away in the background, and a window opening—well, that’s funny. This is what interests Tati. Everything and nothing. Blades of grass, a kite, children, a little old man, anything, everything which is at once real, bizarre and charming. Jacques Tati has a feeling for comedy because he has a feeling for strangeness. A conversation with him is impossible. He is, par excellence an anti-theoretican. His films are good in spite of his ideas. Made by anyone else, Jour de Fete and Hulot would be nothing. Having become with these two films the best French director of comedy since Max Linder, Jacques Tati may with his third, Mon Oncle, become quite simply the best.
[1] 原文‘Jacques de la Lune”, 暗指 Marcel Achard的剧本 Jean de la Lune. 其中的主角 ( Jouvet扮演舞台剧版主角, Michel Simon扮演电影版主角) 是一位常干傻事的蠢人
[2] Tristan l’Hermite, Francois l’Hermit(1602-55)的笔名, 法国诗人,剧作家,小说家。
塔哥考证过,Tati是做Music Hall出身,他曾说不搞Music Hall就出不来喜剧。Tati的另外一个传统是哑剧,他演过哑剧,这也算是欧洲的传统了,或许也是让他肢体语言极其丰富的原因。
以下「Mon oncle」上映前,戈达尔对Tati的短评,没得说,有见地。老歪译得也好。
戈达尔评Jacques Tati
因为有他,法国「新现实主义」诞生了。就像在罗马,在这个充满灵感的不设防城市里,举办的一场盛大的嘉年华,但在同时,这嘉年华也有点走味,只因里头出现了,愈来愈多的,不说话的于洛先生。于洛先生,招待我们去品尝生命,那些神秘的甘美和苦涩的滋味。
是的,这个傻兮兮,四处闲逛的于洛先生,纯然是个诗人,就好比是「Tristan l’Hermite」[1]曾有过的,那样的诗人的面貌。他总是无事生非,没事找事。他总有办法去拍个海滩的场景,只为了表现孩子盖个砂堡,然后哭得比海浪还吵。他也会去拍一场戏,只为了在远远的背景里,有扇窗子被打开,(说真的,这场戏真的很好笑),就是简单的一扇窗子被打开,就能让Tati兴趣盎然。万物皆可、无物无不可、草叶、一个风筝、一票孩子、某个小老头、以及所有、所有的事物,只要曾经发生过的,只要是不正常的,只要是迷人的。
Tati拍喜剧的那根筋,来自他对奇异事物的直觉,你要想跟他好好谈次话,根本是不可能的,他是个超级的反理论专家,他的电影,如果没了Tati,只剩下他的那些点子,叫别人来拍,就会立刻完蛋。于洛先生的假期会立马一文不值。打从Max Linder之后,凭着他拍的两部杰作,Jacques Tati已经是法国影坛最佳的喜剧导演,现在,也许「Mon oncle」将会是他的第三部杰作,而且,是最好的一部。
[1] Tristan l’Hermite Francois l’Hermit(1602-55)的笔名, 法国诗人,剧作家,小说家。
Godard论Tati goodfella
With him, French neo-realism was born. Jour de Fete resembled Rome, Open City in inspiration. Less liked because more reticent, Hulot, too, invited us to savour in secret the bitterness and the pleasures of life. Yes, this moon-man [1] is a poet, as Tristan the Hermit [2] once was. He sees problems where there are none, and finds them. He is capable of filming a beach scene simply to show that the children building a sand castle drown the sound of the waves with their cries. He will also shoot a scene just because at that moment a window is opening in a house away in the background, and a window opening—well, that’s funny. This is what interests Tati. Everything and nothing. Blades of grass, a kite, children, a little old man, anything, everything which is at once real, bizarre and charming. Jacques Tati has a feeling for comedy because he has a feeling for strangeness. A conversation with him is impossible. He is, par excellence an anti-theoretican. His films are good in spite of his ideas. Made by anyone else, Jour de Fete and Hulot would be nothing. Having become with these two films the best French director of comedy since Max Linder, Jacques Tati may with his third, Mon Oncle, become quite simply the best.
[1] 原文‘Jacques de la Lune”, 暗指 Marcel Achard的剧本 Jean de la Lune. 其中的主角 ( Jouvet扮演舞台剧版主角, Michel Simon扮演电影版主角) 是一位常干傻事的蠢人
[2] Tristan l’Hermite, Francois l’Hermit(1602-55)的笔名, 法国诗人,剧作家,小说家。
这篇影评有剧透