Jean Grémillon’s first talkie, the 1930 LA PETITE LISE, is anything but talky. While opening
and closing with soulful afro-Latin strains, something just above silence reigns throughout
the film. Grémillon is already orchestrating the auditory menace of nuanced sound sculpting
that would later pervade REMORQUES (1941), setting forth evolving rhythmic figures at an
atmospheric wh...
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Jean Grémillon’s first talkie, the 1930 LA PETITE LISE, is anything but talky. While opening
and closing with soulful afro-Latin strains, something just above silence reigns throughout
the film. Grémillon is already orchestrating the auditory menace of nuanced sound sculpting
that would later pervade REMORQUES (1941), setting forth evolving rhythmic figures at an
atmospheric whisper. Grémillon grafts this aural frieze onto smoldering b&w photography.
Truly, the frame is often smoking for purposes of motif.
In truth, this film has the most impressive use of sound I know of, including Bresson’s
MOUCHETTE. It’s up for speculation as to how much technical issues played into his
creative use of sound and off-screen. What is of particular note is that instead of milking the
capability of sync sound dialogue, Grémillon uses it very sparingly, increasing the range of
expressiveness. An abstract score of atmospheric insinuation is always in accompaniment
with the imagery tonally, rhythmically and dynamically. Listening carefully, ambient sound isever at work in a subliminal music score.
The story of LA PETITE LISE belongs to the sandbox of melodrama, but Grémillon grinds it
into expressionistic minimalism. What is this story? Perhaps it will suffice to say that it is
the reunion of a father fresh out of prison with his daughter now grown up, all prepared
under a pressure cooker of lens and mic. Conflagrations arise periodically from the embers
of troubled quiet, with lighting flickering to and from peaks of intensity. Emblazoned
gestures extend from the sustain of affective brood, while conversations flare up before
subsiding back into the simmering cauldron.
小丽丝的短评 · · · · · · ( 全部 7 条 )
1 有用 chan 看过 2018-10-01 01:42:46
对体态、声音、凝滞和即兴的运用十分高明
0 有用 Aislinn 看过 2023-12-12 15:11:43 湖南
+
1 有用 SAMMAX 看过 2020-09-18 22:42:21
在有聲片初期特別能鑑識誰是大師
0 有用 巽凌 看过 2017-02-09 22:27:43
这里的Nadia Sibirskaïa不止少了一根筋…Cast：Pierre Alcover；Julien Bertheau
2 有用 暂时被分裂 看过 2020-07-29 14:30:51
法国30年代早期有声片。让 格雷米雍。对声音进行了较为成功的实验：在摄影棚同步对话拍摄了一些场景，用默片的方式拍摄其余场景并后期配音的方式获得了多样性。使用画外声、音桥、声音引发闪回等技法。无资源 30年代法国诗意现实主义的先驱。提供了一个成熟的早期先例。