很久以前写过一句话:“于我而言,读诗最大的作用便是能够让我欣喜地道一句:你好,忧愁”
随着时间的更迭,我需要花更多的精力去开拓界域,却也愈发明白文学才是我永远的心头好。顺意时,阅读文学是一种习以为常的生活方式;失意时,文学则更像是一种解救。
在诗意的描摹下,苦难镶了金绣了凤,虚无、死亡,窒息的、蛊惑的,残酷现实蒙上了更深刻的美感。
二十世纪三十年代的法国就似乎笼罩在这样一片昏沉的雾霭下,一战的创伤未消,经济危机又起,二战的鼓噪更是甚嚣尘上。
展不开的结,难平的意,法国四处都是找不到归属的游魂,迷恋着幻象。人们激越地喊着鲜花却又疯狂地冲向黑暗。
而此时,竟成了导演马塞尔·卡尔内与诗人雅克·普莱卫的黄金时代。
在开始叙述之前有必要提一句,卡尔内是“诗意现实主义”电影的大师,但同时也因他的“制片厂美学”成了新浪潮派的重点抨击对象,“制片厂”象征着守旧、程式化,然而1936-1946卡尔内的黄金十年,也正是他反叛的十年。
可能因了电影鼻祖之名,又几番为电影带来突破,法国的电影人总带着股特立独行的骄傲。电影刚刚从戏剧的滋养中尝到甜头,卡尔内却偏偏开始反对起戏剧的矫揉造作,他受到了左拉自然主义的影响,街头摄影师的经历更让他发起了走上街头的电影宣言。
他的电影把目光从上流社会转向了下层民众,现世的矛盾、世俗的万象开始成为电影的背景,借他的镜头,我们窥见了工人农夫,也目睹了贫民逃犯。
他反对戏剧夸张的表现形式,通过电影独到的机位运动,转而更专注于人物心理的细致呈现,此时的电影更加成为一种有别于戏剧的艺术。
有人曾说,掌控于纳粹之下,他无法揭露现实,因而采用了“回避现实”的“诗意现实主义”。然而我却觉得他为当时的抗争提出了有效的途径。
《雾码头》中阴仄的环境,消沉的士气是战前法国的真实写照,然而一度有言论将法国战败归咎于他的电影。为此他曾说:你不能责怪晴雨表招来了暴风雨。这句话即便用来回应当下的审批制度仍旧显得掷地有声。
诗人普莱卫似乎并未在诗歌上有着多大的造诣,甚至如今都难以找到一个为他创立的词条,然而他却成了提及卡尔内的电影时不可或缺的一员。从1936年与卡内尔合作第一部作品《珍妮》,二人十年间先后合作了七部影片。
现实的电影语言配上诗意的台词,是一种慰藉,也是一把利刃。
卡尔内电影的诗意不仅体现在对白上还体现在他对美的良好品味与执着的追求。
《雾码头》的服装设计师便是时尚界里的艺术家——香奈儿。
比起需要用历史语境、学术言语的堆砌来描画一生的卡尔内和普莱卫,香奈儿则要活得热闹的多。
她一生经历了情海翻波,也经历过潮起潮落。
1899年,带着神秘的身世走出孤儿院,走向社会。
1909年,解释卡佩尔,开始了事业宏图。
1919年,痛失所爱,让俄罗斯风格的时装风靡巴黎。
1953年,70岁高龄付出,成为不老的传奇。
香奈儿的人生似乎随意拎出一件事就足以寻常的儿女享用一生。
无论是政界歌坛还是艺术圈,无论是落魄的才子还是英国的首富。
毕加索、丘吉尔、斯特拉文斯基、萧伯纳……
香奈儿是他们的挚友、知音、伯乐、缪斯、女神和好情人。
香奈儿在一段段感情中游刃有余,深情不纠缠。
香奈儿在一桩桩交易中步步为营,聪慧有节制。
在人人试图将自己变得圆滑得以生存的时候,香奈儿却通过保存自己的个性来保护自己。
然而1938年,即《雾码头》公映的那一年,却恰是香奈儿遭遇困境的前夕。
此时她刚刚结束一段恋情,同时还接住了朋友米西娅的全部生活,与此同时,她的高端顾客逐渐开始流向另一位名为夏帕瑞丽的设计师手中,并且,距离她遭遇自己的工厂工人罢工也为时不远,而在几年之后,香奈儿甚至宣布退出业界。
这不禁想让我讲一讲她与卡佩尔的故事。
卡佩尔是资助香奈儿的第一人,而一生追求独立的香奈儿在此时却还一度需要卡佩尔的养活,卡佩尔出车祸的那日据说正是要赶去与香奈儿共度圣诞,怀中还带着给她的礼物,香奈儿到场后大哭了几个小时,并自此立誓“让全世界的女人都穿黑色”。
Marcel Carné is a standard bearer of “poetic realism” in the French cinema of the 1930s, notably also for his collaboration with surrealist poet and screenwriter Jacques Prévert. Here are two sterling specimens, both starring Jean Gabin and espousing Carné’s uniquely atmospheric and fatalistic aesthetic, which foreshadows the advert of film-noir in Hollywood in the 1940s, although it doesn’t chime in with the esprit de corps of the WWII epoch.
The titular port in PORT OF SHADOW is Le Havre, Jean (Gabin) is an army deserter, hitch-hiking to the port in hopes of hopping on a ship to a new land to start anew, preferably with a new identity. Everything goes incredulously frictionless - a world-weary painter (Le Vegan) conveniently leaves his identification card before voluntarily shuffling off this mortal coil, and an unwitting doctor (Génin) is more than willing to take him on board, but the catch is always the one his heart desires. Jean falls in love with a 17-year-old Nelly (Morgan), who is a typical damsel-in-distress with irresistible charm to spare.
Although the script makes a heavy weather to suggest that Jean will eventually leave Nelly in situ with her jealousy-stricken godfather Zabel (Simon, memorably baring his lecherous teeth only after giving an impression as a clodhopping goody two shoes), and she is all too considerate not to be a pitiful bother, yet instinctively, audience can sense that will not happen. Zabel is a homicidal brute, even more so than the equally murderous gangster Lucien (Brasseur, a despicable snake in the grass who can also genuinely convey the glint of tremor in the next reaction shot), whom Jean repeatedly humiliates in front of the latter’s sidekicks, “saving the girl then die gloriously” is a foregone conclusion when he rushes off the ship, compelled by the desire to see Nelly before his departure.
The tragedy continues in DAYBREAK, here Gabin plays an ordinary foundry worker François, and the film commences in medias res, audience sees a man is gunned down by François, who then locks himself inside his pokey apartment, resists the intrusion from the inept police force and reminisces the causality leads to the killing.
It is another eternal triangle, François is besotted with Françoise (Laurent), a florist’s assistant, who inexplicably falls under the spell of a much older dog trainer Lucien (Berry), whom eventually Jean kills on the spur of the moment. Naturally, it only makes Françoise look like an imbecile, a stock object of desire for the sterner sex. The film doesn’t specify what she sees in Lucien, whose odiousness almost overflows out of the screen owing to Berry’s over-the-top ostentation of a self-destructive, pontificating, cowardly weasel, a humdinger of a dastardly villain. Again, like in PORT OF SHADOWS, the fateful encounter with a young-and-beautiful girl becomes a man’s undoing and that’s it, while the one-sided devotion from Clara (Arletty), Lucien’s discontent former assistant, to François is affixed only to balance out Françoise’s romantic dangling. It seems only fair both François and Françoise are recipients of unrequited love to make them worthy of each other, doesn’t it?
Unfolding the story from three flashback, DAYBREAK manifests great facility of superimposed dissolves, and when François is contained in his garçonnière, Carné knows exactly how to move the camera on a dime and let despair gradually throttle François until he finally capitulates, the seething anguish reaches the climax in Gabin’s impassioned outcry toward the rubberneckers on the square beneath, and the ominous daybreak sounds a death knell to a besieged François. A tear gas is thrown into the room after the sound of a gunshot, then the alarm clock rings, DAYBREAK strikes home with the piercing irony of a nihilistic dread.
As the leading man, Gabin asserts himself impressively as a flinty proletarian hero, bristling with coolness, virility and emotional weight whenever the script demands him to emote. For his love interest, in PORT OF SHADOWS, Morgan is born to be adored and gazed upon on the silver screen, her pulchritude is simply beyond words in those soft-focus close-ups; whereas in DAYBREAK, Laurent looks too prim and proper to be equipped with a wandering heart, so it’s up to Arletty to extract enough heart and soul into Clara’s expression of the struggle between independence and codependence, she cannot win François’s heart, but prompts audience to ponder about why? It also betrays human’s ingrown bias of agism and virginity obsession.
It is invigorating to report that, viewed today, both films still possess their indelible allures, namely, the haunting, fog-wreathed mise en scène in PORT OF SHADOWS, with its star-crossed lovers’s heartbreaking romance, and DAYBREAK’s epic invasion of dysphoria, its narratological intrigue, all lead to the supernal pathos of witnessing a decent man driven to his ruination by the vagaries of destiny. Carné’s “poetic realism” - poetic tragedy plus moody realism - is a significant cinematic achievement whose elegance and Weltschmerz might be an unexpected antidote to a world overrun by cynics and sensationalists.
referential entries: Julien Duvivier’s PÉPÉ LE MOKO (1937, 7.9/10); Jean Renoir’s BOUDU SAVED FROM DROWNING (1932, 7.7/10); Jean Vigo’s L’ATALANTE (1934, 8.4/10).
English Title: Port of Shadows
Original Title: Le quai des brumes
Year: 1938
Genre: Crime, Drama, Romance
Country: France
Language: French
Director: Marcel Carné
Screenwriter: Jacques Prévert
Based on the novel by Pierre Mac Orlan
Music: Maurice Jaubert
Cinematography: Eugen Schüfftan
Editor: René Le Hénaff
Cast:
Jean Gabin
Michèle Morgan
Michel Simon
Pierre Brasseur
Édouard Delmont
Raymond Aimos
Robert Le Vigan
René Génin
Marcel Pérès
Roger Legris
Jenny Burnay
Rating: 8.0/10
English Title: Daybreak
Original Title: Le jour se lève
Year: 1939
Genre: Crime, Drama, Romance
Country: France
Language: French
Director: Marcel Carné
Screenwriters: Jacques Viot, Jacques Prévert
Music: Maurice Jaubert
Cinematography: Philippe Agostini, André Bac, Albert Viguier
Editor: René Le Hénaff
Cast:
Jean Gabin
Jules Berry
Arletty
Jacqueline Laurent
Bernard Blier
Arthur Devère
René Génin
Georges Douking
Rating: 7.6/10
D'après Pierre Mac Orlan 法国电影资料馆、studio canal联合修复版(11.7你要注意 出口是不是有一个人)|20200719资料馆重看35mm
Ne me quitte pas!
深夜港湾啊。电影的诗情不就在那个忧郁的画家上,要画下事物背后的忧愁,身份钱财都是多余的,于是给有需要的人留下,然后转身赴死。
poetic and pessimist
千言万语散尽在云雾中。
第一部法国诗意现实主义。雾是死亡/苦闷/现实,港是出发/自由/爱情,人在两者间摇摆,却终究无法走出。逃离战场的军人、黑社会、失意画家,这些对社会秩序失去信心也被社会秩序所抛弃的人,在巧合与突发中,走向不可挣脱的宿命。含蓄的台词使每人都携有故事。在车下救起一只狗,却不得不亲手杀死一个人
初具黑色电影的视觉图谱,灰暗、阴郁、弥漫着雾气的夜色场景,失魂落魄的男主人公,充满着悲观、厌世、绝望的情绪,他与暗淡的现实奋起搏击,乃至最后的死亡,都是现实主义的可怖。而诗意,是如烟花般猛烈而瞬息的爱情。诗意现实主义,是悲观主义土壤上生长出的玫瑰。
法国的腐朽的气质
法国人的幽默很中 诗意写实的风格让人情不自禁想到好莱坞的经典黑白电影 但是雾港里的“写实”部分实在太美妙 浪漫的真实感抛离好莱坞一百公里还有就是男主角注定的走不了 一提到船就知道的
对白多得令人发指,听不懂的地方不少~
连配乐都带着某种迷人的暧昧,雾中的一切似乎都在不同的方向间摇摆,而我们就被困在这模棱两可之中无处可去。每个人都像是随机运动的粒子,偶尔相互吸引最终也无法改变各自行进的轨迹,真正的偶然其实已成注定。我们歌颂生命,同时拥抱生命的终结。
#重看#初具黑色片元素,一个明知对抗残酷现实不可为而为之的心碎故事,飘荡在港口的氤氲夜雾,既是无法控制的命运走向,也是笼罩在二战前整个欧洲的巨型阴影,个人的身份背景可以模糊,但苦闷失意落寞的情绪与心理状态却是群体性的;“你们都有爱情,谁来爱我?”苦苦挣扎的都是孤独的灵魂。
在所有的爱情剧当中,法国式的爱情,才最是让人觉得优雅而诗意吧。尤其是战前三十年代的诗意写实电影(作为类型),在阴郁的氛围之下,无不飘渺着爱与死的宿命感。如果有诗人导演,马塞尔·卡尔内将会是第一个。侯麦说,改变他电影观的有两部。一部是《火山边缘之恋》,另一部便是本片。
若干明显穿帮镜头
#siff2018# 还有比临死之时最后说一句“吻我”更诗意浪漫的事吗?
霧。港口。逃兵。流浪狗。為生存苦惱的底層人們。宿命、悲觀。女性。主角厭倦暴力殺戮,仍得以暴力還擊。善惡的模糊,英雄的矛盾。浪漫與現實的拿捏。短暫、些微的陽光。船的汽笛。結局主角死後,擺脫繩子的狗。
卡尔内的片子再怎么拍都显得有点不紧不慢,生活如雾的茫然失措。让迦本真是什么都能演,一代巨星果然不是盖的。
Tu as de beaux yeux, tu sais..
情节的发展,人物的塑造都集中在Panama旅店里——一个带有怀旧和幻想,被大雾包裹住的海边旅馆里。人物的道德界限,行为动机,背景都是模糊的,具有象征意义的雾气在电影里常常出现,给予了电影一种悲伤细腻的气氛,歌颂了为美好事物献身的人文主义精神。
全片直至结尾的十多分钟才看点颇多,谋杀案的真凶,士兵的真话等,包括最后的唱诗班配乐的殴打和被枪杀后尖叫与船的汽笛才让整片的戏剧张力提升了许多,之前都是断断续续的对白,和无缘无故的巧合,让人摸不着条理;两人的相爱太过平淡、浅白,很多故意设计的相遇桥段感觉太无趣;摄影和朦胧光影、小狗