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5.Goodbye to Language

5.《再見語言》

In a banner year for 84-year-old visionaries, Jean-Luc Godard issued his first 3-D feature, a skeptical phantasmagoria that proves the unstoppable innovative verve of the auteur who set movies on their modernist course with his 1960Breathless. When most other directors stopped modernizing, Godard went further, into a film-essay form that lays his cantankerous ideas about life, love, politics and film history over the smidge of a story — here, the romantic debates of a youngish, often nude couple (Héloise Godet and Kamel Abdeli). As if he were making the first 3-D movie experiment, Godard shows nature in violent, supersaturated colors and, in one scene, plays with overlapping images: close one eye and see a man in the foreground, close the other and see the woman in the back. The real star is Godard’s dog Roxy, a mournful observer and a great natural actor who embodies Darwin’s observation that “A dog is the only thing on earth that loves you more than he loves himself.” This latest Godard may be hard to love, but it probes, confounds and exhilarates in equal and unique measure.

對84歲的預(yù)想家讓-呂克·戈達爾來說，2014是有標(biāo)志性意義的一年。這一年他推出了自己的首部3D電影《再見語言》。戈達爾1960年的電影《精疲力盡》（Breathless）奠定了法國新浪潮電影流派的基調(diào)，而幻覺效應(yīng)貫穿始終的《再見語言》延續(xù)了他創(chuàng)新出奇的風(fēng)格。如今大部分導(dǎo)演不再追求現(xiàn)代化，而戈達爾卻進一步反其道而行之，創(chuàng)造了“電影小說”的新形式。他通過敘述一對年輕夫婦和一條狗的奇幻故事，表達了自己對生活、愛情、政治和電影歷史的看法。在探索3D電影的過程中，戈達爾展現(xiàn)了沖突和超飽和色彩的本質(zhì)，還在一個場景中運用重疊圖像的手法：閉上一只眼，你看到前面有位男士；轉(zhuǎn)而閉上另一只眼，你會看到后面有位女士。影片明星是那條名叫羅克西的小狗，它悲痛地旁觀著一切，最佳詮釋了達爾文的那句名言：“狗是世界上唯一愛你比愛它自己多的生物”。盡管戈達爾最近讓人有些晦澀難懂，但他會通過獨特的方式讓你受益匪淺、欣喜若狂。