巴黎一间默默无闻的小酒馆里,一位忧郁而孤独的钢琴伴奏师查理·科勒(夏尔·阿兹纳夫 Charles Aznavour饰)。他的生活简单而又单调。热情的酒馆女侍莉娜(玛丽·杜布瓦 Marie Dubois饰)为查理的才华所倾倒,爱上了他。原来,查理曾经是显赫一时的著名钢琴师,在妻子自杀身亡后隐姓埋名于此。莉娜鼓励他重新找回自己走上舞台。然而一日,多年未见的弟弟奇科·萨洛扬(阿尔伯特·雷米 Albert Rémy饰)因躲避黑道仇家的追杀而闯进了他的生活中。查理帮助弟弟逃脱了仇家的追杀,却意外卷入这场残酷的生死逃亡之中。幸运之神并没有眷顾与查理生死与共的莉娜,在激战中,莲娜不幸中弹身亡。查理再度回到了往昔的小酒馆中,一切又回归起始,却物是人非。
由法国电影大师弗朗索瓦·特吕弗执导的黑白影片《射杀钢琴师》,根据美国作家大卫·古迪斯的小说改编而成。
The French New Wave, in general, was about both iconoclasm and reverence for the long-lasting film traditions. If the fragmentary editing epitomized by jarring jump cuts, and the extended long takes consisted of medley montages in New Wave films were a testimony against the institutionalized cinema, then, the adoption and references of antecedent film movements and genres were the most sincere accolade to early art-cinemas from the New Wave directors.
Shoot the Piano Player(Francois Truffaut, 1960), Truffaut’s second feature film may on the surface level may feel like a modest tale of crime thriller centering on pianist Charlie’s (Charles Aznavour) entanglement in a bizarre cat-and-mouse game. However, it is full of intimation and little eccentricities worthy of the viewers’ attention, crystalizing the spirit of the French New Wave.
It is often noted how many of the directors within the New Wave made references to classic film movements and genres; so did Truffaut. For instance, the claustrophobic atmosphere stemmed from the chiaroscuro lighting schemes, and the dramatic shadow patterning right at the opening of the film is his direct tribute to the classic American noir films (1:50). Yet, this 4-min sequence is full of Truffaut’s acute implementation of salient New Wave stylistic elements. The scene starts with a chase sequence displaying Chico (Albert Remy) running for life from the two gangsters (Daniel Boulanger, Claude Mansard) pursuing. The interposition of shots of Chico sprinting and the car following with disoriented camera movements are the distinct language of the New Wave directors who knowingly twist temporal and spatial continuity. At the same time, Truffaut adopts the nonlinear storyline from neorealist films to play with the narrative a bit. While the viewers are still fixated on the thrilling chase sequence, in the next second Chico is stunned by a streetlight and soon gets rescued by a stranger (Alex Joffe) just passing by (2:37). Rather than return to Chico’s escape, for the next two minutes, the narrative digresses instead to capture Chico and the stranger having a casual conversation about life, love, and marriage. It is not until the stranger disappears at the corner (and never reappears in the rest of the film), the chase again carries on.
Still, the innovative editing and the episodic narrative structure are just one snippet of cinematic elements that Truffaut utilizes inShoot the Piano Player. Followed by the wildly acclaimed debutThe 400 Blows(Francois Truffaut, 1959), Truffaut continued to masterfully maneuver the frame to draw audiences’ attention to a specific point in the scene. In the final snowbound shootout with the gangsters (79:00), Lena (Marie Dubois) gets accidentally shot at on her way looking for Charlie. When Charlie finally shows up, everything is too late as Lena, covered in snow, has lost her breath already. As Charlie holds Lena with remorse, rather conventionally cut to a close-up of Lena’s face, Truffaut employs a combination of zoom shot and freeze-frame to immortalize this poignant moment, magnifying Charlie’s anguish in losing the beloved one.
Truffaut takes the free-wheeling side of the French New Wave further by implementing gentle humor into his film even if the tone and subject matters can be quite intense. In the scene where Charlie and Lena have been kidnapped by the gangsters, for example, Truffaut turns a supposed agitated maneuver with the criminals into a waggish slapstick (25:30). Despite being kidnapped, Charlie and Lena keep having discussion apropos of driving, women, and sex with the two gangsters along the way, as if they have known each other for a long time. Then, noticing that the two gangsters have let down their guards, Lena pushes her foot on the drivers’s pedal in an attempt to get the car pulled over. The tactic is successful, allowing Charlie and Lena to walk away with ease while the gangsters have to end the kidnapping to deal with a passing traffic policeman. Interpolating these humorous aspects within the story again emphasizes the versatility and playfulness of this film alone. SometimesShoot the Piano Playerbecomes reflexive as Truffaut reflects on the making of the film and makes flippant remarks about it. In an erotic scene where Charlie is about to enjoy himself for the rest of the night as Clarisse (Michele Mercier), already naked, is lying next to him (20:58), Charlie takes the bedsheet to cover Clarisse’s breast, joking “This is how it’s done in the movies.” Just like that, Truffaut, in sleight of hand, integrates his jocular comment about the classic Hollywood’s finicky Production Code, evincing his attitude towards the need for modern movies to disregard any forms of restriction.
Besides, Truffaut did not apply all the cinematic elements of the French New Wave just for the sake of applying it; what really appeals to him in making the film is the sense of loneliness and alienation that is suggested for the protagonist. Charlie, a passe classical pianist, is portrayed as a diffident and reticent person who seems to be a little bit cut off from the rest of the world. In order to reflect such personality appropriately, Truffaut makes use of many New Wave stylistic devices, along with voiceovers and flashbacks, guiding the viewers into Charlie’s psyche. The voiceover is the most frequent and effective device that sheds light on Charlie’s subjective thoughts throughout the film. In particular, in the sequence where Charlie accompanies Lena back home right off the work (15:30), the close-ups of Charlie’s hand seeking to hold Lena’s is juxtaposed with shots of his restrained face. Such thoughtful editing is an apposite representation of Charlie’s lack of courage in taking initiatives, exemplifying his agitated state at the moment. The subsequent voiceover of Charlie searching for improvisations to break the silence once again directly demonstrates to the viewer Charlie's reserved character.
Another brilliant example of Truffaut’s keen link of visual style with the story’s idea and characterizations is the audition scene. Truffaut deliberately utilizes montage to call attention to Charlie’s psychology. As Charlie walks across the corridor and about to enter the audition room (33:53), first a medium close-up of Charlie playing with the door key is shown. Forthwith, we get three different close-ups of his finger teasing the door bell within different scales, and then a long shot from the end of the hall which completely jolts us back out again. The montage of Charlie’s hesitant actions plus the elongated corridor scene reinforce the idea of hollowness, as his ambivalent behavior keeps haunting him. What’s more scintillating is that, in the next shot, the door is opened by a young lady who has just finished her audition. In most cases, we would expect the camera to follow Charlie entering the audition room and watching him performing in front of the judges. However, the camera instead stays with this young lady, tracking back with her as she walks through the corridor and out of the building. Such an open-ended sequence epitomizes Truffaut’s mastery of the incidental narrative structure, and makes us wonder about his ulterior motif in creating it. Is he showing the lady because she might just be another victim of the sexual harassment just like Charlie’s dead wife, or because he simply wants to? By constantly incorporating stylistic features from the New Wave, meanwhile, blending his uptake of the modern cinema, Truffaut in harmony, creates an idiosyncratic film language that is distinct from any other coeval peers.
Du burlesque qui fait travailler les corps en relation avec le cadre/les cadres : l’écran du cinéma, la rue, la voiture, la chambre. Sur ce burlesque, une spontanéité de mouvement spatial, formel, mais aussi dramatique - insert, zoom, disparition, plan d’ensemble, tout vient créer une errance profonde, presque néo-réaliste. Finalement Truffaut ajoute de la voix du protagoniste sur ce drame absurde et chaotique, qui fait en même temps de la narration et de la non-narration. Parce que même si on entend, semblablement, les pensées de Charlie-Édouard, cette voix intérieure ne se réalise ni se projette dans le monde réel. La voix est du côté de la déception, de la non-action. Alors de ce principe du burlesque, on arrive à un esprit immobile. Un Keaton déçu, moderne et triste, qui joue toujours son piano quoiqu’il arrive. Il est pianiste, on tire sur le pianiste.
查理在酒馆当默默无闻的钢琴家,而丽娜也爱着他,肥腻的老板爱而不得。他很害羞,她也害羞,不牵手。开头他哥哥找他,哥哥因为私吞同伙钱被追杀,而他虽然冷漠却在门口帮了他逃走,卷入其中。两个人绑架他和丽娜却被交警救了,而他俩去她家她才表白,并且大段回忆过去。当年他是著名钢琴家,而妻子其实为了签约与老板睡,而他在成为大钢琴家后的自豪让妻子嫉妒,最终她坦白自杀,他大受打击,化名查理潜入酒馆清洁工、然后看见有钢琴开始弹。她知道这一切,想和他走。可他们去找老板要工资,老板吵架,打架,他拿刀自卫,两人出去,查理觉得没事丢了刀,他掐死他,他拿刀戳死他。他只能回家和兄弟一起躲,让丽娜离开,而儿子菲度后面也被绑架。可丽娜后面来接他无罪走,却碰到两人追杀,菲度逃走,她被杀。另外2兄弟和两人追逐,而他只能继续弹琴。一个悲剧,妻子为了他弹钢琴最终犯下错误,他失去爱情,后面有新的爱情又因为卷入兄弟的事情以及自己和老板不和杀人的因素导致爱人卷入被杀,最终继续平淡的生活,躲进小楼成一统。突然插入的回忆,跳跃的剪辑,还有分屏的圆圈。
可能不属于最动人的电影,但绝对是最有活力的电影,无愧“新浪潮”的奠基之作。传统犯罪故事为壳,爱情悲剧为骨(所以有评论结合二者,亦归为黑色电影范畴),“悬念”一直留到了最后十分钟,但散漫直接、跳跃多变的镜头记录下的情感世界却无疑是现代的(几处镜头甚至做出了默片的效果)。闷骚男主的口不对心一次次酿成了爱人的悲剧,除了一段床戏,他的状态总是平静的,观众很难进入其内心与其共情,从而被迫去思考背后的原因。开头的追踪、中间的绑架&脱困、结尾的枪战,印证着本片具有“对犯罪情节即兴的、充满深情的戏仿式处理”的倾向的论断。仔细想想,犯罪元素似乎隐隐将男主的困境指向出身与阶级,而不时出现的(透过人物)关于婚姻与爱情的评论和流行乐(酒吧歌手真人献唱那首Framboise很好听)传递出对爱情的怀疑这一社会性讯息。
新浪潮给人最大的启示就是它的灵气,相比之下现在的电影太匠气,故事、摄影、演员什么都对,可对的又好像很过分,像按公式做出来的一样。即便是电影专业学生拍的电影,也一股脑的要走好莱坞的大片范儿,太专业则无趣。
实在是一部很奇怪的电影,同第一部作品“四百击”相比,特吕弗有很多改变,他尝试了完全不同的叙事风格,并不是每一个细节每一句台词都是为所谓的主题服务,这也让你的观影乐趣变得随遇而安。
兄弟皆匪寇,琴师亦杀人。明明知道自己的行为可能导致前妻的崩溃,却做不出正确的选择,记一命;与强壮的酒保搏斗,出于自卫一刀刺杀,记一命;利娜送他奔命,又接他回城,问他回屋会不会再不出来,他仍毅然决然回去跟树敌置险的兄弟告别,放利娜独自在茫茫然雪地里等待,利娜被枪杀,记一命。所谓射杀钢琴师,钢琴师没事儿,反倒直接、间接导致了多桩命案。然后,再重回酒馆做他的琴师,躲着疗愈,顺便结识新的女侍,成为她们一方天地里的新鲜爱人。
特别喜欢查理去公司谈合同的场景。从他上楼梯时起就能听到很嘹亮的提琴演奏声,在他犹豫要不要按门铃时,一个无精打采的女生出门,与他擦肩而过。这时有一个特别神的调度,一直跟拍查理的摄像机果断地舍弃了我们的主角,开始追随这个女生!女生走了几步后,查理的钢琴声突然响起,女生驻足,摄像机却没有停止移动,而是继续后退并远离被摄体,直到把女生孤零零地甩在空旷的走廊中央。钢琴声伴随着女生走出公司,衔接到盛装的查理在舞台上演奏,收获雷鸣掌声的场景。很多导演会直接表现主角的命运转折,而特吕弗选择把焦点短暂地转移到一个毫不起眼的龙套身上,通过配角的落败与失意,侧面表现主角的成功与得势。而且其高明之处在于,主角之后的陨落也在他与女生的交替之间得到暗示。查理终究也会成为另一个走出房间,走下舞台,销声匿迹的人。
迷影情结的一次创作,把特吕弗擅长的好莱坞电影叙事和个人戏谑的风格结合起来。开头是黑色电影的风格,整个是黑帮片的变奏,钢琴师的内心独白和现实的对撞很有意思,雪地的场景跟后来科恩兄弟的《冰血暴》很相近,开头和结尾的钢琴曲形成封闭叙事,还留下对新来的服务员的悬念。这样的特吕弗挺有意思的。
特吕弗最好的,也不仅仅是类型片,人物之间似乎在展开某种接力,敞开的情节让每一段相遇与意外都绽放出七彩的小故事,仅仅需要把两个陌生人框在一个镜头里便能产生魔力,运动跟拍镜头与讲故事的独白作为两种流,在这里展现出时间的含义和人物形象的张力。
特吕弗第2部长片。1.满溢存在主义气格,戏仿与解构美式B级犯罪片,拍得很戈达尔。2.无主题,彰显自发与即兴性,及生活的无常与荒诞。3.车内插科打诨的绑匪,为科恩[冰血暴]借鉴,无意义话唠则被昆汀继承。4.画外独白(意图)与影像(行动)的背反。5.匪徒发誓与老妇摔倒的圈入。6.黑暗死谷vs白芒雪地。(8.8/10)
7/10。没意思。后半段剧情跳跃性这么大,我还以为是戈达尔拍的,不知道这是不是为了模仿传统意义上那些因缺乏资金导致很多片段无法完成的好莱坞B级片。男主角表演很沉着,丝毫不抢戏。
套了犯罪片的外壳,内里还是新浪潮的手法,不讲究故事原委,只有人物当下状态,钢琴师这个角色融合了很多矛盾点,外表内向床上火热,身边两位女伴接连死亡使他看上去很悲情忧郁,但似乎他又能投入到新的恋情中,也是特吕弗的幽默与讽刺了。
672M 射杀钢琴师.Tirez.sur.le.pianiste.1960.D9.CC.2Audio.MiniSD-TLF
特吕弗诞辰90周年观影。黑色电影、法国诗意现实主义与新浪潮的糅合。手持、横摇、变焦,跌宕摄影随性如即兴曲;分屏、遮罩画幅、快切,跳跃的剪辑节奏又成丰富的装饰音。最好的是画外音与场景微妙的距离感,平添人物和剧情的暧昧不明、扑朔迷离。只是打底的故事实在无聊,像极最烂俗的黑色电影桥段拼凑成的古龙小说。
剧情跌宕起伏,剪辑干净利落。故事环绕在俏皮的音乐声中,也别有趣味。除了打乱的时间线,故事叙述和任务设定也颇有些黑色幽默的感觉。特吕弗的悲哀通常于此,现实之残酷在于命运之不可预知,不可改变以及人心之不可揣度。大量与行为矛盾的内心独白增强了电影的戏剧性。
只有法国人才会拍出这样神经脱线的黑色电影。他们才不在意犯罪动机、作案细节,追求的永远是至死的浪漫和感性。所以才会有男人在被追杀时,撞上电线杆晕倒,醒来后跟陌生男人边走边聊,听他谈女人和家庭。这个男人并不是主角,他还在被追杀,和陌生男人分开后,躲到了钢琴家哥哥工作的地方。钢琴家在妻子自杀后,隐姓埋名于小餐厅弹钢琴。餐厅里的一名侍女爱上了她。回家的路上,两人并行,若即若离,骨子里的浪漫劲儿就算在被追杀时也无法掩盖。弟弟的仇人把钢琴家作为了新目标,可这根本不是什么惊险的犯罪片,黑道杀手总爱絮絮叨叨。除了爱情和追杀,你不知道这群人想要干什么。相爱的人就那么任性地爱着,追杀的人就那么追杀着,原因和目标都不重要。
特吕弗的第二部,轻盈而有幽默感,典型法国新浪潮作品(跟早期戈达尔的气质好接近啊这个时候应该是俩人关系最好的时候吧)。虽说今天看里面男人一个赛一个地油腻猥琐,不过片子真的是很有想法,一方面对犯罪片的套路烂熟于心,一方面又各种反类型(突出表现在各种散漫且枝蔓的人物和情节,以及各种喜剧式的瞎聊桥段)。闪回大段落处理得很好。内心独白的用法是本片一绝了。
仿默片的運鏡及奇異的畫外音自敘營造出不錯的代入視角,被潛規則的妻子、暗戀許久的情人、狡獪的店主與不成材的弟弟們等小片段都很好,但湊在一起並不能成為一個好故事——高潮一波接一波,卻不連貫,只成了瑣碎的短篇合集。
仅以此片记住操蛋的张北音乐节第三天的直播,从The Soundtrack of Our Lives到知道Tricky不转了一共花了两部部【射杀钢琴师】的时间。去你大爷的。
原著美国犯罪小说,法国抒情调。技术很潮,台词诗意,时而幽默。姑娘上床脱光衣服后,男主角说“电影里面可不是这样”,于是将被子裹住诱人双胸。“反”电影。女主角中枪倒下滑下的雪景镜头最是诗意,在车上的温情莞尔足以让我春心荡漾。
率性自由的法国新浪潮,剧情和节奏就像是蓝调,不至于哀怨,也绝对不妥协,不刻板,不犹豫不决,总是带点自负的,可爱,步伐像个大男孩,可往往又在浪漫前却步,其实内在都是在讲日常里的得不到,差一点点,可是又没有叫人遗憾和后悔,爽朗如此,人生便已算快意。
为什么老是要厚古薄今、追捧名导?各位难道认为这些年的电影是在退步?个人感觉此片的叙事剪辑表演等方面都很稚拙,倒是比更被吹捧、豆瓣评分8.9的<四百击>要好看一些。
过了一遍剪辑,相当于二刷了,注意到了一些之前没有意识到的剧本上的亮点。男主角几乎面临一切矛盾都选择束手,就连最初的机会也是门打开那个时机的偶然性放到他手里的。其实故事相信的是这种“内心斗争后无作为”的普遍性,认为普遍性让人忽视这种行为的后果,所以有必要呈现它可能带来的不幸,有必要提醒人这种行为的无伤大雅是基于幸运才成立的。男主角弹着钢琴向前看的这个动作,是一种遁入安全结界的逃避,把自己隔绝于外界,相当于最后还是回到那个熟悉的旋律里,选择束手。