- "Jules & Jim"
text / Liu Chen
"Jules & Jim" is Telv Fu 1962 movie. The name of the movie is taken from the two male protagonists in the movie, Zu Hezhan. But more stories revolve around Catherine, the woman they love deeply together. This woman is smart, beautiful, and cunning, like a fairy in a dense forest, with a contemptuous smile. She has loved Napoleon since she was a child, dreaming of meeting him in the elevator, pregnant with his child in the elevator, and never seeing him again. he. Acting as unfeeling as a queen, she can abandon you at any time, and you don't even have a chance to know the reason. I am afraid that Truffau has searched all the interpretations of the good time in his mind when setting this role. In the movie, the director used a very special technique to push her out. Zu Hezhan was immersed in a life full of literary and artistic colors. In the house of an artistic economic man, Abel, he was fascinated by a slideshow of an ancient Greek stone head portrait. , A few days later, Catherine, with her mouth as charming as the stone sculpture, came to the banquet, like a goddess descending from the sky. Catherine represents the most beautiful characteristics of all women and has all the properties that fascinate men, but Truffau uses a camera to push her to destruction step by step.
The relationship between Zu and Zhan was defined in the narration from the beginning-"They are like the master and servant of Don Quixote". This definition seems to be just a joke, but at the end of the story, after Zhan and the heroine Catherine fell into the water and died together, they are mentioned again, forming a loop that wraps up the whole story. . This may be an unintentional attempt, or it was intentional. What is intriguing is that most of the story seems to be around the heroine Catherine. She is beautiful, sly, self-centered, and smiles with a little contempt, in the eyes of the ancestors. It was like a pure natural force that completely captured him, and he also loved her in the way of a servant, and even the ancestor himself admitted, "In order not to completely lose Catherine, he is willing to let Zhan and Catherine live with them. ". Although he married her in name, it became an empty house. Because of his generosity, innocence and selfless love, it also made him less attractive, and he was not pursued as a "novelty". An important flaw that Catherine loves deeply. Sometimes we often encounter this kind of contradiction. It can simply give people a sense of security, but it is often unattractive. However, Zhan is a man with many romantic experiences, traveling, writing, and translating. When they met for the first time after the war, in small talk, Zu jokingly said that he was "a curious person" and that others Tell him that "there will always be newspapers to pay for his travel expenses", and he is very smart, although he has been secretly admiring Catherine, but knows that she will not stop because of whom, so he did not become his prisoner in the first place. At one point, the innocence and selfless spirit of love that he lacked has been vaguely revealed, which determined the tragedy that followed and Catherine fell into the water in the confusion. But it can also be said that his charm and his shortcomings are on the same latitude and have the same root. After all, he is an accountant, not an ancestor. In the movie, Truffau seems to convey such a strong contradiction: Zhan Hezu can only be two people, and can only be two independent people forever. Perhaps everyone has deeply experienced this kind of contradiction in diversity. Sometimes we have also thought about it, if we become like that in any aspect, wouldn’t it be perfect, but such an example never seems to appear. It's impossible.
Careful people will find that the title of the movie is very intriguing. A lot of the length of the story is bumped on the road in the mutual love, entanglement and suspicion between Zhan and Catherine. But the title is Zu He Zhan. This is not a movie about a love triangle, or even a movie about love. I think it’s ridiculous for anyone to interpret a Truffeau’s film from the perspective of pure love. This French film master, the standard bearer of New Wave movies, and the author of "Four Hundred Strikes", has never narrated everything. It is a kind of passion, and in this movie, it reveals its mature side, which is the reflection on passion after passion. And the representative of this reflection is the ancestor. He held a firm belief from beginning to end and guarded Catherine’s faith until the last moment. Although he had never received Catherine’s passion, he watched the destruction of a pursuit, a passionate one. Submerged. He became the remaining person of the whole story. In the last scene of the movie, Zu wears a hat to sweep the screen for his best friend and most beloved person. He walks alone on a desolate path. The story ends, Zu Jing Jing watched the ashes of Catherine and Zhan being put into the coffin. At this time, there was a very subtle narration saying: "Did Catherine get happiness in this war? No, she made a mess of her ancestor's life. Her death, It made him feel relieved."
A relief, which is the most true feeling of the ancestors at this moment. The mission of love that he shoulders carries a selfless noble spirit in itself, but it only makes him feel painful, and he is completely dependent on it. The belief that burst from the heart is supporting me. His happiness has long been obliterated. I heard and felt that in this seemingly peaceful narration, what the director actually showed up was his helplessness towards Catherine and his ancestors. Pity. And what these two people represent is exactly a kind of full natural force that comes from the heart of oneself and the power of a completely selfless will. And this power of will has not received any affirmation here, and the praise received is only a "liberation" after the mission is completed.
Truffau has been questioning "love" here. But from the story of his endless ups and downs, it can be seen that what he harbors is not negative. More is wandering. This sweet word gives us too many illusions and makes people die of fatal passion.
There is a small scene in the film. On a beach, Catherine tilted her head in the sun, closed her eyes and told a novel she had read recently. In the novel, the sky is likened to a bubble. People walk backwards towards the center. There is a shell on the outside. Outside the shell, There is a force pulling them.
In this ambiguous little detail, the shell may represent the insurmountable shell of all the rules of life. Everyone who wants to go beyond the limited rules of life whimsically wants to go to the source of life to take a look, and even release this in the center of self. This kind of thought will lead to desperation. Perhaps this shell is the kind of power that controls the stubborn beliefs of his ancestors. He loves Catherine so much that he has no self. For him, Catherine's departure is the destruction and total darkness of his life. That kind of desperate imagination became all his fears at the beginning, making him almost ignore the whole content of life. However, after Catherine's suicide, he got relief. The movie did not tell us the life of his ancestors after this. , Will Zu smile very relieved, can't figure out why he would so persistently put his life in the hands of a woman who doesn't care about him at all. The director was sympathetic to the ancestor, and finally left Sabine, Catherine and his daughter in his life. He will return to the torrent of life... The
ancestor is the real protagonist of the film. Perhaps, an inconspicuous but representative role that the director cares about has a kind of simplicity similar to the earth. This kind of tough charm is probably only a year. Older people will feel it gradually.
In fact, after watching this movie, the first thing I thought of was French director Bertolucci’s "Dream of Paris". In this movie, he almost completely followed this three-person model, as if it were a tribute. Style works. In his movie, another similar character, Matthew, finally saw the other two heroes and heroines holding hands and being killed by a bomb in a riot. He survived cowardly but at the same time strong, hiding in the onlookers. Among the blurred crowd.
How similar the perspectives of the two directors are. They are far beyond everything. They looked at the whole process of the story. They did not say anything, did not speak, did not conclude, did not affirm the crazy pursuit of ideals, and There is no denying the person who quit halfway, only an absurd picture of life is revealed. Everyone uses his own way to refute, and no one is more unfortunate than anyone else, and no one is happier.
Only those trivial details have never disappeared.
When Zu Hezhan came to Catherine for the first time, Catherine put a moustache on her mouth to play Mr., and asked men passing by to check her outfit by fire. On the bridge they raced to see who rushed to the other side of the bridge first. , Accounted for one or two, Catherine ran away. She said on the other side: I cheated, but I won.
Catherine will put a bottle of sulfuric acid in her suitcase to drench the eyes of liars.
Catherine wanted to burn all the love letters written by others, but she burned her own white skirt. Zhan jumped up in a panic to put out the fire at her feet. It is said that the feeling of panic is similar to the feeling of emotion.
The three moved to a house on the outskirts and went to the forest to find the remains of civilization. This is Catherine's favorite adventure, accompanied by two men, warm but not embarrassing.
Catherine said with emotion, I never laughed before I met you. like this. Catherine put on all kinds of arrogant expressions. Truffau uses a small technique here, just like you stare when you are attracted by some beautiful scenery. He freezes a few shots and leaves these proud but bewitching expressions like a slideshow. . After pretending to be a few times, Catherine couldn't help laughing openly. This was the last scene of the scene. The processing site is very clean.
Zuwei's future life must be supported by the wonderful details in these memories.
In the beginning it was the encounter between Zu and Zhan, two young people with literary dreams. Their ancestors came from Germany and spoke French with a little German accent. They were simple and there were almost no traces of wandering left by women in their lives, but Zhan was a man. The romantic Frenchman has many girlfriends, but he stays with his ancestors day and night full of joy. They talked about all kinds of strange people, translated their works, and appreciated each other. Zu contributed his simplicity and determination, and Zhan also wanted to give Zu what he yearned for, such as introducing him to a woman.
Seeing that many people who have experienced what they consider to be legendary here will certainly agree with a smile, and agree with this friendship, just like after Zu and Catherine got married, Zhan also said that he envied his life like this, it was a heart. Wandering people's envy of a stable life is an undesirable envy.
There has always been a loyal woman Jiaobei beside Zhan. She is gentle and beautiful. She never makes any request to the ancestor. She always waits for the ancestor to stop and fulfill the two people’s wish to have a white head. Zhan partly yearns for stability, partly Continuously satisfying my curiosity.
As pointed out in another narration in the movie, "Jiaobei is to occupy, just as the ancestor is to Catherine." A tragic symmetrical relationship formed between them. Two selfless lovers get love that is close to nothing.
Whenever Zu was hurt by Catherine's overly sensitive weird behavior, he would go to Jiaobei to seek support. Zu's cleverness reveals a kind of non-nobleness. From Jiaobei, he clearly saw that what he actually saw was "benefit", which was compensation that did not require return. He was willing to accept such compensation. And what he paid was only his own charm. This kind of "immorality", Jiao Bei also hinted that, in the desperation of Catherine and Zu being unable to have a child, he drove her away. At this time Zu naturally relied on Jiao Bei, but when he When she was brought to the hotel, Jiao Bei still complained, "Although I know I am not a moral person. Hotels always make me feel guilty. But you don't."
Jiao Bei is equally selfless. The female character is also very plump and has her own pride. In the unexpected war, Zu returned to Germany to participate in the war on behalf of the German army. During the war, Zhan received Jiaobei’s packages and letters, and fought with her gentle support. During a holiday, Zhan returned to France to visit that love. Her person, Jiao Bei also proudly said, "You don't need to marry me because of those packages." The implication seems to be saying, I don't need your charity, I love you, and I also want to be with you, but I must It is out of a complete feeling. Of course, this is also naive. Your selfless devotion may move others, but is it possible to get a complete feeling? Maybe this is just a trick? Or is this actually an irony of "freedom"? Just like Cupid in Greek mythology, he always blindfolded his eyes when shooting a love arrow, while Yuelao in Chinese mythology is a red thread that pulls two people together. Sometimes, when we show our emotional self-ization to the limit, falling in love becomes a myth.
But Zu did not want to stop, but he still wanted to try and hoped for Catherine. Although he was hurt in Catherine again and again, he knew very well that even so, Jiao Bei would not leave him. In his accounts, he will not suffer. The injury he suffered from Catherine, from another perspective, seemed to be his own injury to himself.
Because of absolute trust, Zu often opens up to Jiao Bei and talks about the
cuteness of Catherine. There is a dialogue in the film: When Zu Catherine often does something to hurt others, she is actually just looking for fun and learning about life.
Jiaobei will never stop like this.
Don't be so petty.
Jiaobei, I'm just jealous.
The jealousy that she vaguely revealed, of course, did not get the attention of her ancestors. A person in love, like a child, no longer thinks about things other than him and his lover. Zu's affirmation of Catherine was also affirmation of himself, this is their common life creed, to find happiness and learn life. It seems naive and full of wisdom, but in the end why did it become two boxes of ashes?
Regarding this question, in the second half of the movie, Zu gradually started to wake up and had some answers. In Catherine’s room, Zu has become tired of this game of chasing each other and trying to control each other. He said-
there is a bookmark in the novel you lent me with a paragraph written on it: a woman, at Dreaming about making love with strangers on the boat. This sentence seems to be your confession, telling how you started your adventure. I have curiosity too, maybe everyone has it, but I will control myself for you. But I can't believe you will not. I agree that love between two people may not be enough! Look around us. You think it’s better to refuse hypocrisy and obedience. You want to create love, but the pioneers must be humble and not self-centered. No, we must confess to ourselves. We failed and made a mess of things. You want to change me, I hurt the people around me to make you happy. My promise to Jiao Bei’s co-humorous white-headed procrastination has been delayed, and it has become an empty talk and a lie. I want to marry her. We will have children.
Couldn't Catherine be with Zhan Perfect? In this final confession, it seems that the answer has been completely given.
However, at this point, the director's technique is not very satisfying. He uses a series of coincidences to describe with fatalism. This tendency to have their love to death is a bit childish, so pessimistic, but also reasonable. There is a little chance, after all, the flaws are not concealed. "Lola Run" uses enumerating methods and the influence of accidental factors on the story in the end, but in fact it only illustrates a problem in the end. No matter how possible, what we can remember in the end is not the result, but the role perfusion. People shocking passion.
The story of the three began with a party in the summer. Catherine has been in love with Zhan since she first walked into Zu He Zhan's world. Two young people obsessed with literature and three girls from afar sat around the dining table. Zu said: Let us get rid of the red tape, don't hold hands like the traditional way, let us touch our feet. Although this detail is not the point, it also carries a little Truffeau-style ridicule. How much difference is there between holding hands and touching feet? Isn't it still in the tradition in the end? This kind of obsession may also be a message that the ancestor will finally die in the cage of love. It is this special fragment of Zhenzhen that forms a truly full movie. Even though the picture is black and white and the lens is dry, a movie from the 1960s has packed more delicate emotions.
It was Zhan who touched Catherine's feet. However, Zhan Chu humbly promised Catherine to the ancestor in his heart, and kept a distance from Catherine since then, and has repeatedly fulfilled them.
Catherine's narration caught my attention. He said, "Catherine’s smile has the elegance of a hometown wish." If you like to read the prose of Yu Jie or Kong Qingdong, you will often see this unfamiliar term. This term is actually the antonym of lofty, meaning that it is psychologically He thought he was morally high but went astray and became a hazard. Used here is like revealing that Catherine's beauty and love pursuit seems to have a lot of flaws behind it.
This defect was fully exposed in the scene when Catherine jumped into the Seine. The dialogue in that scene, although very long, is still worthy of my quotation in the comments:
Kay, anyway, I like the heroine, she pursues freedom and creates every moment of life.
This drama is ambiguous and laissez-faire, specious.
The space-occupy relationship is also unclear.
Zu even didn't explain whether the heroine was a virgin or not.
Kay is irrelevant on this point.
If the story is just for showing off sentimentality, he said that the male protagonist is incompetent, the younger brother is gay, and the younger sister is an idiot. The heroine is kept secret.
Who is the ancestor who said that the wife must be loyal? This is very important. The male side is secondary.
Who is the ancestor who said that women are natural bodies, so they are terrible?
I didn't say it, I don't want to agree with you at midnight.
Zu (speech-like.) Baudelaire: "Women's terrible monsters, artistic assassins, stupid bitches... I don't understand why women are allowed in churches? What can they say to God.
Although it's a drama about drama However, the three people’s destiny-determining personalities are very prominent. In addition to their personalities, the contradictions of concepts are also causing them to slip into the abyss of entanglement. Although Zu had already loved Catherine at this time, he still maintained the center of his thoughts. It is said that Zu has a very noble personality, but it also makes his image stiff. When his thoughts spewed, it was because he was expressing his heart, but did not consider the consequences, did not look at Catherine’s face. Although Zhan was thinking Shang and Zu are in agreement, but they avoid this question only because Catherine is there. From another perspective, you may say Zu is a "male chauvinist" person. If you have to say that, you may be right. But at Later in the story, you will find that you are completely wrong. In order to keep Catherine, the ancestor did not hesitate to become a janitor of their house, allowing other men to take Catherine away again and again, and even live in. It can be said that many became writers. People who are like their ancestors are hard-hearted people like their ancestors, like those with clear boundaries, like those who don't know how to please, and gaining the tilt of love, they will lose everything.
When Zu was speaking, the first climax of the movie came. Catherine smiled and stood on the edge of the bridge, smiled, and jumped into the Seine River, completely submerging all Zu's voice. Isn't this jump evidence of the hidden flaw in Catherine's entire love pursuit? That jump was fake, she didn't really want to jump, she just believed in her fantasy that the strong atmosphere that jump could create, she jumped more for this jump, she was pursuing perfection in form. The pursuit of a perfect love, because of the elusive nature of love, makes the form that is easier to grasp gradually overwhelming. This is Catherine’s greatest tragedy. Her obsession with "perfect love", her obsession with form, her Egocentric.
There is another narration: "The three people are sitting in the carriage and going back, Catherine smiles like a victorious general."
By the way, the narration is another feature of this movie. The unique power of the text plays a decisive supporting role in the story. It can be said that words are necessary to really mention something profound without destroying the continuity of the story. Many films of the New Wave, including "Love in Hiroshima" and "Last Year in Bama Leone", you must know that the script writers of these films are two great writers-Margaret Duras and Rob Ge Rie. All have narrations as big as palace walls. Except for the narration, the director cannot use any technique to dissolve those spirits. This, in the current movies, has gradually shrunk like an appendix, which is sad.
The wet Catherine didn't know whether it was because she hated her ancestor or because her ancestor made the heart that was already on the other side even worse. She met in the cafe at about seven o'clock. This was a decisive date, but both sides did not take it seriously. Two jealous hearts missed for the first time in this date.
Catherine didn't show up until eight o'clock, she wanted him to wait. Zhan had expected that Catherine would be late on purpose, but Zhan would not wait too long. If he kept waiting, it would not be Zhan.
The next day, Zu announced on the phone that Catherine and him were married. If you change to an ordinary director, you may spend a lot of film here, but Truffau just asked Zu to finish talking like a telegram, and then began to introduce more interesting details. In this scene, the three people are still jokes. .
Catherine didn't say anything on the phone, but asked Zhan to teach her boxing. Because the ancestor is German, Zhan said you want me to teach you boxing with a German accent? While listening, the ancestor yelled unconvincingly, my current French is pretty standard, but you've heard it before. At this time, the ancestor began to recite large sections of speeches about war, looking intoxicated, but there was no audience.
The picture disappeared quickly and quickly transitioned to a new scene-the outbreak of World War II.
After careful aftertaste, I had to admire Truffau's dexterous transitional technique, and without any sculpturalness, he brought the love triangle chatting into a whole new field of vision. Of course, in such a movie, war is just an insignificant episode of love and friendship, a season of mildew that can't even compare with small talk.
After the war, when Zhan was invited to the love nest of Zu and Catherine, Zu mocked and said: You have won the battle! Zhan answered him this way: I would rather win this kind of life.
With regard to the insertion of such a major theme as war, I am afraid that more academic old men will be praised. After all, there is a "heavy sense of history". Of course, there are also many movies on the old theme of "anti-war". Vivid details.
Amidst the sound of the guns, the ancestor’s greatest joy is to write to Catherine, but there is no sweet language in his letter, only: I don’t love your soul, because I have lost my faith. I just want your body, your ass, your breasts, and our son in your lower abdomen. This is the most real scene in the war.
When his friends reunited after the war, Zhan also told a story from the war: the soldiers on the expedition took the girl who had met by chance as the only person to confide in their personal feelings, and wrote a hotter love letter on the thirteenth. After the love letter, they got engaged in the letter. Whenever the girl behaved in the letter, the soldier complained, "Don't be like this. For someone who might die at some point, you are too cruel." I added a few more dearest in the letter. In the end, the soldier died of intracranial hemorrhage.
"About war," Truffau might say, "I've only said so much. Is there more to say? Maybe Churchill has more to say, such as recalling all the aircraft and bomb models, such as Show off his achievements. If someone tells you that he likes Hemingway's "Farewell Weapon" and Churchill's "Memoirs of World War II", then I really want to doubt whether there is any position in this person's life. As for him This kind of liking, sounds like liking a neighbor's dog."
The re-meeting after the war is the true beginning of the story.
The first scene unobtrusively brings the perspective back to the pre-war train. Catherine went to pick up the train. "Catherine's dress is like going to the coffee shop appointment."-This narration hits again. Mingmen, the careful thoughts of all women have spread to the surface of the water next time, I don't think I need to repeat them. However, from the perspective of pure film theory, this narration is also very valuable. We can imagine how many people would read a deeper meaning even if Catherine wore festive costumes to take over without this line of dialogue? The superficial exposure of the image on the spiritual level is undoubtedly. There used to be some image madmen who stupidly worried about whether words should disappear in the future. I think this sentence is the answer, the most typical example. I think what should really worry about is their pale spiritual world.
Zhan saw the two of them and wondered about their sweet life. Their daughter Sabina was born in the war, like a doll, and her ancestor worked. Catherine was also virtuous and considerate in front of others. This is the life Zhan has always dreamed of. His moment He must be thinking of Jiaobei, who is so obedient to him. Although he loves Catherine more, his friendship is blocked in front of him. Jiaobei has become the only person who can fulfill his ideal of life, even if it looks a little like a prop.
Zhan too underestimated Catherine's power, Zu dragged Zhan into the room and told his troubles. Everything is too calm, she will be confused. The world is too rich, and she thinks she might as well take a runaway. They also ask God for forgiveness in advance. Before they got married, Catherine had a lover, saying it was to commemorate her bidding farewell to being single. The other was revenge for an incident that made her angry, but Zu didn't know what it was because of it. There is one other that he doesn't even know. The key lover at this time was Abel, the art broker who showed the goddess stone slides. He lived in a small village nearby after the war. Because of Catherine's care, he fell in love with her and fell in love with her.
Abel is a special existence in this movie, representing a neutral attitude. He neither fell into the love of Catherine like his ancestor, nor did he participate unknowingly like Zhan. In Catherine’s love game, he opened his arms very frankly and welcomed Catherine to come to him at any time, but if he didn’t come, he wouldn’t complain, and he wouldn’t have a story. He also frankly said that he wanted to marry her and wanted to bring him. She and ancestor’s children were older, but this promise did not require any response from Catherine. Of course, there is not much space about Abel, maybe his feelings can be appreciated a lot, but in a movie, lack of passion, nothing to express, it is like when we talk about a person, he is very happy, we At most, I sighed, "Ah, he's so happy", and it's over. I don't know if this is the sorrow of the word "happiness".
Abel is like a resort, when the heroine is entangled in a fierce struggle, she can escape to him and spend a few days clean. But in the movie, the sweetness of the blank has nothing to watch, these are all passing by.
Regarding Catherine's derailment, Zhan would of course expect that he could not blame her deeply, just like the ancestors did.
"She jumped on the man's bed as if she jumped off the Seine."
They, all those of them, indulged her together and made her destruction. For this kind of indulgence, the ancestors later had a profound definition: she is the queen. Real woman. It is a man's desire. She favored both of us because we treated her like a queen.
If you understand this sentence the other way around, then everything will be clear. Why should you indulge Catherine? Because Zu and Zhanxiang have to do better than all those men to win among all those competitors. Why would Catherine be so indulgent? It is precisely because she is very clear about it.
Fortunately, no matter when Zu and Zhan did not split, at least the two of them did not turn back because of Catherine. Between them, the noble feelings between the two men were overcome.
If I were Truffau, then after Zu and Zhan’s in-depth talks, I would arrange a scene for Catherine to talk privately, but I could not be as agile as Truffau.
They came out of the bedroom and began to talk about war at the table. The ancestors who were about to be drowned were as happy as they wanted to find the straw. The French issued a declaration of war. Only then can we see the light on the face of the ancestor. He might have become an ambitious man, but his weakness, his beliefs, was taken into his pocket domineeringly by Catherine. .
Catherine suddenly felt neglected in such a completely man's field strength, waiting for an opportunity to spoil their conversation, and focus on her as a queen.
At this time, the opportunity appeared. The ancestor wanted the guests to taste the German beer they were proud of. Catherine suddenly jumped out and said that beer is so great. We only have a lot of wine in France, and then it is like singing birds. She also reported the French wine brand, her voice was so mellow, she was very happy that the men's attention had returned to her, suddenly jumped up from the seat and ran out, and said to Zhan, come after me! Without hesitation, Zhan chased him out.
Only Zu was left in the living room, completely alone.
They all seem to have no position.
Catherine said in the first sentence in the woods at night: Are you here to judge me? Of course she got a negative answer. She knew the answer, but wanted to hear it from her own mouth.
And Catherine added the story again, saying how she was attracted by the ancestor's innocence and security, just like what Catherine said to the ancestor at first: You don't know a few women, and I know more about men. If they cancel each other out, maybe we can get along.
This is the basis of all the relationship between the ancestor and her. The pale but seemingly reliable relationship makes a marriage, but how can this kind of marriage hold her like a flame? If she was chained, she would not be Catherine, and would not be so cute, would she?
Cheating is inevitable, both Zu and Zhan know, but as a man, of course, they don't want this to happen to them. Zu's innocence made him fooled by her, and Zhan has been watching by the side, but his waiting and watching did not make him much happy.
In short, she found all possible excuses to cheat.
Because the grandmother's mother was angry about her lack of "respect", she retaliated by fooling around with a man after being away from home for half a year. How come you meet a sloppy but interesting man, but think he is unreliable again and again. In the contrast, she thought of her ancestor, who was as warm as a nest, and she came back. The war broke out.
In the war, the ancestor's departure aroused Catherine's nostalgia, and his passionate love letter urged Catherine to miss. Of course, if you go deep into this kind of thinking, you can find that this kind of feeling is not based on all the memories of the past, but an illusion that comes from imagination. First of all, the fact that my ancestor loves her deeply settles her heart, so she can imagine her husband's cuteness to the fullest, and complete her love in an illusion.
Therefore, when the ancestors returned from the battlefield, their feelings also cooled down more quickly, and then Abel appeared. She has an evaluation of every man, but none of them are intact. And Jules is like a house, but there is no color at all. After three months of absence, I began to miss my grandfather's generous smile and a daughter who was not born in love but was born from herself, nothing more.
Rather than saying that Abel, Zu and Zhan are sharing a woman, it is better to say that Catherine monopolizes all feelings, and serving her happiness is the highest instruction. Abel had another play during this time, accompanying Catherine's singing. The songs in this play can be said to be a highlight of the movie. A great French song sang for three minutes. In the movie, there is often a fusion of various elements, which makes the story more plump and moving. Of course, this is not the point of the comment. It is worth mentioning that before singing, Catherine wittyly said to Abel: They are not worthy of our audience.
In her life, she must be the heroine at every moment, but the hero can be changed arbitrarily. Only the most dazzling one in this scene will be promoted. Such a imaginative sentence actually has no deep meaning and no promise. No show of love, Catherine always throws bait inadvertently, trying to completely snare each of their hearts, but has never thought about whether love is equal.
While narrating the words "Zhan has never joined them", Truffau used a film-only narrative technique to express: four people riding their bicycles through the fields, in a fork in the road. Mouth, Zhan made a graceful turn and left the queen's little troupe.
Catherine was the closest to taking up. In the end, the ancestor even took the initiative to not let Zhan feel embarrassed, and took the initiative to plead with Zhan to stay with Catherine, and use the power of both of them to keep her.
For the first time, the three of them balanced their feelings briefly. Thinking about it makes people feel tired. How much effort does it take to satisfy a woman like Catherine? You must always have new tricks and use swaying colors to attract her distracted eyes, that is, you must not give her a chance to get bored, let alone make her feel uneasy. Their happiness may be perfect happiness, the highest level of happiness, but it is as thin as a soap bubble floating in the air.
Truffau burst the bubble ruthlessly with a narration:
Time flies, and even happiness will be quietly wiped out.
I know the cleverness of Truffau’s narrative, but I haven’t guessed how he will let happiness break apart in the gradual monotony-when Zhan reads the newspaper leisurely in the living room (like he was waiting in a cafe) It was the same with Catherine), Catherine rushed into the room occupied upstairs, threw Zu on the bed, and laughed unscrupulously while entangled. She was tired, she was protesting in this way! She seemed to be saying, come on, account, how much do you love me? If you love me, take me back from the hands of boredom!
However, Zhan didn't do anything. Zhan returned to France to deal with official duties and calmly resolved Catherine's boredom that was about to explode.
In France, Jiaobei always greets her, it is an old but stable fortress in his heart. During this time, Truffau arranged two very ironic scenes.
He ran into Tykes in the cafe, this woman is also a very interesting character in the movie. She was once sent to Zu. When she was special, she lit the cigarette butt in her mouth, and then sprayed like a train head. The day after she went home with Zu, she found a man and snatched his mouth. Yan Yan began to perform, and then said to him: Can I live with you?
In this unexpected meeting, Teckis talked about her adventures with various men as quickly as a machine gun. She jumped from one man’s name to another in less than three seconds, and some stories did not even have Catherine. The name of the red wine reported is long, and the nature of the expression is probably the same, but Catherine is much smarter, and the so-called emotional experience that Tycus has accumulated with his body and so much youth is so pale and weak, like a bank account. Those numbers on the. At this time, Zhan Zai kept greeting his acquaintances. When he finished greeting his four acquaintances, Tykes was finally about to finish. She said, the coffin shop owner, I finally found my home, and I never had it again. Go cheating, he's enough for me! So a short, polite, tall man with a horoscope and mustache appeared in the camera-her destination.
In the second scene, Zu was chatting with a friend. His friend pointed to the girl next to her and said that she was very beautiful, but her head was empty. After finishing talking, knocking on the girl's head, she said that she is sex, pure sex, a thing.
A precious item. Well Well? Zu greeted him and left. The girl smiled and said goodbye.
Truffau didn't let the moviegoers breathe for a moment. The scene is so good that I returned to Germany and returned to the train station. But this time it was not Catherine, but Zu. Catherine was gone again.
When Zu gave the reason, he had a proud tone of "Only I know her best", with the expression that a person who loves each other deeply can have when he is enjoying himself.
"She hates others leaving her the most. You have been away for too long. And there are too many things about friends and work in the letter."-This is the kind of loyalty that the ancestors have to completely isolate themselves and then contribute. .
During the time that Zhan left, Catherine had repeatedly expressed anxiety. She always asked Zu: Do you think Zhan loved me? But if Zhan uses all of himself to accommodate Catherine like Zu did, will he also hollow out himself step by step and become a piece of rough? This is an extreme question, but just imagine that if a person wants to pay attention to a person or an event with all his heart, he wants those mathematicians who use all their enthusiasm to study differentiation. What opportunities and energy do they have to paint brightly for themselves? Color, or even keep changing one's own colors to win hearts and minds? What an overbearing request.
Of course, Zhan never lost himself. He picked up his shirt chicly and prepared to leave, and said to the ancestor: If she comes back, don't say I have been here, this will be good for everyone. The ancestor is obviously old, with scumbags on his face, and his face is full of boredom. There is no emotional promise. The only thing that supports him, I am afraid that only faith is left, that is to keep Catherine's faith. , Only Catherine’s death can banish him from prison.
Catherine knocked on the window at the last minute. Forgive me. Is Catherine repenting? Perhaps she also swam through one or two little fishes named guilt in her heart. She began to want to really let love catch her. Maybe she was tired at first, but then she was tired and tired again, just like Xia Yu’s one. As stated in the poem, "She has no worse ideas except to have a child."
In Catherine's newly designed game rules: A child is the only evidence that two people are in love.
"They didn't make love to ensure a renewed loyalty. In the end, they were convinced that they were not pregnant, and they started, but they were not pregnant."
Catherine felt like an exam, she couldn't bear it. This game suffocated her. Like many games that they had ever played, what she wanted was a quick victory. Only victory itself can stimulate her, which makes her lost, completely unable to see the love itself, she wants to leave the game, she can not win the game, she will not play.
"It's not fair." Zhan must have had enough of this woman at this time, but he still keeps his shrewdness. He will not say things that irritate her, and will not stupidly increase the possibility of losing her, even a little bit. , His complaint is very weak.
"Yes. I'm an unsympathetic person. I love less than you. So I don't love you or anyone. We can't rely on each other, we need freedom. Also, you didn't break up with Jiaobei!" He didn't break up with Jiao Bei. ——Zhan wanted a final guarantee, because he didn't trust Catherine anyway. He swayed in calm tenderness and unreliable pure love. He couldn't see Catherine clearly.
This fierce dialogue stirs up the fragile feelings to perfection. The only shortcoming is "not pregnant with a child." Of course, this coincidence is nothing to use in other stories. After all, some movies are just countless ones. Childish building blocks built by superficial coincidence. In those movies, if there are no coincidences and suspense, there is no cure. But in "Jules & Jim", there was already such a fine stitch, and a coincidence suddenly came in the fascinating depth, like a small grain of rough sand suddenly drank in a glass of Burgundy red wine. It is particularly difficult to accept. Of course, this kind of request is very demanding, but as a comment, harshness is a kind of love, and it is a kind of friendship. If the child is born smoothly, what will the story be like? Will Catherine really end her adventure? This question, I think, can be left to those lovers who also pursue pure love and are lucky enough to complete the test, but I cannot answer it.
Zhan’s plea is very formal. He is too smart. He knows that women's stubbornness is unbreakable. He said, OK, I will leave tomorrow.
Anyway, the ancestor was nearby, and Catherine ran away. Although the ancestor was still so warm and meek, in fact, his heart had also changed. His resentment had accumulated in his body like chronic poison. He used various This fierce movement hugged Catherine, stroked her, and kissed her, but he couldn't get the response he should have. Catherine was just stuck in her own sad mood, her heart was completely absent, her body was just an empty shell, even so beautiful. Zu hesitated and left Catherine in the room alone. After all, he was not Jiaobei. He was a man. He couldn't think that he was just a tissue for wiping away tears when he embraced a woman. . Before leaving, Zu turned his head and said something:
"You remind me of a Chinese drama I watched before the war. The emperor fought in front of the stage and told the audience that what you saw was the most unhappy person in the world. Because , I have two wives, one big wife and one little wife."
The little wife ran away in anger, and Zhan returned to Jiao Bei's side.
Catherine's letter came after it again. Catherine asked him to go back, and she was finally pregnant with his child, and his love was in her body. But Jim was sick, he couldn't go back.
This made Catherine doubt again. Thought it was everything in the past that caused this suspicion. She said, it is your fault that you hate me, nothing is hateful.
Doubt Zhan as much as she doubted herself.
The trust between them is too weak.
He still decided to go back. The letter he said he wanted to return stayed for three days on the way, and Catherine came back the next day saying, "I don't want to see you again, I don't love you anymore." After receiving the letter Immediately afterwards, she wrote and said, "I love you, let us forget everything in the past."
Her love is such a capricious love. If others love her, she can not love or even ignore it, but if she wants to love her, she must The first is the surrender of the opponent. In her heart, the gender of woman is used as an advantage. She can use her own reservedness and willfulness at will, under the established rules that she "cannot be hurt" and "will always win". Playing her love game, her happiness is 100% happiness, she is destroyed. Her happiness is just like when three people raced on the bridge in Paris, who first arrived at the bridge, she rushed. Zu and Zhandu let her. She was wearing a large plaid jacket with two moustaches. One crossed the finish line.
Accounted back, but the child died.
Zhan thought desperately: They can't create anything. They played with the source of life, but failed.
The progress of this whole passage is very fast, and the children have become the only weight that Truffau can use to interpret this feeling, because in them, money, status, and vanity have been completely peeled off, and they are approaching purity. The bottom line of playing in the source of life, but still can't escape the selfishness and doubts in my heart. Because the whole story has been laid out before, this kind of fierce back and forth like a tennis match, at the end of the game, if someone likes Woody Allen’s movie, he will definitely think of the same high-speed battle. "The End of the Match", which exploits each other's emotions, of course, the game with Catherine is much more noble and pure. But it has deteriorated. Art and spirit have not prevented this selfish deterioration. But it is more beautiful. What they play with is nothing else, but the source of life. They use all their curiosity to explore the most precious kind of feeling. Because their expectations are too high, they sublimate life to the cloud that can only be achieved by imagination, so they fell. Come down. In fact, the source of life is much simpler than they thought, and it is much closer to the ground, just like the ancestors.
Zhan decided to go back to marry Jiao Bei. He was completely tired of it. Of course, there was still a trace of illusion in his heart. As long as Catherine called him exactly, he would still leave everything behind. Because he felt that this was worthy of the noble word love.
Zhan and Zu meet again. Zu talked about Catherine's recent situation: for a long time I suspected that she would commit suicide. She bought a gun.
She-arched like a widow and walked like a sick person.
The goddess playing near the fountain of life was exhausted in the blow. The real life is like the mountains migrating slowly in Yunxia in front of Yingu in "Mushishi". There has never been excess light. She actually misunderstood life and went astray from the beginning. Her charm was lost by her. Quickly squandered it away.
In front of Zhan, Catherine still wanted to continue struggling. Of course she was not reconciled. She wanted to get everything, but in the end she got nothing.
Here, Truffau arranged a scene. Catherine packed her pajamas into a bag, and then went to Abel’s house with Zhan and Zu to play. When they were about to go home, Catherine suddenly took out her pajamas from the car. Followed Abel in. He wanted to make Zhan jealous, and he wanted Zhan to be punished, just like she used to punish ancestors, she wanted to tell the man that this was the result of not caring about her. She regained her vitality only when she was fighting for love, and she began to toss. I started to think about how much JIM loves her again. This was another wrong bet she had placed. Of course, it was also a wrong judgment caused by the inertia of all her past habits. In her imagination, she thought it could be stimulating. But her tricks had no effect on Zhan, or even had a counterproductive effect, because Zhan was tired of it, and he had seen through the flaws in Catherine's essence. Whether she really repents or pretends to repent, she can't erase the deep-rooted doubts.
Zhan told Zu that he decided to marry Jiao Bei. Zu praised him and said, you are so smart.
Zu always thinks that Zhan is very smart, but he can’t escape his shell. Unless Catherine dies, otherwise he cannot accept his separation from Catherine, no matter what kind of woman Catherine is, what kind of woman he becomes, or who he is actually better than All know the essence of Catherine. But this does not affect his love for her.
Catherine drove the car around downstairs in Zhan’s, and the narration wrote: like a wild horse, a ghost boat. This is exactly the metaphor of Catherine's two important characteristics. The Mustang is easy to understand, and the ghost ship is more vivid in the current view of Zhan. How could she let him go.
Kathleen finally surrendered, she said tenderly on the phone: That kind of life is like a desert, I look for you everywhere. JIM hurried over. But he rushed over not for anything else, just to clarify their relationship, made a final confession, and also made a final judgment on Catherine. I have already quoted this paragraph before.
After listening to the confession, Catherine was completely irritated. She had already bent herself down. This was the biggest concession she could make. In her mind and in her thinking, she should win a complete victory if she did not give in, like Like Napoleon, once she gives in, there is no room for maneuver and she must win.
Catherine said mournfully: "You and Jiaobei, what about me? Our children could have been beautiful!"
Catherine took out the gun, her pride defeated all her feelings, Zhan must die, Zhan's lack of love became a stain on her heart. She wanted to erase him. Here, Truffau didn’t get too entangled or rendered, because perhaps in his eyes there is nothing worthy of rendering the scene that has gone ugly. Slowing down the camera will only make the movie go vulgar. This is not an evocative detail, but only the extreme point that must be reached at the end of the story, that is, the veil of love has been completely stripped off, revealing a point of the hideous face of life. Only by erasing the past and the person related to the past can the peace of life be restored. He has become a "threat"! The same point appeared in Bertolucci's "Last Tango in Paris" and Woody Allen's "The End of the Match". The charm played by Marlon Brando in Bertolucci's movie The boundless old man chased him to the home of the heroine who had lost interest in him. The heroine shot him in the head, and then called the police that she was sexually harassed; in "The End of the Game", Miles forced him and Scarlett, who was divorced by Miss Qian Jin, was assassinated on the bed.
Originally, the story could end here, but Trufujean seized Catherine’s gun, threw it out the window and ran away. Both Trufu and Zhan forgiven, instead of exposing Catherine, no matter what she said. It was beautiful, she was just a little stubborn, a little self-conscious, and desperate.
The end of the story feels very sloppy, with trivial scenes like pulling a family, without routines, and without the kind of stupidity that a twenty-six novelist often contemplates at the end. Zu and Catherine saw Zhan in the front row in the movie theater. Zu squeezed a ball of paper and threw it on Zhan’s head childishly. They hugged each other happily, giving up their previous suspicions. The passion of life was revived, and they were together. Going to have afternoon tea, Catherine drove the car to Zhan If every time, if the invitation of the cafe was like asking Zhan to chase her in the hut, she honked the horn and said: Do you dare to come up.
Her obsession with "perfect love" and her obsession with form. In the end, she finally sublimated to death. She happily held the steering wheel and asked Zhang lightly, are you coming? Zhan jumped into the car again as before, and Catherine drove the ghost ship and sank into the bottom of the Seine with Zhan. Perhaps Zhan is the only person willing to be buried for her pursuit, so Catherine chose Zhan.
The same is a sentimentality. The lovers in "Paradise Lost" are in love under the persecution of life, but Zhan and Catherine are in love because of the persecution of love itself.
I always feel that Truffau hides behind and wants to say that what is really gratifying is the feelings of Zu and Zhan. Their friendship has never been displeased by conflicts. Even if they share a woman, they are happy because of many trivial things. Remember A long time ago, on the cover of a friend’s "Tokyo Kitan Collection", he also wrote such a sentence, "True happiness is the joy of trivial matters", but ideals and beliefs, such as dream-like and illusory terms, often Leading us astray, unable to extricate ourselves, and become the victim of a cloud of doubt floating at the top of life.
First draft on September 21, 2008
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