"A Man and a Woman" movie script
Text/(French) Claude Le Rouch, Pierre Utroev
Translation/Lin Ruiyi
Content description
"A Man and a Woman" was one of the French business cards in the 1960s. The film shows a positive theme of loving life and yearning for the future through the encounter and love of a middle-aged man and woman. The film reveals the contradiction between the psychological activities and feelings of the hero and heroine with excellent performance techniques, and integrates the audiovisual, color, picture, photography and content of the film.
On the black screen, the details of the film's award at the 1966 Cannes Film Festival are shown in reverse white on the color film (see the list). silent.
1. The gray sky and panoramic view in winter. The camera pans to the right and shows a close-up shot of a woman about thirty years old. She is Anna Gautier, wearing a brown parquet coat and tightly wrapped. When the sea breeze brushed her hair on her face, she kept swiping her hair back. When she spoke, she looked down at someone off the screen. Behind her is the pier. There is a lighthouse, and the gray-green sea water stretches out, always connecting with the mist. The horn of warning fog drifted across the sea, echoing the calls of seagulls.
Anna:...Later, the little girl began to undress and slept on grandma's bed...Her grandma...which little girl is very curious, you see...because grandma looks a little funny...so the little girl said to her: " Oh, grandma, how big your eyes are!" Her grandmother said to her: "They are used to take a good look at my little baby." — "Oh, grandma, how long is your nose!" — — "That's to smell my little baby." — "Oh, grandma, how long are your teeth!"
When she said these words, Anna stretched out her arm and squatted down. She hugged and kissed her daughter tightly, zooming out. Her daughter, François, is also tightly wrapped in a scarf and wearing a woolen hat.
Anna: "That's to eat my little baby well."...Later... (laughs) She ate her. ... (pause) Well, do you like my story?
Francois: I don't like...
2. Panoramic view of the sea: a red fishing boat sailed through the mist towards the camera, turned a turn, and drove to the pier, the camera followed Cypress. The dialogue between Francois and Anna can be heard off-screen.
Anna: (Voiceover) Don't like it? What don't you like?
Francois: (Voiceover) It's too bad.
Anna: (Voiceover) What else do you want me to tell you?
Francois: (Voiceover) Tell me about "Blue Beard".
Anna: (Voiceover) "Blue Beard"? ...Wait a moment... "Blue Beard"... Ah, yes: before... (When the fishing boat drove away, the music was loud and loud)
3. The middle shot of Anna and her daughter. They hold hands and walk towards a wooden bridge from the camera. Due to the use of a long focal length lens, the bridge appears short. They passed several anglers who only looked at the fishing line. Although she couldn't hear her voice, she could tell that Anna was telling the story of Blue Beard in an eye-catching manner, making gestures as she walked. The first half of the opening caption appears, namely the title and the list of actors.
4. A panoramic view of a road, the sign says: Deauville-Winter Casino. The clouds in the sky are thinner than those in the previous scene, and patches of blue sky appear. A man in his thirties makes Lu Yi Dyrock walk towards the camera. He wears dark glasses, a coat, and a cigar in his mouth. The camera pans as he walks across the frame and stops next to a car. A part of the windshield of the car is exposed in a corner of the screen. The music stops. Let Lu Yi snap a finger at the driver outside the screen coldly. Hear the calls of seagulls outside the picture.
Make it easy: Antoine!
He was still standing by the car and took the lighter on the dashboard from the driver. The driver is still out of the picture.
Make it easy: please put down the canopy.
When you make it easy to light cigarettes, on one side of the screen, you can see the folding part of the canopy start to unfold automatically. Then he tilted his body and put the lighter back on the dashboard of the car. Use a short pan to follow this action. The camera is in front of the car, facing the windshield, and the driver is still out of the picture. Finally, through the windshield, he saw Jean Lu Yi, sitting in the front seat of the car, opening a "Time" magazine, flipping through it, and talking to the driver.
Make it easy: to the golf course...
5. Shooting through the windshield makes it easy to get closer. Now, the car is driving, obviously swaying left and right, and the camera moves in front of the car to take pictures.
Make it easy:...no,...to the miniature racing track!
6. Let the middle and close shots of easy journey.
Make it easy: No, go to the port! ...
7. Let Yi Road's close-up (same as 5). He lowered the magazine a bit.
Make it easy: (with a cigar) No, go to the golf course! ……(pause)
8. Medium and close shots (same as 6)
Make it easy: Antoine, according to the second opinion, let's go to the miniature racing circuit.
9. It is still a close-up of Jean Lu Yi. The car went on. When Lu Yi suddenly threw the magazine aside and grabbed the steering wheel, the camera moved to the right. Zola photographed the driver. He is not someone else, but Antoine, the son of Jean Lu Yi, who is about five or six years old. The seagull barked outside the picture. When Lei Luyi was grasping the steering wheel, he must have dropped a bit of soot on his son's hand.
Antoine: Oh! ...It hurts!
Make it easy: (corrected the steering wheel) Yo, is it hurting you? ...Oh, I'm sorry, I didn't mean it! ... (very concerned) Did I hurt you when I pushed your hand away from the steering wheel?
Let Lu Yi remove the cigar from his mouth, wrap his arms around his son, and continue driving. This is a red Ford Marstan caravan.
Antoine: It hurt me at that moment.
Make it easy: Please forgive me, Antoine.
10. Take a panoramic shot of the sea from Deauville: the sea is on the right, and the seaside houses on the boardwalk are on the left. The theme music begins. The camera was pushed forward, and the opening captions appeared, and a list of some of the film crews appeared.
11. A close-up through the windshield of a Mustang car. The child is still in the driver's seat, wearing his father's sunglasses, which is obviously too big for him. Let Yi Lu Yi put his arms around him, steering the steering wheel. The camera pans to Jean Lu Yi, and he is smiling.
12. The middle shot of the two of them was still taken through the windshield. Jean Lu Yi took off his scarf and the sunglasses that slipped from Antoine's nose. They both laughed.
13. The theme music continues. A panoramic shot of Anna and François on a street in a busy business district. When the mother and daughter were looking at the shop window, an endless stream of women hurried past the street.
Anna: Oh, you have lost weight. Why did you lose weight?
Francois: I don't know.
Anna: Are you full at school? ...Do you like the food there?
14. Medium shot: When they walk, the camera moves in front of them to shoot.
Anna: Would you like a chocolate?
They stopped in front of a food store. The music stops.
Francois: No, I want cake.
Anna: Cake? Hmm, but I don’t know if there is a pastry shop here. What kind of cake would you like?
Zoom in to take a close-up shot of them walking past the food stalls on the sidewalk. Anna knocked down a sign with the price on it. She bent down and picked it up.
Anna: Yo! ...Look at what I did. (François laughs) Really ridiculous, isn't it? (They both laughed)
15. The music played again. Let Lu Yi and Antoine face the middle and close shots of the camera. They were driving Mastan on a street. When the automatic hood closed, they looked up and laughed. Hear the whine of the car engine.
16. Panoramic view of another street. Anna and Francois stopped in front of a shoe store.
Anna: Are these shoes beautiful?
Francois: Pretty.
Anna: Do you want a pair of little boots like that?
Francois: No. I want cake.
Anna: Okay, so what you want is cake.
17. Let Luyi drive the middle shot of Mastan on the waterfront. The camera moves on the side of the car to shoot, and Hai Tao rolls in the background.
18. Use the yellow ochre filter to take a panoramic view of Mastein. When the car turns, brakes, accelerates, turns again, and when the rear wheel slips through the beach, the camera pans back and forth. The seagulls were calling and Antoine laughed loudly.
19. Another similar lens. With Lu Yi constantly squeezing the car from side to side, Antoine sat on his father's lap and smiled with satisfaction.
20. Normal color panoramic lens, then zoom in and take the car again. The car first brakes and then accelerates.
21. The last part of the film crew list is shown. The background is a piece of water reflected by the afterglow of the setting sun, and a forest across the water, panoramic shot. The camera used mobile photography to follow several fishing boats from the side, and the reflection of the fishing boat was reflected on the water.
22. In Deauville, François and Antoine attended the private school campus panorama. Black and white film taken with blue filter at dusk. The children ran across the camera towards the steps leading to the school gate, panning to the left Anna holding two bags of things, and hurried towards the steps with François.
Anna: (to François) Hurry up... Hurry up... I'm going to miss the train... Hurry up...
They stopped under the steps. Anna bent down to kiss her daughter, and gave her two bags.
Anna: See you next Sunday, my dear. ...Don't catch cold. Go in quickly.
At last she waved to her daughter and Françoise walked up the steps and walked in the door. The camera panned Anna leaving in a hurry.
23. The middle shot of the headmistress. She is well maintained, fair skin, blond and blue eyes. She accompanied the other mother down the steps to the Bentley car with a driver waiting below. The camera pans them to the right.
Female principal: Goodbye.
Several children ran across the camera. The Bentley car drove into the driveway and drove away. You can see Mastan's headlight moving closer, panning to the left, and it stops in front of the steps. The headmistress wore a coat and a scarf, pretending to be serious and reproaching her for making it easy.
Headmistress: That's great... It's mid-December and I put the car hood down and drove.
Make it easy: I don't blame me, it's Antoine's job.
Headmistress: You really belong to Antoine.
Make it easy: come on, Antoine.
Let Yi Lu Yi talk while walking out of the car, bypassing the car, and going up the steps with Antoine, with the headmistress walking behind. The camera followed to shoot.
Headmistress: (opens the door) You can go in.
Let Lu Yi kneel down on one leg and kiss his son.
Make it easy: I promise, Antoine, I swear... If you are obedient this week, we will go boating next Sunday.
Antoine: No, I want to go tomorrow.
Make it easy: No, go on Sunday... You have to study tomorrow! Go on Sunday.
Headmistress: (pushing the child through the door) Let's go to dinner, Antoine. ...You go.
Antoine went in. The headmistress and Jean Yilu walked down the steps to the car. The camera pans.
Headmistress: (sighs) You spoiled him.
Make it easy: Hey... only once a week.
Headmistress: But, you know he is not willing to study. He is lazy. But he's smart...oh, yes, his talent is good...but he's too lazy.
Let Lu Yi: Of course you know where he was lazy.
Female principal: I understand. What are you going to do?
Make it easy: Well... Two years ago, I sent him to you. In the past two years, you have taken care of him very well. I'm sure you will do better in the future.
Female principal: (sighs again) In the past two years, I have never been able to talk to you seriously.
Make it easy: (into Mustang) I'm sorry, but I never talk to a beautiful woman seriously.
The headmistress smirked. Jean Lu Yi turned on the headlights, started the engine, pressed the button, and covered the hood.
Headmistress: Be careful, I think there will be fog tonight...the road may freeze.
Make it easy: (put your head out of the car) Freeze?
Headmistress: That's right.
She stepped back, let the car drive past, and was surprised to find a person standing in the shadow nearby.
Headmistress: Are you still here? (She walks out of the screen)
The camera pans Mastan turning on the road.
Headmistress: (appears again) Mr. Dyrock... wait a minute!
The car stopped and she stepped forward. When Jean Luyi got out of the car, she happened to meet Anna walking towards him, she was a little embarrassed.
Theme music. The blue filter is still used in the following scenes. In the moving Marstan, at night. it's raining.
24. The middle and close shots of Yiyi Yi's right hand on the steering wheel. The lens is facing the windshield and dashboard, and on the left, you can see the part of the body that makes it easy to focus. The dazzling headlights and the swinging of the wipers of the oncoming car form a constantly changing pattern on the windshield of the rain.
25. Let the side view of Luyi in the middle and close shots. While driving and talking, his voice was overwhelmed by the theme music.
26. Take a close-up shot of Anna from the side. She sits in the front seat and smiles at Jean Lu Yi.
27. Shoot the middle and close shots of the two of them facing the camera through the windshield.
Make it easy: do you often miss the train?
Anna: Yes, often missed. In general, my concept of time is not strong.
28. Reversal shot taken from inside the car. The scene was blurred by the storm and the swinging wiper.
Make it easy: (Voiceover) Do you often find someone to take you back?
29. The frontal shot of the duo shot through the windshield.
Anna: No, it's not... I spent the night in Deauville. (Pauses)...No, she is not very hardworking. (Smile)
Make it easy: I know...
30. A slightly distant shot of the two of them.
Make it easy: ... She is smart, but lazy.
Anna: (turning to him) Who told you?
Make it easy: Aha! ...... (They look at each other and laugh)
31. A close-up of making it easy to drive.
Jean Lu Yi: What is her name?
32. A close-up of Anna.
Anna: Francois. (She turns to Jean Luyi, smiling) What about him?
33. The lens is back to make it easy.
Make it easy: Antoine.
Anna: (Voiceover) Antoine... a good name.
The camera shakes all the way from Rang Yi to Anna, and she smiles herself.
34. Reverse the lens and shoot the street outside from the windshield of a moving car. They passed through a small town, and the streets were illuminated by a string of festive lights.
Make it easy: (Voiceover) Do you often go to school?
Anna: (Voiceover) I often go... When I'm not at work, I go every week. (Pause) How about you?
Make it easy: Oh yes. I go every Saturday, sometimes on Sunday. (Note 1)
35. Anna's mid-range shot, she was silently lost in thought.
36. Take another shot of her through the windshield from the front. She sighed. The sound of oncoming cars, the headlights across the screen. After a pause, Anna pointed to the dashboard.
Anna: Is it possible?
The zoom pull intake makes the journey easy. He answered while pressing the radio button on the dashboard (outside the picture).
Make it easy: Oh. sure.
There was a trembling song on the radio, a popular song full of sadness, a song from before the First World War. Anna laughed.
Anna: Oh! ……please forgive.
37. Make a close-up of Easy Way. He looked at Anna from the side.
38. Close shots of the two shot through the windshield, they are listening to the song. Anna resisted Grid's laugh and looked at Jean Lu Yi, who happened to turn his head too. They smiled opposite each other.
39. Anna's middle and close shots, she rubbed her nose to avoid laughter.
40. Let Lu Yi look at her close-up.
41. Close-up of Anna smiling.
42. Let the middle and close shots of Yi Lu Yi happy and happy.
43. Anna's close-up, she looked at Jean Lu Yi.
44. Make a close-up of Easy Way. He looked down at the radio on the dashboard, and when Anna finally couldn't help laughing, he also grinned.
Make it easy: (smiles to yourself) You shouldn't laugh. In 1914, this kind of song would make people cry.
The camera slowly moved towards Anna.
Anna: (Pretending to be serious) Oh... they still cry!
45. The singing continued, shooting the middle and close shots of the two of them through the windshield. They exchanged glances and smiled.
46. Let Lu Yi's middle and close shots, he smiled happily.
47. Anna's middle and close shots, she also smiled happily.
48. Let Lu Yi's close-up, the car drove quite fast, his eyes fixed on the road. The headlights of the approaching car were seen from the rear window. Long pause.
49. Another shot of Luyi and Anna was taken through the windshield, and the wipers stopped moving.
Make it easy: are you married?
Anna: (with a strange smile) Married. (Pause) Yes, married! ……And you?
Make it easy: married. ...
Anna: (turning to him) You are not like a married person.
50. She took a close look at his middle and close shots, and then smiled.
Let Lu Yi: (Voiceover) So, what should a married person be like?
51. Let the middle and close shots of Easy Way.
Make it easy: What does your husband do?
52. Back to Anna's smiling and contemplative scene.
***
The following scenes are flashback shots of normal colors, which appear to be filming locations in the western township. (Note 2)
53. A close-up of the lower half of a man's face, he is not shaving and smoking a cigar. He is Anna's husband Pierre. I heard all kinds of sounds in the suburbs, the most prominent being the sound of birdsong.
54. Pierre's side close-up shot, he is wearing a black hat and a red scarf.
55. The frontal shot of Pierre, he is playing the contradiction in a typical second-level western. Beside him, part of the body of a horse can be seen. Except for a few birdsong in the distance, everything was silent.
56. Take a close-up of Pierre's face from the back, he is still smoking.
57. Close-ups of the backs of two young women, they face Pierre. He stood next to the horse in the background, with his hand on the gun. The young woman exchanged confused glances.
58. A close-up of Pierre's hand on the revolver.
59. Take a close-up shot of another shepherd boy. He is sitting on the railing with his hand on the gun. Only saw the lower part of his body.
60. Reverse the middle shot of the lens. The shepherd boy on the railing is in the foreground, and behind the big side, Pierre stands facing him in the background.
Voiceover: Shoot!
The shepherd boy jumped off the railing and shot. Pierre drew his pistol and pulled the trigger. The gun did not go off.
61. Pierre's middle shot. He tried to shoot again, then threw the gun to the ground viciously.
62. Panoramic view of the street: on the right is the hotel, on the left there is a shop, it says "Jeans". In the foreground, a wooden fence is used as the bottom frame of the picture, plus two large wheels on the ground. The camera pans to the left of a group of women in costumes of that period, holding parasols, and walking down the slope of the hotel. Pierre and three other men dragged out a corpse in a simulated gunfight from inside. The flashback is over.
***
63. The blue filter, through the windshield of Mastan while driving, to the close-up shot of Let’s go.
Jean Lu Yi: So he is an actor?
64. Close and middle shots of the two of them.
Anna: Yes. ... (Tranced) At least not exactly... He is not only an actor.
***
65. Another normal color flashback shot. Taking a close-up shot of the windshield from a car, Pierre's back at the steering wheel, the car rolled over repeatedly, making a deafening noise, the glass shattered, and the sunny countryside outside rotated with the car's roll.
66. The voice continues. Looking up, the middle shot of the car-a white Fiat-rolled over again and again and the door was knocked open.
67. Shooting up the middle shot of another car hitting the other two cars, ramming in the opposite direction of the camera, and burst into flames.
68. Take another shot of the same impact scene from the side.
69. A closer shot of the burning car.
70. Another similar lens. Red and orange flames fill the picture.
***
71. Blue filter. Returning to the close-up shot of Marstane Jean Luyi, the rain was heavy again, and the wipers swayed back and forth.
Make it easy: a stuntman... a special profession. Tell me, how do you get to know a stuntman? (Shaking to Anna's mid-close shot. Let Lu Yi continue to talk outside the painting) At the bottom of the valley? (She looks at him sadly, shakes her head and the camera shakes back to Jean Luyi) In a burning airplane?
72. Take a close-up shot of the two of them through the windshield. The rain was washing down the hood.
Jean Yiluoyi: I almost got it right?
Anna: (turning to him) No.
Make it easy: tell me.
***
73. Flashback camera, normal color, close-up shot of Pierre looking up. He is kissing a black girl who is leaning against a dark, almost gray-green wall in the castle.
74. Music. Looking up from the middle and close shots of Anna, she wears a sheepskin jacket and sits next to a tree with a blue sky behind her. She watched the scene, glanced at the stopwatch, and smiled happily.
75. Back to Pierre's mid-close shot. When he left the girl, the camera panned to the left, he held a box, then stopped and looked back.
76. The same scene, the lens is a little farther away. Panning his frantic performance, he ran away from under the city wall with a vigor, holding the box around in circles, and finally reached the edge of the movie set, where the shooting crew and floodlights were all installed. There was a cloud of smoke covering the scene. The camera used by the photographer followed Pierre. Zooming in to take a close-up shot of Anna sitting on the camera, she looked at Pierre outside the painting and smiled happily.
77. Shooting Pierre upside down in the middle and close shots, he put down the box next to a person holding the boom of a loudspeaker. Rocking to the left, he walked towards Anna, kneeling beside her to study the scene.
78. Shoot the middle and close shots of the two of them. They are talking, and Anna has the script of the movie on her lap. The music drowned out the sound of their conversation.
79. The middle shot of the two of them in front of the 35mm camera, with Pierre standing. The floodlights set off their contours, and the cloud of smoke swirled behind them. (Note 3)
***
80. Blue filter, through the windshield, back to the close-up shot of Jean Luyi in Mastani, at night. Hearing the sounds of passing cars, seeing the reflections of those car lights, the wipers swinging back and forth.
Make it easy: it sounds like he is a character in a novel. Leaving aside the stuntman, there is nothing too novel.
Anna: (Outside the painting at first) I don't pursue novelty. (The camera slowly shakes to her) Anyway, people met, got married, had children... it's something that anyone can encounter. Only the one you love can be unusual.
Make it easy: then your husband is extraordinary.
Anna: Yes, it seems to me so. He is so exciting, so different, (she laughs happily)...so perfect. Regardless of the person, the matter, the ideal, he is so intoxicated.
Let Easy: You speak of him like Jesus Christ.
Anna: (Looking at him) He might be like this to me... For example, I have never been to Brazil, but I seem to have lived there for a week. (The camera pans to Jean Luyi, she continues to talk outside the picture) Pierre made a movie there. After he came back, he said nothing but Samba (Note 4) for a whole week. Samba has become a part of our lives.
Make it easy: (smiling weirdly) Samba has become a part of your life!
***
Flashing back to Pierre and Anna’s apartment, normal color, hearing the song "Samba Salava", Pierre sometimes sang and read aloud, a series of shots showing the couple's common life.
81. When Pierre sang, the band played outside the painting, his front close-up. Zola filmed him sitting in a chair reading the comedy "Ghost Town". He wears a white bathrobe. The camera continued to pull back, taking pictures of Anan next to the table in the foreground, preparing breakfast.
Song "Samba Salawa":
We must seek joy more or less,
I like to laugh, like to sing,
I'm not against honest people being happy and happy...
82. Close-up of Anna's hands: she massaged Pierre's head while washing his hair, and then zoomed and patted. Pierre was kneeling in front of the washbasin and Anna was standing when she saw them both.
The singing continues:
If one song, samba did not leave you sad
Just like a glass of wine only makes you feel calm and cold,
It's like a glass of wine only makes you feel calm and cold.
No, this samba is not my singing.
83. Camaguey (Note 5) A close-up of French windows on the side of a farmhouse. Pierre walked out, he was wearing a suede jacket, and when he walked towards Anna, he pulled behind the camera to shoot. Anna stretched her limbs on the grass, doing exercises in the sun. He circled her around.
The song continues, Dao Bai: "Singing a song without sentimentality is like loving a woman, she just looks pretty"... This is the songwriter, poet and diplomat Binicius de· The original words of Maurice. He said he was the darkest white man in Brazil.
84. Pierre's middle shot, he is riding a white horse stalking in Camaguey. Behind him is a clear water.
85. A mid shot of a pair of red doors in the bullring. A young bull bounced around in the foreground. When Pierre rode into the gate, it turned into a panoramic view, and then patted him galloping in the court, shaking the red cloth in front of the bull. Then he rode away.
The song continues, Dao Bai: "I may be the most Brazilian Frenchman in France-I am willing to tell you my love for samba, like an infatuated person who dare not confess his love to his loved one, but who did I meet? Talk about what he loves."
86. Shooting up the middle shot of Pierre, he rode his horse to Anna, who was also riding a horse behind the railing next to the bullring.
[The camera is slightly downwards, panoramic, Pierre and Anna galloping in Camaguey. ] (Note 6)
87. The mid and close shots of the two of them. They sat face to face at the table with leftovers, cheese, fruit, and a bottle of wine on the table. The camera moved slowly to Pierre, and he continued to sing, putting an orange in Anna's mouth. Put another petal. They looked at each other lovingly. After a while, Pierre poured a little wine, but his eyes never left Anna. Anna drinks.
The singing continues, the lyrics are:
I know some people hate singing,
Others think that they are just a kind of fashionable goods,
Some people think that money is life...
88. Close-up shot: Pierre's fingers playing on the guitar strings. Anna's arm stretched over. Zola shot him sitting on the sofa in the living room, wearing a softball cap. Anna turned to the washbasin behind Pierre, apparently washing. (Note 7)
The singing continued and sang:
I love samba, and also the end of the world I have traveled,
I searched for its roots and shoots in a foreign land.
If I can find it today,
That's the samba we are going to sing.
89. The panoramic view of the two of them in the outdoor scene. They rode side by side in Camaguey, moving the camera to follow and pan them wading through the swamp. Following a series of shots of the rider on the horseback, the singing continued.
The singing continued, saying: "To Joao Gilbert, Carlos Libera, Dorivar Capmi, Antonio Carlos Hobim, Vinicius de Morales, Bar Don Bauville and other collaborators who have composed the song for this song pay tribute."
90. Mobile photography followed by a closer shot of the two of them walking through the swamp.
91. Mobile photography follow the horse's legs to slap the water surface.
92. Mobile photography followed by a middle shot of five people riding horses, including Pierre and Anna, holding hands.
[Another panoramic shot: the rider passes behind the herd led by the herder] (Note 8)
93. Mid shot from the back shot: Pierre temporarily leaves Anna and rides to the front to pass someone else a cigar.
The song continued, saying: "I would like to drink tonight, so that I can confide in all the people I find, thank you, thank you, thank you for creating such samba, Sarawa, Begin, Noel Luo Sha, Dolores Duran, Silvio Montello, and many others, all successors..."
94. Back to the scene of the couple: Anna leaned against Pierre, holding his hand. The camera pans to the left while moving the camera until they are out of the picture.
95. Back to the scene of the two of them. They continued on horseback, and Anna pulled something from Pierre's eyes. Move the camera to follow the shot.
96. Panoramic view of the two, with a group of cows passing by in the foreground.
97. Medium and close shots, side shots of the team of riders. Now they are flying at high speeds and moving photography. In the two panoramic shots of fast moving photography below, the singing continues.
98. Panoramic, using fast mobile photography to take pictures of cattle, they are scurrying. The rush of grass in the foreground turned into a blur of color.
99. A similar shot of a crowd chasing on horseback, and some people are blurred due to chasing.
The singing continued, saying: "Eddie Rob and the friends who are with me tonight-of course, there are also Baden, Ico, Osvaldo, Luigi, Oscar, Nicolino, Milton... (pause) Sarawa... Sarawa! Thanks to these friends, with a word that makes me excited whenever I say it... This word will excite everyone and make them raise their hands up. Sing...that's samba."
100. Take an overhead shot of Anna's mid-range shot, wearing a black evening gown, walking up the wooden stairs. The camera tilts upwards, panning her to face Pierre and walking. He wore a formal dinner jacket, leaning against the bookshelf on the stairs. She walked in front of him, and he followed her to the bedroom door, panning the camera and patting them. They went in.
The singing continued and sang:
It is rumored that Busia is its homeland.
To talk about its poetic sentiment and rhythm,
Thanks to the dance and pain for thousands of years.
101. Close-up of the two of them kissing in the bedroom. Anna took off Pierre's jacket, her focus slowly became farther, and she saw Anna throwing her jacket on the bed, and turned around, letting Pierre take off her clothes.
The singing continued and sang:
However, no matter what the feelings it arouses,
Regardless of whether its form and rhythm are flawless,
Even though its form and rhythm are white and flawless,
It was obviously dim and sad in its heart.
102. The middle shot of the two of them. Anna is lying on the bed, facing the camera, watching a funny comic book-"The Adventures of Becott", Pierre is closer to the camera, sideways, wearing a bathrobe, he is playing the guitar.
The singing continued and sang:
However, no matter what the feelings it arouses,
Regardless of whether its form and rhythm are flawless,
Even though its form and rhythm are white and flawless.
It was obviously dim and sad in its heart.
Zooming shots Pierre sitting in front of the typewriter, typing out the lyrics he composed from time to time.
The singing continued and sang:
However, no matter what the feelings it arouses,
Regardless of whether its form and rhythm are flawless,
Even though its form and rhythm are white and flawless,
It was obviously dim and sad in its heart.
After playing the song, Pierre stood up, put down the guitar, and walked to Anna on the bed. He leaned over and kissed her. The focus slowly gets closer.
***
103. Blue filter. Let Luyi have a close-up on the side next to the Mastein steering wheel. He smiled at Anna. The singing gradually weakened while singing repetitions, and only the sound of rain outside was heard.
Singing, Pierre sings (outside the painting):
It was obviously dim and sad in its heart.
104. A close-up shot of Anna's profile, glanced at him, and then turned to smile sadly.
105. A close-up of Jean Lu Yi's back, he is driving.
Make it easy: Where do I send you when we arrive in Paris?
106. Close-up of Anna's sorrow.
Anna: Lamarck Road.
Make it easy: (outside the picture) Lamarck Road? Where?
Anna: (smiles): On Eighteenth Street.
107. Panoramic view of the streets of Paris at night. Panning to the left, the vehicle drove thunderously on the street. (Note 9)
108. Continue to use the blue filter. Mustang stopped in front of an apartment: No. 14 Lamarck Road.
109. Take a close-up shot of the two of them through the windshield.
Make it easy: is it here?
Anna: Yes.
Let Lu Yi: (I have no words to find words) It's really interesting, I don't even know Lamarck Road.
110. Medium and close shot: Seeing the two of them from the side window of the car, letting Yi Yi get close to the camera, Anna turned to him.
Anna: Oh, is it? …Oh, it’s on this road. Not long before 1917, Jean Gabriel Domekel hired a Russian servant. (Let Luyi silent) The name is Vladimir Ulyanov.
Make it easy: Oh?
Anna: A year later, he knew that it was Lenin. (She smiles at him, then turns to drive the door) Well, thank you very much for taking me home. (She gets out of the car) No, no... please don't bother.
When she got out of the car, her focus gradually became farther away. She closed the car door and stood in front of Mustang.
Anna: Goodbye.
Make it easy: (opens the car door, sticks out his head) Hi... I said. (She goes around the car and walks towards him) Next Sunday I will go to Deauville... If you want to take a ride... Anyway... (zoom in to take a close-up of his face)... I agree with you Meet the husband.
***
111. Flash back to the camera, normal color. A certain movie was shot on location in a sunny suburb. In order to see a tree, a bomb exploded next to it, smoky.
112-117. Six consecutive exploded high-speed shots. Flames, smoke and corresponding sounds.
118. The big scenes of the war, the left and right sides, and the middle are still exploding. A soldier wearing a US military uniform walks out of the camera with a submachine gun and disappears in the smoke. As he does this, the focus gradually gets closer.
Director: (Outside the picture) Stop. Yes, we will retake this paragraph immediately.
The director turned his back to the camera and walked towards the soldier. The soldier was coming out of the smoke. He was Pierre.
Pierre: All right.
When Anna entered the screen, her focus slowly became farther away, and she stood beside the director, facing Pierre. The smoke that exploded behind them thinned slightly, revealing the blue sky.
Director: Not bad...but don't take that risk next time. Ok?
The focal length was further increased, and it was shot with a large 35mm movie camera and camera crew.
119. Shoot Pierre's middle and close shots from the opposite angle. He was wearing a U.S. military uniform and standing on a slope. He turned his back to the camera, looking at the camera and film crew in the background. Anna and the director are standing under him. The director gestured to Anna and walked away. Anna and Pierre stayed there, he took off his helmet and jumped off the slope.
120. Reverse the camera and shoot the middle shot of the three of them from the foreground. Behind them is a burnt tree. When Pierre kissed Anna affectionately, the director walked out of the screen. Then, panning to the right, turning to the inverted position, she ran back to the camera, and the director waved her arm and yelled loudly.
Director: (calling) Let's start!
Sound technician: (shouting loudly) Silence!
Explosions, machine guns, etc.
121. Pierre reversed the angle of the panorama. When he dashed across the battlefield, he put on his helmet again to avoid falling bombs. Slowly get closer. Suddenly, he stretched his voice and howled.
122. Reverse the angle to shoot the middle and close shots of the director and Anna, and they ran to him in panic. The camera pans to the left and follows the shot.
***
123. Back to Lamarck Road, at night, blue filter. Anna's close-up, eyes full of sadness. (pause)
124. Let Lu Yi and Anna's middle and close shots. They stood face to face at the door of the apartment, a large side shot of Anna.
Make it easy: I'm very sorry. When you talked about him, it was so relaxed and happy, I never thought he was gone.
Anna: (turning his face to ring the doorbell) Thank you for letting me take your car on Sunday... (she stopped in the doorway again after she entered)... But I don't know if I'm free. In short, if you are willing to call me during the day on Saturday, I can tell you.
Zoom in to shoot them standing in the middle of the doorway. Mustang is in the foreground.
Make it easy: I don't know your phone number.
Anna: Montmartre 15-40.
Make it easy: Good night.
Anna: (closes the door) Good night.
Pan and follow the camera to make it easy to walk away and get into the car. Mastan drove away, then stopped, and the camera panned.
125. Pan the camera and take a close-up of Jean Nouveau's hand: He opened the glove box next to the dashboard and took out a piece of paper. He took the paper close to his side and shook it back as he wrote down the phone number.
Make it easy: (talking to himself) Montmartre 15-40.
126. The music is loud. Normal color. Looking up, Mastan was driving on the road, passing by the position of the camera, its headlights emitting a bright yellow light in the dark.
127. Another similar lens. When the car entered the curve, its headlights illuminated a slip of the fence. The scenery was shrouded in blue light, and the day was about to dawn.
[Photographing the road through the windshield (Note 10)]
128. Looking up from the perspective of the entrance of the Montereyri test track: Mastan slowly approached and stopped in front of the railing blocking the way. The railing rises, the camera pans to the left, and the car drove over and stopped in front of the Fu company building.
129. A mid-range shot of a minivan: Several mechanics opened the tailgate and let a single-seater Fumüller Type 1 into the runway down the slope. The camera pans to the right for a close-up view of No. 1 as he is getting out of the car to look at the car he is about to test. Another driver came over and they chatted.
130. A panoramic view of the runway shrouded in blue morning light from a very high angle. The mechanic drove the Fumüller Type-1 car next to the Ford GT racing car, and several mechanics were fiddling with it.
131. Let Lu Yi and the middle shot of the chief mechanic. They are leaning over and discussing seriously beside the open cabin of the GT. In the background, the first ray of sunlight after dawn passed through the clouds.
132. A panoramic view of the car on the runway, behind the administrative building and grandstand.
133. The overhead shot gives a mid-to-close shot of Lu Yi and the chief mechanic, who leaned over the engine of the GT car.
134. Another similar shot, they look in from an open car door.
135. Middle shot: A mechanic is playing with a Fumüller Type 1 car, with a GT car in the background.
136. Taking photos across the roof of the GT car gave Lu Yi and the chief mechanic a mid-to-close shot. They discussed enthusiastically, and their voices were overwhelmed by the loud music.
137. They are lying on the engine again in the middle and close shots. They straightened up, and the chief mechanic made a gesture, saying that "everything is normal."
138. The middle and close views of the two of them are reflected from the windows of a house.
139. Let Luyi and another driver's mid-to-close shot, they face each other leaning on the GT-type car roof and chatting. The music continues.
140. Take a mid shot of the GT car from the front of the car. Behind it is the chief mechanic and two drivers lying on the engine.
141. A mid-to-close shot of a mechanic. He jacked up the jack under the back of a single-seater car. The camera panned to the right. Two people were going to move the hood.
142. A mid-close shot of the mechanic moving the hood.
143. Another similar lens: They remove the front half of the body. Shake them away from where they were, and set the car on the ground.
144. Medium and close shots: overhead mechanics repaired the Fumüller-1 engine.
145. Medium shot: Let Luang and another driver come out of the house, wearing Ford driver's overalls and holding helmets. Use a telescope lens to shoot them coming oncoming. Panning and moving the camera in front of them, they talked freely and walked towards the GT car. A ray of sunlight casts over.
146. In the middle shot, panning they walked to the GT car. Let Lu Yi talk to the chief mechanic, and the other driver walked away.
147. Medium and close shots: Chief mechanic and Jean Luyi yelled at each other's ears, the sound of the engine was too noisy, and the sound of music overwhelmed them. Make it easy to put on a helmet all the way.
148. Let the side view of Luyi, he fastened his helmet, and behind him, a mechanic was lying on the engine.
149. Medium and close shots of the interior of the car. Jean Luyi got into the car, still listening to the chief mechanic, who leaned in from the open door and said something to him. The chief mechanic ran into the door. The music stopped and the sound of the engine was heard.
150. The car is slowly driving towards the runway, medium shot. The engine sound is uneven when the engine is in low gear. When the car started to accelerate, the camera moved to follow the shot. Then, the sound of the exhaust pipe rang and the car sped away at full speed.
151. Panoramic view, as the car pans on a circular runway with a slope on the side, and enters the curve at the top of the runway. When it accelerates, the sound of gear shifting can be heard.
152. Medium and close shots, let Lu Yi wear gloved hands on the steering wheel.
153. A close-up of the outside of the rear-view mirror, and the circular track is seen flying past the car.
154. Let Luyi's mid-to-close shot, he drives with a high concentration of energy and pays attention to the timing of shifting gears.
155. A close-up of his head and shoulders.
156. Return to the close-up shot of his hand on the steering wheel. He let go of his hand to test the stability of the car. It was raining lightly outside, and the wipers swayed quickly.
157. The panoramic view of the car coming towards the camera and turning around the curve.
158. Let Lu Yi's close-up, his hand is released again. The wheels vibrated and the car kept bumping.
159. Panoramic. When the car enters another curve, the zoom is zoomed in.
160. Returning to the shot of Jean Luyi, his hands leave the steering wheel.
161. The lens quickly pans to the left, zooming out, and seeing the GT car turning a corner and approaching oncoming.
162. Back to the lens that makes it easy.
163. Panoramic shooting The car turned another turn away from the camera.
164. Panoramic, zooming in to shoot the car again oncoming.
165. In the panoramic view, when the car is driving on a slope, the mirror tip swings to the left. The tree flicked in the foreground.
166. A similar shot of a white Mastein, the number of the car reflected by the sun is 184.
167. Back to the shots of GT cars. When let Yiyi slow down and want to keep pace with Mastan, the engine sound is uneven.
168. The camera returns to Mastan. The lens is shot up into a GT car. It is just above Mastan on the slope. The GT drove away again, and the camera continued to pan.
169. Approximate shots of a GT car speeding up alone.
170. Another panning shot of the GT car crossing Mastan again.
171. Back to the shot of Mastein speeding up.
172. Panning the longer view of the two cars, you can now see the trees in the runway clearly.
173. A close-up shot of a five-gallon gasoline tank filling a GT car parked there. The camera pans the windshield, and through the glass, I can see that Yi Lu Yi is talking to the driver sitting in the passenger seat, and I also see a five-gallon gasoline tank refueling on the other side. After the car engine stopped, it suddenly fell silent and heard the voice of a radio commentator from outside the picture. His voice continued into the following series of shots, accompanied by the knocking sound of the mechanic playing with the car.
Radio commentator: (outside the picture)... He said that he is particularly willing to hold a press conference on the issue of price increases. Now we are going to broadcast sports news. As we all know, this show almost all introduces the 35th Monte Carlo Racing Conference, which will start in eight days. Of course, sports teams everywhere are preparing vehicles for competition. Judging from the weather forecast, the climatic conditions of this competition will obviously be very bad...
174. When the commentator was speaking, one could see a mid-to-close shot of a mechanic from a low angle. He pushed a wheel and ran forward and the camera panned. The sun began to go down.
175. A close-up shot of this mechanic, he put the wheel on the car.
176. At dusk, a close-up of a headlamp of White Marstein. Point it with one finger.
177. Close-up shot from the back: The silhouettes of two mechanics are set off in the twilight, they are correcting another headlight.
178. Looking up at the panoramic view of the White Marstein, it drove quickly past the stands in the evening, with the headlights shining.
179. Panoramic shot from overhead. The camera pans to the right to make Mastein pass by, next to the GT racing car.
180. Medium shot, moving photography in front of Mastan, the voice of the radio commentator continues.
Radio commentator: (outside the picture) Among the players participating in the competition are the most popular team Dua Wunan and Mackinan. They use Coopers and DS21 cars respectively... We know that they have already played last week. Hard training, and ended the last...
His voice was masked by Yinmiao's roar. A series of fast shots created an atmosphere of continuing training on the track at night.
181. Let's get a mid-range shot of Henri Shman, the co-pilot of Leiyi, standing next to the white Marstan with the hood open. They will be driving this car at the Monte Carlo Racing Conference. The camera pans across the hood, and there is an easy way to appear on the other side. The crackling noise of the engine as it spun up.
182. From the side view of Luyi, he watched the switchboard call for the teacher to remove the air filter from the engine of Mustang.
183. Let the side close-up shot of Lu Yi, he is talking, but his voice is drowned out by the sound of the engine.
184. A close-up shot of the arm of Lu Yi and the chief mechanic reaching for the engine.
185. A close-up shot of the side of their head as they leaned over to look at the engine. Shman looks out from the rear view.
186. A close-up shot of the chief mechanic's arm as he adjusts the engine.
187. Let Luyi talk to the chief mechanic in the middle and close shots, who leaned over to look at the engine in the foreground.
188. Let Luyi's panoramic view on the runway, surrounded by many mechanics and engineers.
189. Let Luyi's middle and close shots, he puts on his helmet and glasses, and observes another car that is moving. (Note 11)
190. Panoramic, panning Marstan speeding on the runway, the headlights flashing, next to it is a GT car.
191. At dawn another day, the middle shot of the Ford Building. In the front of the building, mechanics and engineers stood beside Jean Lu Yi. Holding a stopwatch in his hand, he observes the running of the car. There is another Ford GT behind them.
First Machinist: What do you mean and why is it bad?
Make it easy: one minute and seventeen seconds. (The camera changes slightly, and a car flashes in front of them, leaving a cloud of white mist) Four hundred thirty-four.
First Machinist: Not bad, eh?
Make it easy: (to a walkie-talkie) Yes. What is your current speed? (Listening) Eleven thousand? (The camera changes slightly, and the car drives over again) Four hundred thirty-seven. What is the speed now? (Pause) Ten thousand three hundred.
Machinist A: We succeeded, with an extra 200 revolutions, which is great!
192. The mid-range shot of let Yilu board the Fumüller-1. Its engine crackled. Shman helped him put on the goggles on the helmet.
193. A close-up shot of the steering wheel and instrument panel was shot overhead, and Lu Yi's gloved hand pointed to the speed calculator.
194. Close-up shot: The chief mechanic leaned over to Ren Luyi's ear and exhorted him a few last words. His voice was overwhelmed by the sound of the engine.
195. Shooting mid shot from up, the single-seater car starts, and the camera pans to the left.
196. Let All the way easily grasp the middle and close shots of the steering wheel, with the camera in front of the car. It was taken from under the Dunlop Bridge on the runway.
197. Let the close-up of Yi Lu Yi driving, look nervous.
198. Medium shot: Two mechanics stood by the runway when the car passed by.
199. A similar shot of Shman is taken from the back, he is wearing a helmet. He waved his arm, motioning to let Yi Yi drive over. The car passed and accelerated.
200. Mid shot from up shot: Shman and two mechanics are standing by the gas station in front of the Ford GT. The single-seater car sprinted past the foreground.
201. In a longer shot of the same scene, when the single-seater quickly passed by again, everyone made urging gestures.
202. The overhead shot gives a panoramic view of Yiyi. When he came out of Fumüller-1 near the house, Shman greeted him. Make it easy to walk away and take off your helmet. The camera pans to the right, showing that the camera was placed behind the window of the timing booth. Let Lu Yi walk in the door, and when he sits by the window, the camera pans back. From behind the window, I used a soft lens to shoot Shman boarding a Fumüller-Type 1 car. Let Lu Yi take a piece of paper out of his pocket, pause for a moment, and then pick up the phone.
Make it easy: Miss, can you pick up Montmartre 15-40? ...(He looks at his watch) Hello? No, no, can it be connected within five minutes? Excuse me. (He puts down the phone)
203. Longer shots of the same scene. Let easy light a cigarette, unbutton his jacket, and turn around to look at the runway outside the window. When the Fumüller Model 1 was about to drive away, the zoom was zoomed in. The phone rang. Then zoom in and shoot. He picked up the phone.
Make it easy: (a bit nervous) Harrow, Montmartre 15-40? ...I'm Jean-Louis Dyrock. I gave you a ride from Paris last Sunday...oh...from Deauville to Paris. Yes how are you? (Pause) Oh, look, uh... tomorrow I am going to school to visit my son, so I thought, if you want, I can take you. (Pause) Oh, any time... uh... oh, I don't know... nine o'clock, half past nine... it's yours. (Pan the window as the car drives out. Let Yi Road continue outside the picture) Nine o'clock? ……OK. Nine o'clock.
204. Medium shot, Panning Red Marstein drove to Lamarck Road during the day. Parked next to another car before the fourteenth. Let Yilu get off the car, observe the apartment, and start walking back and forth, looking at his watch. Birds are chirping, and a dog is barking. After a while, he took off his jacket, put it behind the car, and sat again next to the steering wheel.
205. A mid-to-close shot of him from outside the windshield, despite the gloomy weather, a ray of morning glow was reflected on the windshield. While he waited, read the "New Observer" magazine.
206. In the middle shot, the car is in the foreground and the car is behind. Anna came out of the apartment and leaned forward from the car window to greet Jean Lu Yi.
Anna: Good morning.
Let Lu Yi immediately close his magazine and get out of the car.
Anna: (Expression of apology) I'm late.
Pan makes Lu Yi go around the car with her to drive the door.
Make it easy: Oh...no...it's not too late...it's nothing.
She got in the car and let Yi Yi close the door.
207. Panoramic, panning Marstein heading for the car tunnel, leaving Paris and heading west. It started to rain. Oncoming cars lined up, stopping and walking. There was an impatient horn from the Auto East team. When Mustang disappeared in the tunnel, the exit car was less crowded.
208. Move backward for photography. It was pouring rain and smog on the motorway, and Marstein drove towards the camera, driving the headlights, it overtook another car and moved on.
209-217. Nine similar backward-moving shots in a row: Marstein was slacking in the rain, and the sun had just drilled into a dark stratosphere. In the last three shots, the headlights were turned off and the radio commentator was heard. Voiceover.
Radio commentator: (outside the picture) As you might have guessed, the title of this heart-warming piece is "Love", played by the Daniel Water Symphony Orchestra. Well, it’s Sunday morning. I think it’s time to talk about the weather. I can’t guarantee good weather today. In fact, according to the weather forecast, I’m afraid it will rain heavily today. They said there was rain in most areas...
218. Taking photos from the outside of the windshield for a mid-to-close shot of Yiyi, the wiper swings back and forth in front of him, and the glass reflects the trees passing by the roadside.
Radio commentator: (outside the picture)...The roads in the south and central part of France are flooded, and the Parisians may be gathering for a picnic in the countryside...
219. Anna's similar medium and close shots.
Radio commentator: (outside the picture)...well, they'd better stay in Paris...go to the cinema, play poker...Of course, listen to the radio, stay with us...As you know, I'm here all day Broadcasting, broadcasting a variety of different programs, I hope you will be more or less interested.
Anna looked out the window.
220. Let Luyi's middle and close shots (such as 218), he smiled at Anna.
Radio commentator; (outside the picture) Here, that's it, it's Sunday morning, the weather is terrible, all the roads... Actually we just received a message stating that...
221. The windshield's middle and close shots, the wiper swings back and forth.
Radio commentator: (outside the picture) a man and a woman died after a fast-moving car slipped.
222. Shoot the middle and close shots of the two of them facing the camera outside the windshield. The rain seemed to have stopped, and the wipers did not move.
Make it easy: I don't like listening to this type of news.
Anna: I don't like it either, especially when sitting in a car.
Make it easy: Am I not driving well?
Anna: No, no, you drove well.
Radio commentator: (outside the picture) Now, let us forget this unfortunate news and listen to some relaxing music. This is a short song. I'm sure there is no need to introduce what everyone is familiar with.
Anna: You still didn't tell me what you did.
Let's make it easy: Oh,
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