Al Pasir walked through the dark aisle backstage to the curtain. One moment he was a modern actor wearing an inverted cap and a black coat, but in the next shot, when he walked from behind the red curtain to the stage, he It was another person, hunched over his back and limping, standing guard and questioning. However, there is only one person in the audience, the object and creator of his interpretation - Shakespeare in Victorian costume. This is where the film unfolds, from street interviews to the idea and intense discussions of the creators, as well as the rehearsal where all the actors come together, including some of the clips after they were made into the film. Sometimes the camera is an objective record of perspective, but sometimes the camera is the subjective point of view of the readers (actors in the play and viewers outside the film). Although, this looks like a behind-the-scenes documentary about the making of "Charles III," occasionally interspersed with the story. However, the tight editing and open narrative frame made me realize that there are no two worlds that can be separated from the front and behind the scenes. Charles III.
The title of this article is taken from an anecdote told by Eco: he and Calvino each wrote a book on readers' problems without knowing each other. Vino's is "Winter Night Pedestrian", and they sent their new work to each other. Calvino wrote on the dedication page: "To Umberto: The reader is upstream, Itano Calvino is downstream." When I watched the film, the first book and its narrative style popped into my mind. A similar novel is this book by Calvino.
In "Winter Night Walker", male readers and female readers live in a world of searching for the right novel. They originate from a wrongly bound novel, and in the process of searching, they linger on a book that only has the first part but not the last part. A jungle of novels, and parallel to it is a world of novels they are reading. The narrator uses the second person "you" to run through it. In other words, this "you" is both the reader in the novel and the person who is reading the book in real life. It brings a reading experience of jumping in and out. When you are reading those embedded novels, you become "you", and the world of the novel and the world of the reader are fractured in the style of "One Thousand and One Nights". looking back at each other. In Finding Charlie III, the identities of male and female readers are more diverse, they are the subjects of random interviews on the street, the Shakespeare experts who chat in the quiet room, and, of course, the actors who are hotly debated. "Charles III" is their common topic. The discussion in the film is carried out along the plot of the script. Between the first and second acts, there are a series of parties, searching for venues, and visiting Shakespeare's former residence, which are related to "Charlie III". The seemingly unrelated content of the story, a roundabout "off-topic".
But "off-topic" brings slow fun, "naturally off-topic, jumping from one object to another, losing a clue a hundred times, and then finding it again after a hundred twists and turns". It became a beloved way of "saving time" for a certain segment of novelists. Diderot, Proust, Flaubert, Stern and of course Calvino. So we have to talk about Diderot's "Jacques the Fatalist" (later transformed by Milan Kundera into the play "Jacques and his Master") and Stern's "The Biography of Shandy", two books It should be regarded as a kind of tradition inherited by "Winter Night Walker". In Jacques the Fatalist, when Jacques begins to tell his love story, there are always interruptions, digressions, and other stories inserted into his own story. appear in. Calvino said, "This conflict constitutes a dialogue that frames the dialogue between the two protagonists (Jacques and his master), which in turn frames other dialogues."
However, if you think about the wonderful thing about this movie, it actually has one difference from this anti-linear closed narrative tradition described above. I remember there was a scene in the movie about Edward's death, which started out as a completely modern life scene, where the actors and others seemed to be having a party, and they were talking about the movie and other topics; Edward, who lies feebly on the edge of darkness in a powerless struggle with death, but the din of joy still lingers in the scene, as if the crowd were just outside his house. And I would say that the difference is that in the novels mentioned above, their digressions roamed outside the framework of the story text, but in the movies, all digressions still end up pointing to "Charles III", as if Bohr In Hess's "Rounded Ruins", when a dreamer wakes up from an illusion, he suddenly finds that he is just a phantom in someone else's dream. Whether Al Pacino and Frederick are on stage, in a crowd, or having lunch on a street corner, they are always in the hunt for "Charles III."
The so-called "search" is somewhat similar to the theme of detective stories, which reminds me of Nabokov's first novel "The Real Life of Sebastian Knight" written directly in English. Uncertainty is a game that Nabokov has always played. Here, V, as Knight's half-brother, decides to recollect the betrayal of his "will" by a reporter after Knight's death (1). Materials, from memories of Knight's nanny, people he dated during his lifetime, novels he wrote, reluctant dictation by Knight's executor who also wrote his biography, and V's own recollections, are pieced together into a "true story". life" (2), of course, the most interesting thing about this novel is not the collection of evidence-based data, but the mutual suggestion between the mystery and the mystery - V mentioned at the beginning that Knight first used the A novel written in English, which is a "parody" of a detective novel. A murder occurs in a closed island, but the detectives hired by the police from London are stuck on the road because of a series of accidents, except for an old man with a white beard. , the remaining parties were suspected of committing the crime, until the detective finally arrived at the scene to investigate, the white-bearded old man tore off his fake beard and told everyone that he was the victim at the beginning of the story. The story was meant to be mentioned as a source, but by the end of the novel, we discover that this is exactly the sly structure of The Real Life of Sebastian Knight. The detective stuck on the road is like an experienced reader who is led by the nose on a digressive journey.
Within ten minutes of the beginning of the film, Frederick said to Pacino: "You've done it in the studio, we've done it on Broadway, but our audience hasn't finished it yet." Those interpretation shots that arbitrarily interrupt the story, the historical background of the story, the puns in the lines, the American attitude towards English literature, and professional terms like iambic, who are they annotating for? Obviously not just those in the movie, but us in front of the screen. The process of finding "Charles III" is precisely the process of constructing readers, a process of finding a model reader upstream.
(1) This pattern of betrayal can be found in the over-interpretation of Kafka, the will of an author, not only his will in his lifetime, but also the correct interpretation of the works he has created.
(2) It is interesting to compare Nabokov's "Speak, Memory" to find that Sebastian's experience and V's memories are Nabokov's own past. In fact, V is is an abbreviation of his name Vladimir.
Looking back at this article, it's actually all about fiction. Haha, Sister Sasha must have been very helpless at the time =.,=
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