zz from Dai Jinhua
Ⅰ. An Antigone Personality
Although he is also the "musketeer" of the French film "New Wave", François Truffaut is different from Jean-Luc
Godard . The theme of his film sequence is not a rebellion against modern Western society, his theme is also about "existence"
, but his protagonist is not the hero of Sartre's existentialism. Truffaut's characters are those "little people" who were tossed and struggled in the absurd survival situation
, but finally slowly destroyed in an unwilling drift.
As the initiator and practitioner of "author's film ", Truffaut's preferred plot style is the triangular "love". Different from the cliché of love triangles in popular
melodramas , it is not a copy of the dancing two men and one woman in American musicals. For Truffaut,
love triangles have become one of the modes of survival absurdity, and become embarrassed and helpless black people. Humorous gimmick. It's not so much a love
story as a subversion, blasphemy, and deconstruction of the classic discourse about love. Truffaut's love story is a "
destructive retelling" [Derrida.
Quoted from "The Strategies of This Article", Huacheng Publishing House], is his unique way of dispelling the sacred as a modernist . If we say that the main purpose of the author's film is not only to establish the central
position and to advocate the unity of the director and director, but also to make the film art break free from the Hollywood assembly line and become a personal art,
establishing a director's personal style. Truffaut's hallmark is a sense of comedy that borders on brutality.
That was the moment when the unfinished bones in the corpse furnace were mechanically smashed in "Jules and Jim", and it was also the moment in "Adele Hugo's Story" where
Adele's point of view was very cruel to her. In one scene, in the sound of the opera, Hiramatsu walked upstairs to the bedroom
with another woman in his arms, followed by two cute little lap dogs, and was immediately kicked down the stairs by a cruel foot.
In a sense, "The Story of Adele Hugo" is a love story, but this is not a proof
of love, but a cracking and disproving of the discourse of love, "Her story is the passion of the character's heart. Anatomy" [Trüffaut
's description for the film. Quoted from the screenplay "An Anecdote of Adele Hugo", "Film Play", No. 6, 1982]. We can also
think of it as a triangular story, as Adele is always taking back Hiramatsu from "the other woman." But just as
the film shows a false love, it also presents a false "triangle": except in Adele's heart
, she and Hiramatsu have never concluded a one-on-one love relationship in any sense, She
has also never been a contender or another corner with any emotional "capital" in Hiramatsu's relationships with many "other women." Even with Adele, her "
Hiramatsu Love" is false: it's not another "Sad Cafe Song" [American Short Story by Carson McCullers
, in Contemporary American Short Stories , Shanghai Translation Publishing House], not the
Tianhe in the heart between the lover and the beloved . It is not so much that she is madly and desperately in love with Hiramatsu herself, but she is madly and desperately in love with her own love for Hiramatsu;
not so much that she bravely transcends her time ("A young girl, crossing the ocean alone, From the Old World to the New World,
to be united with her lover—I am about to accomplish this difficult thing.”), to love beyond class, etiquette, and gender
rules , it is better to say that it is she who loves her. This transcendent feat of his own. Hiramatsu just provided her with
a fitting object, or even an excuse, for this feat. Thus, Truffaut clearly defines: "Adele is a person who is supposed
to have a false personality." Quoted from the screenplay "Anecdote of Adele Hugo", "The
Movie Play", No. 6, 1982] At the same time, it was Adele's story that provided Truffaut with an equally apt object and
The excuses enabled him to retell "Trüffaut's story": the "black hole" of the human mind, the absurdity of existence, the cruel
comedy .
The Adele Hugo Story is a true story. Because Adele is a real person in history,
the daughter of a generation of literary masters, Victor Hugo, who has created a very tragic and extraordinary experience for herself, and she is alone in
the name of Miss Hugo. He lived to the age of 85 and left several diaries written in passwords. However, the film "
The Story of Adele Hugo" is not a "biographical film" in the narrow sense, nor is it an "adaptation" of Adele's diary (there is no
doubt that Adele's diary is one of the important materials of the film. 1), Truffaut uses this true story to present a "false
character ", making it a case of a spiritual mystery.
In the film "The Story of Adele Hugo", Truffaut portrays Adele as a figure with
Antigone The eldest daughter of Oedipus, the
heroine of Sophocles' tragedy of the same name. For the tragic translation, see Luo Niansheng's "Selected Works of Ancient Greek and Roman Literature", Beijing Publishing House. As
the contemporary American writer Joyce Carroll Oates said: "Antigone makes people think that tragedy is caused by clinging to
a particular way of life or a kind of essence, Antigone" The tragedy of Gogne is that she is herself and no one else.
I am inspired: this may be the nature of tragedy - simple as it may be. It
is impossible for the sentimental person to believe that things are human, or at least should strive to be. understand this. This is the tragedy of existence—the universal dilemma.” [
Joyce Carroll Oates, American Short Story: “In the Iceberg,” in Contemporary American Short Stories, Shanghai
Translation Publishing House] These are her remarks for her novel "In the Iceberg," but it could equally well be an exposition of Adele
release. In a sense, the film "The Adele Hugo Story" offers no fresh themes, an
Antigone -esque tale that is nothing more than a retelling of Thomas Hardy's famous quote, "Character is Destiny." Truffaut's Adele, however,
is unique in that her tragedy is a tragedy of character, and her character is a "fake" character. Different from the realist
Hardy, as a modernist artist, for Truffaut, character is not an unchangeable "fixed number" formed by nature and upbringing, heredity and
environment , but is entirely possible. imaginary. Rather than saying that Adele's character
caused an irreparable tragedy, she created a tragedy for herself to confirm and shape a character. Adele
's tragedy is not that "she is herself, not someone else," but that she believes that it is only by her own fulfillment of a tragedy
that she can be herself and not someone else, not by the meaning given by someone else's name" other people". And the latter is the common and almost inescapable fate of women in
Adele 's day: they can only be the daughters of their fathers (especially when she has a
famous father), the wives of their husbands, the luckiest of them all. , and only women who wrote under the names
of men: like George Sand or George Eliot. Adele's tragedy lies in her obsession with the tragic fate. This is not destiny
or destiny, but Adele's conscious desire: she will use her whole life to make a great, immortal, story
of her own, and in her view, only a tragedy can Meet a great narrative. It is not the
inescapable , but Adele's deliberate creation and capture of the tragic opportunity. It is in this sense that she embodies
Antigone
's character: not dying because she cannot adapt to society and reality, but because she refuses to compromise and adapt; It is because she lives tenaciously and stubbornly in the world created by her heart. therefore,
"She fought a battle destined to lose." [Trüffaut's description for the film. Quoted from the screenplay "Anecdote of
Adele Hugo", "Film Play" No. 6 1982] which would lead her straight to the tragedy she longed for,
and which would be named for her— — to make her immortal as herself.
II. Escape and Capture
As an Antigone-esque character,
Truffaut arrests.
Adele's tragedy is because she was fortunate enough to be born into an extraordinary family, the daughter of a great man. As a result, her
life is doomed to be hidden in the shadow cast by her father, Victor Hugo's brilliance. She would be
known as Miss Hugo, and would be married in a respectable and perhaps happy marriage as Miss Hugo, and her husband would be the focal point
of the Hugo family in terms of family history and talent. When Adele is no longer Miss Hugo, she will still be famous: she will be Mrs. Adele
has not and is unlikely to have the opportunity to be noticed by the world for herself, and her name will forever be
obscured and given meaning by the names of others. But Adele is not content with the fate she was born with, she is looking for an opportunity to escape from her
fate, from her father's near-ubiquitous light. Only then will she have the chance to be herself and make her own name
meaningful . Adele had to escape more than that: in addition to a great father, she also had a famous sister,
Leipold , who became known to the world for a heartbreaking tragedy. Leipoldi drowned at the age of 19 on her wedding
trip, and when her husband knew that she could not be resurrected, he threw himself into the water with her. So the whole world
mourned and marveled at this tragedy, and her story became a most beautiful and tragic part of the romantic era pioneered by Hugo.
The story became a living proof of love outside of Hugo's art world. Her wedding dress hung in Hugo's home and became
a relic of love and tragedy. Her story has become a testament to romantic beliefs and love discourses: "Immortal love
conquers death", "Do not seek the same life, but hope to die together; do not seek the same room, but seek the same place." And love, pain, death It is the three elements necessary for all
eternal tragedies and
eternal . All normal marriages, even happy ones, would appear mediocre, boring and
disdainful by Leipold's side. The holy and romantic halo on Leipolder's head accentuated the shadow that overshadowed Adele. All of this is
not developed in the film as a background, but it is constantly recounted and confirmed in "The Adele Hugo Story". In fact
, Victor Hugo and Leipold are the most important "absentees" in the film.
When the film begins, we see that Adele has begun her escape journey, completing a dangerous and arduous journey from ancient Europe to the
New World , and a small boat is taking her to the landing point of the New World, This is
the moment when she comes into play in a key scene of this tragedy. Before that, tragedy had already begun: as part of Adele's escape, she rejected a
suitor who was "a good match" for her, choosing Hiramatsu instead. As revealed in the unfolding part of the film, Adele
chose Hiramatsu not only because of his advantages: personable and handsome, but as a love veteran, he is obviously the
ideal Prince Charming in the hearts of girls. His "selection" to Adele was due to the obvious disadvantages Adele knew:
dubious family background, gambling addiction and penniless. This is a typical adventurer who joins the military, in order to conclude an "ideal" marriage based on his appearance and
his brilliant record in love, in order to wash away the doubts about his life experience, and more importantly, completely
Get out of his financially inextricable predicament. Such a "knight" is undoubtedly ashamed of Victor Hugo and his class
. And this "shameless" is Adele's expectation, trying to win him with all her strength means a rebellion against the
pattern , and a true love that is not tainted by additional conditions. And it meant pain: she could be
thwarted, even banished, by her family and her class, and that would provide Adele with the stage she longed for in a great
, self-sacrificing love affair. She will make her name special because of this. However, Adele has been caught at the beginning of her escape
: everything that has been shown since then will show that Hiramatsu's whole interest in Adele is not even that of a womanizer
's coveting of a maiden, but that she is Miss Hugo —Daughter of the famous Victor Hugo. She wasn't the woman he needed
: she wasn't coquettish enough, and her family background (especially Hugo in exile) wasn't nearly as solid as Pingson needed. But conquering Miss
Hugo is still a matter of interest, and possessing her would constitute revenge against the arrogant Mr. Hugo. What he did not expect
was that to him, Adele was a completely undefended city. What he hadn't even imagined was that Adele had used him as
the starting point for a great love or immortal tragedy, and whether he wanted to or not, he would become an integral part of Adele's repertoire.
At the beginning of the
onfilm the stage of her tragedy. She will embrace this tragedy with all her heart and soul.
However, Adele's escape is also a capture. After she arrived in the New World,
the second thing she did, in addition to entrusting a notary to find Hiramatsu for her, was to buy "a whole ream of paper . . . for a biography." After that, whether it was
hunger and cold , or despair and heartbreak, the only thing Adele needed was paper, and the only thing that could not be interrupted was recording and writing. with it
Said she was concerned with "going from the old world to the new world, to be united with her lover," rather than experiencing the experience
and documenting it. At this point, Adele has been caught in a double sense: one is that when she longs to escape from her father's light and shadow
, all she can think of and honor is his father's way - writing. At the same time, as a derailer of the era in which she lived,
she has become a prisoner of a certain concept of the era: a woman's writing can only be a record, a
biography . So, in addition to desperately, humiliatingly, and desperately chasing Hiramatsu, the other
thing we see Adele doing is writing frantically. When she fell into the poor shelter, a woman peeped into Adele's trunk. Adele
was almost crazy. She rolled off the bed, climbed over from the other end of the bed, and fell asleep on the trunk. Because "Don't touch it
! That's my book!"
And Adele escaped Leipoldis in the same way—she was going to escape Leipoldier with a love that
eclipsed . The halo of the legend of Boulder. But it was a trap in a more complex state of mind, a tossing between jealousy, identification,
fear, and imitation.
Among Adele's little luggage is a "holy box" containing two of the most important props that never appear in the film . One is a love letter that Hiramatsu once wrote to her, and the other is Leipolder's wedding dress. Apparently,
this is a blasphemy driven by jealousy: Leipold is a holy, immortal bride, and Adele is a woman who has lost
her life and eloped without even a man's promise. But it's also a kind of identification: if
she wears this wedding dress to her wedding to Hiramatsu, she is in a sense Leipolder, not the nameless sister under her aura,
But an equally famous bride. So, throughout the film, Adele keeps falling into a terrifying nightmare:
Drowning, suffocating, struggling desperately. Initially, what appeared in the picture was Adele's own hand strangling her throat as
she tossed and struggled on the sleeping bed.
When this nightmare is presented for the second and third time in the film, Adele's dream appears on the screen : a yellowed photograph of a drowning woman, a faded and hideous image. For Adele, it was
the lingering ghost of Leipold, and it was also Adele's self-identification and desire to be recognized. It was a fear at the same time, and if she died like
Leipolder , it would be a lonely death. No one will save her, let alone die for her. When
Adele "reunited" with Hiramatsu for the first time in the New World, but only got a hopeless confession, Adele helped her like a witch
and called Leipolde. In the frontal medium shot, Adele is dressed in white and has long black hair. Her big eyes were empty
and confused, and her hands were stretched out on a small round table, and she whispered to the clatter of the legs of the half-suspended table: "Are you there
, Leipold? Lepo
Erdai and Adele's idol and god. As Adele struggles with hope and despair in reality, she surreptitiously claims to be Leipolde to a little boy at the
Bank , only to discover that what she has received is her father's coercion. of
her written approval of her peaceful marriage, she turned to the child happily and affectionately and said, "I lied to you, my name is Adele."
The name game is in fact a monologue by Adele: Achievement Her derailed love with Hiramatsu means that Adele's
name has meaning, a successful escape from Leipold's name. It was not until sheer hopelessness and despair descended that she frantically
scribbled the following sentence, which was a true confession of the soul: "Two newlyweds are buried together, and not even death
can separate them... The death of the young bride who died The dress is on display at her parents' house...but that's mine too! Bride
The robe seems to be a souvenir to all visitors. But what do I have? what can I do? "
Adele's tragedy lies in the capture of this escape. She tries to overcome her father in her father's way (writing) and
Leipoldier 's way (unusual love), which means Putting herself in the position of a derailer
meant she devoted her whole heart and soul to a battle that was doomed to lose. From escaping with confidence, to
trying to get it done in a way of getting caught Escaping, Adele went from hiding her identity as Miss Hugo to using
it . She forced her father to issue a document agreeing to her own marriage, to using his name in exchange for the "help" of the charlatan
- that is A funny scene: Adele
writes the name of Victor Hugo on a dirty, dusty mirror with her slender, gloved fingers backstage at the vaudeville , and immediately puts it Erased. She realized that Miss
Hugo, daughter of Victor Hugo, was all and only her dignity and worth. Her last words to
good Mrs. Sanders were:" You are wrong, Mrs Sanders. I am the one who refuses to marry. I think marriage is a depravity for
women , especially women like me. My job required celibacy, that was my father's mind. I will
never give up the title Miss Hugo. "In the film, her only moments of recognition are when people recognize her
as Miss Hugo, whether it's Mr. Whistler from the bookstore, her doctor, or the kind black man who saved her in the end.
Women .
Adele finally caught. She passed a century in obscurity as Miss Hugo and died in obscurity. She
never escaped—failed to give her name a unique meaning. But Adele Finally escaped again. It was because
of the tragedy she "achieved" herself, because of the letters she left and the diary written in cipher, after she acted in her own tragedy.
A hundred years later, in 1968, American author Francis Vino Gale published her biography.
The following year, the famous Truffaut film we were discussing came out. Adele Hugo is not only a unique name, but also a
synonym for an era, a character, and a destiny. Thus Truffaut declares: "Contemporary, Adele-like characters still exist,
move , and even create." [Trüffaut explains for the film. Quoted from the screenplay "Anecdote of Adele Hugo", "
Film Play" 1982 No. 6]
Ⅲ. Lies and truth
In "The Adele Hugo Story", Adele seems to be a woman wrapped in a lot of lies. In the film
, Adele is always lying, she is always replacing one lie with another. The first is about her identity and her
relationship with Pingsong: the latter is sometimes her niece's sweetheart, sometimes the husband of her sister who has been at odds with her for many years, sometimes her
childhood sweetheart 's cousin, and sometimes her child to be born father, who eventually became her husband. Her other lie was against
her family, especially her father: the letters across the ocean. The film
defines . When Adele arrived in the New World and received the first letter, a medium shot showed Adele
unfolding the letter in front of the fireplace, then switched to a close-up shot of Adele's front, and then the camera panned 180 degrees to
A mirror image of Adele in the full-length mirror opposite In the mirror, Adele read the lies in the letter in a nervous, cheerful voice
. Here, the mirror image becomes the visual counterpart of the lie.
But it is clear that Adele is not a woman who takes pleasure in lying. With Adele, lies are just a means of realizing
the truth in her heart—her love with Hiramatsu, around which everything revolves. However, this is also the
The core of the incident: the truth in Adele's heart, and Adele's only truth, is the core of all lies. The difference is
that it is not directed at others, it is directed only at Adele herself. She is the only believer and victim of all the lies. In fact
, in the film, Adele never fools anyone, but she falls into her own trap with wide eyes. This
"ability" to replace the lie with the truth in one's own heart is the so-called Antigone-style character.
In a sense, Adele didn't suffer "special" misfortune. Her story of peace and pine is just one of those
old : the beginning and the end, and "The Adele Hugo Story" is unique in that Adele
deciphers it in her own mind. Adele's behavior, Adele's almost paranoid obsessions and eccentricities are based on her
unique interpretation of this ancient tale: "I know you won't forget me when a woman like me puts her When I give myself to a man
, she is his wife. I will not cry any more. No one can change his father, mother and children,
nor can he change his wife and husband. I will always be your wife , until death separates us." This is Adele's
logic and fallacy, and it completes Adele's confirmation of her identity in triple replacement. The starting point is: "a woman like me
", devotion or loss of life means getting the title of wife; then, Adele equates husband and wife with parents and children,
as an unalterable blood relationship; and then " I will always be your wife" conclusion and oath. Although it has to
deal with Hiramatsu's logic: "You can't be serious. I had women before I met you, and I have women after I met you. I
plan to have many more women in the future." But it is Adele's golden rule . Therefore, Adele has always been
competing with "another woman", a third party, and intervenor. At the same time, and more importantly, she is dealing with herself - an "unfortunate"
The humiliation, jealousy felt by my wife": "I will stay far away from pride and jealousy. Love doesn't want to smile at me, I
endure its grimace. I think now of the sisters who suffered in the brothel, the sisters who suffered in the marriage...
" Adele did not interfere with Hiramatsu's "having other women" and even paid for prostitutes for him, but she ended up using herself and Father's reputation (
in Adele's day, "honor" was in fact the entire property of an unmarried woman) to
prevent Hiramatsu from marrying others at the expense of falsely claiming engagement and pregnancy. When Adele understood that she could never When she actually married Hiramatsu, she held
a wedding with Hiramatsu for herself: it was a night scene in Adele's room. The shot started with a letter tiled on the table, which was a letter from her father
Victor Hugo to Adele Approval of Dale's engagement. The camera pulls up to reveal an oil lamp, then pans halfway across the
room, showing Adele kneeling in front of an altar in medium shot. On the cupboard that powers the altar is a A bouquet of flowers, with a silver candle burning on each
side, and a photo of Pingsong in the middle; the camera is switched, and is gradually pushed from Adele's medium shot to a close-up → close-up,
Adele is dressed in white, with a long When the camera moved closer, her tears finally burst into her eyes; when the camera shot back
, the camera moved to the picture of Ping Song between the two silver candles in a completely symmetrical manner. Adele used this ceremony to put herself
Married to Hiramatsu and entered into a marriage contract that only she will abide by for the rest of her life. After this scene, there is a medium shot of Adele superimposed
under , and she reads out a letter to her parents in a cheerful voice : "Dear parents: I just
married Lieutenant Hiramatsu. The ceremony was held at the church in Khalifax on Saturday. ..." The superimposition of Adele's image and the waves is
undoubtedly a signifier of lies equivalent to the image in the mirror, and Adele's letter is undoubtedly a big lie. But
it is indeed in Adele's "wedding ceremony". ” and then it became a very real confession from Adele. Now she is
"Mrs. Hiramatsu" - even though this is the truth that only she recognizes. After that, she will follow Hiramatsu, as Christian teachings
require a woman: abandon everything, including her family, and follow her husband to the ends of the earth.
In fact, this is the heart of the arrest in Adele's escape. "From the Old World to the New World", Adele is not only
a woman who bravely crosses the ocean for love, but also a woman who has spanned centuries. She transcended her time,
she made herself the master of her own destiny. But her practice of her freedom is another way of being tethered to a man,
whom she names as the wife of a man who treats her with disdain. For her, only as his wife can she
realize her love. Only love that is accomplished through marriage can be a great, undying love. Only when she wins the title of wife
for herself can she record the love and win the world's attention for herself. Adele never "lied", she
married in "church" because "love is my religion". Adele is the transcendence of her time, and she is the unparalleled
faithful . For only love, pain, death can make the tragedy of a great era of Romanticism (for Victor
Hugo ), like Quasimodo, Frono and Esmeralda, like Paris Greek writing on the eroded,
blackened walls of Notre Dame: Fate [[French] Victor Hugo: "Les Miserables", Chinese translation, People's
Literature Publishing House].
IV. Gender, Perspective, and Medium
As Truffaut points out: "She is the only one in the story.
" illustrate. Quoted from the screenplay "Anecdote of Adele Hugo", "Film
Play ", No. 6, 1982]. In The Adele Hugo Story, this solo is presented as a narrative point of view and a point of view shot
simplification. This is a narrative organized from a cinematic, subjective, and secondary viewpoint, and Adele is the owner of most of the film's
subjective viewpoints. The film uses Adele's point of view lens and the film narrator to present Adele's lens to structure the whole film
, which presents Adele as a transcendence and derailment in an era and cultural customs in the dual sense of film narration. However,
this way of presentation and narration itself has doomed Adele's tragic fate as a woman. First of all, as far as the narrative itself is
concerned , Adele has become the actor of the three kinds of kinesin in Gremas' model of kinesin: the sender, the subject, and the supposed beneficiary
(receiver). Shores: "Structuralism and Literature", Chunfeng Literature and Art Publishing House]. And these three (
at least the first two) should be occupied by a male in the stipulations of Western cultural customs or the ideology of daily life.
When Adele went against her father's order and ran away alone, "from the old world to the new world", she became the inheritor and executor of her own will, and the sender
of her own behavior; when the purpose of her journey was to follow a person of the opposite sex, and " When she is united with a lover,” she
claims to be the subject of the narrative; when she wants to win a marriage and a man for herself, she places herself both as a recipient
and as a beneficiary. A character sets the sender, the subject, and the receiver in one, which is the model of the classic individualistic
hero . But the hero is not a neutral person, in culture and narrative, he is a clear and unalterable
gender role: man. When a woman occupies this position, she undoubtedly becomes a tyrant. One
scene in the film becomes a commentary on the transgression of gender roles that Adele's entire behavior is. It was at a
ball . In order to meet and get close to Hiramatsu, Adele made up as a man, and she appeared beside Hiramatsu in a black tuxedo and top
hat . The scene hints at Adele's affront to the rules of gender roles: she's a man dressed up as a man
woman. At the same time, unlike Kristeva's so-called "Mulan-like situation" [Julia Kristeva, About Chinese Women, New York, 1977], Adele's makeup as a man is not a
Mulan-like or Joan-like achievement.
A man's career is to win a woman's happiness and rewrite a woman's fate. So, Hiramatsu will take
off the top hat on Adele's head in the gloom of the cemetery, and the long hair that falls down will
restore Adele to a woman in the actions and eyes of men, and nail her to her. The era of a woman's "fate".
As the occupant of the viewpoint lens, the film presents Adele as a voyeur through visual language. It simultaneously
becomes a reversal of the man/woman, visual, and gender roles of seeing/being seen. At least four scenes in the film begin with
Adele 's subjective point of view of Hiramatsu, defining Adele as a female voyeur. One of them is
Adele stalking Hiramatsu and the woman with the puppy, hiding in a bush watching the hidden, intimate scene in the window. Another
segment begins with a blurry foreground of the city wall, and the focus gradually becomes clearer, and it is Hiramatsu who is directing the exercise in the big panorama
, while in the circus, Adele is obsessively observing Hiramatsu and the man beside him with the help of the telescope next to him. woman. When she successfully
broke the marriage contract between Hiramatsu and the judge's daughter, the viewpoint shot of Adele hiding behind the reef appeared again; in a later large
panoramic shot, Adele appeared in front of the cavalry led by Hiramatsu , holding a stack of banknotes in his hands. After holding on for a moment under Hiramatsu
's cold and ruthless gaze, Adele let the banknotes in her hand drift like leaves in the wind; then, Adele lifted up her long dress in a
desperate and self-abandoned gesture, and pulled it out from it. A pillow to disguise pregnancy, throw it at Pingsong.
When Adele left Mrs. Sanders' home, she began to sink to the lowest point of her tragic journey. It is from this
For a moment, Adele stopped writing and was no longer the owner of the viewpoint lens. She began to be
watched . Although she is never the object of someone's point of view, she is the object of the relentless "gaze" of the film's narrator
. And that's where Truffaut's escape as a filmmaker, as a male artist, came to the fore
. Although Truffaut rewrites Adele as a modern-day hero, or antihero, in The Story of Adele Hugo
, as he did in his autobiographical film, Antoine Hugo The masculine stance revealed in the "Duinel" series, he
consciously and unconsciously showed a certain fear and disgust for women like Adele. Thus, the film’s presentation of Adele’s final downfall
is objectively a medieval “ship of fools”—a symbolic exile of female derailment, lunatic
, many of which (perhaps unconsciously) The pleasure of the abuser. The first thing the audience sees is Adele walking into a dark arch of light and shadow in a panoramic shot
, which is the beginning of her downfall. Then I saw her
being chased and bitten by a barking dog in a narrow alley, witnessed by Hiramatsu. At last she roamed the Bridgetown square like a madman, with her long unkempt hair and her ragged dress,
the poor children following her, screaming and laughing, and it was in this way that True Fu was
arrested and became the defender of the bourgeois morality and mainstream ideology he desecrated and despised.
However, after all, there is a shocking scene in the film, which is a scene in the last big combination segment. That
's a shot sequence consisting of 17 shots. In the first seven shots, the moving camera follows and follows Adele as she walks alone through the streets of the tropical
city Bridgetown, her ragged dress wrapped in a tattered black cape. This is the only
time Adele walks through the labyrinth of streets, lonely, serene and aloof. Not far behind her, followed by anxiety,
Terrified Pinsong. This is a scene where roles and viewpoints change. This time, Hiramatsu became a voyeur and a follower, but Adele
did not become an object in his viewpoint shots, and his gaze failed to cover and control Adele in the sense of film language.
The audience Until
Ping Matsu started to run, and detoured to stop Adele. At this point, the cut shots divide them into two picture spaces.
Adele finally entered the picture of Ping Song, but only when he was in front of her did Adele turn her gaze to him, detached and
indifferent, as if looking at a tree and a stone, while she still used the original The pace went over. Hiramatsu chased after him again,
shouting "Adele" at the same time, this time, Adele just kept walking on deaf ears until she disappeared from Hiramatsu's
sight . This is the completion of Adele's tragedy. She followed the deployed army to Bridgetown to complete this final act
. Once the tragedy that Adele forged for herself is completed, Hiramatsu in reality no longer has any meaning. He was originally a tool for
Adele to achieve her own destiny, a mirage made by her heart.
Another interesting thing about the film "The Story of Adele Hugo" is that Truffaut presents Adele's tragedy as the tragedy of
a specific character in a specific era. At the same time, he presents Adele's story as
a . The author believes that: for film art, the apparent reality of history in the strict sense cannot be restored or
reproduced. When you try to restore the historical appearance of a certain era, a more ingenious way is to simulate or restore
the media characteristics of the representative art at that time. "The Adele Hugo Story" is a successful example. As a 19th-century story,
the use of vivid, desaturated environments and clothing coloring, direct light, backlighting and side backlighting. Formed with large shadows added,
A brownish-red tone that emphasizes the level of detail. As a "music composed for a solo instrument", the numerous close-ups and close-ups of
Adele in the film become classic portraits. The only exception is the visual representation of Adele's mental image, which
seems to be announcing her belief in the future: a young girl
. Only this picture adopts the picture style of early portrait photography, which deviates from the overall
visual style of the film, and becomes a direct presentation of Adele as a derailer of the times, a woman who has spanned centuries.
The film "The Story of Adele Hugo" analyzes and presents a unique woman, a case of a mental illness
. At the same time, it is also a humble offering to Adele through the twilight of the years.
View more about The Story of Adele H reviews
