There are two people. One is Ferdinand, with an inconsequential name that thousands of French call it, and it's ordinary life without any exceptions. One is Pierrot, the harlequin in Italian comedy, and Marianne's nickname for Ferdinand. Ferdinand is realistic, Pierrot is non-reality, in the escape journey, the hero has been given a "Piero" mask by the heroine. He left the life of his wife and daughter and chose to be a crazy writer with the image of a prodigal son. However, Ferdinand has always feared this total madness in his heart, and he kept repeating "I am Ferdinand", and in this way recalled the original, complete, solid subject (whether or not this is actually is an illusion), to resist the intrusion of nihilistic madness.
But Ferdinand's desire is always looking for something beyond intuition. What he feels in nature is not nature itself, but activates language with it as an index. His purpose always starts from words and ends at words. At the same time, as an arrogant writer, he watched and looked at Marianne, and asserted that she had no soul, but only a beautiful body. From this point of view, Marianne is more instrumental to Fernandi.
We soon discovered, however, that the behavior he exhibited was not what his outright hurt could encapsulate. It is not because Marianne has no soul that Fernandi only looks at her body, but because she is out of Fernandi's habit of thinking: such a mysterious and complete subject, she rejects all possibilities of analysis, and thus it is difficult to make any read. She seems to be an elf-like being from another world, and once you begin to dissect her, she faces death and annihilation. In fact, in the face of Marianne's simplicity and shallowness, Fernandi felt more fear than disdain. He deeply felt that for such a woman, all his theories and words were useless, because her way of life is experience or intuition, not thinking, not logic.
A writer's film is made up of chapters, or it's also a movement. Once we get out of the extremely immersive form of "movie" and add the attributes of novels to it, its viewing nature will be more obvious and easier for us to directly perceive and capture. The format of such a chapter implies that from the beginning, it was two narrators, not just two performers. It is a sad doom that they watch this life that has ended as we watch a movie.
Before Fernandi escaped from his original life, he met Marianne, who we didn't know was the heroine. The picture is then dominated by a layer of colors, red, blue, green, and yellow, which are the three primary colors of reality and the three primary colors of electric light; meaningless babble, still-life-like space presentation, this is what a lonely poet sees in reality The resulting scene: Excluding noise and colorful colors, shrouded in filter-like emotions, every scene is a theater. Here, Ferdinand has initially become Pierrot. He began to want to go out of words and find words in life. He has already watched life with the purpose of being a writer and reader, rather than experiencing life.
The escape journey officially begins, the same four colors appear in the car, they slide on the glass of the car, and they can make up any other color. In the car, they repeat the meaningless whispers of their lovers, "I can do everything for you" "Me too" "I put my hand on your knee" "Me too" "I kiss yours all over the place" Whole body" "Me too". Such a dialogue shows the essence of love, whose king is not in words, not between lips and teeth, but in the atmosphere, in the subconscious, in the unspoken. Two lovers who meet again and are eager to prove their love for each other talk vaguely about their emotions, but the emotions cannot be fully told, so they can only say that I am too, I am too, I am too.
Right from the start, the film makes its mark: it's a drama, it's a space outside of reality. Godard does not have any desire to express "realism", on the contrary, he tries his best to mark the unreality of this love film. The murder scene is like a drama: it's exaggerated, dynamic, and at first glance it's a performance. There is no logic in the robbery scene, everyone is like the props set to promote the progress of the plot, and they are always successful. The fight scenes are also dramatic, with the opponent almost a puppet and Ferdinand beating him like a boxer.
The man who died alone on the side of the road didn't seem to draw anyone's attention, with the vehicle erected next to the pillar in surprising fashion. This almost extreme scenography of the remains of the accident victim exists as a symbolic sculpture: it is there and already has a purpose. It appears so false and exaggerated that no one would seriously consider it a real accident result. Instead, it's like a setup, a simple, purposeful, pure setup that's meant to be burned with the two's car. At the same time, the death of this man and woman seems to be a metaphor for the death of this crazy couple. When the camera is zoomed out, we have a strange feeling: such a building standing in the field is almost inexplicable, it is not a pavilion or other facilities with pragmatic purposes, but almost a temple. Again, it is symbolic, empty, instrumental. While the car was surrounded by raging fire, the dark smoke of fate annihilated the two people who walked away.
The escape becomes a game: in the woods, in the river, on the beach, they pass through beautiful scenes that we even suspect are almost purely aesthetic. They have no way, and their shortcut is to wade through water, and the scene has a suicidal romance: they seem to be on their way to drowning. They are like two savages who were just sent to the earth at the beginning of the two worlds, and they act recklessly in the nature without a trace.
Marianne was always on the run, they were always stealing cars, and they were doing all sorts of intricate actions, many of which were purpose-built for dramatic scenes, like throwing clothes—no one would do that in real life Exaggeration, such a form of action, it is more of a show, a performance. It reminds us of Outlaws, not just because of the similar heroines, but because they are both so reckless: the property they stole is never theirs, so they don't value it. Ferdinand could have driven the car into the water at a joking provocation from Marianne, and they walked back to shore with wet suitcases.
RIVIERA, their next stop, the noun representing the Mediterranean coast is VIE after removing the head and tail, which is life and life. At the seaside, they had a naive association with the moon, and no woman could resist Ferdinand's words: the only inhabitant of the moon came here because he found you lovely and he liked you. She was fascinated by his admiration for her, and she fell into the prison of words. But she will soon discover that the praise is confined to her body and does not seem to involve her soul.
The settings on these roads appear for no reason, as if they are fulfilled by their own. Except for the hero and heroine, everything becomes instrumental. When they need money, there are people who listen to stories and people who leave the car. , while they demand money and steal vehicles. So they can also find the small house on the mountain without any cause and effect. It is unmanned, just like the cabin in the deep jungle in the fairy tale, ready for them. When Ferdinand asked Marianne if she would leave him, she replied no, which she repeated three times, each time ending up looking at the camera. As she exhausts the promise with repetition, her eyes tell the audience the truth that beautiful women always lie.
Beside the man who was reading, the woman seemed to be tortured by endless boredom, constantly asking, "What should I do? I don't know what to do?" In front of a man who was so engrossed in language that he forgot about life, she felt a sense of stillness. Failure to communicate is doomed. The conversation by the sea presents a pair of patterns that are forever walking in circles with each other: the "woman" is intuitive and the "man" thinks rationally, so they are always speaking their own words. We do not understand each other, because one is imprisoned in the cage of language, and the other uses experience as a way of life.
The writer really wants to try to be intuitive, but he is still wandering in the language, he is looking for the passion depicted in the book by the sea, but in fact is still "seeing" itself, watching the world veiled by words, "romance" life eventually becomes monotonous with repetition. Marianne accuses men, "Deeply you are a coward", a coward who dares not face the world itself, but uses words over and over again to revolve around reality: relying on this sanctuary to escape from life, escape from the barren real world, indulge in in the sea of abundance.
Two viewers watch their own life and footnote it. Those exchanged words continued, as if the hero and heroine were actually one person, and they knew what the other said next. In the broken words, the audience can only fill in the blanks with imagination. Not only a montage of shots, but also a montage of words, a montage of stories; so it is broken and full of tension. Two subjects who interpret each other together complete a long poem. These are two bards who live by stories, they make money from stories, and they live by stories, they vent, affirm, play by telling them constantly. Fernandi always holds his books and books: he is a writer, and his walks always carry the romance of Kerouac. Rather, it was almost sleepwalking. In a gloomy world, he relied on the light from the pages in his hand to move forward.
It can be said conclusively: Ferdinand is the subject of reason, and Marianne is the subject of sensibility. However, under the surface, things seem to be reversed. In the woods, Marian sings her lifeline. The woman asks: My lifeline, what do you think, dear; The man answers: I only care about your hip line, yours What beautiful thighs. She asked a topic about life, about sadness, death, and aging; while the man saw her body, that youth, firmness, and beauty. In the play, chase, run, and slapstick, these sharp contradictions are buried by singing and safely regarded as games.
In Fernandi's monologue, Marianne is music, she is simple, pure, beautiful, intuitive: in fact, she is difficult to decipher, she is mysterious, she rejects the falsehood of words, but only feels the moment. In Marianne's monologue, Fernandi perfunctory her with words, bypassing life itself, what she cares about is not the material, but the experience itself.
Seeing their hunters, Marianne ends up telling a story, a tale of death that is a metaphor for their own death: the end is doomed, it must. Even if you run away, the world will arrange other deaths for you, which is the cruelty of fate. Marian, who was taken away, killed the man who was chasing them, while Fernandi, who came to the door, divulged where she was in the face of painful torture. It's not real murder, robbery, it's hollow at the center, it's a form, so men use unreal language when they make phone calls, it's not English, French, Italian or anything like that. Rather, the purpose of the accident was to disappoint Marianne in this man, a warrior of words and a coward of reality.
Fernandi, who had lost Marianne, made his first suicide attempt, sitting on the tracks as the train rumbled, but he fled as the train approached. The wandering of two outlaws turned into the lingering life of a lonely man, Fernandi no longer had a goal, and had to use words to dispel the shadows of the world and his own pain. At this moment, Marianne reappeared as if nothing had happened, and he received the poem, which implied everything. This is a hybrid writer, cruel and tender, romantic and cowardly, he is crazy and stupid Pierrot, she must know everything he betrayed her, but the poem is all her love: simple, pure ,mystery.
Another series of only theatrical murders and robberies that pushes the film to the end. They go in opposite directions, and even if they kiss, they are about to drift away. Marianne finally betrayed Fernandi, she left to find a new life, she was tired of the naive man who played with words.
While counting, Fernandi comes to realize this heartbreaking truth, and on the way to catch up with Marianne, he meets a real lunatic and hears a romantic, sad joke about love. It structurally corroborates the fading of Marianne's love. So, when he saw the so-called cousin and his lover escape in a hurry, he shot without hesitation and took back her body. Marianne apologized and died stylized: where did the blood on her face come from? Do people who were shot in the waist die so quickly? We don't care about the details of these defying logic. He repeats that you shouldn't do it, and she apologizes and dies.
He calls back his past and realizes that it can never be returned, so he becomes a stranger to his wife and daughter. Lost in love, wanted and lonely Ferdinand smears his face in innocent melancholy blue and wraps his face twice with bombs. We notice that this is red, yellow, and blue: the three primary colors appear again. In other words, the whole of the world is now wrapped around his face. He is all colors now.
He ignited, and the second suicide that lost Marianne no longer failed. The moment of regret, the moment of regret of the so-called "glorious" death, he felt the stupidity of life. However, the leads were hopelessly heading for scorching incineration, and this time it had to be successful.
In death, lovers reach the eternity they promised, the unfathomable immensity of the blue sea and the blue sky. In the foam, in the waves, Ferdinand was completely Pierrot.
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