Text: Liao Zi / Official Account: Put aside the book
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Introduction: On September 6, Paris local time, Jean-Paul Belmondo, a French national treasure actor who appeared in famous films such as "Pierraux", "Exhausted" and "A Woman is a Woman", passed away peacefully at home , at the age of 88.
Jean-Paul Belmondo is known as "a microcosm of French cinema". French President Macron, Prime Minister Castel and others expressed their condolences on his death. Alain Delon, who was recognized by the world as the "French Face" together with Belmondo in the last century, also expressed "shock" and "heartbreak".
Revisiting Godard's "Piero the Madman" seems to be a refreshing spray of freedom in the scorching summer, a romantic destruction, and a beautiful line of rudeness and destruction.
As the film "Piero the Madman" starring Paul Belmondo and Anna Karina, in the author's vision, it is an extremely accurate and free French New Wave-style image book.
The subversion of the order full of rebellious aesthetics, the wanton swaying that is almost indulgent, and the style of strong tragic love, all elements work together to form a spiritual homeland of free and wandering children.
It is a highly symbolic gesture of rupture, implying a rebellion without a cause, a search for an unending belonging, and a fascination with a broken name of love. All of this, so aptly and in line with Pierrot the Madman.
As an anti-narrative narrative film, Pierrot the Madman minimizes the dramatic tension of the narrative to the greatest extent possible, but simply replaces the narrative momentum with the consistent free emotions of the New Wave, swaying shallowly in the images.
The clues of the movie are based on the accidental encounter between the male protagonist Ferdinand and his ex-girlfriend Marianne, and outlines a love story territory of criminal escape.
In the narrative, from dumping the anonymous corpse in the apartment, to looting cars, robbing financial resources, and offending gangsters, the two have been on the verge of crime to violate order, deconstruct and tease.
After a little bit of interpretation, it can be found that this kind of criminal narrative always has a natural attraction, that is, the ending of the criminals [Feddy and Anna]?
In the style of the New Wave, the inherent narrative tension is dissolved in the casual and leisurely plot set by the director Godard, and merged into the poet-like philosophical monologue and thinking of the male protagonist Ferdinand .
And the variation of the whole story starts with an inner rejection or rebellion of girlfriend Anna. Living in a lazy, undisciplined, free and romantic town with Ferdinand, so much so that in the latter part of the narrative, Anna uses Ferdie to get a sum of money, including that Anna has been deceiving Ferdy's love and hollowed it out in a huge scam And the true feelings of consuming Feidi.
It seems that the reference of this layer of narrative constitutes a reference and contrast to the shaping of the male protagonist Ferdinand. The metaphorical meanings of Anna's characters are compromise and aggressive destruction and the affirmation of certain bourgeois values; it is the same as the existentialist poet constructed by Ferdinand , the alienation and criticism of a libertine. The spiritual liberation and revival of this human nature is also a strong self-designation.
At the end of the film, Ferdinand personally shot Anna, and Nande finally committed suicide. This sacrifice is not only a necessary practice of ideology, but for the author, Ferdinand's suicide is a refusal to share the common weak and empty value logic with the bourgeoisie at that time. It is contempt and rebellion against social violence, but it is also a A romantic redemption, a surreal "poet".
Viewed as a whole , it's a tragic tale of an infatuated man obsessed with a floating worldly woman.
Looking at it from the inside , this is also the falling journey of the inner truth and thinking of the poet "Pierro" [Feddy] encountering fragmentation and struggle. It is quite interesting that in the new wave film sequence, such protagonists are often a clown character outside the mainstream, a ruthless swinging youth who prefers to disrupt the order, break free from authority, holds a cigarette in his hand, and wears a suit. , but there are a lot of philosophical verses in the mouth.
Reflexivity as Cinematic Art: Exploration and Innovation
French New Wave films always have a certain self-referential meaning to the aesthetics of the film art form. In the film Pierrot the Madman, there are long shots full of silent stares, mechanical jump cuts, bright and saturated colors. Rendering, and repeated long lines.
These new wave aesthetic forms are exploring a kind of boundary of "film art" itself. If I have to summarize the laws of these forms, then the author feels that these elements with reflexiveness are all reaching a "critical distance".
The long shot makes the time displayed on the screen endow the picture with stagnation and pause, breaking the film as a "myth of continuous motion" and showing a sense of mechanical movement. trivial everyday.
These specific forms are intended to reveal the process of film production, to experience the passage of time and an open interpretation of meaning, and under the observation of what seems to be "minimalism", the art of film is delayed beyond the frame and becomes a kind of criticism of the author. It shattered the name of the beautiful dream of the secular myth of the film, but through the window of film art, I can see the heaviness and barrenness of reality, and complete a literary philosophical thought and spiritual murmur.
At the front of the movie, Ferdinand learned from the conversation with the film director, what is a movie? Movies are love, hate, action, violence and death, which can be reduced to one word - emotion. In the movie, Ferdinand swayed love and hatred from infatuation and dependence on Anna to anger and destruction of Anna. Now, Belmondo has left forever to relive the ceremony of the film to commemorate the traces he left in film history. At this point, I always remember that in the movie, Anna called Ferdinand "Pierro", but he always emphasized that he was Ferdinand. Every time I think of this, there is a knowing smile and a sad sigh.
The word "Pierro" originally refers to a representative figure in Italian improv comedy, but it is a sad clown character, a lonely and vulnerable character.
For Ferdinand, he is not a "clown" of the tide of the times. His thinking and melancholy are always so sharp and profound. He loves freedom and is not alienated and deformed by some kind of imprisoned "discourse" of the times. His existence It advertises its own spiritual independence and essence.
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