Godard showed the favorable conditions that he had studied music history in this film: the continuous music accompanied by the sea, the sound of the waves and the chirping of seabirds runs through the whole film, just like Bergman's Fanny and Alexander. However, although the music of the former is subversive, it contributes to the rhythm and charm of the whole film, but it is too diffuse.
Godard seems to be trying his best to break the seriousness of the Hollywood narrative - and he does it, and it is very good: used to seeing Hollywood sitting upright, and seeing Godard again can't help but admire him, and is deeply fascinated by his speed and power. The rhythm of the music and the mental relief it brings to the viewer is such a relief - however, the music is a very difficult element to deal with, and it seems to be the same now. The music in this film does jump through time and space, jumping from one narrative paragraph to another (there are more than one other narrative paragraphs, if you even count the interludes of the waves. The latter can be seen as a Lyrical passages that match the music, but are also narratively meaningful - because in film, as Bresson believes, something poetic or lyrical/feeling does not emerge from a single frame/shot) , but Hollywood soundtracks follow each paragraph and have clearly discernible themes/meanings, but in essence they also jump in time and space or exist independently of time and space, so Godard tried to break it, but failed to break it, so In a way, it became a "homage" to classic Hollywood, such as the romantic melody when Carmen and Joseph kissed on the floor.
Some Bressonian camera language can be seen in the film, just a few, fleeting. The film is still an appropriation of a classic narrative. Carmen's story has three American movies, opera and ballet are also very famous. No wonder Godard said: "The movie starts with Griffith and ends with Abbas", and "Carmen" does not abandon the way of cross-thread narrative. It mainly revolves around Carmen and his criminal gang, and a group of performers. The young man of music. The two parties met when Carmen's gang went to the hotel to hijack the rich family, and of course there was no need to let the two parties know (only Claire later knew that Carmen was there), as long as the audience knew it was enough.
The film revolves around the relationship between Carmen and Joseph, revisiting the theme of love and death. From what the film shows, Carmen is extremely self-destructive, and she is taking a slow suicide for her own life. This is true of life, and even more so in love. First of all, being pampered while growing up, from the coddling/adoration of men—from appearance, and also because of Carmen’s body as a woman, Carmen has a proud mentality, and thus has a strong desire to control men. Her desire for control can be seen everywhere in the film: her uncle said that she was "a little Electra's child" and "doesn't get along well with her mother"; Carmen also told Joseph that her uncle once liked her; When Joseph fell in love with Carmen, she suggested that the two leave together; in the crime, it was Carmen who planned for the gang to go to the hotel to kidnap the rich man or his daughter—this is Carmen who said he was imitating the behavior of the protagonist in a Hollywood movie ; Uncle Carmen asked Carmen twice about the ending of the upcoming movie, apparently he thought the latter knew, but Carmen said he didn't know - Carmen said he didn't know, and asked his uncle twice and his disbelief Expressing boredom, showing that Carmen puts her life in a situation where she takes one step at a time. She doesn't think about the future, and she doesn't want to think about it. This is a tendency to escape, so the main person in charge of the criminal gang Blame Carmen for turning a step-by-step plan into an impromptu performance. Maybe improvisation is her state of life. This is also reflected in the fact that when Joseph repeatedly asked her what she was going to do, Carmen obviously had no plan, and could only avoid this answer repeatedly, procrastinating again and again; when Joseph faced his girlfriend (who was also present), he gave advice While waiting for him to make a decision, Carmen brought red roses - apparently, in the end Joseph chose Carmen; then, when a man handed the gun to Carmen, she said that her actions needed him, but Carmen refused; at the villa and later The hotel where the criminal gang lived. In the physical game played by Carmen and Joseph, Carmen asked Joseph to play in the way he had learned from the movie; Carmen told Joseph to show the other side from himself that women can do something to a man. what. It is this strong desire for control that makes Carmen easily say to Joseph to let the other party leave - Carmen tried to do it, and she did it: let Joseph obey her orders, and she is also convinced of her own. control. It is because of this belief in his own control that Carmen's life seems so "improvised". After Carmen and Joseph fled to the villa, Carmen told Joseph that if he fell in love with each other, the other party would die, which shows that Carmen has too much confidence in his control.
Carmen had triumphed in the male world before she entered love, and this victory had been there from her youth. The sense of control she enjoys in this victory makes Carmen trapped in it and unable to extricate herself - she has been ruled by this desire for control. In the current human world, control is closely linked to the "male", and Carmen has control because of her "body" - which Carmen did not expect - and the "body" is It is closely related to "female", or "female" points directly to "body" and has nothing else: "female" = "body". Carmen's control makes her feel like a duck to water in the male world and moves freely, and she has to work hard to ensure the maintenance of this control-this is the inevitable life of the light that Carmen did not save, and her state of life is like this. , otherwise she would not be able to survive. The control that Carmen has also makes her closer/like a "male" when the truth is that she is not male, but female - which is exactly who she is in a relationship. The pursuit of control ("male") and her own identity ("female") are contradictory and antagonistic to each other, and there is no way Carmen can solve it, nor can she save herself. What Carmen needs is masculine control, and the "body" pulls her back from time to time to the reality that she is a "female"—a reality that means a loss of control and is the opposite of "male" Therefore, this reality is what Carmen tries to avoid and reject, which determines the inevitable destruction of Carmen in the love relationship: when she chooses to continue the love relationship, she is unwilling to do and cannot be a "woman". This reality also puts Carmen in a state of extreme schism, which is most vividly manifested in the love relationships Carmen develops with men. In his love affair with Joseph, Carmen enjoys male-like control. But both the establishment of the love relationship and the gain of control are first and foremost due to Carmen's female identity: the two met in a gunfight, Carmen and Joseph had intimate physical contact when they scuffled together, and Joseph fell in love with Carmen. When Joseph was caught by the police, it meant that the love relationship between Carmen and Joseph was destroyed by external forces. And this is an opportunity for Carmen to regain her freedom: no longer into the divisive state of love, a freedom that obviously comes at the expense of love. At that time, the sound of seagulls sounded, which symbolized freedom in this film; the person in charge also told Carmen to "stop dreaming, open your eyes".
Whether male or female, they are human by nature. But men not only have physical advantages, such as strength, but more importantly, they also have control in power that women do not have, so women are left with only "body" - this is the incompleteness of women as human beings On the one hand, because women also have the same power as men in other aspects of mind, not just "body". This is the current gender condition of human beings. It was normal for men and women to love each other, but now it has been distorted: the wife loves the husband, and the husband rules over the wife. Replacing females with males is an unsavvy human approach, and Carmen is in that situation. Carmen entered into the love relationship with Joseph as a woman. The reason why the love/gender relationship between Carmen and Joseph was successfully established is precisely because of Carmen's "body" as a "female", and the "body" made Carmen enjoy the beginning. The desire for control over Joseph's. Once entering this relationship, Carmen as a "female" must exist as a "body", and there is only a "body" (no other), so Joseph must have control/power over Carmen's "body" , of course, completely controlled Carmen. The film makes it clear that in this relationship, Carmen's control will inevitably begin to disintegrate, and Joseph's control will begin to emerge, the latter manifesting first and foremost in power over Carmen's body. The body language of the two in the villa alludes to this truth, including if Carmen has been talking: it is her desire to regain control; it is also reflected in the body language of the two before Joseph's arrest in the villa. Joseph only values Carmen's "body". As a woman, Carmen only has "body" left in the love/sex relationship, which obviously shows that she exists as a distorted person, an incomplete person. "Male" > "Man" represented by Joseph, while "Female" < "Man" represented by Carmen.
When Carmen regains her love with Joseph, her loss of control also leads directly to her control over the crime: the person in charge talks to Carmen's uncle about the insecurity of Carmen's fall in love; Carmen and Joseph In the early morning of the hotel after reconciliation, Joseph asked Carmen what he was going to do, and Carmen answered "I'll tell you" and then "They'll tell you." In fact, in the criminal gang, Carmen's control is fundamentally at stake, because other men can easily control Carmen's "body", and they will also gain control over Carmen.
Carmen's subsequent actions in the relationship are to begin to regain control and try to maintain it. From the fact that when Carmen called Joseph's name, it was always incomplete, it can be seen that Carmen rejected the power of "male" Joseph, but Joseph corrected the incomplete name every time to make it complete: "male" Joseph was The loss of power cannot be tolerated. The result of Carmen's action change is first reflected in the "body", that is, when Carmen regains control, the only thing she can take back is her "body"-because it is outside Carmen's "body" , such as the American films she mentions and is imitating that can represent her thoughts, are in a state of "absence": Joseph can't remember what Carmen mentions (which makes Carmen extremely angry, which is caused by She is just a The incomplete person of the "body", triggered by the reality of the representation of a woman, also means that Carmen has no control) - when Carmen's "body" is not controlled by Joseph, Joseph cannot first Satisfied in Carmen's "body", Carmen's female image is gradually disappearing, and she is becoming a "male" with the same control as Joseph. All this is what the "male" Joseph (who should be the holder of power) cannot face and tolerate, so he also takes action, first of all, to control Carmen from the "body". Apparently Joseph eventually gained control over Carmen as a man: Carmen lay on the ground, Joseph was on top of her, and Carmen couldn't move. At first, on the floor of the bank, Carmen and Joseph scuffled with each other on the ground, symbolizing the struggle for power between the two. In the end, Carmen pressed on Joseph's body, and she raised her head and raised her head like a victorious queen (the first time she shook her head was when she successfully persuaded her uncle to go against the wishes of the person in charge. In the latter two cases, Carmen enjoyed a temporary control). Carmen faced the victory of Joseph's will/power, her dominance failed, to which she could only say "why do men exist", so when the crowd disguised as filmmakers arrived at the rich man's hotel and began to act , Carmen pointed a loaded gun at Joseph but did not shoot, which symbolized that she had completely lost control over Joseph in the relationship between the two, and lost her control as a man at first - in the bank two In their first shootout, Carmen aimed the gun at Joseph and fired. Carmen gave up shooting and went to hold the rich man's daughter - she wanted to maintain control, the only control left - in the criminal gang, in this robbery. But the loss of Carmen's control in the love relationship and the presence of Joseph's control made Joseph kill the rich man's daughter - the control from Joseph cut off Carmen's control in the criminal operation. Carmen is free in her thoughts and actions: she seeks control. This is where she takes action. Outside of her free world, she cannot control the freedom of others, such as Joseph's. Joseph took full control of Carmen and achieved the victory of power, eventually he shot and killed Carmen.
And so the death and destruction that happened in the original normal love relationship between the two sexes, it is clear that Carmen's approach is essentially the pursuit of putting women and men on the so-called "equality" or women's so-called "scramble for the right to speak with men" ", which is not a very clever approach taken by human beings, because there is an obvious fact that women's body and thoughts, emotions and other factors are closely linked and inseparable, which is exactly what women and men are created as human beings. In contrast, there is one aspect that is different. For example, women are more demanding than men in needing the comfort of words from men, so when a woman wins the respect of men "physically", she is winning men's respect for one another. respect for women. Therefore, the "equality between men and women" pursued by feminists or the "sexual liberation" movement that was popular in the United States is not necessary, but it is also a fallacy: abruptly tore women into two individuals and become the same as men - the only The sympathetic part is that women suffer from men's control and think that it is better to be men. In fact, men have no sense of security: they cannot fulfill their responsibility to protect women, that is, they are in a crisis of responsibility.
The world of "The Name of Carmen" represents dislocation, inversion, opposition: a lunatic (and a little mentally ill) making a movie; ostensibly making a movie, but in fact a robbery •••••Carmen doesn't need control, get Control is not an effective solution to a problem. The tragedy of Carmen's world is fundamentally the deprivation of her interests as a human being. The situation she faced from a young age was that the love she received from men was far greater than the love she received from women. Before Carmen can enjoy love, what she needs more is the love of the female world represented by her mother. This is reflected in the fact that she has never been able to remember Joseph's name. She entered the adult world in an unbalanced state, and she was dragged and torn in the adult world. When Carmen leaves the tavern, she kisses a female proprietor goodbye, hinting at her inner desire to maintain a relationship with women and a desire for something akin to motherly love. The person in charge asked her outside the painting: "Are you coming?", and then she was forcibly pulled away by the person in charge - Carmen's desire to be loved by women is always shattered/destroyed by the power from the male world. At the end of the film, when Carmen is lying on the floor facing death, what she is saying is a riddle like a child read, similar to a simple but profound phrase - and this riddle was once in the mouth of her somewhat mad uncle. It was when he mentioned the relationship between Carmen and his mother; when Carmen warned Joseph in the villa that when he fell in love with him it was the end of him--this time Carmen has fallen in love with Joseph, and as a woman is controlled by the male Joseph (as can be seen in the body language of the two that follow). This narration is like some kind of secret code. Both Carmen and Uncle know some secret things. It points to Carmen's unbalanced childhood. The image of the sea appears repeatedly, and these objects are closely connected to Uncle Carmen's villa, which also points to the unbalanced childhood of Carmen. Carmen's childhood, because Carmen lived in a villa when she was 13 or 14 years old, was when she realized a male-like control. The waves kept rolling, and in Carmen's world, it was like a nightmare she had never stopped since childhood, surrounding Carmen and accompanying her into the adult world. Also a spell - often reminding Carmen to seize control - Carmen apparently has no strength to get rid of it, but to obey it. In love, Carmen is also chasing so much that love did not save her, but instead became an opportunity to completely destroy Carmen. Carmen's life, like a car that has lost its braking function, can only slide on its own without stopping, and can only be stopped by external force in the end: either it is completely saved, or it dies.
Another female figure who is different from Carmen is Claire, who is a member of the concert band and a girl who likes Joseph. Unlike the red rose that Carmen gave Joseph, Joseph gave Carlisle a white rose. The only difference between Claire and Carmen is that she doesn't have as much control as Carmen - which is how she does in the film. Claire had no control over Joseph, and she never had that power: Joseph refused Claire's invitation to dinner. Claire's control does not work successfully on Joseph in the film, meaning her love relationship with Joseph never develops. It is in this sense that Claire is free: a "normal" woman with only a "body" when the seagulls chirping again.
Godard made a sharp cut to the classic narrative in the world of "Carmen", and let the death atmosphere of the character of Carmen permeate the whole film, just like "The World of Senses", giving the film a strong atmosphere. Artistic texture. The latter quickly dispels the irony and hilarity brought about by subverting the classic Hollywood narrative scene. Perhaps since "Exhausted", Godard has not let the death of the protagonist in his films leave. Godard also took on the role of "uncle", a somewhat lunatic patient, and pondered politics in his mouth.
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