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法国新浪潮电影的奠基者之一、电影大师让-吕克·戈达尔于2022年9月13日去世，享年91岁。

Jean-Luc Godard, one of the founders of French New Wave cinema, died on September 13th, 2022, aged 91.

法国总统马克龙为戈达尔写下悼词：“作为新浪潮运动中最离经叛道的电影人，戈达尔发明了一种绝对现代、极度自由的艺术。”

法国文化部长马拉克在社交媒体上说：“戈达尔烧毁了所有电影准则，在全世界掀起一股大胆、自由和叛逆的新浪潮，给我们留下一本印有难忘记忆的图画书。”

在他的电影内，你可以看到他在拍摄手法和叙事风格的不断突破和挑战，他关于存在主义、马克思主义哲学等思考，而他的电影片名就像俳句，简短而富有意义，令人不禁想走近……

Macron, the French president, wrote a eulogy for Godard：“Jean-Luc Godard, the most iconoclastic filmmaker of the New Wave, had invented a resolutely modern, intensely free art.”(Jean-Luc Godard, le plus iconoclaste des cinéastes de la Nouvelle Vague, avait inventé un art résolument moderne, intensément libre.)

Rima Abdul Malak, France’s Minister of Culture, said on social media:“Jean-Luc Godard burned all the codes of cinema, sweeping the world with a wave of audacity, freedom and irreverence. He leaves us an “image book” with an unforgettable imprint”.

In his film, you can see that he was keeping challenging and making breakthroughs in cinematography and narrative styles, and contemplating existentialism, Marxist philosophy and etc. His film titles are always like a haiku, short but meaningful, alluring you to get close...

精疲力尽 À bout de souffle（法国, 1960） 电影类型：剧情、犯罪 Breathless (French, 1960) Film Genres: drama, crime

概要：

小暴徒米歇尔惊慌失措，在驾驶偷来的汽车时冲动地杀死了一名警察。在路上，他转向他有抱负的记者女友帕特里夏，躲在她巴黎的公寓里。当帕特里夏得知米歇尔因谋杀而受到调查时，她开始质疑她对他的忠诚度。

Summary:

Michel, a panic mobster, impulsively killed a cop while driving a stolen car. On the run from the police, he turned to an American love interest, Patricia, a student and aspiring journalist, and hided in her apartment in Paris. When Patricia knew that Michel was investigated for murder, she began to question her loyalty to him.

这是戈达尔的第一个长片，作为新浪潮的第一个“宣言电影”彻底影响了整个法国电影界，两个新的偶像：戈达尔和贝尔蒙多(Jean-Paul Belmondo) ，横空出世。虽然当时拍摄是极少的成本，但没有很糟，在首次上映时产生了几乎革命性的影响。最明显激进的戈达尔式风格是不断使用跳切，即使在对话镜头中间也突然出现时间省略。这是现代电影的标准做法，但在当时它打破了传统电影制作手册的所有规定。

As Godard’s first feature-length film, it is the manifesto film of the New Wave Movement, which revolutionized French cinema.Two new icons were born, Godard and Jean-Paul Belmondo. Although the shooting was cheap but came out well with a revolutionary impact on its premiere. The film is featuring constant jump cuts as one of the Godard’s typically radical style, and sometimes even a sudden time elision in the dialogue shot. That was standard practice in modern cinema, but at that time, it broke all the rules of traditional filmmaking manual.

事实上，这种技术比政治更具有偶然性。这部电影根据弗朗索瓦·特吕弗 (François Truffaut) 的“犯罪分子”故事情节，松散且不断变化的拍摄脚本，最终被省略剪掉了大约2个小时。为了能成功上映，这部电影需要减少大约 30 分钟时长，戈达尔没有剪掉整个场景或序列，而是选择在场景中修剪，创造出至今仍深受动作片制作人喜爱的跳接剪辑风格。戈达尔只是拿着“剪刀”去看电影，剪掉了他认为无聊的东西，因此整部电影确实感觉“精疲力尽”，每个场景似乎都在匆忙地完成。正因为这样，它打破了传统的叙事、表演甚至电影形式的规则，也许没有一部电影会再次如此有效且有影响地打破“规则”。

In fact, such a technique is more fortuitous than politics. The film is based on the plots of Francois Truffaut’s Criminals and its loose and ever-changing script was eventually cut about two hours. In order to be released successfully, it still needs to cut by about 30 minutes. Godard did not cut the entire scene or sequence, but cut shots in the scene instead, and created the jump cut which is still popular among action producers. Godard used “scissors” and cut the shots what he thinks are boring, which makes audience feels “Breathless” when watching the film as every scene seems to be done in a hurry. But it is such a technique that broke the rules of traditional narrative, acting and form. Perhaps no film will break the “rules” so effectively again as this one did..

每看一次《精疲力尽》都会看到新的东西：以你以前从未完全解析过的方式构图的镜头，随性的奇怪的跳切就像是很酷的动画实验。电影评论家乔纳森·罗森鲍姆将其比作“在唱片上快乐地跳针”。在没有顾虑的态度下是一种丰富的诗意感，可以说是贯穿戈达尔各种作品的一个惯例特征。

Each time when you watch this film, you will see new things, such as some shots in a composition you never analyzed before, and some cool animation experiment made by random, peculiar jump cuts. A film critic, Jonathan Rosenbaum, put it as “Jumping a needle on a record”. An unflinching attitude is bestowed with a rich sense of poetry, featuring throughout his oeuvre.

如今很火的一句台词就出自这部电影

帕特里夏问考克托（新浪潮精神教父-梅尔维尔Jean-Pierre Melville扮演）：

“你的理想是什么？”

考克托故作深沉玩笑道，

“成为不朽，然后死去”。

One of the most popular lines today is from this movie.

Patricia asked Cocteau (acted by Jean-Pierre Melville),

“What is your greatest ambition?”

Cocteau said, with an air of profound jest,

“To become immortal and then die.”

随心所欲 Vivre sa vie (法国，1962) 类型：剧情/世界电影 It’s My Life (French, 1962) Film Type: drama, feature film

概要：

一位年轻巴黎女演员娜娜，最近与丈夫分居，除了和她那无情的皮条客以及她在郊区认识的女人接触外，总是孤单一人。她没有在电影中追求成功，而是在一家唱片店工作，为陌生男人服务，并放弃了她以前的生活，去追寻关于自我认知本质的哲学问题。

Summary:

A young Parisian actress, Nana, who recently leaved her husband, always stays alone, expect her ruthless pimp and the women she met in suburbs. Instead of pursuing success, she worked in a record store and then served strange men. She gave up her pervious life and pursued philosophical questions about the nature of self-knowledge though she didn’t make a success.

从《随心所欲》开始，戈达尔逐渐开始拍摄写实的电影。这是一部现实主义的电影，而同时它又极其不现实。《筋疲力尽》很大程度归功于剪辑，《随心所欲》则归功于剪辑的很少。

戈达尔在与Tom Milne采访中说道：“我当时考虑，某种程度上说，用画家的方式，正面地面对人物，就像马蒂斯或布拉克的画作一样，所以摄影机总是竖立在演员面前的。”

Starting with this film, Godard began to shoot realist film. This is a realistic film, and at the same time, it is extremely unrealistic. Breathless took credit for editing, and this film does not.

In an interview with Tom Milne, Godard said “I was thinking, in a way, as a painter, of confronting my characters head-on as in the paintings of Matisse or Braque, so the camera is always upright”

影片不遵循传统叙事规律，截取十二个片段来表达女主角娜娜短暂的一生，描述了一位年轻女子的随机性和分裂性的现实生活。十二个片段正是最巧妙的构思，其破碎的形式并没有让我们完全进入她的世界，使她与我们保持距离，从而使她的孤独之旅显得更加绝望。

戈达尔的缪斯女神安娜·卡琳娜（Anna Karina）的表演令影片又不失为一幅美妙的绘画作品。

The film did not follow the traditional narrative rules. Twelve “episodes” were cut to illustrate the heroine Nana’s short life which was full of randomness and fragmentation in reality. Those “episodes” are the cleverest conception. This fragmentary form does not allow us enter her world totally, while keeping her at arm’s length from us, but makes her solitary journey seem even more desperate.

Meanwhile, the performance of Godard’s Muse Anna Karina makes the film a beautiful painting.

《中国姑娘》La Chinoise (法国, 1967) 类型：喜剧/剧情 The Chinese Girl (French, 1967) Type: comedy, feature film

概要：

一群中产阶级学生在被资产阶级占用了的公寓里，对现实生活感到失望，他们组成了一个毛泽东主义的小组，年轻、聪明、有魅力的学生们疯狂地阅读、辩论和讨论如何让世界变得更美好。在研究了共产主义在中国的发展之后，学生们决定他们点燃他们自己的革命。

Summary:

In a bourgeois-occupied apartment, a group of middle-class university students, frustrated with the real life, formed a Maoist Group. Young, smart and charming students read, debated, and discussed frantically about how to make the world a better place. After studying the development of communism in China, the students decided to ignite their own revolution.

《中国姑娘》是预言，也是反思。

60 年代毛主义在西方掀起的思潮成为戈达尔关注的焦点。从电影的片头语，可以看出毛主义对戈达尔的巨大吸引力。影片在某种程度上甚至不可思议地预言了隔年爆发的“五月风暴”。

La Chinoise is a prophecy and a reflection.

In 1960s, Godard’s focus turned to Maoist movement in the west. The opening lines revealed the great appeal of Maoism to Godard. In some ways, the film even miraculously predicted the “May Storm” that erupted the following year.

字幕：It is necessary to confront vague ideas with clear images. 有必要用清晰的图像来面对模糊的想法。

《中国姑娘》是不容易描述的，它既不是戏剧也不是纪录片，你会发现电影内容毫无叙事悬念，取而代之的是更自发和超脱的政治美学。既是对年轻激进主义的模仿，也是对它的拥护，是戈达尔对法国日益严重的政治危机的研究。

影片展现出一群法国毛派青年的生活，包括背诵法文毛泽东语录和批判美国帝国主义，通过一群为革命做准备的毛派青年的眼光来叙述，摧毁旧世界固然令人激动，但如何创建新世界却无人解说，他们自己自然不能诞生一种没有经过事实考验的纲领性文件，最终还是以失败告终。以讽刺的幽默形式展示了激进理论与令人绝望的现实的不可调和。这是一部极具洞察力的现代青年电影，可以这么说，戈达尔是唯一一位能够通过优美的电影来表达世界历史上年轻人此时此刻感受的当代导演。

Describing The Chinese Girl is not an easy task. It is neither a drama nor a documentary, and you will find no narrative suspense, but a more spontaneous and detached political aesthetics. It is not only an imitation and an homage of the youth radicalism, but also Godard’s study of the French’s growing political crisis.

The film depicted the life of a group of French Maoist youth, including reciting The Little Red Book in French and criticizing American imperialism. Through the eyes of the Maoist youth preparing for the revolution, it also showed us that to destroy the old world was exciting, but no one explained how to create the new one; they could not produce an untested programmatic document by themselves and ultimately failed. The irreconcilable conflict between radical theory and desperate reality features sharply in the form of sarcastic humor. It is an insightful modern youth film, and Godard is, so to speak, the only contemporary director who can express the feelings of young people at that moment in the history of the world through a beautiful film.

“拍电影像呼吸那样自然的导演，戈达尔不是唯一一个，但他是最好的一个。”——弗朗索瓦·特吕弗

“Godard is the greatest filmmaker in the world. He is not the only one who films as he breathes, but he is the one who breathes best.” --Francois Truffaut

让-吕克·戈达尔这个电影艺术界不可磨灭的名字，从他的第一部长片《精疲力尽》开始，激发了年轻人与志同道合的伙伴组队制作电影的精神。他的作品包含了政治惊悚片、音乐喜剧、浪漫情节剧、科幻小说等，他将自己的知识世界以拼贴的方式融入电影中，并将生活中的人们塑造成演员、明星或偶像。戈达尔的傲慢、他的蔑视、他的讽刺幽默和他的自由感，与其他电影人相比，他能捕捉生活和美丽，他的电影里是提炼了的、使之变形了的、却更为真实的现实，更能让观众觉得电影中的一切皆有可能。

Jean-Luc Godard, the indelible name of the cinematic art world, inspired young people to team up with like-minded partners to make movies since his first feature-length film, Breathless. His works include political thrillers, musical comedies, romantic melodramas, science fiction, and more, as with the combination of his intellectual world into his films in way of collages, as well as make people in real life into actors, stars or idols. Godard’s arrogance, his contempt, his satirical humor, and his sense of freedom allow him to capture life and beauty more than any other filmmakers. His film is distilled, distorted, but more realistic, so that audience can feel that anything in the film is possible.

好莱坞似乎是现代青年独立电影人一个遥远的梦，是他率先打破了电影“规则”，至今仍激励着年轻的电影制作人们，新浪潮的大师依然是年轻导演的参考，使之向梦想靠近了一大步。新浪潮的水花终会褪去，但我们有了海岸可以舞蹈。向这位奇怪的天才致敬！

Hollywood seems to be a distant dream of the modern young independent filmmakers, but he broke the “rules” of cinema and inspires young filmmakers all the time. The masters of the New Wave continues to serve as a reference for young directors to help them a big step closer to their dream. The New Wave may fade away, but it leave us a shore to reach and dance. All Hail the peculiar genius!

参考文献：

[1] Cheesy. “戈达尔谈《随心所欲》.” 豆瓣, 豆瓣(Douban), 19 Aug. 2016, movie.douban/review/8050353/.

[2] “尚盧·高達.” Wikipedia, Wikimedia Foundation, 19 Sept. 2022, zh.wikipedia/wiki/尚盧·高達.

[3] Dawson, Jonathan, et al. “Senses of Cinema.” Senses of Cinema, 4 June 2014, sensesofcinema/2002/cteq/breathless/.

[4] newwavefilm/interviews/godard-1962-interview.shtml

出品：杨丽

视觉：蒋懿嘉

审校：许婷

翻译：阳海珠

编辑/排版：陈媛媛

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