随心所欲1962

Nana: Why are you reading?

Parain: It's my job.

Nana: It's odd. Suddenly I don't know what to say; it often happens to me. I know what I want to say. I think about whether it is what I mean. But when the moment comes to speak, I can't say it.

Parain: Yes, of course. You've read the Three Musketeers?

Nana: I saw the film, why?

Parain: Because in it, Porthos, this is really in Twenty Years Later, Porthos, all strong, a little stupid, he has never thought in his life. He has to place a bomb in the cellar to blow it up. He does it. He places the bomb, lights the fuse, then he runs away of course. But suddenly he begins to think. What about? How is it possible to put one foot before the other? You must have thought about that too. So he stops running. He can't go on. He can't move forward. The bomb explodes, the cellar fell on him. He holds it up with his shoulder. But after a day, or maybe two, he is crushed to death. The first time he thought, it killed him.

Nana: Why did you tell me that story?

Parain: No reason, just to talk.

Nana: Why must one always talk? Often one shouldn't talk, but live in silence. The more one talks, the less words mean.

Parain: Perhaps. But can one?

Nana: I don't know.

Parain: I've found that we can't live without talking.

Nana: I'd like to live without talking.

Parain: Yes, it would be nice, wouldn't it? Like loving one another more. But it isn't possible.

Nana: But why? Words should express just what one wants to say. Do they betray us?

Parain: But we betray them, too. One should be able to express oneself. It has been done in writing. Think: someone like Plato, can still be understood - he can. Yet he wrote in Greek, 2,500 years ago. No one really know the language, at least not exactly. Yet something get through, so we should be able to express ourselves. And we must.

Nana: Why must we? To understand each other?

Parain: We must think, and for thoughts, we need words. There's no other way to think. To communicate, one must talk, that is our life.

Nana: Yes, but it is very difficult. I think life should be easy. Your talk of the Three Musketeers may make a good story, but it's terrible.

Parain: Yes, but it's a pointer. I believe, one learns to talk well only when one has renounced life for a time. That's the price.

Nana: So, to speak is fatal?

Parain: Speaking is almost a resurrection in relation to life. Speech is another life from when one does not speak. So, to live in speech, one must pass through the death of life without speech. I may not be putting it clearly, but there's a kind of ascetic rule that stops one from taking well until one sees life with detachment.

Nana: But one can't live everyday life with... I don't know

Parain: With detachment. We balance, that's why we pass from silence to words. We swing between the two because it's the movement of life. From everyday life one rises to a life we call superior, the thinking life. But this life presupposes one has killed the everyday too elementary life.

Nana: Then thinking and talking are the same thing?

Parain: So I believe. Plato said so, it's an old idea. One cannot distinguish the thought from the words that express it. An instant of thought can only be grasped through words.

Nana: So one must talk and risk lying?

Parain: Lies too, are part of our quest. Errors and lies are very similar.

Nana: (Tries to interrupt)

Parain: I don't mean ordinary lies, like I promise to come tomorrow, but I don't, as I didn't want to. You see, those are ploys. But a subtle lie is a little different from an error. One searches and can't find the right word. That's why you didn't know what to say. You were afraid of not finding the right word, that's the explanation.

Nana: How can one be sure of having found the right word?

Parain: One must work. It needs an effort. One must speak in a way that is right, doesn't hurt, says what has to be said, does what has to be done, without hurting or bruising.

Nana: One must try to be in good faith. Someone told me: "There is truth in everything, even in error."

Parain: That's true. France didn't see it in the seventeenth century. They thought one could avoid error, and what's more, that one can live directly in the truth. It isn't possible. Hence Kant, Hegel, Germany philosophy: to bring us back to life, and makes us see that we must pass through error to arrive at the truth.

Nana: What do you think about love?

Parain: The body had to come into it. Leibnitz introduced the contingent. Contingent truths and necessary truths make up life. German philosophy showed us that in life, one thinks with the servitudes and errors of life. One must manage with that, that's true.

Nana: Shouldn't love be the only truth?

Parain: For that, love would always have to be true. Do you know anyone who knows at once what he loves? No. When you are twenty you don't know. All you know are bits and pieces, you make arbitrary choices. Your "I love" is an impure affair. But to completely at one with what you love you need maturity. That means searching, that is the truth of life. That's why love is a solution, on condition that it is true.

字幕来源: //www.youtube.com/watch?v=VUp_du3awI0

与Nana交谈的学者为法国哲学家 Brice Parain (Courcelles-sous-Jouarre, 10 March 1897 - 20 March 1971 ) //en.wikipedia.org/wiki/Brice_Parain

在资料馆观看了这部戈达尔的名片，当场座无虚席，我与朋友坐在最后一排，看人头翕动。随着电影发展，大家纷纷开始小声交头接耳，原因比较明显，看不太懂。

我居住的地方是一个影视园区，其中大多数人都是影视方面的创业者，会来光顾这家资料馆的想必也是同一批人。恰恰是这部分观影人群，更容易被本片误导，把握不到其中的核心意图——这里的对话要推进怎样的剧情、表达怎样的人物关系？这个镜头语言要表达导演怎样的含义？这个人物对核心表意有怎样作用……

在我看来，这部影片表达的是语言的失效。当人与人之间沟通的最重要手段——语言，变得不可靠时，一个美丽至极的女人将经历怎样的人生。

首先，影片百分之八十以上的时间都用在了对话上，而仔细分析后就会发现，这些人物间的对话大多数都是莫名其妙、言不达意的。答非所问，无法准确表达自己的感情，说到痛处，只能重复——影片中出现了两次非常不自然的重复。

“这关你什么事？这关你什么事？这关你什么事？这关你什么事？这关你什么事？这关你什么事？”

“别这样，娜娜。”

中间娜娜在餐厅中和那个萍水相逢的老人的谈话，直接点题地说出了这个主旨——语言的效果，关于谎言和言不达意。有趣的是，就连这一段表达中心思想的对话，两人大多数时候还在自说自话。语言在这里也是失效的。

其次，声音上。影片中出现了数次突然的消音，有时甚至是角色或旁白还在说话的时候。这时就会看到空有嘴唇翕动、字幕告诉我们她在说什么，但声音全无。失声和失语的类比。

最后，配乐是一段令人印象深刻的小段重复，这段忧伤的音乐片段不时出现。除了另外两个地方用了影片中场景内出现了的歌曲作为场景配乐，这个选段是本片唯一的配乐，从头到尾没有变化，没有渐进。这也暗示了娜娜的境遇从头到尾都没有变过，在这个语言失效的世界，她的结局从一开始便已注定。

本片的节奏非常稳定，将娜娜无奈又颓唐的生活娓娓道来。因为对话的段落非常之多，我们便欣赏到了戈达尔除了正反打外，对对话场景的各种有趣的处理方式，其中很对是有开创性的。

最令人印象深刻的还是娜娜站起身，用手量自己的身高，天真可爱简直要溢出荧幕。我将来也要给我喜欢的姑娘拍出这种感觉的电影。