雾蒙蒙的滨海小镇.海边的巴拿马酒吧.阴雨潮湿潮湿的石子街道.小街上并肩行走的让和奈莉.藏在暗处的杀手,一切看起来充满了诗意而又充斥着危机,《雾码头》作为一部典型的让加本神话电影将法国黑暗现实主义的绝望感展现的淋漓尽致,其中的雾与岸的含义十分令人着迷,从中可以窥视出法国当时的社会情绪。电影中的让就如同一艘在黑暗中航行的小船,无法在光明中露面,只能在黑暗中摸索,岸是他苦苦追寻的彼岸,而雾则是他航行中的重重阻碍。雾放在让的个人身上可以认为是他对战争的厌恶及对未来的绝望,而烟雾缭绕如同孤岛一样的小镇可以视作整个法国的缩影,雾是整个法国迷茫的象征,经过了口号喊的震天响却一无是处的左派政府,又引来了保守的右派政府,一战留下的伤痕没有愈合反而越拉越大,小镇中环绕的雾气令人无法寻求离开这里的道路而体现的一种无法逃离之感,整个法国也是这样,无法寻找到自己的国家道路,跌跌撞撞止步不前,这也是法国在二战中失利的最主要的原因。海边的巴拿马酒吧是小镇中唯一不受雾气侵扰的地方,是如同让一样的人的避风港和指明灯,酒吧中的画家就是如同导演一样的法国知识分子对于当下社会悲观心理的写照,他把自己衣服和画夹留给让就是导演希望启蒙法国民众希望他们将自己的思想延续下去。电影中,让想要前往委内瑞拉,这是属于他的彼岸,他想要摆脱过去的自己在新大陆上开启新的生活,这代表着当时的法国希望摆脱一战的阴影寻求新的发展,岸于此是希望的象征,这也是自法国乐观现实主义流传下来的对于希望的追求,虽然对于社会导演最后以让的死亡表现了他的悲观宿命倾向,但是仍然以让的形象来提醒法国民众不要忘却了对于希望的探索,这也可以认为是对宿命论小小的反抗以及不甘,最后让留在船上的画夹代表着追求希望的精神,会随着轮船代代相传。“世界上只有一种英雄主义,那就是在认清生活的真相后,仍然热爱生活”这是法国作家罗曼罗兰的名言,让就是这样的一个人物,即使明知前方黑暗无尽,但仍然不停止寻找希望的脚步,即使明知前方是死亡也不停止。就如同一艘夜航船,于黑暗中探寻着光明。
雾蒙蒙的滨海小镇.海边的巴拿马酒吧.阴雨潮湿潮湿的石子街道.小街上并肩行走的让和奈莉.藏在暗处的杀手,一切看起来充满了诗意而又充斥着危机,《雾码头》作为一部典型的让加本神话电影将法国黑暗现实主义的绝望感展现的淋漓尽致,其中的雾与岸的含义十分令人着迷,从中可以窥视出法国当时的社会情绪。
电影中的让就如同一艘在黑暗中航行的小船,无法在光明中露面,只能在黑暗中摸索,岸是他苦苦追寻的彼岸,而雾则是他航行中的重重阻碍。雾放在让的个人身上可以认为是他对战争的厌恶及对未来的绝望,而烟雾缭绕如同孤岛一样的小镇可以视作整个法国的缩影,雾是整个法国迷茫的象征,经过了口号喊的震天响却一无是处的左派政府,又引来了保守的右派政府,一战留下的伤痕没有愈合反而越拉越大,小镇中环绕的雾气令人无法寻求离开这里的道路而体现的一种无法逃离之感,整个法国也是这样,无法寻找到自己的国家道路,跌跌撞撞止步不前,这也是法国在二战中失利的最主要的原因。海边的巴拿马酒吧是小镇中唯一不受雾气侵扰的地方,是如同让一样的人的避风港和指明灯,酒吧中的画家就是如同导演一样的法国知识分子对于当下社会悲观心理的写照,他把自己衣服和画夹留给让就是导演希望启蒙法国民众希望他们将自己的思想延续下去。电影中,让想要前往委内瑞拉,这是属于他的彼岸,他想要摆脱过去的自己在新大陆上开启新的生活,这代表着当时的法国希望摆脱一战的阴影寻求新的发展,岸于此是希望的象征,这也是自法国乐观现实主义流传下来的对于希望的追求,虽然对于社会导演最后以让的死亡表现了他的悲观宿命倾向,但是仍然以让的形象来提醒法国民众不要忘却了对于希望的探索,这也可以认为是对宿命论小小的反抗以及不甘,最后让留在船上的画夹代表着追求希望的精神,会随着轮船代代相传。
“世界上只有一种英雄主义,那就是在认清生活的真相后,仍然热爱生活”这是法国作家罗曼罗兰的名言,让就是这样的一个人物,即使明知前方黑暗无尽,但仍然不停止寻找希望的脚步,即使明知前方是死亡也不停止。就如同一艘夜航船,于黑暗中探寻着光明。
Marcel Carné is a standard bearer of “poetic realism” in the French cinema of the 1930s, notably also for his collaboration with surrealist poet and screenwriter Jacques Prévert. Here are two sterling specimens, both starring Jean Gabin and espousing Carné’s uniquely atmospheric and fatalistic aesthetic, which foreshadows the advert of film-noir in Hollywood in the 1940s, although it doesn’t chime in with the esprit de corps of the WWII epoch.
The titular port in PORT OF SHADOW is Le Havre, Jean (Gabin) is an army deserter, hitch-hiking to the port in hopes of hopping on a ship to a new land to start anew, preferably with a new identity. Everything goes incredulously frictionless - a world-weary painter (Le Vegan) conveniently leaves his identification card before voluntarily shuffling off this mortal coil, and an unwitting doctor (Génin) is more than willing to take him on board, but the catch is always the one his heart desires. Jean falls in love with a 17-year-old Nelly (Morgan), who is a typical damsel-in-distress with irresistible charm to spare.
Although the script makes a heavy weather to suggest that Jean will eventually leave Nelly in situ with her jealousy-stricken godfather Zabel (Simon, memorably baring his lecherous teeth only after giving an impression as a clodhopping goody two shoes), and she is all too considerate not to be a pitiful bother, yet instinctively, audience can sense that will not happen. Zabel is a homicidal brute, even more so than the equally murderous gangster Lucien (Brasseur, a despicable snake in the grass who can also genuinely convey the glint of tremor in the next reaction shot), whom Jean repeatedly humiliates in front of the latter’s sidekicks, “saving the girl then die gloriously” is a foregone conclusion when he rushes off the ship, compelled by the desire to see Nelly before his departure.
The tragedy continues in DAYBREAK, here Gabin plays an ordinary foundry worker François, and the film commences in medias res, audience sees a man is gunned down by François, who then locks himself inside his pokey apartment, resists the intrusion from the inept police force and reminisces the causality leads to the killing.
It is another eternal triangle, François is besotted with Françoise (Laurent), a florist’s assistant, who inexplicably falls under the spell of a much older dog trainer Lucien (Berry), whom eventually Jean kills on the spur of the moment. Naturally, it only makes Françoise look like an imbecile, a stock object of desire for the sterner sex. The film doesn’t specify what she sees in Lucien, whose odiousness almost overflows out of the screen owing to Berry’s over-the-top ostentation of a self-destructive, pontificating, cowardly weasel, a humdinger of a dastardly villain. Again, like in PORT OF SHADOWS, the fateful encounter with a young-and-beautiful girl becomes a man’s undoing and that’s it, while the one-sided devotion from Clara (Arletty), Lucien’s discontent former assistant, to François is affixed only to balance out Françoise’s romantic dangling. It seems only fair both François and Françoise are recipients of unrequited love to make them worthy of each other, doesn’t it?
Unfolding the story from three flashback, DAYBREAK manifests great facility of superimposed dissolves, and when François is contained in his garçonnière, Carné knows exactly how to move the camera on a dime and let despair gradually throttle François until he finally capitulates, the seething anguish reaches the climax in Gabin’s impassioned outcry toward the rubberneckers on the square beneath, and the ominous daybreak sounds a death knell to a besieged François. A tear gas is thrown into the room after the sound of a gunshot, then the alarm clock rings, DAYBREAK strikes home with the piercing irony of a nihilistic dread.
As the leading man, Gabin asserts himself impressively as a flinty proletarian hero, bristling with coolness, virility and emotional weight whenever the script demands him to emote. For his love interest, in PORT OF SHADOWS, Morgan is born to be adored and gazed upon on the silver screen, her pulchritude is simply beyond words in those soft-focus close-ups; whereas in DAYBREAK, Laurent looks too prim and proper to be equipped with a wandering heart, so it’s up to Arletty to extract enough heart and soul into Clara’s expression of the struggle between independence and codependence, she cannot win François’s heart, but prompts audience to ponder about why? It also betrays human’s ingrown bias of agism and virginity obsession.
It is invigorating to report that, viewed today, both films still possess their indelible allures, namely, the haunting, fog-wreathed mise en scène in PORT OF SHADOWS, with its star-crossed lovers’s heartbreaking romance, and DAYBREAK’s epic invasion of dysphoria, its narratological intrigue, all lead to the supernal pathos of witnessing a decent man driven to his ruination by the vagaries of destiny. Carné’s “poetic realism” - poetic tragedy plus moody realism - is a significant cinematic achievement whose elegance and Weltschmerz might be an unexpected antidote to a world overrun by cynics and sensationalists.
referential entries: Julien Duvivier’s PÉPÉ LE MOKO (1937, 7.9/10); Jean Renoir’s BOUDU SAVED FROM DROWNING (1932, 7.7/10); Jean Vigo’s L’ATALANTE (1934, 8.4/10).
English Title: Port of Shadows
Original Title: Le quai des brumes
Year: 1938
Genre: Crime, Drama, Romance
Country: France
Language: French
Director: Marcel Carné
Screenwriter: Jacques Prévert
Based on the novel by Pierre Mac Orlan
Music: Maurice Jaubert
Cinematography: Eugen Schüfftan
Editor: René Le Hénaff
Cast:
Jean Gabin
Michèle Morgan
Michel Simon
Pierre Brasseur
Édouard Delmont
Raymond Aimos
Robert Le Vigan
René Génin
Marcel Pérès
Roger Legris
Jenny Burnay
Rating: 8.0/10
English Title: Daybreak
Original Title: Le jour se lève
Year: 1939
Genre: Crime, Drama, Romance
Country: France
Language: French
Director: Marcel Carné
Screenwriters: Jacques Viot, Jacques Prévert
Music: Maurice Jaubert
Cinematography: Philippe Agostini, André Bac, Albert Viguier
Editor: René Le Hénaff
Cast:
Jean Gabin
Jules Berry
Arletty
Jacqueline Laurent
Bernard Blier
Arthur Devère
René Génin
Georges Douking
Rating: 7.6/10
对白多得令人发指,听不懂的地方不少~
法国人的幽默很中 诗意写实的风格让人情不自禁想到好莱坞的经典黑白电影 但是雾港里的“写实”部分实在太美妙 浪漫的真实感抛离好莱坞一百公里还有就是男主角注定的走不了 一提到船就知道的
Tu as de beaux yeux, tu sais..
初具黑色电影的视觉图谱,灰暗、阴郁、弥漫着雾气的夜色场景,失魂落魄的男主人公,充满着悲观、厌世、绝望的情绪,他与暗淡的现实奋起搏击,乃至最后的死亡,都是现实主义的可怖。而诗意,是如烟花般猛烈而瞬息的爱情。诗意现实主义,是悲观主义土壤上生长出的玫瑰。
poetic and pessimist
在所有的爱情剧当中,法国式的爱情,才最是让人觉得优雅而诗意吧。尤其是战前三十年代的诗意写实电影(作为类型),在阴郁的氛围之下,无不飘渺着爱与死的宿命感。如果有诗人导演,马塞尔·卡尔内将会是第一个。侯麦说,改变他电影观的有两部。一部是《火山边缘之恋》,另一部便是本片。
#重看#初具黑色片元素,一个明知对抗残酷现实不可为而为之的心碎故事,飘荡在港口的氤氲夜雾,既是无法控制的命运走向,也是笼罩在二战前整个欧洲的巨型阴影,个人的身份背景可以模糊,但苦闷失意落寞的情绪与心理状态却是群体性的;“你们都有爱情,谁来爱我?”苦苦挣扎的都是孤独的灵魂。
Ne me quitte pas!
千言万语散尽在云雾中。
深夜港湾啊。电影的诗情不就在那个忧郁的画家上,要画下事物背后的忧愁,身份钱财都是多余的,于是给有需要的人留下,然后转身赴死。
#siff2018# 还有比临死之时最后说一句“吻我”更诗意浪漫的事吗?
法国的腐朽的气质
第一部法国诗意现实主义。雾是死亡/苦闷/现实,港是出发/自由/爱情,人在两者间摇摆,却终究无法走出。逃离战场的军人、黑社会、失意画家,这些对社会秩序失去信心也被社会秩序所抛弃的人,在巧合与突发中,走向不可挣脱的宿命。含蓄的台词使每人都携有故事。在车下救起一只狗,却不得不亲手杀死一个人
卡尔内的片子再怎么拍都显得有点不紧不慢,生活如雾的茫然失措。让迦本真是什么都能演,一代巨星果然不是盖的。
连配乐都带着某种迷人的暧昧,雾中的一切似乎都在不同的方向间摇摆,而我们就被困在这模棱两可之中无处可去。每个人都像是随机运动的粒子,偶尔相互吸引最终也无法改变各自行进的轨迹,真正的偶然其实已成注定。我们歌颂生命,同时拥抱生命的终结。
全片直至结尾的十多分钟才看点颇多,谋杀案的真凶,士兵的真话等,包括最后的唱诗班配乐的殴打和被枪杀后尖叫与船的汽笛才让整片的戏剧张力提升了许多,之前都是断断续续的对白,和无缘无故的巧合,让人摸不着条理;两人的相爱太过平淡、浅白,很多故意设计的相遇桥段感觉太无趣;摄影和朦胧光影、小狗
情节的发展,人物的塑造都集中在Panama旅店里——一个带有怀旧和幻想,被大雾包裹住的海边旅馆里。人物的道德界限,行为动机,背景都是模糊的,具有象征意义的雾气在电影里常常出现,给予了电影一种悲伤细腻的气氛,歌颂了为美好事物献身的人文主义精神。
霧。港口。逃兵。流浪狗。為生存苦惱的底層人們。宿命、悲觀。女性。主角厭倦暴力殺戮,仍得以暴力還擊。善惡的模糊,英雄的矛盾。浪漫與現實的拿捏。短暫、些微的陽光。船的汽笛。結局主角死後,擺脫繩子的狗。
若干明显穿帮镜头
D'après Pierre Mac Orlan 法国电影资料馆、studio canal联合修复版(11.7你要注意 出口是不是有一个人)|20200719资料馆重看35mm