看完电影首先是震憾,它居然能把 这些形形色色的人物的 命运的交织起伏 如此 自然,不留痕迹地地编织在一个看似平淡的小故事里。 这是真正的四两拨千斤,
男主 Rolande 日子过得浑浑噩噩,还刚丢了工作,街上偶遇童年女伴Lola,重燃了对她的爱情和对生活的信心。但Lola 对抛弃她外出挣钱的 美国水手Michel念念不忘,七年了仍在等她回来,对Rolande的热切求爱 招架不住,只想和他保持纯友谊。Lola同时还被另一个美国水手Frankie追求
在另外一条线索上,Rolande在书店偶遇夫人Desnoyers和她的未成年女儿Cecile,因为Cecile恰好是Lola的原名,以借字典为由,他去了这对母女家几次,Desnoyers是单亲妈妈,明显对Rolande有意,但是后者无动于衷。与此同时,Lola在街上偶遇了Frankie, 并疯狂地迷恋上了他,但是他很快要回芝加哥
母女这条线 可以说是神来之笔,首先Cecile 和Lola的人生 不可思议地相似,有着相同的名字,都在未成年时爱上了一个美国水手,但也都离她们而去。 这可以理解为 另外一种新颖的方式来代替 俗套的 回忆,Cecile就是少女时期的Lola。也可以理解为是 生命的循环往复,Cecile 的故事在一遍遍地重演。Lola的王子Michel 衣锦还乡了,Cecile将来能否有机会与Frankie重逢呢?
整部电影都在讲生命的遗憾与错付,那些小小的失落和未竟的渴望。
Rolande对Lola的感情显然是一种不切实际的寄托,他把她当成了一种逃避灰暗现实的出口,他甚至在和她的未来还不确定时就擅自决定辞去危险的走私工作留下来,这当然是一厢情愿的“直男意淫“。
Lola和Michel的故事 则像是一个带着灰暗阴影的童话。Michel 当时是抛妻弃子 出去挣钱,在这七年中Lola也并不就一直保持忠贞,她甚至还会和长得像他的男人上床。 导演设置这样的结局更像是一种美好的向往吧
Rolande 是下一个Michel。在各种草蛇灰线的叙事中暗含了后者就是前者的 命运的轮回
这种 陌生人之间命运的偶然联系 很容易让人想到基耶洛夫斯基 的电影,如《两生花》 里面的双女主,如同有心灵感应。
[未完待续]
Taken inspirations from Josef von Sternberg’s THE BLUE ANGEL (1930), both Jacques Demy and Rainer Werner Fassbinder manufacture their own fantasies about its iconic protagonist Lola (played by Marlene Dietrich), a demimondaine of a sort, bewitches and brings an upstanding man to her heels.
Made in 1961 as his feature debut, Demy’s LOLA is a black-and-white “she is not that into you” rom-com à la nouvelle vague. Lola (Aimée) is an itinerant cabaret dancer, who wishfully awaits the comeback of her lover Michel (Harden), the father of her child. In Nantes, she bumps into her childhood friend Roland (Michel), an ennui-stricken young man who carries a torch for her. The reunion reignites Roland’s hope of joie de vivre, only Lola cannot reciprocate his feelings, but nothing major is at stake, Roland isn’t the possessive kind, in fact, Lola’s refusal actually eventuates his decision to depart, perhaps to Cherbourg since the character reappears in THE UMBRELLAS OF CHERBOURG (1964) and slumps into another ill-assorted love affair.
Aimée’s Lola is all froufrou femininity, coquetry is embedded in her chromosome but Demy also infuses her with an honesty that transcends secular concerns. Life is hard, but it doesn’t affect her, Lola can cavalierly juggle rearing a child with parrying off dalliances, including one from American sailor Frankie (Scott). She inherits the modernity of Dietrich’s Lola and magnifies it, it is all outward, modish, aims to inculcate audience a woman’s liberation of being true to her feelings (but can anyone really knows one’s “true” feelings?). But inwardly, Lola is a harbor, like the town she fetches up in, she waits for one day when her ships comes in. Her happiness is contingent on a fanciful wish, the lover who inseminated her and then left her 7 years ago coming back as a made man, and Demy is too romantic not to pay her dues, it is a storybook ending for his Lola, if not just for Michel Legrand’s lilting cadence.
Meantime, Demy nimbly orchestrates secondary plots around, Roland crossing path with a widow and her teenage daughter (Labourdette magnificently telegraphs the widow’s disillusion and perturbation without making her a ridicule) can be read as a deja vu of his past with Lola, and Cécile (Dupéroux), the 13-year-old daughter (who shares the same name of Lola), has a La Ronde style encounter with Frankie (yes, Demy’s LOLA is an open tribute to Max Ophüls), whose pending departure leaves something indelible in her impressionable soul, a cyclical pattern perpetuates.
For Fassbinder, his LOLA, his antepenultimate feature film, sets a moral backbone in the dead center and then topples it with a bang. The time is 1957, in the West Germany town Coburg, Lola (Sukowa) is the most alluring call girl in the brothel owned by Schukert (a smarmy Adorf), who is also the leading local building contractor, and the father of Lola’s young daughter, who is tended by Lola’s mother (Baal).
While the post-WWII reconstruction is in vogue, Schubert and co. (including the mayor, the chief of police) basks in shady gainful benefits, until the advent of the new building commissioner Von Bohm (Mueller-Stahl), a blue-eyed ramrod hailed from Eastern Prussia. Divorced and cultured, Von Bohm seems incorruptible and pulls out all stops to bring morality to his business. Intrigued by Von Bohm’s reputation, Lola meets him under her real name, puts him under her charm, but when the cat is let out of the bag, what will Von Bohm do?
Fassbinder has no scruples to satirize the ever scandalous falling-in-love-with-a-prostitute trope, and he does so with flair and tongue-in-cheek irreverence, when the dust settled, things are miraculously squared away, the status quo remains, even Von Bohm is made the co-owner of the brothel, how about that? Stiff morality is frown upon, and Lola gets what she wants, so fully and exuberantly embodied by Sukowa, she radiates with an aura of her Teutonic fiber, bedazzled by veils, furs, earrings and organdies. Subversively, Sukowa’s Lola is nothing if not inviolable, a true Fassbinder heroine head and shoulders above her seedy milieu. So in the end of the day, you don’t feel sorry for Von Bohm, who is astutely and vigorously portrayed Mueller-Stahl, but give him your blessings, their union is a godsend. Also, a squirrel-like Helga Feddersen (wearing a pair of high heels with contrasting colors, how fashionable!) is a lollapalooza as Von Bohm’s secretary Miss Hettich, hilarious without self-consciousness, the role in a cliché but Feddersen is a comedienne on steroids.
Visually, adorned by fluorescent strip lights and neon-lit backlights, predominantly showered in magenta-tinged hew, LOLA is Fassbinder’s most extraordinary polychromatic experiment, even in the two-shots, two different-colored lighting sources are deployed, leveling at either characters. Might the crimson curtains of the brothel be the provenance of David Lynch’s “the red room” in Twin Peaks? It is all too fascinating to look at, a depraved yet ebullient lifeworld lensed through Fassbinder’s far-out retina.
referential entries: Demy’s DONKEY SKIN (1970, 4.3/10); Fassbinder’s VERONIKA VOSS (1982, 7.2/10); Josef von Sternberg’s THE BLUE ANGEL (1930, 7.4/10); Max Ophüls’ LA RONDE (1950, 6.5/10).
Title: Lola
Year: 1961
Genre: Drama, Romance
Country: France, Italy
Language: France, English
Director/Screenwriter: Jacques Demy
Music: Michel Legrand
Cinematography: Raoul Coutard
Editing: Anne-Maire Cotret
Cast:
Anouk Aimée
Marc Michel
Alan Scott
Elina Labourdette
Annie Duperoux
Jacques Harden
Margo Lion
Catherine Lutz
Corinne Marchand
Anne Zamire
Rating: 7.8/10
Title: Lola
Year: 1981
Genre: Drama, Romance
Country: West Germany
Language: German, English, French, Latin
Director: Rainer Werner Fassbinder
Screenwriters: Rainer Werner Fassbinder, Pea Fröhlich, Peter Märthesheimer
Music: Freddy Quinn, Peer Raben
Cinematography: Xaver Schwarzenberger
Editing: Rainer Werner Fassbinder, Juliane Lorenz
Cast:
Barbara Sukowa
Armin Mueller-Stahl
Mario Adorf
Matthias Fuchs
Helga Feddersen
Hark Bohm
Karin Baal
Ivan Desny
Elisabeth Volkmann
Karl-Heinz von Hassel
Udo Kier
Güther Kaufmann
Y Sa Lo
Christine Kaufmann
Rosel Zech
Isolde Barth
Rating: 8.2/10
cest moi,cest lola.....我喜欢哀而不伤的情节剧,脆弱柔软的女主角,人物上场又离开,只有欢乐的舞厅和咖啡馆永恒不变
雅克德米处女作很好看很新浪潮,而且有好多他后边影片的元素,歌舞,迷影情结,海军服港口,单亲家庭,犀利的配乐,无前途很迷茫的帅男主。两代法国女人对美国男人和文化很复杂的情感展示,也有些战后欧洲失落的情绪,用很轻松诙谐的手法把生活的喜悦和失望表现得很深刻和生动。法国文化中心。
新数码修复版,在LA华丽的Technicolor做的修复。影片开头有10分钟的小纪录片讲述修复的点滴,个人以为十分值得看。第一次在salle里看Demy的电影,曾学过这部片,但重看的过程中意识到剧本和演员,执导及摄影其实都十分过硬,缺点很少。且全程笑点不少,观影愉快,50年过去了,仍旧是一部好电影。
行云流水的节奏和轻松跳脱的氛围掩盖不住迷茫与忧伤, 如此高度戏剧化的剧本拍出来却毫无突兀之感。
配乐和镜头都相当的赞,而且在观影的过程中不止一次联想到《四百击》。虽然电影的人物众多,但条理很清晰。喜欢这部电影完全是因为它被平时的故事所打动,迎来送往的人们,构建了一个生活的版图,有快乐,有伤感,这就是现实。很喜欢片中的那些跳舞的桥段,似乎可以抹去生活中的苦涩和无聊。
非常迷人的故事,Demy影像的气质:天真浪漫而又忧伤动人。南特小城里的人之奇遇,人际关系的开始或中断是如此偶然、简单,这种恍惚感或许就是它忧伤的源头。
Her name was Lola,she was a showgirl. 不断的相遇、分别、迷茫,得到、失去、怀疑,忧伤浮现于大兵滑下楼梯的背影,浮现于萝拉车上最后的回望。//第一部雅克德米,雅克德米的第一部|https://www.douban.com/doubanapp/dispatch?uri=/movie/1471815/interest/1038068487
#法国新浪潮# 看似自由、灵动的手持摄影不过是德米的障眼法,隐藏其作为一个好莱坞忠实追随者的身份,乐此不彼地向观众灌输着好莱坞式的传统价值观,视点在几人身上游走:美国水手、舞女、男主角及一对母子,叙事重心也任凭导演调遣,而一旦当颇具深度的谈话或可瞥见闪光的调度出现后,又被紧随其后的抓马的夸张情节剧元素所遮盖,在德米这里,“水平的”与“垂直的”剧作根本没有到达一个和谐点,充斥全片的意外、偶遇却是为推动情节发展而服务的,因此《萝拉》的内核与新浪潮实则是背道而驰的,一切元素的存在有且只有唯一的目的,即为取悦观众,提供观看的快感,德米也别无他求。也因此,好莱坞很快向其抛来了橄榄枝。2022.10.5
德米的这部处女作致敬了奥菲斯,不是徒攀盛名,确实有行云流水的镜头。CC套装几个故事原来都在一个平行宇宙,南特似乎小到不可思议。才明白它为什么说是“鲜有歌舞段落的歌舞片”,电影的韵律、台词都像极了之后的全程唱跳片们,歌舞片的拍法才能让本显做作的台词和人物情感得到升华
看哭了。生活多么不容易啊,爱一个人多么不容易啊。不论坚持还是放弃都要受很多苦,放弃了随波逐流,要受到自我的拷问。坚持到底,要收到外界的压力现实的残酷,但人不就是应该为了一个理想而活吗?
人物关系,情节设置,演员表演,配乐,无处不戏剧化。
雅克·德米的处女作,“《电影手册》影史百美”之一,一部缺乏歌舞的黑白爱情童话,承诺的不可信与情爱的易变近乎贯穿全片。多对人物间存有微妙的区别与联系。核心线索是(美国)水手与(法国)舞女间的相爱与别离,法国人对美国人的纠结态度由此昭彰可见。拉乌尔·库塔尔的运镜灵动活泼,Michel Legrand的爵士配乐也质量不低。影片情节地点设在南特,又频频提及瑟堡的海港,足见雅克·德米对这两座城市的喜爱~ (7.0/10)
变形宽银幕带来的流畅优美无与伦比,精妙绝伦以巧合层层推进的剧作和音乐剧式的节奏,一秒都不嫌多。其中小女孩和寡妇的支线看似多余,实则是用巧妙的对照法代替了俗套的回忆式叙事,绝了。最后大家都匆忙离开了,萝拉的幻想成真,完美的结局。(一直瑟堡瑟堡瑟堡哈哈哈)
3.5。11th BJIFF天幕新彩云巨幕厅。1.所有的爱都值得铭记,所有的爱都值得等待。2.雅克·德米《柳媚花娇》等几部歌舞片都做了长镜头调度,《萝拉》只是没有色彩和较少歌舞表演的《柳媚花娇》。
德米的爱情歌舞片往往只关乎一件事:离开还是留下.在此意义上,他与六十年代的雷乃正是谈论着同一话题.诸地点皆带有或推或拉的秘密力道,不仅作用在摄影机上,也操纵着人物聚散的运动,立约/赴约/失约并不全由计时决定(片中天色光线与情节所述时间大多不符),而关涉人物因来自不同地理背景而造就的行动的复节奏.什么是那"音乐时刻"?决意远行的留守者,踏出门槛坐上车却尚未离开之际,有所感应地蓦然回首;归乡的外来客受地点牵引不能再次成行:尾随,焦灼等待,徘徊在街头.
那日看“柳媚花娇”看到了Lola的结局
她永远在赶时间,他总是迟到。人来人往的南特港,相同的故事总在同一个游乐场上演。每个人都是舞者,每个人都在努力去快乐,恋爱,离开。重要的是有东西可以向往,渴望幸福本身就已是小小的幸福。相遇或错过都会用一生念念不忘。
#BJIFF11#更准确的片名该叫《萝拉和她的三个男人》,美国水兵的温柔多情,法国情人的风度翩翩,美丽舞女的痴心等候中,迎来明亮、欢快却略带忧伤的结局,用点缀着港市漂亮的风景、韵律曼妙的舞蹈、流动潇洒的运镜和精致干净的摄影,造就了这场等待与重逢,相遇与离别的爱情小品,分布在一头一尾的贝七第二章,散落在不同段落的巴赫和莫扎特,以及为数不多的舞蹈场面中的爵士乐让人会心一笑,雅克·德米的处女作便具有相当出色的水准,作为歌舞片的歌舞片段其实相当稀少,倒是摄影和叙事的节奏感让人有翩翩起舞的冲动。
雅克·德米长片处女作,前期的小镇女士等待爱情归来的主题,运镜漂亮简洁,几位缺夫养子的女士象征战后法国男性衰减的事实,美国水手代表新崛起并影响着法国的美利坚,男主的离去意味着昔日深情法国的远去,而罗拉和麦克的重逢代表未来的希冀以及过往的重逢。但巧合度过高的多线联系方式在点明爱情关系的同时,也制造了刻意感,而灵动与尴尬仅仅只有一线之隔,显然这部片子属于后者(情节的干瘪,演员的局促,也证明了不是人人都是戈达尔)。
剥去色彩与歌舞的德米还剩什么?这部「萝拉」真的美到超乎想象。且不提质感,也不提兜兜转转的邂逅、重聚与分离,手持天光有一种与众不同的魔力,我完全不懂技术上是如何实现这种独特感觉,但让人觉得有一种巷陌纪录片的况味,是一段真实的人事物在展开,是一些妙手偶得的素材拼接……那种自然主义的韵味甚至连大场面营造的莺歌燕舞、桃红柳绿都难以匹敌,一种生猛的野味。萝拉的结局在「柳」里关照,而男主人公多次上下阶梯经过的回廊也是「瑟」中那个商人漫游唱段中美丽空镜头之所在。跳下游园会车子时的平均律与升格镜头太浪漫了。