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更新时间：2024-04-11 05:21
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故事发生在1997年的巴黎，卡蜜尔（阿涅丝·夏薇依 Agnès Jaoui 饰）是一名风风火火的热情女子，她不仅当着兼职导游、正在撰写毕业论文，与此同时，她还揽下了帮助姐姐奥戴尔（萨宾·阿泽玛 Sabine Azéma 饰）寻找新房子的责任。一次偶然中，卡蜜尔撞见了默默流泪的男子马克（朗贝尔·维尔森 Lambert Wilson 饰），马克的眼泪让卡蜜尔怦然心动，巧合的是，马克正好是一名房产销售员。 漂亮的卡蜜尔身边不乏追求者，西蒙（安德烈·杜索里埃 André Dussollier 饰）就是其中的一员，然而，尽管他创造了很多和卡蜜尔接触的机会，但卡蜜尔对于他的殷勤似乎视而不见。一幢豪华公寓将这一干人等联系到了一起，摩擦出了灿烂的火花。
长篇影评
1 ) Same Old Song Commentary
How did Same Old Song come about?
Alain Resnais: After Smoking and No Smoking, Bruno Pesery asked me to film an opera written for the big screen. It probably would have been easy to finance the project in English but I felt that my knowledge of the language was insufficient for such an undertaking. I therefore looked for an alternative. During the work on the adaptation of Intimate Exchanges, the series of plays by
Alan Ayckbourn that led to Smoking and No Smoking, I had become close friends with Agnès Jaoui and Jean-Pierre Bacri. I admired the musicality of their dialogue and their performances on
stage and screen. I therefore asked them if they would be interested writing a screenplay. They replied that they would but, having not appeared in our two "twin films," they didn't want to
write for other actors than themselves. This suited me perfectly. We then spent three or four afternoons talking about characters, outlines, what we wanted or didn't want to do on film. We
ferreted through my subject box. I think I even gave the "Jaoui-Bacris" a totally outrageous halfhour improvisation, a little like automatic writing, that I had recorded on audio tape. The theme
of the outer appearances that we wear throughout our lives rose to the surface along with other elements, like a guide and her visits and the psychology of the hermit crab. Then, as I am a great admirer of the English writer, Dennis Potter, I showed them extracts from his TV films. In some of them, the characters regularly lip-synch to popular songs. And gradually, the outline of the
film came into shape. The challenge was the following: how not to copy Potter, given my passion for his work? We therefore decided to use French songs rooted in an everyday climate, excluding
any notion of fantasy. The songs, with two or three exceptions, don't describe the characters' imaginary world either. Nicole Vedres, with whom I worked as an assistant in 1947 on Paris Mil
Neuf Cent, told me one day that the novel, in its descriptions of love and its melodies, could never match so-called popular or music-hall songs. And I've often noticed that popular songs accompany the acts of our everyday lives. If we behaved at all naturally, we'd use song lyrics in conversation.
Your love of musicals is well known and yet it is hard to find an illusion to the genre in Same Old Song.
Alain Resnais: I was particularly determined not to stray into that area. A musical almost always contains dancing or at least movements and gestures by actors to evoke dancing. Once
again, we were aiming for a more everyday style. We wanted the songs to enter the scenes without any warning. If the audience, even only once or twice, could forget that it was hearing a song and think that the words were dialogue, then we would be happy.
Jean-Pierre Bacri: In this way, the songs have a direct link to the theme of appearances because the medium of song is both universal and imprecise or approximate. True, people use it to
communicate and form bonds, but this is also a mask and it's not an ambitious and personal way of communicating. If someone is sad, you say "Every cloud has a silver lining," and he understands what that means. And, at the same time, you don't really reveal your own personality. They are merely a semblance of contacts and relationships. In the film, the family photo shown by my character (Nicolas) that looks like an ad for breakfast cereal is an image of success. The ad for breakfast cereal is a photographic song: "I show you a certain idea of happiness and you think I'm happy."
Agnès Jaoui: We also aimed to talk about happiness and the difficulty of being happy, of what happiness means. For me, one of the reasons why people feel unhappy is because they compare
themselves to others. We are bombarded with images of young, healthy people with a happy family... and we continually compare ourselves to this image of happiness. If you're over twentyfive,
if you're a bit fatter, a bit thinner, a bit taller, a bit more single, a bit more childless, etc.... not only do you feel unhappy, but you also feel lonely, excluded and abnormal.
Jean-Pierre Bacri: In the film, the theme of appearances is balanced out by the thesis. This is a successful relationship. It's taken to its complete and logical conclusion. in this case, on the
yeomen of Paladru Lake in the year 1000. You do 800 pages to deal with the issue fully, and you end up within something thick, solid, expansive - the ideal way of boring other people silly. We
need brief and simplistic signs, as in advertising or these songs that don't mean anything but that we identify with. They talk to everyone, providing a sort of secret for success encapsulated in
three words.
Agnès Jaoui: And, at the same time, the consumer society, like popular music, is reassuring. We're not saying that it shouldn't exist.
Jean-Pierre Bacri: Not at all. One of the common themes in Cuisine et Dépendances, Un Air de Famille and Same Old Song is the idea that you can go beyond those appearances and get to the
heart of things, despite the dangers of conflict, even with yourself, and the risk of seeing yourself as you really are. Too bad if it's even further from that particular ad and the songs. You discover
yourself. That's the main thing. Discovering yourself.
Agnès Jaoui: Odile (Sabine Azéma) is the character who maintains this need to put on a front the most stubbornly. She is always on top of the world and doesn't understand other people's
suffering because she refuses to accept her own.
Jean-Pierre Bacri: For her, as for many people, admitting one's weaknesses is tantamount to failure. It's a defeat.
In the film, Camille (Agnès Jaoui) has a nervous breakdown just when everything is going well for her. She is in love, she has just obtained her doctorate... Do you think that often happens?
Jean-Pierre Bacri: When you spend years - as someone working on a thesis does - devoting all your energy to a specific goal, once you reach that goal, you end up in a void.
Agnès Jaoui: You say: "So what, I've obtained my doctorate - or whatever - and nothing has changed. I'm not different, better, more beautiful, I'm just myself. I could die tomorrow. What use is it all?" And in general that happens when you're twenty-five or thirty. Becoming an adult, marks the end of a certain dream, a certain projection into the future, and you have to face the present and the absurdity of this life... You are. that's all.
A Merchant Ivory Films Release
in association with
Artistic License Films
presents
Alain Resnais: After Smoking and No Smoking, Bruno Pesery asked me to film an opera written for the big screen. It probably would have been easy to finance the project in English but I felt that my knowledge of the language was insufficient for such an undertaking. I therefore looked for an alternative. During the work on the adaptation of Intimate Exchanges, the series of plays by
Alan Ayckbourn that led to Smoking and No Smoking, I had become close friends with Agnès Jaoui and Jean-Pierre Bacri. I admired the musicality of their dialogue and their performances on
stage and screen. I therefore asked them if they would be interested writing a screenplay. They replied that they would but, having not appeared in our two "twin films," they didn't want to
write for other actors than themselves. This suited me perfectly. We then spent three or four afternoons talking about characters, outlines, what we wanted or didn't want to do on film. We
ferreted through my subject box. I think I even gave the "Jaoui-Bacris" a totally outrageous halfhour improvisation, a little like automatic writing, that I had recorded on audio tape. The theme
of the outer appearances that we wear throughout our lives rose to the surface along with other elements, like a guide and her visits and the psychology of the hermit crab. Then, as I am a great admirer of the English writer, Dennis Potter, I showed them extracts from his TV films. In some of them, the characters regularly lip-synch to popular songs. And gradually, the outline of the
film came into shape. The challenge was the following: how not to copy Potter, given my passion for his work? We therefore decided to use French songs rooted in an everyday climate, excluding
any notion of fantasy. The songs, with two or three exceptions, don't describe the characters' imaginary world either. Nicole Vedres, with whom I worked as an assistant in 1947 on Paris Mil
Neuf Cent, told me one day that the novel, in its descriptions of love and its melodies, could never match so-called popular or music-hall songs. And I've often noticed that popular songs accompany the acts of our everyday lives. If we behaved at all naturally, we'd use song lyrics in conversation.
Your love of musicals is well known and yet it is hard to find an illusion to the genre in Same Old Song.
Alain Resnais: I was particularly determined not to stray into that area. A musical almost always contains dancing or at least movements and gestures by actors to evoke dancing. Once
again, we were aiming for a more everyday style. We wanted the songs to enter the scenes without any warning. If the audience, even only once or twice, could forget that it was hearing a song and think that the words were dialogue, then we would be happy.
Jean-Pierre Bacri: In this way, the songs have a direct link to the theme of appearances because the medium of song is both universal and imprecise or approximate. True, people use it to
communicate and form bonds, but this is also a mask and it's not an ambitious and personal way of communicating. If someone is sad, you say "Every cloud has a silver lining," and he understands what that means. And, at the same time, you don't really reveal your own personality. They are merely a semblance of contacts and relationships. In the film, the family photo shown by my character (Nicolas) that looks like an ad for breakfast cereal is an image of success. The ad for breakfast cereal is a photographic song: "I show you a certain idea of happiness and you think I'm happy."
Agnès Jaoui: We also aimed to talk about happiness and the difficulty of being happy, of what happiness means. For me, one of the reasons why people feel unhappy is because they compare
themselves to others. We are bombarded with images of young, healthy people with a happy family... and we continually compare ourselves to this image of happiness. If you're over twentyfive,
if you're a bit fatter, a bit thinner, a bit taller, a bit more single, a bit more childless, etc.... not only do you feel unhappy, but you also feel lonely, excluded and abnormal.
Jean-Pierre Bacri: In the film, the theme of appearances is balanced out by the thesis. This is a successful relationship. It's taken to its complete and logical conclusion. in this case, on the
yeomen of Paladru Lake in the year 1000. You do 800 pages to deal with the issue fully, and you end up within something thick, solid, expansive - the ideal way of boring other people silly. We
need brief and simplistic signs, as in advertising or these songs that don't mean anything but that we identify with. They talk to everyone, providing a sort of secret for success encapsulated in
three words.
Agnès Jaoui: And, at the same time, the consumer society, like popular music, is reassuring. We're not saying that it shouldn't exist.
Jean-Pierre Bacri: Not at all. One of the common themes in Cuisine et Dépendances, Un Air de Famille and Same Old Song is the idea that you can go beyond those appearances and get to the
heart of things, despite the dangers of conflict, even with yourself, and the risk of seeing yourself as you really are. Too bad if it's even further from that particular ad and the songs. You discover
yourself. That's the main thing. Discovering yourself.
Agnès Jaoui: Odile (Sabine Azéma) is the character who maintains this need to put on a front the most stubbornly. She is always on top of the world and doesn't understand other people's
suffering because she refuses to accept her own.
Jean-Pierre Bacri: For her, as for many people, admitting one's weaknesses is tantamount to failure. It's a defeat.
In the film, Camille (Agnès Jaoui) has a nervous breakdown just when everything is going well for her. She is in love, she has just obtained her doctorate... Do you think that often happens?
Jean-Pierre Bacri: When you spend years - as someone working on a thesis does - devoting all your energy to a specific goal, once you reach that goal, you end up in a void.
Agnès Jaoui: You say: "So what, I've obtained my doctorate - or whatever - and nothing has changed. I'm not different, better, more beautiful, I'm just myself. I could die tomorrow. What use is it all?" And in general that happens when you're twenty-five or thirty. Becoming an adult, marks the end of a certain dream, a certain projection into the future, and you have to face the present and the absurdity of this life... You are. that's all.
A Merchant Ivory Films Release
in association with
Artistic License Films
presents
2 ) 情感自行微调
大牌一堆，也有个还算新鲜的形式，滑稽而新鲜，主题的过于微观是法国电影的典型特征，没办法，人家已经早就过了初级阶段了，所以没有咱们习惯的大开大合爱恨情仇等等，但仍旧觉着不是太精致，尤其情感之间也不尽自然，很多的暧昧倒是存在的真实，但总有格式化了的感觉，大师的感觉不多。
3 ) 非常，非常高级的电影
雷乃的这部电影证明了人变老并非完全是坏事，如果你的艺术造诣足够深厚那么确实可以做到那个烂俗比喻说的“好酒越老越香”。事实上，雷乃后期厉害之处就在于再怎么接地气的题材交到了他的手里都能为探索人类神经活动的思考者提供在别的电影或者任何艺术形式中都没有出现过的全新路径，想想《我的美国舅舅》
话语是下沉的，歌咏是上扬的，转换两者的不是某种已经被命名的人性，更不是什么被社会秩序压抑的欲望，而是一种半自由半不自由的状态。所有相遇都是以错过和误解开始，因此所有人，不管认识不认识，谋面未谋面都直接或者间接地彼此相爱，所以在第86分钟的时候，五大角色同唱一首歌。生命成为了串并一切存在的，用现在流行的话说，病毒。
当然，我们永远不应该去妄言生命和神话的距离，但是这部电影就像柏拉图说的，“居间”在了生活和神话之中，它既保持了对神话的开放，又没有对生命下赌注般地给出定义。巴黎在室内和室外，过去和现在，明处和暗处都不会让你无聊，就像人的灵魂不管是实体还是形式都复杂有趣，不要贬低形式，形式从来不是死的，形式就是一切。
影片唯一的不足之处可能就是Claude这个角色没能一直唱歌。至少应该有一个这样的角色。总而言之，看这部电影要跟吃唐僧肉一样，选在某一个天气阴凉的下午，心情完全舒畅放松之后小火蒸煮，细嚼慢咽。关于雷乃，我不止一次地惊叹，电影可以是绝妙的，甚至可以在不挑衅任何人的情况下如此绝妙。
4 ) 你们还记得这些歌吗？
一部非常有趣的电影，那些歌都是8，9十年代的歌，虽然现在听起来有点过时，却会让你难望，当电影最后所有故事都说玩时，老人突然眼睛望着镜头，手里拿 着说：“你们还记得这些歌吗？”如果你是那时代的人，有听惯法国歌，你心一定会给这句话震撼！
5 ) 居身当代的存在之痛
斯蒂格勒曾将电影电视、音乐广播称为工业时间客体，对应着一种流动的名为“我们”的时间意识，这些装置将离散于不同时空的诸意识容纳入同一共时之中，最终这些“意识”汇为同一人的意识，也即无人-意识，如同独眼巨人，没有视角，没有景深，一切皆为扁平——这种统一划归的消费主义设计便是当代大众的存在之痛。
《法国香颂》恰恰将这两种媒介的共时性作用发挥到了近乎极致。雷乃用法国当时脍炙人口的通俗歌曲唱段代替剧中人物的对白（要注意，这些唱段并非由人物转唱，而是将原曲音轨片段直接呈现），并且在公映时，银幕上并不提供这些唱段台词的字幕，一种时间客体的双重同步机制由此显形：剧中诸意识被歌曲占据，而银幕外的观众借由电影音轨被歌曲寄居。其中的关键在于记忆的机制——歌曲要作为一种第三持存（斯蒂格勒将之称为“义肢”，一种外化的记忆）发挥作用，也就是说，银幕前的观众并非首次聆听这些歌曲，而是通过工业复制技术将过去的现时感知再次呈现于当下，这种第三重复具有强化或取消的作用：强化歌曲人物的意识、情绪、时间，取消诸听众的个体意识，从而形成某种同一性“我们”——“重复可以产生一种无差异”。从这一角度说，影片标题中的“法国”显得尤为重要，它是起到限定作用的定语，它定义了同一时代、同一文化中的“我们”。（题外话，正由于这个原因，尤其是唱段字幕的缺乏，我的观影体验十分别扭。）
至此，电影的主题也变得通透，它表现了一种当代性空虚的存在之痛，一种工业时代侵占历史记忆之痛，一种不知思考什么、如何思考之痛。影片开始于纳粹首领肖尔蒂茨违抗希特勒炸毁巴黎指令的往事，而这则历史事件由本片的女主——历史系学生及巴黎兼职导游卡米叶向游客盘托出。这里的双重身份值得玩味，它意味着卡米叶在空间（导游）与时间（历史研究员）双重维度上守卫着巴黎的历史。同时有趣的是，她是全片唱段最少的人物，仅仅歌唱过两次，是在她爱上全片中最可恶、最世俗、最利益熏心，也最具当代性的马克时，并且两次唱毕后失音，最终陷入胸闷气短的痛苦。在卡米叶这里，史籍/古迹与录制歌曲在象征层面构成巨大的对立，并借由生理之痛揭示出当代生存之痛：过去知识与精神的丧失（卡米叶的研究受到诸人的嘲笑，并被质疑其当下效用），以及当代的虚无与贫乏（现代喷泉艺术被当代庸俗人物解读为“一摞碟子”）。最终，在影片的结尾，象征达到高潮：在不久的将来，经由当代者马克所中介的房产前会拔地而起一座高楼，从而阻挡在公寓观赏巴黎景致的视野；女主人奥迪尔在一段近乎神迹的“闪前”（flash -forward）中预见了这一残酷事实，如同卡米叶一般，她陷入了身体的巨大痛苦与疲惫。在这一刻，巴黎坍塌的预言性未来与当代的存在之痛降临于这一尊象征性容器中。这种类似心悸的生理之痛还同时于显现于唯唯诺诺的男主人克洛德，风流倜傥、满口谎言的尼古拉，甚至是被卡米叶驱逐出屋、徘徊于街的马克。这些痛楚的人物连同面向银幕共情（亚里士多德意义上的净化/卡塔西斯）于人物及歌曲的观众，共同构成了居身贫乏当代，饱含存在之痛的“我们”。
6 ) 人人都爱唱老歌——《巴黎香颂》
阿伦•雷奈 Alain Resnais小组：http://www.douban.com/group/15627/
阿仑·雷乃有着惊人的创意，他的作品总能展现电影的又一种可能性，《法国香颂》久闻其名，今晚一看，果然精彩。
雷乃善于进行电影语言的革新，这一点往往能使他的电影有一种化腐朽为神奇的力量。本片讲述的是一个再平庸不过的爱情故事，但雷乃的创新在于：他仔细研究了片中角色的性格特点，配合具体的场景，再选择最适合人物当时心绪的歌曲，播放原声代替对白来传情达意。反过来，演员又根据歌曲进行表演。
欢乐的都市，奇妙的音画对位，一部美妙的电影。
阿仑·雷乃有着惊人的创意，他的作品总能展现电影的又一种可能性，《法国香颂》久闻其名，今晚一看，果然精彩。
雷乃善于进行电影语言的革新，这一点往往能使他的电影有一种化腐朽为神奇的力量。本片讲述的是一个再平庸不过的爱情故事，但雷乃的创新在于：他仔细研究了片中角色的性格特点，配合具体的场景，再选择最适合人物当时心绪的歌曲，播放原声代替对白来传情达意。反过来，演员又根据歌曲进行表演。
欢乐的都市，奇妙的音画对位，一部美妙的电影。
三星。片子看完有很浓重的伍迪艾伦味道，题材也很曼哈顿，着眼点是现代都市中的男人与女人之间的情爱纠结，有暧昧，有谎言。整体看完，其实还有更为浓重的女性主义的气息弥漫全片，用歌唱来描述心情过火，让我想起印度歌舞片
第一次见到这种用音乐来表达内心的形式，有点意思，故事也不错，有点嚼头，每个人都有自己的特点，可惜我还不能吃透。再过个三五年或十年，闲来也可以再看看。
一上来就唱，还以为老爷子被德米附体了呢。通篇小幽默很有意思。
很不喜欢很不喜欢很不喜欢，但不得不说能看出来一些地方设计的相当巧妙，但是在是太闷了。就像一场不间断的情景喜剧。
有意思~ 令人印象深刻的转场
难以想象老爷子捣鼓出来的musical?竟如此欢乐！原声必须收！谁说这比划着像新白娘子来着！女声男人or相反的设置妙哉~不过剧情实在普通了些，长得有些像不那么马脸的范尼的sweet Marc肿么最后就成真小人ORZ PS.白色羽绒服男子，good luck with ur date~
谎言。动不动就唱起歌来很新白娘子啦，尤其是歌声和演员是两个性别的时候o(╯□╰)o “别哭了我的小狼”啊哈哈哈这歌太……了谁也给我唱唱嘛。不断浮现的水母画面的意味是？她姐在乔迁派对上穿的那件裙子很美~
故事还是中产阶级那点事，有趣的是对音乐的运用。
哦，角落里黯然神伤地吃着柠檬蛋挞的安德烈·杜索里埃真是一道赏心悦目的风景，谁是你街角的娜塔曼姑娘？❤
撷取人物之碎片侧面，以放声歌唱代替内心活动，营造舞台感，充盈丰满度。
4.5. Sabine Azéma的表演充满力量既内敛又有爆发力！可惜都听不懂里面的歌词，水母也好喜欢。还有在餐厅里吃饭失恋金发女说羡慕Pierre Arditi和Sabine Azéma两人对视的眼神，结果Sabine Azéma却说“我连一个知心朋友都没有”。是一部不是让人“哈哈哈”但却因为有收获而很开心的电影
好有趣，笑死了〜 Fin时观众集体鼓掌，好aimable啊〜
爱情中总是充满着没有恶意的谎言，一组巴黎人的情事，故事结构的设定很像德米·雅克的那部罗娜，只是个中人物之间的关系更加错综复杂，有着群像的特征，情节上有着侯麦电影的那种散淡和内质，对于中产爱情生活的展示和探讨，可惜故事缺乏新意，老套到沉闷。创新处在于对于法国香颂的运用，颇为有趣。
夏薇依影展@上海影城4厅 雷乃执导 轻快诙谐小可爱 正常女性拜编剧夏薇依所塑 白日梦骑士可人 聚会水母影亦迷人 je suis malade... 一起 人人忍俊不能 XD 像我这样前一日熬了通宵的 都乐呵呵无睡点看完 ps. 可惜字幕糟糕+放映室喧哗=偶尔出戏
因为马上有AgnèsJAOUI电影展，所以找出这部来看。音乐太强大了，不过如果不是熟稔法国香颂的恐怕感觉就会大打折扣。剧情平平，实在是很生活化的琐碎事情，带点诙谐。就像串起了一颗颗怀旧珍珠的链子，本身平淡无奇，却也平添了几分宝气。
心理全部用唱歌来描写特别是性别错位的时候好雷。。不过看着看着就觉得很有意思 剧情其实蛮俗套不过叙事形式改变后也就有趣起来了
与好莱坞歌舞类型不同，阿伦.雷乃在《法国香颂》中完全使用了另一套电影语言体系进行表述。他对视听对位的精确处理，对剪辑节奏的把握，与早期左岸派实践有着高度的一致性，从而真正践行了那句表述作者电影的经典语录：一个导演一生只拍一部电影。【电影资料馆】
【私人影记】【阿伦·雷乃作品全集26】Alain总是有着惊人的创意，他总敢挑战电影的另一种可能。这回，他根据人物当时心境，精心挑选歌曲来代替对白，演员又根据歌曲表演，或细腻或奔放或欢乐或痛苦的传情达意，奇妙的音画对位！怀念那个时代的经典法语老歌。
女强人唱：Hold住，不愿做奴隶的女人们。女博士曰：原来我是抑郁症，什么？你也是？都四年了？抱抱。而男人们……
神一样的阿伦·雷乃，总是那么难得地有创意。歌曲代替对白和人物内心活动（具体分析起来很是好玩的），可以比较一下德米的“香颂电影”，但同时又有明确的大众文化的情感结构的解析路径。这部影片情节剧的手法略有点重。