ELOGE DE L'AMOUR
| 片名： | ELOGE DE L'AMOUR |
|---|---|
| 其它片名： | 爱的赞歌 |
| 导演： | Jean-Luc Godard |
| 制片人： | Alain Sarde, Ruth Waldburger |
| 摄影： | Julien Hirsch |
| 美术： | Christophe Pollock |
| 声音： | François Musy, Olivier Burgaud, Gabriel Hafner, Christian Monheim, Jean-Alexandre Villemer |
| 剪辑： | Raphaëlle Urtin |
| 主演： | Bruno Putzulu, Cecile Camp, Jean Davy |
| 音乐： | Arvo Pärt, Ketil Bjornstad, David Darling, Karl Amadeus Hartmann, Maurice Jaubert, Georges Van Parys |
| 片长： | 97分钟 |
| 年份： | 2000年 |
| 类型： | 剧情 |
| 国别： | 法国 |
| 语言： | 法语 |
| 格式： |
影片概述 . . . . . .
No one, and I mean NO ONE, who has survived the first freshman all-night bull-session between post-acne cream nudniks who have just prepped for their first quickie quiz in Philosophy & Western Thought is going to buy this film.
At least not as profound social commentary.
I recommend instead that you unplug your Sony audio recorder -- ever hungry for more moralistic anti-capitalistic, anti-American sound-bytes -- and crank up instead your minds' eye recorder for beautiful images of French art in the 20th Century.
The first half of the film recollects time and place of the French New Wave Cinema. No need to pin it down. Let Director Godard just take you on a Senior Citizen's bus tour of the moments you have traveled through already, the monuments you have passed by, and the shadowy mementos of a film era that needs no dusting off, so long as we strongly remember that its work is done.
The second half if the film recollects turn-of-the-Century painting, returning over and over to still life, in both straight-forward and tongue-in-cheek ways. The plot overlays a story of compound betrayals, both in the NOW, and in the era that the NOW is trying to mine, and exhaust and corrupt; but for me the message is that France is too sturdy for all that. The shoreline, the fishing boats, the by-ways, could withstand a dozen wars, a hundred invasion of treacherous film-makers, a thousand conveniently forgetful name-dropping intellectuals, and keep on being France.
Just don't buy the Philosophy 101, part, OK. Spoken by several characters, centering about a tall, 3/4 beautiful and 1/2 educated woman, crouching down into her inappropriate sports car. Is there anyone more declarative, arrogant, and uninformed than such a human? Anyone quicker to point fingers? Anyone freer of accountability to truth and experience?
This film is impossible to enjoy if you keep your rational gears engaged; impossible NOT to enjoy if you let the RIGHT hemisphere of your brain take over. Life is too short not to get it right.
At least not as profound social commentary.
I recommend instead that you unplug your Sony audio recorder -- ever hungry for more moralistic anti-capitalistic, anti-American sound-bytes -- and crank up instead your minds' eye recorder for beautiful images of French art in the 20th Century.
The first half of the film recollects time and place of the French New Wave Cinema. No need to pin it down. Let Director Godard just take you on a Senior Citizen's bus tour of the moments you have traveled through already, the monuments you have passed by, and the shadowy mementos of a film era that needs no dusting off, so long as we strongly remember that its work is done.
The second half if the film recollects turn-of-the-Century painting, returning over and over to still life, in both straight-forward and tongue-in-cheek ways. The plot overlays a story of compound betrayals, both in the NOW, and in the era that the NOW is trying to mine, and exhaust and corrupt; but for me the message is that France is too sturdy for all that. The shoreline, the fishing boats, the by-ways, could withstand a dozen wars, a hundred invasion of treacherous film-makers, a thousand conveniently forgetful name-dropping intellectuals, and keep on being France.
Just don't buy the Philosophy 101, part, OK. Spoken by several characters, centering about a tall, 3/4 beautiful and 1/2 educated woman, crouching down into her inappropriate sports car. Is there anyone more declarative, arrogant, and uninformed than such a human? Anyone quicker to point fingers? Anyone freer of accountability to truth and experience?
This film is impossible to enjoy if you keep your rational gears engaged; impossible NOT to enjoy if you let the RIGHT hemisphere of your brain take over. Life is too short not to get it right.
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