闪回：让娜莫罗

CC官网首页，Flashback:Jeanne Moreau

原文/Peter Cowie

翻译/Babeloguer

Few actors have worked in cinema across eight decades. Jeanne Moreau began her career as an ingenue in 1949, and for my generation she was the icon of the French New Wave. Jean-Pierre Léaud may have been equally recognizable, but as the exclusive alter ego of François Truffaut, while Anna Karina’s fame stemmed from her involvement in the work of Jean-Luc Godard. Moreau, however, brought to the screen a singular, inimitable verve, a petulance, and a shameless gaze. Her range was extraordinary: she could play a nun in The Carmelites, the eccentric Miss Burstner in Welles’s The Trial, the peroxide-blonde gambler in Demy’s Bay of Angels, and the moody heroine of Peter Brook’s Moderato Cantabile. She soon became a favorite of masters like Antonioni, Buñuel, and Truffaut. Half-English, half-French, with a touch of Irish blood in her mother’s family, she illuminated such classics as Jules and Jim, The Lovers, Diary of a Chambermaid, and The Bride Wore Black.

极少有演员的表演生涯能超过八个十年。让娜莫罗在1949年以新人姿态开始了她的表演生涯，在我那个时代，她就是法国新浪潮的标志。让-皮埃尔利奥可能同样具辨识度，但他更像是特吕弗在银幕上的独特化身，而安娜卡丽娜的名气来自她与戈达尔的合作。然而，莫罗给电影带来了独特的、难以被模仿的活力，带来了任性、无常的气质，带来了毫无歉意的凝视。她的表演领域非常宽泛：她能在《加尔默罗会》里演一位尼姑，能在奥森威尔逊的《审判》里演怪异的Burstner小姐，能在雅克戴米的《天使湾》里演漂染金发的赌徒，也能在皮特布鲁克的《琴声如诉》里饰演喜怒无常的女主角。很快，她成为许多大师的最爱：安东尼奥尼、布努埃尔、特吕弗。一半英国血统，一半法国血统，在母亲家族里还有点爱尔兰血统，让娜莫罗的魅力点亮了如《祖与占》《情人们》《女仆日记》《黑衣新娘》这些经典作品。

In December of 2006, I interviewed her in Paris for the European Film Academy. Looking back, the appointment seemed doomed. My express train from Lausanne to Paris suffered an inordinate delay. I arrived barely on time at her apartment off the Rue du Faubourg Saint-Honoré. Then, during the return journey that night, I accidentally dropped my microcassette recorder as the train entered a tunnel. The tape unraveled amid the feet of passengers and was badly scratched. Fortunately, I had a friend at Dolby in London who was able to restore it.

2006年12月，我为了欧洲电影学会来到巴黎采访她。回想起来，这场相约很倒霉。从洛桑到巴黎的特快列车严重晚点，约在她的公寓，我差点迟到。当晚返回，火车进入隧道时，我不小心摔破了我的微盒式磁带录音机。磁带在乘客们的脚下散落一地，并被严重损坏。幸运的是，我有一个在伦敦的杜比公司工作的朋友帮我修复了它。

Anyway . . . as I emerged breathless from the elegant but cramped elevator, Jeanne Moreau was there to greet me—petite, gracious, and just a little nervous. But once we began sharing stories about Orson Welles, she relaxed, reached for one of her slender, extra-long cigarettes that stood in a bowl on her coffee table, and reminisced about the films she had made and the men she had known and loved.

总而言之，当我气喘吁吁地从一个优雅但破烂的电梯出来时，让娜莫罗已经在那迎接我了——娇小，亲切，还有点紧张。但一旦我们开始分享关于奥森威尔逊的故事，她便开始放轻松，从咖啡桌上的碗里拿了一根细长的香烟，回忆起她参与的那些电影，以及她认识并爱过的男人们。

“To me, acting is a calling, a way of life more than a career,” she emphasized. “My life feeds my art, and my art feeds my life. I didn’t want the destiny of a regular girl.” She could not meet the usual standards of beauty in French cinema of the 1950s. “It was the period of Martine Carol, Françoise Arnoul, Dany Robin—blonde girls, big eyes, big tits.” Her often soulful mien was so very different from the carnal insolence of a Bardot. Her decision to enter the theater provoked a rupture with her father. “Even now,” she said to me, more than half a century after her debut, “when I receive an award or a tribute, I think to myself, ‘Yes, I was right, and my father was wrong.’ ”

"对我而言，表演是一种召唤，一种生活方式，而不仅仅是职业。"她强调说，“我的生活和艺术互相哺育彼此。我不想要我的命运就是成为一个普通的女孩子。”她无法成为50年代法国电影里那样的标准美女。“那是属于玛蒂妮·卡洛、 弗朗索瓦阿努尔、丹妮罗宾的年代——金发，大眼，大胸。”她常有的那种深情的神态与碧姬芭铎那种肉体上的骄傲完全不同。她对进入戏剧业的决定造成了与其父亲的决裂，“甚至到现在，”她告诉我，在她首次出演戏剧已有半个多世纪后，“当我获得了某个奖或者被致敬，我就会心里想:' 对，我是对的，是我父亲错了。' ”

In 1950, Welles attempted to cast her in his stage presentation of An Unthinking Lobster at the Théâtre Edouard VII, but Moreau was under contract to la Comédie-Française. Antonioni tried to sign her for I vinti, but again she felt bound to her contract. One evening, Maurice Bessy, a French journalist who later became the director of the Cannes Film Festival, came to her dressing room and said that Welles wanted to meet her. “I was then playing Bianca in Othello,” said Jeanne. “My first husband, Jean-Louis Richard, was jealous and did not want me to go, but I did. Orson sat opposite me at the table, and many years later he reminded me that when he’d dropped me in the street outside my apartment, I had been too shy to say anything, and that he’d been dying to kiss me.”

在50年代，威尔逊试图邀请她加盟他在爱德华五世戏院将上演的戏剧《考虑不周的龙虾》，但莫罗当时已和Comedie-Francaise戏院签约。安东尼奥尼邀请她出演《失败者》，但同样，她有合同在身。一天晚上，莫里斯贝茜——一位法国记者，后来成为戛纳电影节的负责人——来到她的化妆室，告诉她奥森威尔逊想见见她。“当时我在《奥赛罗》里饰演比安卡，”莫罗说，“听到这个消息，我的第一任丈夫让-路易理查德立马吃醋了，他不想让我去。但我还是去了。奥森就坐在桌子对面。许多年后，他告诉我，当他开车把我送到我公寓外时，我太过害羞而什么都没说，但他当时非常非常地想吻我。”

When the nouvelle vague began sweeping ashore at the close of the 1950s, Moreau was in demand here, there, and everywhere. If François Truffaut and Louis Malle were not quite the equivalent of Jules and Jim in Moreau’s life, there’s no doubt that she felt profoundly attached to both men, and in particular to Malle. “Meeting Louis was like a rebirth for me. He was never accepted by the New Wave because he was independently wealthy, thanks to his family fortune. Louis was a loner, he didn’t want to be part of a group. He didn’t like sitting in cafés discussing films, as did Chabrol, Truffaut, Godard, and Rivette.” In 1957, Malle’s Elevator to the Gallows afforded Moreau the first truly demanding role of her screen career. “Everyone used to go out in the evenings in Saint-Germain-des-Prés,” she told me. “Boris Vian was always there, and he introduced me to his close friend Miles Davis.” Moreau mentionedElevator to the Gallows to Davis and suggested he watch just a couple of reels, and it turned out that he already knew of the project and had met with Malle. “Let’s go to the studio now,” he said, “and we’ll record something.” By dawn, he and his sidemen had completed what would become an iconic score. Through the night, Davis stood and played his trumpet, looking like the quintessence of cool with his white shirt and tie, black blazer, and flawless grooming, while Moreau served drinks to him and the crew.

当新浪潮在五十年代末开始名声大振时，莫罗非常受欢迎。如果特吕弗和路易马勒在莫罗的生活里不是那么像“祖与占”的话，毫无疑问，她会同时深爱着这两个男人，特别是路易马勒。“遇见路易对我而言是一次重生。他从没被新浪潮所接受，因为他非常富有，家里很有钱。路易是个独来独往得人，他不想成为任何团体的一员。他不想像夏布洛尔、特吕弗、戈达尔、里韦特那样坐在咖啡馆讨论电影。”1957年，马勒的《通往绞刑架的电梯》使得莫罗拥有了其银幕生涯第一个真正重要的角色。“大家曾每晚都去Saint-Germain-des-Pres，”她告诉我，“鲍里斯维昂经常在那，他给我介绍了他的密友迈尔斯戴维斯。”莫罗向戴维斯提起了《通往绞刑架的电梯》，并建议他看一两卷胶卷，结果发现他已经知道了这个项目，并早已和马勒见过面了。“我们现在就去录音室吧，”他说，“我们一起来录点东西。”到了黎明时分，他和他的伴奏者已经完成了那之后被看作是标志性的配乐。整晚，戴维斯站在那弹奏他的喇叭，身穿白色衬衫，打着领带，套了一件黑色运动夹克，梳洗得一尘不染；而莫罗则负责向他和所有工作人员提供茶水。

She became a muse for Welles, as for so many other creative talents. She introduced him to Romy Schneider, and he promptly cast Schneider as Leni in The Trial. In Chimes at Midnight,she played the delicious Doll Tearsheet, and three years later, in 1968, she luxuriated in seducing the young sailor in Welles’s The Immortal Story. We reminisced about the great man, whom I had met in the mid-1960s while writing a book about him. As I left her apartment, she signed my copy of the Criterion edition of Malle’s Elevator to the Gallows with the words: “For Peter Cowie, my ‘link’ to Orson and his beautiful films. Gratefully, Jeanne Moreau.”

因为拥有如此多创意性的才能，莫罗成为了威尔逊的缪斯女神。她向奥森引见了罗密施耐德，很快，奥森选择了施耐德扮演《审判》里的莱尼。在《午夜钟声》中，莫罗扮演了性感的Doll Tearsheet，三年后的1968年，她在威尔逊的《不朽故事》中沉溺于勾引一位年轻的水手。我们一起追忆起这位伟大的男人，而我在60年代中期在写一本关于他的书时曾与他相遇。当我离开莫罗的公寓时，她签了一份《通往绞刑架的电梯》的标准收藏版本DVD，上面写着：“为了彼得考伊，为了我与奥森的联系，为了他美丽的电影。感激，让娜莫罗。”

Am I justified in devoting a “Flashback” to this greatest of French actresses after just one long meeting? If I am, it is because her personality runs like a watermark through so many of the significant films of my youth. She was always there. After more than 140 films, her curiosity has remained unquenched, her look imperturbable: the lustrous hair, the resolute eyes, the sensual, sulky mouth, the slightly rasping voice. “This is what I am,” these features seem to say. “Take me or leave me.” And we accept her, happily, on those terms.

仅在一次长谈后就对这位最伟大的法国女演员之一奉献一次“闪回”，我就满意了吗？如果如此，那是因为她的人格魅力像水印一样，奔流过无数在我年轻时意义非凡的影片。她总是在那。出演超过140部电影，她的好奇心依旧没有被完全满足，她看起来依旧镇定：充满光泽的头发，坚定的双眼，性感愠怒的嘴，稍微嘶哑的嗓音。“我就是这样，”她的五官似乎这么说，“接不接受随便你。”我们都愉快地接受了。

This is one in a series of pieces devoted to film figures Cowie has gotten to know in the course of his career. Read his introduction to the series here.

这是考伊献给在他的职业生涯中了解过的电影人物系列中的一篇。