乔纳森·罗森鲍姆谈让·雷诺阿的影片

Jean Renoir’s Trilogy of Spectacle

ByJonathan Rosenbaum

AUG 2, 2004

乔纳森·罗森鲍姆谈让·雷诺阿

作者：乔纳森·罗森鲍姆

译者：覃天

校对：易二三

来源：标准收藏（2004年8月2日）

【本文首发于《虹膜》公众号】

Movie trilogies （小说、戏剧、音乐等的三部曲）can be created by either filmmakers or critics. When Pier Paolo Pasolini wrote and directedThe Decameron(1971),The Canterbury Tales(1972), andArabian Nights(1973), he made no bones about calling them his Trilogy of Life. But when Michelangelo Antonioni followedL’avventura(1960) withLa notte(1961) andL’eclisse(1962), the intention was mainly apparent in the titles and a few echoes noted by critics, such as the presence of building sites at the beginning of the first and at the end of the third. As for the so-called Koker trilogy ofWhere Is the Friend’s House?(1987),Life and Nothing More. . .(1991), andThrough the Olive Trees(1994), Iranian writer-director Abbas Kiarostami explicitly refuses to yoke them together in this fashion—which hasn’t prevented many critics and programmers from doing so.

「三部曲」影片的定义者既可以是导演，也可以是影评人和理论家。当皮埃尔·保罗·帕索里尼拍完了《十日谈》（1971）、《坎特伯雷故事集》（1972）和《一千零一夜》（1974）后，他毫不掩饰地将它们称为「生活三部曲」。但当安东尼奥尼完成了《奇遇》（1960）《夜》（1961）和《蚀》（1962）之后，这些影片的闪光点则主要在评论家的笔下得到了回应，例如，他们都注意到了《奇遇》和《蚀》结尾处的建筑物。至于说到常常被人们称为「乡村三部曲」的《何处是我朋友家》（1987）《生生长流》（1992）和《橄榄树下的情人》（1994），尽管阿巴斯明确拒绝这种分类方式，但这并没有阻止评论家们如此定义他的电影。

Jean Renoir’sThe Golden Coach(1953),French Cancan(1955), andElena and Her Men(1956), preceding all of these, belongs somewhere in the vicinity of the last two examples. Renoir never planned them as a trilogy; the ways they sprang into being—including his taking over the projects of others in the first two cases—were far too haphazard to permit such forethought. Yet he often joined critics in discussing them together—as if they（三部作品）comprised three manifestations of the same impulse. In fact, they all have heroines who move between three lovers—heroines who are forced to choose between art and life and who ultimately opt for art in some fashion. (To complicate matters inFrench Cancan,one of the three lovers, played by Jean Gabin, passes between three lovers of his own.)

让·雷诺阿的「舞台三部曲」——《黄金马车》（1952）《法国康康舞》（1955）以及《艾琳娜和她的男人们》（1956）要早于「生活三部曲」和「乡村三部曲」，然而和它们在气质和风格上十分接近。雷诺阿从来没有把它们计划做成三部曲；这三部作品拍摄的方式（前两部电影是雷诺阿接手的项目）很难被视为一个序列。然而雷诺阿常常和评论家们带着同样的目光来审视这三部作品，因为它们的内核是一样的。的确，这几部电影中都有一个周旋于情人之间的女主人公，她们被迫在艺术和生活之间做出选择，最终她们选择了艺术。（《法国康康舞》中由让·迦本饰演的情人可以视为表现情感关系复杂性的例子。）

Furthermore, the multinational aspects of these movies bring them closer to Pasolini’s trilogy.The Golden Coach,a film in English set in a Spanish colony of Peru at the beginning of the eighteenth century, was inspired by Antonio Vivaldi’s music and shot in an Italian studio by a French director.French Cancan,the most purely French of the threesome in terms of language, setting, and characters, situated in Paris in the 1880s, nonetheless has an Italian prince (Giani Esposito), Russian sailors, and a half-Spanish diva（歌剧中的女主角）(played by Mexican actress María Félix) performing an Egyptian belly dance at a cabaret called the Chinese Screen.Elena,a Franco-Italian coproduction, also set in France in the 1880s and also with French dialogue—although it was originally planned to be shot in French and English versions, and had to be simplified once the actors proved to be unequal to the task—stars a Swedish actress (Ingrid Bergman) playing a Polish princess opposite an American actor (Mel Ferrer) playing a French dandy.

此外，由于这三部都涉及到多国、多语言的背景，这使它们更接近帕索里尼的「生活三部曲」。《黄金马车》是一部以18世纪初西班牙殖民地秘鲁为背景的英文片，灵感来自维瓦尔第的音乐，来自法国的雷诺阿在意大利的摄影棚里完成了拍摄。《法国康康舞》是「舞台三部曲」中最「法国」的一部影片，语言、布景和角色都设置在1880年代的巴黎。尽管如此，影片中也有意大利王子（贾尼·埃斯波西托饰）、俄罗斯水手和带有西班牙血统的歌剧演员（由玛丽亚·费力克斯饰演），后者在一家名为「中国影厅」的卡巴莱歌厅表演埃及的肚皮舞。《艾琳娜和她的男人们》则是一部法国和意大利合拍的法语片，同样以1880年代的法国为背景。这部影片最初打算使用英语和法语对白，但由于演员难以克服语言的障碍，因此他们只说法语。在电影中，瑞典演员英格丽·褒曼饰演一位波兰公主，美国演员梅尔·费勒则扮演了一个法国的花花公子。

As a consequence of such artifice, these films are far removed from the sociopolitical focus of Renoir’s great Fre

nch films of the thirties, even though it might also be argued that their multinational attributes bring them a certain kind of universality. (They’re also, as Christopher Faulkner has noted, consciously ahistorical, distorting known facts about the founder of the Moulin Rouge inFrench Cancanand General Boulanger inElenaby turning them into fictional characters, Danglard and General Rollan, respectively.) From this standpoint, the uses of Vivaldi inThe Golden Coacharguably function rather like the use of Vivaldi at the end ofLife and Nothing More . . .“For me,” Kiarostami has said, “classical music belongs to everywhere and everyone and, just like the sky, has no nationality or geography.” (The other two films reflect Renoir’s long-standing desire to create a film musical or opera, fulfilled only in his last feature,Le Petit théatre de Jean Renoir,in 1971).

这几部影片的「障眼法」让它们和雷诺阿在30年代拍摄的，那些电影中展现的社会政治议题相去甚远，也有人认为，多国合拍的背景让这些作品显得具有普世性。（正如电影史学家克里斯托弗·福克纳所指出的那样，雷诺阿在有意识地脱离历史，在《法国康康舞》中，他并没有如实地呈现「红磨坊」的创始人；在《艾琳娜和她的男人们》中，他将布朗热将军转化为了虚构的人物——罗兰将军和亨利伯爵。）从这个角度来看，《黄金马车》中出现的维瓦尔第和《生生长流》结尾出现的维瓦尔第的音乐有着异曲同工之妙。「对我来说，」阿巴斯说道，「古典音乐属于任何地方，属于每一个人，就像天空一样不分国别。」《法国康康舞》和《艾琳娜和她的男人们》反映了雷诺阿想要拍摄一部歌舞片或是歌剧电影的野心，直到1971年的《雷诺阿小剧场》，他才实现了自己的夙愿。

It might be said that the studio filmmaking that Renoir became involved with in the fifties aspired to a similar universality. Following his wartime emigration to Hollywood, which produced an uneasy mix of French and American subjects (This Land Is Mine[1947] andDiary of a Chambermaid[1946] versusSwamp Water[1941],The Southerner[1948], andWoman on the Beach[1943]), he made a 1951 feature,The River,that introduced him both to color and to India—though this was an India filtered through the sensibility of a fictional English family. The relatively expensive, difficult, and studio-made star vehicles that followed were all steps in negotiating his return to French filmmaking—not an easy task for a filmmaker whose 1939 masterpieceThe Rules of the Gamewas hooted off the screen by French audiences, who subsequently left France in despair, and who was then scorned by some French critics for having fled. Furthermore, of the three, onlyFrench Cancanwas a commercial success, and even that film was hampered by interference from the producers, including substantial cuts.

即便是雷诺阿50年代在好莱坞摄影棚内拍摄的那些影片中，也体现了这种普世性。雷诺阿在二战期间移居好莱坞，在拍摄了《大泽之水》（1941）、《吾土吾民》（1943）、《大地之光》（1945）、《女仆日记》（1946）以及《海滩上的女人》（1947）之后，他在1951年来到印度拍摄了自己的首部彩色片《大河》，尽管这是一个在西方视角下的印度。在《大河》之后，雷诺阿所拍的「舞台三部曲」都是成本昂贵、制作繁复、好莱坞制片厂出品的「明星定制片」（StarVehicles），对于一个习惯了在法国电影体系中施展自己拳脚的电影导演来说，在好莱坞拍摄并非易事。当《游戏规则》1939年在法国上映时，观众并不买账，他们的嘘声已经说明了一切，雷诺阿失望地离开了法国，他的做法引起了一些法国评论家的鄙视。此外，在「舞台三部曲」中，只有《法国康康舞》获得了商业上的成功，不过即便是这部电影也受到了制片人的钳制，他责令雷诺阿删去影片中「冗余」的段落。

*** All three films are comic period fantasies in dazzling color, offering a kind of continuous, bustling choreography in which shifting power relations between upper and lower classes and between spectators and performers literally turn the world into a kind of theater. In this respect, they might be said to offer more abstract and less politically anchored versions of the films Renoir made during the thirties. Unlike their predecessors, they’re deliberately removed from real life. And given the sense of political as well as the personal defeat that came with the war and his departure from France, followed by a lengthy period of living in exile, they’re unable to hide a subtle aftertaste of regret lurking behind all the gaiety—a sense that utopia can only be found, if at all, on a soundstage（摄影棚）, not in the Popular Front that once meant so much to Renoir. This sadness only occasionally rises to the surface, as in the memorable exchanges between actors Camilla (Anna Magnani) and Don Antonio at the very end ofThe Golden Coach.“Felipe, Ramon, the viceroy . . . disappeared.” “Now they are part of the audience. Do you miss them?” “A little.” One might also cite the exquisite final shot of French Cancan, both wistful and triumphant, showing the cabaret exterior in extreme long shot as a drunk staggers away and then takes a mock bow—an image that anticipates the vision of Jacques Tati inPlaytime(1967) andParade(1974) of the spectator as performer. This is echoed, moreover, by two lovely bits of pantomime in the two other films: inThe Golden Coach,a bullfight perceived by us exclusively through Camilla’s reactions, and, inElena,a physical assault on Jean Marais’ General Rollan by Henri, conveyed through the gestures of an excited male spectator. Even the modest conclusion ofElena,after the end title, reintroduces Ingrid Bergman’s name in the midst of a fictional newspaper story.

「舞台三部曲」色彩艳丽、令人眼花缭乱，是喜剧片时代的伟大创造，其繁复、华丽的舞蹈设计展现了社会上下层阶级、表演者和观众之间不断变化的权力关系，简而言之，雷诺阿在这几部电影中把世界变成了舞台上的戏剧。由此看来，这几部影片比雷诺阿30年代的影片更抽象、更缺少政治内涵，它们与现实生活保持着一定的距离。雷诺阿在战时离开法国的经历、随后漫长的流亡生活使这些看似欢乐的影片背后潜藏着微妙的、充满悲伤和遗憾的回味——雷诺阿只能够在这些摄影棚内拍摄的作品中将自己内心的辛酸藏起来，而和人民战线时期拍摄影片展现的立场截然不同。只有在一些短暂的瞬间，这种悲伤感才会浮现出来，就像演员卡米拉（安娜·马尼亚尼饰）和唐·安东尼奥（奥多阿尔多·斯帕达罗饰）在《黄金马车》结尾处令人难忘的对白一样：「菲利普，雷蒙还有总督......都消失了。」「他们混进了观众里，你想念他们吗？」「有一点。」观众还可以自然地想到《法国康康舞》的最后一个镜头，雷诺阿用一个远景镜头展现了卡巴莱歌厅的外部，一个身着燕尾服的观众醉醺醺地在门前脱下礼帽，仿佛在和观众话别——这令人想起雅克·塔蒂在《玩乐时间》（1967）和《游行》（1974）中将观众作为表演者的做法。另外，在其他两部电影中，我们也能看到默剧的传统：在《黄金马车》中，我们正是通过卡米拉的反应来感受斗牛场面的精彩的；在《艾琳娜和她的男人们》中，亨利伯爵攻击了让·马雷饰演的罗兰将军，他通过一个手势传达了自身的攻击性；即便是在《艾琳娜和她的男人们》的结尾，雷诺阿也在一篇虚构的报纸文章的末尾无声地加上了英格丽·褒曼的名字。 Should one interpret these self-referential moments as acknowledgments of life or as celebrations of art? That they’re both only begins to describe them adequately. As a motto for their emotional complexity, consider this crucial exchange between Henri and Elena: “When drilling for oil, choosing a government, or making explosives, we may be a trifle off the mark. But when it comes to the art of living, you may have faith in the French.” “Let’s pretend.”

观众应该将这些自我参照的时刻解读为对生活的认可，还是对艺术的颂扬？无论是生活还是艺术，雷诺阿的影片都给出了恰如其分的表达。作为他们情感复杂性的座右铭，亨利和埃琳娜之间的这句至关重要的对话值得细细评味：「我们可能对勘探石油、选择政府或制造炸药一窍不通，但当谈到生活的艺术时，你应该永远对法国人抱有信心。」「让我们假装自己是法国人吧。」

The art of living, which these movies celebrate, in short, is seen above all as the capacity for imagination and pretense. Yet at the same time, paradoxically, because imagination and pretense are also periodically felt to be second-best solutions—consolation prizes in the absence of true fulfillment—there’s also a sense in which these movies appear to lament their presence, or at least to regard them more bittersweetly. Two key moments in the preceding films illustrate aspects of Renoir’s emotional ambivalence: Camilla breaks into helpless laughter when the viceroy (Duncan Lamont) asks her permission to sit down; and when Danglard (Gabin),French Cancan’s impresario, is about to be evicted from his hotel room, his mistress-discovery Nini (Françoise Arnoul, impulsively orders a bottle of champagne from room service.

简而言之，这些电影所颂扬的生活的艺术是通过想象力和伪装来展现的。然而，与此同时，自相矛盾的是，因为想象力和伪装有时也会被认为是次要的解决方案，在事情没有真正实现的情况下，这也是一种安慰。这些电影似乎也在哀叹这些人物的存在，或者带着苦乐参半的视角注视着人物的处境。《黄金马车》和《法国康康舞》中的两个关键场景为雷诺阿复杂的情感矛盾做了注解：当总督（邓肯·拉蒙特饰）要求卡米拉坐下时，卡米拉无助地大笑；当卡巴莱康康舞厅的经理丹格拉德（让·迦本饰）即将被赶出酒店房间时，他的情妇发现妮妮（弗朗索瓦·阿努尔饰）冲动地从客房服务里点了一瓶香槟。

It’s been suggested that these movies comprise a Trilogy of Art, but I’d rather call them a Trilogy of Spectacle, thus placing them in an ambiguous netherworld between life and art. This helps to underline the modernity of Renoir’s cinema—the modernity that we often associate with self-referential art—especially for those who tend to limit his art unnecessarily to the realism and humanism ofGrand Illusion(1938), a reading that Renoir himself was often at pains to challenge. “The saving grace of cinema,” he wrote in his autobiography, “is that with a little patience, and with love, by avoiding conventional makeup and taking liberties with orthodox lighting, we may arrive at that wonderfully complex creature which is called Man.”

有人认为这些电影构成了「艺术三部曲」，但我宁愿称它们为「奇观三部曲」，它们处于生活与艺术之间的一个暧昧的空间。这将有助于我们突出雷诺阿电影的现代性（我们常将其与自我指涉的艺术联系起来），尤其是对那些认为雷诺阿的艺术成就仅仅在于《大幻影》中体现的现实主义与人道主义上的观点来说——雷诺阿本人便常常煞费苦心地对这些过于保守的观点表示异议。「电影的长处在于，」雷诺阿在自传中写道，「只要有一点耐心，带着爱，避免传统的化妆，避免随意使用正统的灯光，我们就可以看到一个极其复杂的生物，那就是人类。」

Above all, anticipating a major strain in the modernism we associate with the French New Wave and its aftermath (such as the films of Robert Altman) is the inscription of the experience of making a film onto the illusionist experience of watching one. Bridging the sense of play and chance that determines the conditions of both experiences, this essentially bifocal vision guarantees some elements of documentary behind every fiction, a distinguishable counterline intertwined around each thread in a plot which makes the movie a compromise between a theory and a philosophy of life on the one hand, the vicissitudes of writing, casting, shooting, and editing on the other. No doubt the most legendary viewing of a Renoir film by a future New Wave director occured when Jacques Rivette turned up at the first commercial screening ofThe Golden Coachin Paris at 2 p.m. and remained in the theater until midnight—a gesture prefiguring not only his lengthy movies but also his firm conviction, shared with Jean-Luc Godard, that everything a charismatic actor does is interesting, ordinary verisimilitude be damned.

最重要的是，法国电影新浪潮及其之后电影运动的导演们（例如罗伯特·奥特曼）展现的现代主义美学的关键之处在于，将拍摄电影的经历铭刻在观看一部电影的奇幻体验中。游戏感和偶然性是这种体验中两个至关重要的元素，这种双焦视觉的设计使得每部影片背后都带有一些纪录片的元素，故事情节中的每一条线索背后都暗藏着另一条线索，让电影一方面成为了理论和人生哲学之间妥协的产物，另一方面则展现了编剧、选角、拍摄和剪辑的全过程。未来法国电影新浪潮的干将们观看雷诺阿电影最传奇的一次经历是，雅克·里维特去看了《黄金马车》上映当天下午两点在巴黎的首场放映，他一直在影院里待到了午夜，难怪他之后会拍出那么多超长的电影，也难怪他和戈达尔都有着一样的信念：一个有魅力的演员做的每一件事都应该很有趣，一切无趣和普通的事物都应该被摒弃。