Today, I dropped my book bag and talked about the French New Wave with "Mad Man Godard".
I first learned about Godard as a documentary "Face Village" filmed by Godard's friend Agnès Arvada in 2019. At the end of the film, Arvada said that he took the young JR to see his idol Godard, so The two traveled a long distance to Godard's residence and met at about 9:30. Before meeting, Arvada was obviously a little nervous when facing this friend whom he hadn't seen for many years. At 9:30, Godard was not at home, so he broke the appointment. Arvada yelled at him asshole at the locked door, hung his favorite bread on the doorknob and left. Arvada told JR: Godard was a lonely philosopher, so he was unpredictable. I love him.
As always, Godard is unpredictable, whether in his twenties or in his late years. This is also the characteristic of the French New Wave in the 1960s, full of youthful atmosphere and full of sense of the times.
Bazin said: "The film is the asymptote of reality." The film breaks with the story. There is no beginning, no middle, and no end. What flows on the screen is life. Some people criticize Bazin, saying that this kind of realism ism would make cinema out of art and into naturalism, so Bazin reminded people not to misunderstand the meaning of realism, saying: "Living in the mirror of cinema looks like a poem".
Bazin's claim became a slogan for new wave directors, and Godard faithfully fulfilled it in his films, especially Pierrot, I think everyone knows that this film is a dream, But unlike the obscurity in Left Bank films such as "Last Year at Marienbad" and "Hiroshima Love", there are dreams of symbols and meanings everywhere, and this is a dream full of youth.
As Godard wished, in the movie, everyone in the audience was a madman Pierre. In the dream, I would hold the hand of my beautiful ex-girlfriend Karina, and we did a bunch of murder and arson in the dark. Then we drove around aimlessly, we ran in the deserted forest, so did Karina, she was like a light angel, we drove the convertible into the sea, buried ourselves in the beach and slept, and finally let Karina died in my hands, she was limp, turned into a butterfly and flew away, I painted my face blue, the bombs were all over my head, the moment I lit the fuse, I regretted it, and then there was a loud noise...
I woke up feeling very happy and comfortable, thank Godard.
Bazin has a mise-en-scene theory, also known as the "depth of field shot theory", and I don't see a single shallow depth of field shot in Pierrot. During the whole movie watching, my emotions were free to fly, no one was controlling me, I could think how I wanted, which was the opposite of the montage theory. For the purpose of storytelling, montage choreographs a combination of shots in order to achieve the best emotional guidance effect, while the mise-en-scene theory aims to achieve a relative unity of time and space without artificial interpretation. Montage emphasizes artificial skills, mise-en-scene emphasizes the raw power of the lens, montage highlights the director's self-expression in the film, and mise-en-scene theory strives to eliminate the director's traces.
This is a change in the relationship between the director and the audience. Until now, the montage theory is still the editor's skill, while the scene scheduling theory in the new wave is not enough to apply to a variety of film art, but it also has its experimental and Artistry has acquired a high historical place in the history of cinema.
Godard said: "The sincerity of the New Wave is that he expresses the life he is familiar with, rather than lamely expressing what he does not understand.
This is a good revelation for creators.
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