Woman: We have nothing to say.
In the final analysis, life is still lonely, tired, exhausted, and helpless. Godard cursed the damn capitalism with his own lens, but helplessly watched the world tremble. In Godard's shot, Carmen can only listen to the tired quartet and obey the arrangement of fate. In Godard's many films, we can see that he disrupted the traditional film narrative mode. However, although the film "Carmen in the Name" belongs to the category of traditional narrative, it adopts a double-line structure, and these two lines, It just represents Godard's two doubts about film and life. Although there are two clues, this is not a two-line narrative. In the end, the combination of the two lines gives me the most direct feeling of being full of loneliness.
"Carmen" written by Merimi is a story that we are familiar with. In the film, every director has a Carmen in their hearts, and Gorda's Carmen incorporates more elements, sometimes sad, sometimes alienated, sometimes violent, sometimes quiet . The body that plays music is elegant and quiet, the body that is touched intimately is sexy and tender, the body that collides with is surging and hot, and these bodies are symbols of life. Apart from these appearances, life is mostly full of sadness and loneliness. breath.
There are plenty of exposed shots in the film that cater to a sense of commercial compromise, but Godard's icy aura gives them a deeper meaning. The loneliness of urban life is gradually buried under the cover of passion. After the climax, the emptiness of the soul cannot be compensated in the most appropriate way.
Carmen said to Jose, if I fall in love with you, your death is coming.
In fact, the root of loneliness is a distrust of a certain emotion. Godard's distrust comes from that era and his own exploration of movies. In many movies, he always expresses his views heartily, and as time goes by, these views have become a speck of dust in history, and nothing has changed. He has always believed that he is changing the world, however, he is still changed by the world. Perhaps, this is the source of Godard's loneliness.
Carmen's story is not presented directly in this film, but is expressed through indirect means, "If I fall in love with you, your death is coming." For love, this is a kind of thought The unreachable grief, for Godard, is another pattern of tragic fate. Carmen chose bread between love and bread, and this is a fact that cannot be ignored in material society. When love becomes a luxury, behind the prosperity, all we can have is a lone figure under the dim light.
Carmen in Merimee once said that we are not our own masters. Once something has been decided, once it happens, it must be made to happen. The so-called decided thing is the life that we cannot reverse and grasp, and in "The Name of Carmen", the decided thing is the plot arranged by Godard. Once Carmen is given the name Carmen, it must be Complete Carmen's mission, this is Carmen's fate.
Golda is a controversial director because in the narrative structure of his films, the stories are often very obscure, so most of the films look very patchwork, in this one, Carmen robs in order to make the film , Carmen and his uncle talk about making a movie, and the two clues complement each other, which also makes the authenticity of Carmen's robbery questioned. In this film, in addition to the unexpected features of the narrative, there is also a key that cannot be ignored is the film music. Golda interspersed many clips in a montage way, and the quartet is one of them. In this piece of music, the most important The main instrument is the cello, and these flowing pieces are more like ideas deep in consciousness. If there is one ingeniousness of the music in this film, it is its weakening of the tragedy, which gives Carmen's tragedy a comical irony.
The music, the lines, the plot seem to be dissonant in this film, but it happens to be Godard's style, that is, the ingenious combination of these elements that makes Godard's film interesting, not for the film itself, but for the film itself. It lies in Godard's understanding and view of the film.
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