女神殿

Tragic Muses - Monica Vitti and Anna Karina




In the golden era of European art cinema, two actresses came to embody the work of the directors that they were associated with on both a personal and professional level to an extent that it is hard to separate one from the other. They are Monica Vitti and Anna Karina, and the directors are respectively Michelangelo Antonioni and Jean-Luc Godard.

在歐洲片的黃金年代，有兩位女演員是大導演的謬思，不管是電影藝術還是私人感情，都存在著密不可分的關係。他們是 Vitti & 安董 / Anna & 高達。


60年代歐洲女星 Monica Vitti
60年代歐洲女星 Anna Karina

Coquettish Beauty




Anna Karina seems so quintessentially the French gamine that it comes of something of a shock to discover that she was born in Denmark. After a brief career as a cabaret singer and model, she arrived in Paris in 1958 and shortly thereafter her first association with Godard was ironically a non-association, turning down a role in A Bout de Souffle (1959). Clearly her rejection didn’t count against her as Godard cast her in his next controversial film Le Petit Soldat (1960), whose references to torture practiced by both sides during the French-Algerian war led to its being banned in France for several years; here she played a double agent with what was to become a typical melange of bewitching yet infuriating charm. 

Anna 看來是個典型的法國艷妞，其實她來自丹麥。結束短暫的夜總會和模特兒生涯，1958年來到巴黎，玩味的是，她和高達第一次接觸是拒絕斷了氣 (1959) 的角色。還好 Anna 的拒絕，並未阻止高達點名她為下一部電影小兵 (1960) 的女主角，該片提及法國和阿爾及利亞的戰爭對雙方造成多大的痛苦，導致在本土被禁演好幾年的下場。Anna 飾演一位雙面女諜，一位具有致命吸引力的雙面女諜。




妳大概很難想像我有多討厭煙味。




Her next film with Godard was the "anti-musical" musical Une Femme est une Femme (1961), after which the couple married; the marriage lasted 6 years and 4 movies. In 1962 they made what may be the apogee of their filmic relationship in Vivre sa Vie in which she played Nana, a record shop assistant who is compelled from financial necessity to drift into prostitution. The twelve tableaux into which Nana's life is structured provide a mesmerizing range of directorial styles and techniques but ultimately this is a film about, and in love with, a face. It's not insignificant that the film Nana goes to see is Dreyer's Le Passion de Jeanne D'Arc, which also fetishises a face (that of actress Maria Falconetti), and Godard also draws parallels with other screen sirens such as Louise Brooks (specifically Pandora's Box) and Elizabeth Taylor. The film is worth viewing for a scene in the record shop alone; has any other actress come close to communicating a sense of intense boredom shining through dazzling beauty as well as Karina? 

Anna 接下來的高達片是"非歌舞片"女人就是女人 (1961)，兩人隨即完婚。這婚姻維持了四年和六部電影。賴活 (1962) 可能是兩人合作關係的最高潮，Anna 飾演 Nana，為五斗米從娼的唱片行助理。建構 Nana 生活的十二幕戲展示了出神入化的高達風範，但這只是一部愛上漂亮臉蛋的電影。Nana 到電影院看德萊葉的聖女貞德受難記，同時膜拜了女主角的臉，高達也剪了路易絲布魯克斯 (尤其是潘朵拉的盒子) 和伊麗莎白泰勒。這片有個唱片行場景值得一看：有哪個女演員能夠用美麗和窮極無聊做互動，能像 Anna 般令人目眩神迷？ 


Nana 是 Anna 的變位字嗎？Louise Brooks (當時也不知道是誰) / Liz 真的沒印象。

                                 


IMDb > Maria Falconetti
[dreyer] La Passion de Jeanne d'Arc

IMDb > Louise Brooks

IMDb > Vivre sa vie: Film en douze tableaux (1962) > Movie connections 

Pulp Fiction (1994)
 -  The scene where Nana asks The Philosopher why people just can't share silence.
Before Sunrise (1995)
 -  Philosophical conversation in front of Pinball Machine.
Bottle Rocket (1996)
 -  Pinball machine scene 

(這樣又有理由重看以上愛片了)




Then she appeared in Bande à Part (1964) and Alphaville (1965), the latter a dystopian and determinedly low-tech science fiction tale co-starring Eddie Constantine as private eye Lemmy Caution (and curiously prefigured in Vivre sa Vie by the aspiring actress Nana referring in that film to “having worked with Eddie Constantine”). Then the second and final masterpiece Pierrot le Fou (1965) where the offscreen personal breakdown is agonizingly yet brilliantly mirrored in the relationship between Karina and Jean-Paul Belmondo in the lead roles. This is a terminal film in several senses, not only in terms of personal relationship, but also in terms of Godard's style and approach to film; in it one sees the transition from Godard's earlier work that celebrated American popular genre film to the more strident and often anti-American stance of his work in the late 1960's and beyond. 

接著是法外之徒 (1964) 和阿爾伐城 (1965)，後者是個反烏托邦的低科技科幻片，艾迪康士坦丁領銜主演。(巧的是 Anna 在賴活的角色 Nana 就提過要和他合作) 最後是傳世經典狂人比埃洛 (1965)，兩人的關係藉由男女主角 Anna 和楊波貝蒙的崩解高明地投射。這就是句點了，不管是感情世界還是高達的電影觀。我們可以看到高達從早期向美國類型片的致敬，到日後更加激烈且反美的立場。





IMDb > Eddie Constantine (這老兄居然是美國人)
Alphaville (阿爾伐城) [1965]

Fassbinder's "Day for Night" -- Beware of a Holy Whore

Constantine以Alphaville中飾演的偵探而竄紅，他那種鐵漢形象深入民心，如果以香港的藝人作比較，他不會是劉德華、梁朝偉或陳冠希這種粉面油頭的偶像派，他倒有幾分像黃秋生，實而不華。

(同樣被外國人殖民過親愛的台灣人要學習港仔的看片精神啊)







After their split, Karina would work with Godard again in the little-seen Made in USA (1966) and in one of the episodes from Le Plus Vieux Métier du Monde (1967). She had one or two other notable appearances, including one for Fassbinder in his typically coruscating Chinese Roulette (1976). But, like Monica Vitti after the end of her association with Antonioni, it seemed that the magical artistic and personal chemistry was not to be repeated in other circumstances.

句點劃完，Anna 於能見度不高的美國製造 (1966) 和世間最古老的行業 (1967) 其中一段，期待或公元二千年的愛情，再次與高達續續前緣。有著一兩個著名的演出，包刮法斯賓達的中國輪盤 (1976)。不過，就像 Vitti 與安董吹了以後，那魔幻的個人魅力似乎消失了。







Anna 與狂人比埃洛的漏網之魚
Anna 與克勞德貝利的漏網之魚

Tragic Muses - Monica Vitti and Anna Karina










NO LIMIT TOP GODARD

侯孝賢和楊德昌一致同意高達很屌