决斗Duelle(unequarantaine)(1976) 日月女神(台)
导演：雅克·里维特
编剧：爱德华多·德格雷戈里奥/玛丽卢·帕罗利尼/雅克·里维特
主演：朱丽叶·贝尔托/布鲁·欧吉尔/让·巴比雷/埃尔米娜·卡拉戈厄/妮可·加西亚/克莱尔·纳多/伊丽莎白·维纳/JeanWiener/AndréDauchy/RogerFugen
语言：法语
类型：剧情/爱情/悬疑/奇幻
上映日期：1976-09-15
法国 121分钟
决斗Duelle(unequarantaine)(1976)的剧情介绍
Rivetteisrelativelypreciseinhisdealingswithmeaning.HeisthemostatavisticallyceremoniousoftheVague,inthesensethathisabstractionasajourneyleadinginwardsisalwaysattendedbysignsandcodasthataffirmourpassage.Thetranscendentriteofpassage,inmorewaysthanone,isaboutthesymbolicenactmentthatpavestheway.Thetranscendenceitselfislefttooursphereofexperience,butwe'reatleastbroughttothedoorstep.
Oh,there'stheimprovisationalflowthatseemstothrowpeopleoff,thatthingsseemtoberandomlybubblingupfromnothingwithoutsignificantplanorsubstance.Thechanceencountersinaworldthatwemayrecognize,thegeographyvaguelyfamiliarwhosenatureisyetultimatelyinsoluble.There'salotofthathere.AsinCeline,itisthebreathingspacethatconductsourpreparationtostepbeyondthemechanismsofreason.Wedon'treasonwithit,rathertrustitsintuitiveflow.Likethedreamworld,itisonlythefigmentoftheknownworldspontaneouslyarisenasastageorblankslatefortheatavisticportentsanddivinationsofthesubconsciousmindtobewrit.
Buttheriteofpassagematters,inspiteoftheseeminglyaimlesswandering.Hereitisabouthumanefforttobypassthe'wallofparadise'constitutedbythecoincidenceofapparentopposites(goodandevil,lightanddark,beingandnon-being).Abarrierthatobscuresvisionandtrapsinaworldofnamesandformsthatisonlyanapparentreality.
Renderedinthefilmastwingoddessesofsunandmoon,vyingforapreciousstonethatenablestheirdescendintothehumanworld.Thehumancharactersaremerepawnstotheirschemes;tobeseduced,tricked,threatened,orultimatelydestroyed.Twinfemmefatales,weavingspellsinaninversenoiruniversemagnifiedintoamacrocosmicstruggle.
Theill-preparedmanwhochancestostealaglimpseofthemintheirtrueform,likeinthemythofActaionwhostealsupontheGreekgoddessArtemisbathingnakedinapool,hashisconsciousnessshatteredbytherevelation.Hismirroredimage(thesoul,thereflectedhalf)iscracked.
Thewomanwhofinallyshatterstheillusionarydualitythatquarantineshumanconsciousnessintomeaninglessdilemmas,doessobyasacrificeofblood.
Andthisistheproblemofthefilm.Somuchofitisastridentlysymbolicenactment,amatterofceremony.Thesacrificeis,quiteliterally,amatterofspillingblooduponthesymbolicstoneanddoesnotflowfromanything-itissimplytheschematicendofthespiritualmyth.Althoughvaluableasinsight,themeaningofthefilmistrappedinsidetheritualsperformedtosignifyit.Havingcrackedtheoutershelltoabsorbit,thefilmseizestoresonate.
Oh,there'stheimprovisationalflowthatseemstothrowpeopleoff,thatthingsseemtoberandomlybubblingupfromnothingwithoutsignificantplanorsubstance.Thechanceencountersinaworldthatwemayrecognize,thegeographyvaguelyfamiliarwhosenatureisyetultimatelyinsoluble.There'salotofthathere.AsinCeline,itisthebreathingspacethatconductsourpreparationtostepbeyondthemechanismsofreason.Wedon'treasonwithit,rathertrustitsintuitiveflow.Likethedreamworld,itisonlythefigmentoftheknownworldspontaneouslyarisenasastageorblankslatefortheatavisticportentsanddivinationsofthesubconsciousmindtobewrit.
Buttheriteofpassagematters,inspiteoftheseeminglyaimlesswandering.Hereitisabouthumanefforttobypassthe'wallofparadise'constitutedbythecoincidenceofapparentopposites(goodandevil,lightanddark,beingandnon-being).Abarrierthatobscuresvisionandtrapsinaworldofnamesandformsthatisonlyanapparentreality.
Renderedinthefilmastwingoddessesofsunandmoon,vyingforapreciousstonethatenablestheirdescendintothehumanworld.Thehumancharactersaremerepawnstotheirschemes;tobeseduced,tricked,threatened,orultimatelydestroyed.Twinfemmefatales,weavingspellsinaninversenoiruniversemagnifiedintoamacrocosmicstruggle.
Theill-preparedmanwhochancestostealaglimpseofthemintheirtrueform,likeinthemythofActaionwhostealsupontheGreekgoddessArtemisbathingnakedinapool,hashisconsciousnessshatteredbytherevelation.Hismirroredimage(thesoul,thereflectedhalf)iscracked.
Thewomanwhofinallyshatterstheillusionarydualitythatquarantineshumanconsciousnessintomeaninglessdilemmas,doessobyasacrificeofblood.
Andthisistheproblemofthefilm.Somuchofitisastridentlysymbolicenactment,amatterofceremony.Thesacrificeis,quiteliterally,amatterofspillingblooduponthesymbolicstoneanddoesnotflowfromanything-itissimplytheschematicendofthespiritualmyth.Althoughvaluableasinsight,themeaningofthefilmistrappedinsidetheritualsperformedtosignifyit.Havingcrackedtheoutershelltoabsorbit,thefilmseizestoresonate.
决斗Duelle(unequarantaine)(1976)的影评
守夜人，日神和月神
对里维特来说，类型片究竟意味着什么？两位魔法师在空间中游荡，依着自己的目的将其他人物的生活搅至一团乱麻，最后通向彼此间的决斗和消失。实际上，我在这里找到了一种反而相当古典的，对于魔法和魔法师的感觉，就像托尔金的文本那样——并非那种好 ...
里维特的类型片实验，一场绝妙的捉迷藏，他实实在在的是极少数能把古典的质感与不稳定的现代性来组合成完美影像的导演，宝石争夺的无限战争这样看似无聊的文本，却在伟大的作者的魔术中成为电影的双人舞（顾名思义），从演员到摄影机的每一个步伐都展现着曼妙的美丽和神秘。
故弄玄虚！
幻觉的高潮。却为何把蛋糕和透明的酒液吞咽干净。我渐渐地获得听觉的恢复：空气杂音和地板的回响——提示我来回走动；在这无人闯入的绿丛：走出一个透亮白皙的年轻女子。完整的身体即容貌——只在镜子中以碎片来显影。太阳与月亮同时在场/所以光线吹灭，镜子被击碎后的深夜。我真切地渴望死亡与宝石！此外走进视线的身体是光,在手臂上划开个口子后就穿透我的所有意识。
里维特镜头下的纯粹的诗意来自于情绪化的布光、可见的钢琴家、舞蹈般的走位、运用镜面反射构造出的丝滑的场面调度。情节并非完全无法理解，而是并不重要，甚至大部分对话都是谎言。最终每一个人物都在跟其他人物的“碰撞”中被消耗殆尽。罗森鲍姆：“这部电影的巴别塔属性在于每一个基本的符号系统——情节、对话、音乐、自然声、剪辑、场面调度——都在自说自话，只有当其中一些元素关联到一起时，意义和感受才开始生发。”
89/100 #第8100# 古典与现代、戏剧与现实的狩猎场，想到菲拉德。场面调度典范：人与人、人与空间、及其与摄影机之间不断保持运动与变幻的关系。二加二不再是四，环境噪音不一定匹配剪辑，神秘性自在其中，且结尾的神性是确凿的，而之前每场戏的情境都拒绝足够具体。