決鬥Duelle(unequarantaine)(1976) 日月女神(台)
導演：雅克·裡維特
編劇：愛德華多·德格雷戈裡奧/瑪麗盧·帕羅利尼/雅克·裡維特
主演：朱麗葉·貝爾托/布魯·歐吉爾/讓·巴比雷/埃爾米娜·卡拉戈厄/妮可·加西亞/克萊爾·納多/伊麗莎白·維納/JeanWiener/AndréDauchy/RogerFugen
語言：法語
類型：劇情/愛情/懸疑/奇幻
上映日期：1976-09-15
法國 121分钟
決鬥Duelle(unequarantaine)(1976)的劇情介紹
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.
決鬥Duelle(unequarantaine)(1976)的影評
守夜人，日神和月神
對裡維特來說，類型片究竟意味着什麼？兩位魔法師在空間中遊蕩，依着自己的目的将其他人物的生活攪至一團亂麻，最後通向彼此間的決鬥和消失。實際上，我在這裡找到了一種反而相當古典的，對于魔法和魔法師的感覺，就像托爾金的文本那樣——并非那種好 ...
裡維特的類型片實驗，一場絕妙的捉迷藏，他實實在在的是極少數能把古典的質感與不穩定的現代性來組合成完美影像的導演，寶石争奪的無限戰争這樣看似無聊的文本，卻在偉大的作者的魔術中成為電影的雙人舞（顧名思義），從演員到攝影機的每一個步伐都展現着曼妙的美麗和神秘。
故弄玄虛！
幻覺的高潮。卻為何把蛋糕和透明的酒液吞咽幹淨。我漸漸地獲得聽覺的恢複：空氣雜音和地闆的回響——提示我來回走動；在這無人闖入的綠叢：走出一個透亮白皙的年輕女子。完整的身體即容貌——隻在鏡子中以碎片來顯影。太陽與月亮同時在場/所以光線吹滅，鏡子被擊碎後的深夜。我真切地渴望死亡與寶石！此外走進視線的身體是光,在手臂上劃開個口子後就穿透我的所有意識。
裡維特鏡頭下的純粹的詩意來自于情緒化的布光、可見的鋼琴家、舞蹈般的走位、運用鏡面反射構造出的絲滑的場面調度。情節并非完全無法理解，而是并不重要，甚至大部分對話都是謊言。最終每一個人物都在跟其他人物的“碰撞”中被消耗殆盡。羅森鮑姆：“這部電影的巴别塔屬性在于每一個基本的符号系統——情節、對話、音樂、自然聲、剪輯、場面調度——都在自說自話，隻有當其中一些元素關聯到一起時，意義和感受才開始生發。”
89/100 #第8100# 古典與現代、戲劇與現實的狩獵場，想到菲拉德。場面調度典範：人與人、人與空間、及其與攝影機之間不斷保持運動與變幻的關系。二加二不再是四，環境噪音不一定匹配剪輯，神秘性自在其中，且結尾的神性是确鑿的，而之前每場戲的情境都拒絕足夠具體。