瑟堡的雨伞

看本片完全是因為N多年前我在一雜誌上讀到本片的介紹心中湧起想看的渴望。這麽多年過去心願終於了了，才發現流逝的歲月導致的物是人非會是如此驚人，我不得不承認，我已經不是以前那個我了。想想當年如果有機會一睹本片的容顏會是怎樣的沈醉？那時外面的一切對於我都是美的，香的，我不做選擇的吸收，享受。現在我早已不是那種不做選擇的狀態了，而且自己的認知也不僅僅只會吸收，享受了。我要比較，然後分析，總結。這樣一來，本片對我的唯一價值 就只剩下圓夢了。有點遺憾，因為這個夢有點失落，但是這種失落建立在對更廣闊的世界的認知，理解和欣賞上。應該為它感到高興。

可能是因为自身感情的原因对这部片子情有独钟 真的是顶级影片 即便存在一些小的纰漏 但总觉得成功的影片在于整体氛围 细节也就忽略了 坐在资料馆的第二排 当主题音乐的弦乐一起 再加上阵阵小风一吹 身体直打哆嗦
影片开篇就富有情调的请出几把彩色的雨伞 用雨的第一视角看城市里的过客 可能是因为时代的原因 摄影机周边稀稀拉拉的雨点感觉有些不自然 整部影片采用歌舞的形势表达 刚开始可能有些不习惯 十分钟后就好了 很通俗的剧本能产生如此的效果 男女主人公起到很大作用 影片的音乐也功不可没 且影片音乐的主题极抓人心 高潮部分的大和弦 怎么听怎么过瘾 在画面上存在两处比较大的穿帮 一个是女主从狂欢节街道回到店里的时候 外面是彩带横飞 前一个镜头肩膀后背上还有 一进屋瞬间没了 还有最后一场戏女主加完油要离去的时候刚进车门前玻璃上还有积雪 下一个镜头要走的时候就瞬间倍儿干净 第二章节男主要去当兵带女友回家的路上有一段可能是为了抒发感情 两人动都不动的站上轨道平移 稍显不自然 要说这片子是女主的深情演绎 我更倾向男主的全方位出演 把男人的各个阶段表现的很到位
再说说影片的舞美与服装造型 印象最深的首当其冲地应属小店的布置 很是精致 整个影片色彩鲜艳从几处房屋内的壁纸上就能看出来 也学到一种审美 就是人与墙容为一体也很美 浅粉色毛衣配深粉壁纸 橘色风衣配橘色的咖啡墙 男性服装就更洋气了 很是复古绅士 他是个汽车修理工有件朴实的米色外套 到舞厅放衣服时 露出了内衬竟是巴博瑞的 在做广告的同时 又彰显人物品味 影片中也大量运用镜子做视觉效果 而且还永远没有穿帮
在资料观看的这片子 散场时听见有影迷闲聊说这片子到底是喜剧还是悲剧 我也茫然 只能弱弱的说他只演绎了人生 是雪化成雨水还是雨冷凝成雪 每个人都有不同的答案

http://blog.xzdy.co.cc/2012/03/les-parapluies-de-cherbourg17.html

Les parapluies de Cherbourg (1964)

本片获得1964年第17届戛纳电影节金棕榈奖。

电影讲述一对男女的爱情故事。男女主角是一对情侣且在热恋中，但是女主角母亲不同意女儿过早恋爱结婚。女主角母亲开着一家雨伞店，维持着家庭。一天，母亲收到一张巨额账单，为了付钱，母亲只好变卖首饰。母女俩在珠宝店遇到了一个愿意帮助她们的男人，这个男人给母亲留下了非常美好的印象。此时，男女主角正准备结婚，但战争来临男主角被征召入伍，他们只好相约几年后再见。随后，他们就发生了关系。男主角临走前，将照顾自己长大的教母托付给一个经常照顾教母的女孩。男主角走后没多久，女主角就发现自己怀了孕。同时，那个愿意帮助她们母女的男人向女主角发出求婚。女主角起初并不答应，可是在等了两年后，女主角还是嫁给了男人。一年过去了，男主角退伍归来却发现女主角已经搬走，随后从照顾教母的女孩口中了解了一切。这让男主角很伤心，他无心工作，并且与妓女寻欢作乐。教母很快死去后，男主角更加伤心，他希望女孩能留下来陪他。几年过去了，男主角与女孩已经成为夫妻，孩子也已经不小，他们用教母的遗产开了一家加油站，快乐的生活着。圣诞节那天，女主角来到男主角的加油站加油，彼此看见后聊了起来。于是男主角了解到，女主角母亲已经去世，自己的孩子也已经很大了，但男主角拒绝去看孩子。最后，女主角默默地离开，而男主角与老婆、孩子幸福的在一起。

本片很普通，讲述了一个现在来看已经俗套的故事，即爱情敌不过现实的悲剧爱情故事。即身怀六甲、经济窘迫的漂亮美女，遇见多金又帅气的体贴男人，在母亲的旁敲侧击下，抵挡不住物欲与残酷的现实世界，最终抛弃了自己一直忠贞的爱情。故事的发展宛如简洁版的琼瑶爱情故事，太俗套、太模式化了。此外，影片主题则主要是呈现这个故事，对男女主角的选择不置可否。总之，电影在情节与主题上非常浅显，不能给人带来任何深刻的思考。

电影唯一让人欣赏的地方就是全片无对白，所有剧情都通过歌唱演绎出来，这同样是本片独一无二之处。没看电影前对本片有所了解，觉得电影的运用方式很独特。可是真正看起来后，却又感觉很别扭。在我来看，抒发感情的时候歌唱一下无所谓，可是连“你好”之类的话都用唱得，太不正常了！正常的人类世界是不会如此的。此外，因为电影拍摄于六十年代，所以电影的音乐风格也是现代观众所不喜欢的。虽然称不上难听，但一点美感也感受不到。总之，影片表现方式非常独特，编导的才华也值得倾佩，不过对我这个喜欢现代歌舞片的人来说，这部电影并不符合我的口味。

影片拍摄方面很唯美。电影的色彩、服装、道具、布景，以及画面的运用都在营造一种不太现实的虚幻，创造出诗意般的浪漫与唯美。尤其是电影对色彩的运用，房间内色彩艳丽的壁纸、女主角与母亲华美的服装、街道上装修别致的店铺，这些看起来都是色彩斑斓。好一个五颜六色的世界！只是，这样的世界在现实生活中并不存在。除此之外，电影其他方面就中规中矩了，而且因为电影故事的原因，本片发生的故事场景都不大，很像是一出室内剧。

本片另一个出名之处是，它是本片女主角Catherine Deneuve的成名作。Catherine Deneuve在本片的演技很一般，但是精致的容貌让人过目难忘，简直难以用语言形容，只能说：太美了！而且Catherine Deneuve在片中的身材也特别好，很难与现在身材臃肿的她联系在一起。原来Catherine Deneuve年轻时那么漂亮动人！片中还有另一位美女Ellen Farner，她的容貌丝毫不逊于Catherine Deneuve，只可惜资料太少了，照片都很难找到一张。片中的男演员，都是打酱油的，不提也罢。

总结一下。这是一部落后于时代的歌舞片，可能在影片上映的年代风靡世界，且在法国有良好的口碑，但是现在来看却普通的不能再普通的了。只有Catherine Deneuve美丽的容颜还值得一看。

Catherine Deneuve

Catherine Deneuve

序列：0765

The.Umbrellas.of.Cherbourg.1964.BD.x264.720p.DD20(Fra).Mysilu

2012-03-31

2017.12.14 clit2007 term paper
刚交 做了一万年的research 熬了三天 睡了7小时
18年2月更新 这门课拿了A- 所以这篇essay好像写的还不错

How The Umbrellas of Cherbourg Juxtaposes Self-Reflexivity with Realism in the Context of the French New Wave

As a member of the “Left Bank” group, Jacques Demy might not make films that were as avant-garde as those of the Cahiers du cinema filmmakers. When the musical romance, The Umbrellas of Cherbourg came out in 1964, it was considered to hardly have any radical representation of the French New Wave due to its style and aesthetic approach. Yet its unorthodox entirely sung dialogues as well as the beautifully composed music undoubtedly drew a great amount of attention. Consisting of three parts, the film depicts a young couple hopelessly in love with each other, Geneviève and Guy, who are eventually broken apart by fate (mostly the Algerian War) to separate destinies. This essay argues that director Jacques Demy juxtaposes self-reflexive features with hints of realism in The Umbrellas of Cherbourg, endowing the film with an enchanting property that embraces the junction of the conventional French cinema and the emergence of the French New Wave. The idea of this essay was constructed on the premise of Robert Stam’s viewpoint on the interpenetrating coexistence of self-reflexivity and realism within the same cinematic text which challenges the Brechtian critique of realism (152).

With regard to identifying and characterizing a genre film, Rick Altman proposes the semantic/syntactic dual theory that categorizes genres along the historic development. He also justifies the three subgenres of the musical, namely the fairy tale musical, the show musical and the folk musical, and associates them with corresponding cultural backgrounds and other musical attributes. In accordance with Altman’s theory, The Umbrellas of Cherbourg nevertheless cannot be defined as a musical semantically, in a sense that there is no shift of ambience in between dialogues and singing and instead every line is presented in a recitative manner which is dubbed by pre-recorded soundtracks by professional singers. The film does not necessarily comply with any of the three subgenres to foreground a specific value which marriage in that particular socio-cultural context establishes. Yet it does pay homage to the classical Hollywood that contemporary New Wavers enamored by embracing the popular musical genre of the Golden Age of Hollywood while incorporating a French take on the story that comments on socio-political issues. A similar gesture of playing tribute to the historic development of the genre by incorporating the innovative can be found in the studio musical Moulin Rouge! (2001), which pointed out by Parfitt-Brown merges technology of the new era with nostalgia of the fin-de-siècle bohemianism to invoke an “artistic reinvention” (24). With the narrative setting evoking Hollywood classics like The Band Wagon (1953) and Singin’ in the Rain (1952), Moulin Rouge!’s show-within-a-film form is reminiscent of Altman’s show musical subgenre in a traditional sense. Feuer identifies that the parallelism between the show that characters in the film try to bring on and the relative reality within the film’s narrative space tends to emphasize the theme of eternal love over the “glorification of show business”, countering to the subject matter dealt with in most show-within-a-film Hollywood classics (61). But this parallelism ultimately addresses to the musical film’s self-reflexive nature, and draws attention to the prosthetic, highly unreal imagery constructed in the film’s fictional world.

If we consider the parallelism in Moulin Rouge! as an approach of reflexivity, then the recurrent postmodern pastiche and dense pop culture quotations further add a layer to the film’s fictional complexion. Acknowledging the director of Moulin Rouge!, Baz Luhrmann’s point of view, Parfitt-Brown notes that the intensive blending of historic artifacts and real-world contemporary cultures that exist outside the fictional entity fulfills the “sensory authenticity” that demands participatory spectatorship (22). In other words, the edgy, transhistorical fusion of cultural artifacts constantly and consciously reminds the spectators of the fictional nature of the film, with the film self-aware of its form. Whereas in The Umbrellas of Cherbourg, this self-consciousness of cinema is achieved through the use of multiple devices.

The most obvious device being the structure of the plot, constitutes of three parts, titled “The Departure”, “The Absence”, and “The Return” respectively. Between the plots of each two parts, there is a time gap indicated by a significant change in characters and the relations among characters over the passage of time. The discontinuity allows certain plots to be omitted from the linear progression, which is quite similar to the structure of a staged musical or play. This manner contributes to the musical’s self-conscious form, just as rising up and putting down the stage curtains do at the opening and the finale of Moulin Rouge!. Furthermore, recurrently breaking the fourth wall by having its actors directly address to the camera in The Umbrellas of Cherbourg is another discernible self-reflexive device that is also applied multiple times in Moulin Rouge!.

As pointed out by Hill, the subtle quasi-Brechtian mise-en-scène of the film might not be able to distract the audience away from the fictional space since the audience are so accustomed to the conventions of musical settings that they cannot be easily bothered by them, but the frequent appearance of mirrors and frames does elicit a taste of reflexivity (44). In the scene where Geneviève reveals her and Guy’s relationship to mother, the two have an argument over the couple’s decision of getting married. There comes along a medium shot of Geneviève alongside the camera positioning at a 45-degree angle to the right of the actress who is at first placed on the left half of the screen. The right half is a mirror on the wall which seemingly unintentionally reflects the image of the mother who is supposedly standing on the other side of the room, telling how astonished she is by their proposed marriage. This framing lasts briefly until the mother’s image walks out of the mirror, with the camera tracking along Geneviève’s forward motion. There we see a perfect two shot of the characters, with a medium close up of Geneviève remaining in the left portion at the same angle as earlier. As the mother walks toward the mirror, the staging of the two is reversed. The camera is still able to capture the mother’s facial expression from the reflection in the mirror although we are facing her back. There are many shots with mise-en-scène like this in the rest of the film where it tends to play with the audience’s visual experience by careful staging of the actors in a way that their faces can be captured simultaneously despite moving around. The smooth, flawless staging reinforces the fictional entity while without necessarily stripping away the fictional, the mirrored and framed images introduce a slight sense of reflexivity such that it calls attention to its process of making the fictional.

Apart from the mirrors and the purposeful framing, there are also several shots in which the camera movement is staged elegantly yet self-consciously that one can hardly fail to observe. One of these noticeable moments is when the competent suitor, Roland, recalls his past relationship with a girl named Lola. As he starts to sink into his memory leaning against the mirror on the wall (which again draws attention to its self-reflexive manner), the camera gracefully dollies towards him until it reaches a close-up scale of his face and subsequently cuts to a flashback POV shot. This camera movement seems abrupt and self- conscious considering the previous image that frames two characters having a casual conversation. It sufficiently places emphasis on Roland’s emotional transition at the moment and his innermost bitterness of being unable to win the person he used to love. Alexandre Astruc states in his 1948 manifesto which greatly influenced the French New Wave that the new cinema should realize the cinematic dynamics by utilizing camera movements to express feelings and emotions, and that such approach would overcome the underlying problem of the old French cinema, which is the incapability of expressing thoughts. His viewpoint figured prominently in the development of the auteur theory in the New Wave. In this regard, Demy’s stylistic, self-conscious and expressive use of camera in The Umbrellas of Cherbourg aligns himself with the contemporary New Wave fashions.

Equivalent to the reflexive function of pastiche in Moulin Rouge!, the intertextuality in The Umbrellas of Cherbourg is achieved through quoting and making references to other art works. At the beginning of the film, Guy’s colleague at the garage directly sings quotes from the famous opera Carmen. Interestingly enough, his other colleague comments afterwards that he prefers movies to operas because he cannot stand the constant singing, which nonetheless playfully reflects the all-singing nature of this movie. Hill suggests that this playfulness is “doubly reflexive” which makes an intertextual reference to another form of art and moreover, attracts attention to the film’s embodiment of such form (47). In addition to operatic reference, Hill pinpoints the intertextuality in this film of other artistic forms, such as many visual components evocative of multiple works by Demy’ favorite painter Jan Vermeer (46), the tendency of long takes and stylistic camera movements that pays explicit homage to films by Max Ophüls (45), as well as the reappearing Lola (1961) character Roland Cassard that references to Demy’s own film (44). All these intertextual references encompass a huge sense of self-reflexivity which, argued by Ott and Walter, “deliberately draws attention to [the film’s] fictional nature by commenting on its own activities” (438).

I have discussed so far how some major cinematic elements in The Umbrellas of Cherbourg contribute to the musical’s high self-reflexivity, which endows itself with a fictional, unreal entity. Before I continue with the observation of the film’s realist features which is something that fundamentally blends a taste of French-ness in this American genre, it is necessary to acknowledge Robert Stam’s outlook on whether reflexivity and realism can coexist within the same context. Although the cinema in the 1930s tends to associate “realist” with “bourgeois” and “reflexivity” with “revolutionary” which are antithetical in political terms, Stam uses Godard’s Numéro Deux (1975) and other examples to illustrate that realism and reflexivity can in fact not only coexist but also penetrate into each other to display the fictional construction of the reality (152). For Moulin Rouge! as a twenty-first century big- budgeted, highly reflexive Hollywood musical production, realism is nowhere to be found as the film aims to use cultural artifacts to construct a distant past of prosthetic authenticity. As a stylistic product of the French cinema’s tendency of emerging to the New Wave, The Umbrellas of Cherbourg nevertheless juggles with reflexivity and realism to manifest the French adaptation to the classical Hollywood genre.

There are three main aspects in this film that attribute to its social realism. Despite the colorful visual style and the apparently artificial lighting effects that might denote a studio production, the film was as a matter of fact entirely shot on location. Several establishing shots at different points throughout the film determinedly highlight the sense of realism, such as the panorama of the dock in the opening credits, a few establishing shots of the train station and the café in the departure scene, as well as the last shot in the film which is a wide shot of the gas station in the beautiful snow. Take the last shot as an example; the jib shot lasts for 50 seconds, which can definitely be considered as a long take. It starts with Guy joyfully greeting his family. He kisses his wife and then plays with his son in the snow. The camera gradually pulls away from the characters’ interaction as it goes on without being interrupted. When the characters enter inside, we can barely observe their activities yet the shot does not fade out from there but rather remains unchanged and uninterrupted for roughly 20 seconds. This continuity in acting and camera movement reinforces the realism in a sense that the audience are watching the characters’ activities in reality.

The second aspect is the film’s attitude toward the contemporary social issues. Avoiding explicitly presenting the Algerian war image, the film comments on the negative post-war phenomenon like veteran soldiers’ alienation from the society and the failed human relations. It also addresses the generational debates of values in post-war French families, with the materialism and social hierarchy among elder generation versus the younger generation’s utopianism that love transcends everything. A similar value discourse can also be found in Moulin Rouge!.

Lastly, the majority of the cast hardly had any recognition prior to the production of the film. The fact that the audience at the time were seeing fresh faces instead of glamorous stars on the screen somewhat made them feel less detached from the fictional world. Film Reference points out that the femininity portrayed in traditional French cinéma de papa which the New Wave resists is mostly associated with sophisticated maturity. The way that Geneviève is portrayed as a simple and innocent girl next door naturally sides this film against the “Tradition of Quality”. All in all, the three attributes mentioned above are in alliance with three of the eight characteristics of New Wave cinema raised by Michel Marie in terms of the location-shooting, addressing contemporary social/cultural issues, and the new-face actors (70).

In conclusion, with the juxtaposition of the high self-reflexivity of the musical genre and a sense of realism regarding the contemporary French cinema, The Umbrellas of Cherbourg is Jacques Demy’s uttermost homage to the classical Hollywood. The coexisting reflexive nature and realism do not necessarily get in each other’s ways, but rather becomes Demy’s stylistic syntax in this French-accented art piece of an American genre. Released during the active period of the French New Wave, although the film does not entirely identify as radical New Wave representation, it adopts certain characteristics that comply with the New Wave aesthetics. Its uniqueness and avant-garde production approach makes it one of the most celebrated and influential original musicals of the twentieth century.


Works Cited

Altman, Rick. “A Semantic/Syntactic Approach to Film Genre.” Cinema Journal, vol. 23, no. 6, Spring 1984, pp. 6-18.

Altman, Rick. “The Musical.” The Oxford History of World Cinema. Ed. Geoffrey Nowell-Smith. Oxford: OUP, 1996. 294-303.

Astruc, Alexandre. “The Birth of a New Avant-Garde: La Caméra-Stylo.” Trans. Peter Graham. The French New Wave: Critical Landmarks. Ed. Peter Graham and Ginette Vincendeau. London: Palgrave Macmillan, 2009. 31-38.

Feuer, Jane. “The International Art Musical: Defining and Periodising Post-1980s Musicals.” The Sound of Musicals. Ed. Steven Cohan. London: Palgrave Macmillan, 2010. 54-63.

Hill, Rodney. “The New Wave Meets the Tradition of Quality: Jacques Demy’s The Umbrellas of Cherbourg.” Cinema Journal, vol. 48, no. 1, Fall 2008, pp. 27-50.

“Legacy and Regeneration: 1944 to 1959.” Film Reference, http://www.filmreference.com/encyclopedia/Criticism-Ideology/France-LEGACY-AND-REGENERATION-1944-TO-1959.html

Marie, Michel. “The New Wave’s Aesthetic.” Trans. Richard Neupert. The French New Wave: An Artistic School. Paris: Blackwell Publishing, 2003. 70-71.

Ott, Brian, and Cameron Walter. “Intertextuality: Interpretive Practice and Textual Strategy.” Critical Studies in Media Communication, vol. 17, no. 4, December 2000, pp. 429-446.

Parfitt-Brown, Clare. “An Australian In Paris: Techno-Choreographic Bohemianism in Moulin Rouge!.” The Oxford Handbook of Dance and the Popular Screen. Ed. Melissa Blanco Borelli. New York, NY: OUP, 2014. 21-40.

Stam, Robert. “The Politics of Reflexivity.” Film Theory: An Introduction. Malden, MA: Blackwell, 2000. 151-153.

　　“我们的爱还剩下什么，还剩下什么美丽的日子？
　　一张照片，一张老照片，我年轻的时候。
　　除了那略有些温度的票和四月的约会，
　　还剩下什么。
　　回忆跟着我，永不会停。”
　　 ——爱情余烬（Que reste-t-il de nos amours）

　　法国香颂和歌剧。

　　歌剧起源并成形于十六、十七世纪的意大利。那个时候的歌剧段落分明：宣叙调、咏叹调、重唱、合唱，有些还有幕间的间奏和舞蹈。到了十九世纪，德国作曲家瓦格纳认为这种形式呆板、陈旧，炫技的音乐段落影响了歌剧的整体效果。在“漂泊的荷兰人”之后，瓦格纳的歌剧不再分段，而是采取“无终旋律”，即乐曲从头到尾相互承接形成情感的延续，将歌剧推行到一个新的阶段。法国作曲家德彪西很推崇瓦格纳的方式，但是德语歌剧的旋律并不适合法语发音的特点，于是德彪西发展了一种更适合于法语的歌剧，和以往的意大利歌剧比起来更加像朗诵和喃喃私语，让本身就音质柔软的法语更为动听。

　　一提到法国，人们想到的无非是镁光灯焦点的艾菲尔铁塔、绿树成荫的香榭丽舍大道、陈列珍品的卢浮宫，还有就是婉转低回的法国香颂。这些映像都成就了世界眼中浪漫的国度法国，而香颂自然就成了这种浪漫情调的颂歌。实际上，法国香颂比人们印象中的范围要宽泛许多。“香颂”的法语原意是“歌曲”，这种歌曲多以叙事的乐曲组成，叙事的主题除了爱情还有各样思绪、哀歌、文学、幻想、政治等等。由于香颂最早是从街头的小酒馆和咖啡店传出，也就没有大音乐厅式的华丽配乐，非常随性且没有固定的乐器，这样恰好赋予香颂以一种自然简单慵懒的特质。这样看，香颂倒有些像新奥尔良的爵士乐，这种音乐最早是穷人们宣泄情感的一种音乐，在小号如泣如诉的伴奏中将生活的情感融入到音乐中去。比起爵士乐骨子里挥之不去的苦痛，香颂更讲究歌词的意境、曲调的优美，这都和法国人无忧无虑追求美好的生活态度息息相关。

　　秋水伊人。

　　让-雅克•德米在1964年的电影“秋水伊人”不仅让导演戛纳金棕榈的美梦一夜成真，也让世人感受了法国香颂以歌剧形式展现在银幕上的一次完美演出。电影汲取了德彪西歌剧的特点：没有纯粹的念白，每句对白都是音符的飘动，而这种乐曲又具有香颂的优雅迷人。

　　在故事中，凯瑟琳•德纳芙扮演17岁的少女日内维耶，她不顾母亲的反对和加油站的小伙子盖伊相爱。一切就像歌中所唱的，谁都有过的美丽岁月，在20岁的年纪，连做梦的颜色都是爱情，一个吻就让街头的恋人紧紧拥抱，人们体会了人生中第一次为了爱情而奋不顾身的感觉。可是再美的歌曲也会结束，就像茫茫人海中那些戛然而止的爱情。

　　阿尔及利亚的战争送盖伊走上了战场，远离了他心爱的日内维耶，他们只能盼望着每天的日升日落，靠鸿雁传书，爱情在遥远的路途和时间中慢慢消磨。分离让人们渐渐忘却彼此的容颜，到最后只能凭借着照片上的样子才能想起对方的样子，梦中的脸孔逐渐模糊成一张褶皱发黄的黑白照片。如果说思念还是可以承受的疼痛，那么日内维耶肚子里日渐长大的生命则是她无法逃避的问题。遥遥无归期的盖伊，还有冷清的雨伞店生意，让日内维耶一点点失去面对生活的勇气，她接受了钻石商罗兰•卡萨尔德的爱情，那也是一个经历过生命和爱情的男人，肯真心待她。

　　从战场上回到家乡的盖伊，失去了日内维耶，失去了工作，只能拖着一条跛腿，那条病腿在下雨时便会隐隐作痛，仿佛在祭奠他远去的爱情。

　　多年后，日内维耶和盖伊在加油站再次相遇。两个人都有了自己幸福的家庭和孩子，他们没有互诉衷肠，只是长久的相互凝视。唯一依稀还能看到彼此无法抹去的思念，证明着他们曾经存在的爱情，是他们孩子的名字，都叫做弗朗索瓦（娃）。

　　比后一别无归期，咫尺相隔成天涯。

　　这部电影虽然在当年赢得了高度评价和赞誉，却和“一个男人和一个女人”一样，在多年后被人们所诟病，认为如此的奖项实在过誉。在感情方面，电影确实缺乏铺垫和过渡，没能细腻的体现日内维耶和盖伊不能相爱的痛苦，只是仓促的让两人都找到了归宿。多年后的那场相见，本来该是多么让心灵颤抖的哀伤阿，却由于男主人公过于无动于衷的表演大大削弱了悲伤的感觉，白白浪费了凯瑟琳•德纳芙入神而心碎的眼神。对于这种在战争中感情受到的伤害，雅克•德米也是稍稍带过，并未触及太多政治和家庭问题，这也是导致很多人认为电影不够深刻的原因之一。

　　电影的色彩语言。

　　导演最为吸引人和成功的，除了音乐，还有对于色彩语言的把握。他用绿色、蓝色、黄色、红色、黑色这几个基本色彩就调制出了一种爱情的浪漫与灼伤心灵的激情，每个人的性格也在这些颜色中逐渐鲜明。在电影中，主人公衣服颜色的变化也暗示了情节的发展，非常精妙。

　　桃红色、黄色和黑色是日内维耶的颜色，她有着桃红色所代表的青春和美丽，犹如含苞待放的花朵，黄色衬托着她如日出般灿烂的容貌和活力，每当黑色出现在她身上都预示着不祥的事情，一次是盖伊被征兵上战场，一次是她母亲的去世。当日内维耶和盖伊的感情日渐深厚，她的衣裙也从起先的桃红色变成了天蓝色，那是属于盖伊的颜色，她全身心都只有盖伊，只有她的爱情。

　　属于盖伊的色彩是蓝色、绿色和咖啡色，绿色是自由的颜色，盖伊虽然贫穷但自由奔放，这也是吸引日内维耶的原因之一。蓝色是天空的颜色，那片美丽却遥不可及的天空仿佛从一开始都注定这是一段无法企及的感情。

　　富商罗兰•卡萨尔德的衣服多为黑色的西装，衬衣和领带则为递进的蓝色，表示着他也曾经经历过为情所困的岁月：他也曾经爱过一个女人，但是由于她心有所属，罗兰只好逃到世界的尽头只为了忘记她。这段经历让他有了深沉的感情，也让日内维耶从他身上找到归宿。

　　当日内维耶的感情渐渐倾斜到卡萨尔德的身上时，她朴素的蓝色衣服上盛开了鲜艳的花朵。直到最后走上礼堂，她一身雪白的婚纱，算是彻底告别了以往的爱情。而盖伊心境的变化也通过衣服的颜色体现出来，他从战场回来后，大片的咖啡色遮盖了原先的蓝色，当他得知日内维耶嫁作他人妇后，更是彻底将蓝色从身上清除掉。这预示着他摆脱了那些不切实际为爱感伤的年龄，开始为今后的生活作打算。在最后的一次相遇中，两人的衣服都有浓重的黑色，是一种挥之不去的伤感和哀悼。

　　凋零的幸福，四月的约会，被偷走的那个吻，深藏的昔日风景，这一切都回荡在回忆的深处。是一首唱不完的法国香颂，是一场雨伞下的爱情余烬。

转载请注明作者：九尾黑猫
http://www.mtime.com/my/LadyInSatin/blog/517608/

写剧本的人，也就是导演Jacques Demy相当老道，故事具有普世性：家道破落美人爱上帅气的穷小子，怀孕，她对生活本没有太大的期冀，也看到了和穷小子的未来，不过她不贪求。不想战争来了，征兵，两断。美人对于家庭，母亲的责任感，终于带着身孕，嫁给富贵。这完全是钟晓阳同学喜欢的一句诗－－早知相思无凭据，不如嫁于富贵。

德纳芙不是最美，但气质好。电影中她带纸皇冠一场真美。
　　　　
　　　　电影的音乐主旋律不能说完全脱俗，但让人听得津津有味。和这个故事一样。能在一个俗套上做到好看，编导必有点想法的。
　　　　
　　　　舞台剧的制式，也分三，四幕。所以在电影这个框子里，你可以写诗，写剧本，写意识流，都可以的。布景的色彩，50年代的法国家居壁纸。
　　　　
　　　　女儿说，你每次提到Cassard（也就是那个富贵），就像在推销你的雨伞。妈妈对女儿说，你肚子这么大,向前挺出，不是儿子就是双胞，我们家的女人怀孕时都是健康顺利。这倒是世间母女的平常对话。