1 ) 英文臺(tái)詞
There's an old joke. Two elderly women are at a Catskill Mountain resort -One of 'em says, “The food at this place is really terrible.” -The other one says, “Yeah, I know. And such small portions.” -That's essentially how I feel about life -Full of loneliness and misery and suffering and unhappiness -And it's all over much too quickly -The other important joke for me is one that's usually attributed to Groucho Marx -I think it appears originally in Freud's Wit and its Relation to the Unconscious. -It goes like this - I'm paraphrasing. I would never wanna belong to any club -that would have someone like me for a member -That's the key joke of my adult life in terms of my relationships with women -Lately the strangest things have been going through my mind -Cos I turned , and I guess I'm going through a life crisis -I'm not worried about ageing. Although I'm balding slightly on top -That's about the worst you can say about me -I think I'm gonna get better as I get older -I think I'm gonna be the balding virile type -as opposed to, say, the distinguished grey, for instance -Unless I'm one of those guys with saliva dribbling out of his mouth -who wanders into a cafeteria with a shopping bag -screaming about socialism -Annie and I broke up. And I still can't get my mind around that -I keep sifting the pieces of the relationship through my mind -examining my life, and trying to figure out - where did the screwup come? -A year ago we were… in love, you know -And… It's funny… I'm not a morose type. I'm not a depressive character -I… I… You know… -I was a reasonably happy kid, I guess -I was brought up in Brooklyn during World War II -He's been depressed. All of a sudden he can't do anything -- Why are you depressed, Alvy? - Tell Dr Flicker -It's something he read -Something he read, uh? -- The universe is expanding. - The universe is expanding? -The universe is everything. If it's expanding, someday it will break apart -and that will be the end of everything -What is that your business? -He stopped doing his homework -- What's the point? - What has the universe got to do with it? -You're here in Brooklyn! Brooklyn is not expanding! -It won't be expanding for billions of years yet, Alvy -And we've gotta try and enjoy ourselves while we're here, uh? -My analyst says I exaggerate my childhood memories. -But I was brought up under the roller coaster -in the Coney Island section of Brooklyn. -Maybe that accounts for my personality, which is a little nervous. -I have a hyperactive imagination. -My mind tends to jump around a little. -I have some trouble between fantasy and reality. -My father ran the bumper car concession. -There he is. -And there I am. -I used to get my aggression out through those cars all the time. -I remember the staff at our public school. -We had a saying: “Those who can”t do, teach, -and those who can“t teach, teach gym.” -And those who couldnt do anything, I think, were assigned to our school. -I always thought my schoolmates were idiots. -Melvyn Greenglass. His fat little face. -And Henrietta Farrell. Just Miss perfect all the time. -And lvan Ackerman. Always the wrong answer. Always. -Seven and three is nine -Even then, I knew they were just jerks. -In I had already discovered women. -He kissed me! He kissed me! -That's the second time this month! Step up here -- What did I do? - Step up here! -You should be ashamed of yourself -Why? I was just expressing a healthy sexual curiosity -Six-year-old boys don't have girls on their minds -I did -For God's sakes, Alvy! Even Freud speaks of a latency period -Well, I never had a latency period. I can't help it -Why couldn't you have been more like Donald? Now there was a model boy -Tell the folks where you are today -I run a profitable dress company -Sometimes I wonder where my classmates are today. -I'm president of the pinkus plumbing Company -I sell tallises -I used to be a heroin addict. Now I'm a methadone addict -I'm into leather -I lost track of most of my schoolmates, but I wound up a comedian. -They did not take me in the army. I was… Interestingly enough… I was -p -In the event of war, I'm a hostage -You always only saw the worst in people -You never could get along with anyone in school -You were always out of step with the world -Even when you got famous, you still distrusted the world -I distinctly heard it. He muttered under his breath, “Jew.” -You're crazy -We were walking off the tennis court. Him and me and his wife -He looked at her and they both looked at me. And under his breath he said, “Jew.” -Alvy, you're a total paranoid -I pick up on those kinda things -I was having lunch with some guys from NBC. So I said, “Did you eat yet or what?” -And Tom Christie said, “No. D'you?” -Not “Did you”. “D'you eat?” “D'you?” -Not “Did you eat?” but “D'you eat?” “Jew?” You get it? “Jew eat?” -- Max… - Stop calling me Max -Why, Max? It's a good name for you. Max, you see conspiracies in everything -I was in a record store. There's this big, tall, blond, crew-cutted guy -looking at me in a funny way and saying, “We have a sale this week on Wagner.” -Wagner, Max. Wagner. I know what he's really trying to tell me, very significantly -Right, Max -California, Max -- Get the hell out of this crazy city. - Forget it -We move to sunny LA. All of show business is there -No. I don't wanna live in a city where the only cultural advantage -is that you can make a right turn on a red light -Forget it. Aren't you late for meeting Annie? -I'm meeting her at the Beekman. I have a few minutes -Are you on television? -Once in a while. Occasionally -- What's your name? - You wouldn't know it. It doesn't matter -You were on the… uh… The Johnny Carson, right? -Once in a while, you know -What's your name? -I'm… I'm Robert Redford -Come on! -Alvy Singer. It was nice… Thanks very much for everything -Hey! -What? -This is Alvy Singer! -Fellas, you know… -This guy's on television. Alvy Singer? Am I right? -- Give me a break. - This guy's on television -I need a large polo mallet -- Who's on television? - On The Johnny Carson Show. -Is this a meeting of the Teamsters? -- What programme? - Can I have your autograph? -- You don't want my autograph. - No, I do. It's for my girlfriend -Make it out to Ralph -- Your girlfriend's name is Ralph? - It's for my brudder -You're really Alvy Singer, the TV star? -Alvy Singer over here! -It's all right, fellas -Jesus! What did you do? Come by way of the panama Canal? -- I'm in a bad mood. - I'm here with the cast of The Godfather. -- You have to learn to deal with it. - I'm dealing with guys named Cheech! -please. I have a headache, all right? -You are in a bad mood. You must be getting your period -Every time anything out of the ordinary happens, you think I'm getting my period! -A little louder. I think one of them may have missed it -- Has the picture started? - It started two minutes ago -That's it. Forget it. I can't go in -- Two minutes, Alvy. - I can't do it. We've blown it already -I can't go in in the middle -We'll only miss the titles. They're in Swedish -- You wanna get coffee for two hours? - Two hours? No. I'm going in -- Go ahead. Goodbye. - While we're talking, we could be inside -Can we not stand here and argue in front of everybody? I get embarrassed -All right. So what do you wanna do? -I don't know now. You wanna go to another movie? -Let's go see The Sorrow and the pity. -Come on. I'm not in the mood to see a four-hour documentary on Nazis -Well, I'm sorry. I've gotta see a picture exactly from the start to the finish -Cos… Cos I'm anal -That's a polite word for what you are -We saw the Fellini film last Tuesday. It is not one of his best -It lacks a cohesive structure -You get the feeling that he's not absolutely sure what it is he wants to say -I've always felt he was essentially a technical filmmaker -Granted, La Strada was a great film. Great in its use of negative imagery -I can't stand this guy. I'm gonna have a stroke -Well, stop listening to him -He's screaming his opinions in my ear -Like all that Juliet of the Spirits or Satyricon. -I found it incredibly… indulgent -He really is. He's one of the most indulgent filmmakers -The key word here is indulgent -Without getting… -- What are you depressed about? - I missed my therapy. I overslept -- How can you possibly oversleep? - The alarm clock -Do you know what a hostile gesture that is to me? -I know. Because of our sexual problem, right? -Everybody at The New Yorker has to know our rate of intercourse? -It's like Samuel Beckett -I admire the technique, but it doesn't hit me on a gut level -- I'd like to hit this guy on a gut level. - Stop it, Alvy! -He's spitting on my neck. He's spitting on my neck when he talks -You know, you're so egocentric that if I miss my therapy -you can only think of it in terms of how it affects you. -Weltanschauung is what it is -probably on their first date -probably met by answering an ad in the New York Review of Books. -Thirtyish academic wishes to meet woman -who's interested in Mozart, James Joyce and sodomy -Our sexual problem? I'm comparatively normal for a guy raised in Brooklyn -OK. I'm very sorry. My sexual problem. OK? My sexual problem -I never read that. That was a Henry James novel? Sequel of The Turn of the Screw? -It's the influence of television -Now, Marshall McLuhan deals with it in terms of it being a high… -high intensity. You understand? A hot medium… -What I wouldn't give for a large sock with horse manure in it -What do you do when you get stuck in a movie line with a guy like this behind? -Why can't I give my opinion? It's a free country -Do you have to give it so loud? Aren't you ashamed to pontificate like that? -The funny part is, you don't know anything about Marshall McLuhan -Really? I happen to teach a class at Columbia called TV, Media and Culture. -So I think my insights into Mr McLuhan have a great deal of validity -Oh, do you? That's funny, because I happen to have Mr McLuhan right here -Just let me… Come over here a second -I heard what you were saying -You know nothing of my work -You mean my whole fallacy is wrong -How you ever got to teach a course in anything is totally amazing -Boy, if life were only like this! -June th, . The German army occupies paris. -All over the country, people are desperate for every available scrap of news. -Those guys in the French Resistance were really brave -To have to listen to Maurice Chevalier sing so much -Sometimes I ask myself how I'd stand up under torture -The Gestapo would take away your Bloomingdale's charge card -and you'd tell 'em everything -That movie makes me feel guilty -Yeah, cos it's supposed to -Alvy… -What? What… What's the matter? -I don't… I don't know -It's not natural. We're sleeping in a bed together. You know, it's been a long time -Well, it's just that I gotta sing tomorrow night, so I have to rest my voice -There's always an excuse. You used to think I was very sexy -When we first started going out, we had sex constantly -We're probably in the Guinness Book of World Records. -Alvy, it'll pass. I'm going through a phase. That's all -You've been married before. You know how things can get -You were very hot for Allison at first -You're on right after Chris Brown, which looks about minutes -Excuse me. When do I go on? -Who are you? -Alvy Singer -I'm a comedian -Oh, comedian. Yeah -Oh. You're on next -What do you mean, next? I'm… -You're on right after this act -No, it can't be. Because he's a comic -Yes -- You're putting on two comics in a row? - Why not? -No, I'm sorry. I don't wanna go on after another comedian -It's OK -No. Because they're laughing. So I'd… rather not -Will you relax? They're gonna love you -I'd prefer not to. Look. They're laughing at him -They're gonna laugh at him then I gotta go out -I gotta get laughs too. How much can they laugh? -- They're laughed out. - Do you feel all right? -Jesus! -What's your name? -Allison -Yeah? -Allison what? -portchnik -- That's nice. - Thank you -Allison portchnik -So, what are you telling me? You work for Stevenson all the time or what? -No. I'm in the midst of doing my thesis -On what? -political Commitment in th-Century Literature. -You're like… New York, Jewish, left-wing, liberal, intellectual -Central park West, Brandeis University, socialist summer camps? -The father with the Ben Shahn drawings? The really strike-oriented… -Stop me before I make a complete imbecile of myself -No. That was wonderful. I love being reduced to a cultural stereotype -Right. I'm a bigot. But for the Left -I have to go out there. Say something encouraging. Quickly -- I think you're cute. - Do you? -Go ahead -I don't know why they would have me at this kind of rally cos… -I'm not essentially a political comedian at all -I interestingly had… dated a woman -in the Eisenhower administration briefly -And it was ironic to me cos… -Cos I was trying to do to her -what Eisenhower has been doing to the country for the last eight years -I'm sorry. I can't go through with this -I can't get it off my mind, Allison. It's obsessing me -I'm getting tired of it. I need your attention -But it doesn't make any sense. He drove past the book depository -and the police said conclusively that it was an exit wound -So how is it possible for Oswald to have fired from two angles at once? -It doesn't make sense! -I'll tell you this. He was not marksman enough -to hit a moving target at that range -But… -if there was a second assassin… -- That's it! - We've been through this -They recovered the shells from that rifle -OK. What are you saying now? -Everybody on the Warren Commission is in on this conspiracy, right? -Well, why not? -Yeah. Earl Warren? -Hey, honey. I don't know Earl Warren -Lyndon Johnson? -Lyndon Johnson is a politician! You know the ethics those guys have -It's like a notch underneath child molester -Then everybody's in on the conspiracy -The FBI and the CIA and J Edgar Hoover and oil companies -and the pentagon and the men's room attendant at the White House -I would leave out the men's room attendant -You're using this conspiracy theory as an excuse to avoid sex with me -Oh, my God! -She's right -Why did I turn off Allison portchnik? -She was beautiful, she was willing, she was real intelligent -Is it the old Groucho Marx joke that I just don't wanna belong to any club -that would have someone like me for a member? -Alvy, don't panic! please stop it! -It's a mistake to ever bring a live thing in the house -Stop it! Go for that one there -Maybe we should call the police. Dial . It's the lobster squad -They're only baby ones, for God's sakes -- If they're only babies, you pick 'em up. - All right! All right! -- Here you go! - Don't give it to me! Don't! -Look! One crawled behind the refrigerator -It'll turn up in our bed at night -Will you get out of here with that thing? Jesus! -Talk to 'em. You speak shellfish -Hey, look. put it in the pot -I can't put it in the pot! I can't put a live thing in hot water! -You think we're gonna take him to the movies? -Oh, good, Alvy. Oh, thank you -OK. It's in. It's definitely in the pot -Annie, there's a big lobster behind the refrigerator -I can't get it out. This thing's heavy -Maybe if I put a dish of butter sauce here with a nutcracker, it'll run out -I'm gonna get my camera -I think if I could pry the door off… -We should have gotten steaks. They don't run around -Goddamn it! Oh, jeez! -pick this lobster up. Hold it, please -You're gonna take pictures now? -Alvy, it'll be wonderful. Oh, lovely! -Oh, God! That's disgusting! -One more, Alvy. please! -Oh, good! Good! -Here's what I want to know. Am I your first big romance? -Oh, no. No, no -Really? Who was? -There was Dennis from Chippewa Falls High School -Dennis? Local kid? Would meet you in front of the movie house? -You should have seen what I looked like then. -I can imagine. probably the wife of an astronaut. -Then there was Jerry, the actor. -Look at you. You're such a clown -I look pretty -You always look pretty. But that guy… -Acting is like an exploration of the soul. It's very religious -Like a kind of liberating consciousness -It's like a visual poem -Is he kidding with that crap? -Oh, right -I think I know exactly what you mean when you say “religious” -You do? -- Oh, come on. I was younger. - Hey, that was last year -It's like when I think of dying -- You know how I'd like to die? - No. How? -I'd like to get torn apart by wild animals -Heavy! Eaten by some squirrels! -Listen, he was a terrific actor. He's neat-looking and he was emotional… -I don't think you like emotion too much -Touch my heart… with your foot -I may throw up -He was creepy -I think you're pretty lucky I came along -Oh, really? Well, la-de-da -If anyone had ever told me I would be taking out a girl -who used expressions like la-de-da… -You really like those New York girls -- Well, not just. Not only. - I'd say so. You married two of them -There's Henry Drucker. He has a chair in history at princeton -The short man is Hershel Kaminsky. He has a chair in philosophy at Cornell -Two more chairs, they got a dining room set -- Why are you so hostile? - Cos I wanna watch the Knicks on TV -Is that paul Goodman? No -Be nice to the host, because he's publishing my book -Douglas Wyatt. The Foul Rag and Bone Shop of the Heart. -I'm so tired of making fake insights with people who work for Dysentery. -Commentary. -Really? I heard Commentary and Dissent had merged and formed Dysentery. -No jokes. These are friends, OK? -Here you are -There's people out there -Two minutes ago the Knicks are ahead points, and now they're ahead two points -What is so fascinating about a group of pituitary cases -trying to stuff a ball through a hoop? -What is fascinating is that it's physical -Intellectuals prove you can be absolutely brilliant -and have no idea what's going on -But, on the other hand, the body doesn't lie -as we now know -Stop acting out -It'll be great. All those phDs are in there discussing modes of alienation -and we'll be in here quietly humping -Alvy, don't. You're using sex to express hostility -Why do you always reduce my animal urges to psychoanalytic categories? -He said, as he removed her brassiere -There are people out there from The New Yorker magazine! -Oh, my God -What would they think? -Damn siren! -OK. Don't get upset -Dammit! I was so close! -Last night it was a guy honking his car horn. The city can't close down -You wanna have them shut down the airport too? -No more flights so we can have sex? -I'm too tense. I need a Valium -My analyst says I should live in the country and not in New York -We can't have this discussion. The country makes me nervous -You've got crickets. There's no place to walk after dinner -The screens with the dead moths behind 'em -You got the Manson family, possibly. You got Dick and Terry -OK! OK! My analyst just thinks I'm too tense. Where's the goddamn Valium? -It's quiet now. We can start again -I can't. My head is throbbing -- You got a headache? - I have a headache -Bad? -- Like Oswald in Ghosts. - Jesus! -Where are you going? -I'm going to take another in a series of cold showers -Max, my serve will send you to the showers early -The failure of the country to get behind New York City is anti-Semitism -Max, the city is terribly run -I'm not discussing politics or economics. This is foreskin -Every time some group disagrees with you, it's because of anti-Semitism -The rest of the country sees New York -as left-wing, Communist, Jewish, homosexual pornographers -I think of us that way sometimes, and I live here -Max, if we lived in California, we could play outdoors every day in the sun -Sun is bad for you. Everything our parents said was good is bad -Sun, milk, red meat, college -I know, but I… -Egad. Here he comes -You know Alvy? This is Janet -This is Annie Hall -This is Alvy -Who's playing with who? -You and me against them? -- I can't play too good, you know? - I've had four lessons -Hi! -Well… -Bye -You play very well -Oh, yeah? So do you -Oh, God. What a dumb thing to say, right? -You say, “You play well” and then right away I have to say, “You play well.” -Oh! -God, Annie. Well… -Oh, well -You want a lift? -Oh, why? -You got a car? -Me? No. I was gonna take a cab -Oh, no. I have a car -You have a car? -I don't understand. If you have a car, so then… -why did you say, “Do you have a car?” Like you wanted a lift? -I don't… I don't… -Jeez, I don't know. I wasn't… -It's… I've got this VW out there -What a jerk! Yeah -Would you like a lift? -Sure. Which way are you going? -Me? Downtown -I'm going uptown -Well, you know, I'm going uptown too -You just said you were going downtown -Sorry -I can go uptown too. I live uptown, but what the hell! -Lt'll be nice having company. I hate driving alone -So where do you know Janet from? -- I'm in her acting class. - You're an actress? -Well, I do commercials, sort of -- You're not from New York, right? - Chippewa Falls -- Where? - Wisconsin -You're driving a tad rapidly -Don't worry. I'm a very good driver. I'm good -- You want some gum anyway? - No. No, thanks -Hey, don't… No, no. Would you watch the road? I'll get it! -- I'll get you a piece. - So, you drive? -Do I drive? No. I've got a problem with driving -Oh, you do? -I've got a licence, but I have too much hostility -Nice car. You keep it nice -Can I ask you? Is this a sandwich? -Huh? Oh, yeah -I live over here. Oh, my God! Look! There's a parking space -That's OK. We can walk to the kerb from here -- You want your tennis stuff? - Oh. Yeah -That's good. Thanks. Thanks a lot -Well… -Thank you -You're a wonderful tennis player and… -you're the worst driver I've ever seen in my life -Anyplace. Europe. The United… Anyplace. Asia -- And I love what you're wearing. - Oh, you do, yeah? -Oh, well, it's a… This tie is a present from Grammy Hall -Who? Grammy… Grammy Hall? -Yeah, my grammy -Did you grow up in a Norman Rockwell painting? -- Your grammy? - I know. It's pretty silly, isn't it? -My grammy never gave gifts. She was too busy getting raped by Cossacks -Well… -Thank you again -Hey, you wanna come upstairs and have a glass of wine or something? -I mean, you don't have to. You're probably late -No, that'd be fine. I wouldn't mind. Sure -I've got time. I've got nothing… till my analyst appointment -Oh, you see an analyst? -Yeah. Just for years -I'm gonna give him one more year and then I'm going to Lourdes -… Nah! Come on! -Yeah? Really? -Sylvia plath? Interesting poetess whose tragic suicide -was misinterpreted as romantic by the college-girl mentality -Oh, sorry -I don't know. Some of her poems seem neat -Neat? I hate to tell you, this is -“Neat” went out, I would say, at the turn of the century -Who are those photos on the wall? -Oh! Well, you see now… that's my dad -That's Father. And that's my brother Duane -- Duane? - Yeah, right. Duane -And over there is Grammy Hall. And that's Sadie -- Who's Sadie? - Oh, well, Sadie… -Sadie met Grammy through Grammy's brother George -George was real sweet. He had that thing… -What is that thing where you fall asleep in the middle of a sentence? What is it? -- Narcolepsy. - Right, right! -So anyway… George went to the union, you see, to get his free turkey -The union always gave George this free turkey at Christmas time -because he was shell-shocked in the First World War -Anyway, so George is standing in line - oh, just a sec - getting his free turkey -But the thing is, is that he falls asleep -and he never wakes up! -So… so he's dead! -He's dead. Yeah -Oh, dear -Well… Terrible, huh? Wouldn't you say? I mean, that's pretty awful -It's a great story, though. It really made my day -I think I should get outta here cos I think I'm imposing -Really? Well, maybe… -You know, I… -- You don't have to, you know. - I'm all perspired and everything -Didn't you take a shower at the club? -Me? No. Cos I never shower in a public place -Why not? -Cos I don't like to get naked in front of another man -Oh, I see. I see -I don't like to show my body to a man of my gender -You never know what's gonna happen -- years, huh? - years, yeah. That's… -God bless -You're what Grammy Hall would call “a real Jew” -Thank you -Yeah, well, she hates Jews. She thinks that they just make money -But she's the one. Is she ever! I'm tellin' you -So did you do those photographs in there or what? -Yeah. I sort of dabble around, you know. I dabble? Listen to me - what a jerk! -They're wonderful, you know. They have a… a quality. You are a great-looking girl. -Well, I would like to take a serious photography course. He probably thinks lm a yo-yo. -photography's interesting cos it's a new art form, I wonder what she looks like naked. -And a set of aesthetic criteria have not emerged yet -Aesthetic criteria? You mean whether it's a good photo or not? Lm not smart enough for him. Hang in there. -The medium enters in as a condition of the art form itself. I don“t know what l”m saying. She senses lm shallow. -Well… to me… I mean, it's… it's… It's all instinctive. I just try to feel it. God, I hope he doesnt turn out to be a shmuck like the others. -I try to get a sense of it and not think about it so much -Still, you need a set of aesthetic guidelines to put it in social perspective. Christ, I sound like FM radio. Relax! -Well, I don't know -I guess you must be sort of late, huh? -You know, I gotta get there and begin whining soon. Otherwise I… -- Hey, are you busy Friday night? - Me? -Oh, uh, no -Oh, I'm sorry! I have something -What about Saturday night? -Nothing. No, no -You're very popular, I can see -- I know. - Do you have plague? -Well, I mean, I meet a lot of jerks -I meet a lot of jerks too. I think that's a… -But I'm thinking about getting some cats -Oh, wait a second. Oh, no, no! -Oh, shoot! No. Saturday night I'm gonna… -I'm gonna sing. Yeah -You're gonna sing? Do you sing? No kidding? -- This is my first time. - Really? Where? I'd like to come -- Oh, no! - I'm interested -I'm just… I'm auditioning at this club. I don't… -- It's my first time. - It's OK. I know exactly what that's like -You're gonna like nightclubs. They're really a lot of fun -It had to be you -It had to be you -I wandered around -And finally found -The somebody who -Could make me be true -Could make me be blue -And even be glad -Just to be sad -Thinking of you -I was awful! I'm so ashamed! I can't sing! -So the audience was a tad restless -What do you mean, a tad restless? They hated me! -They didn't! You have a wonderful voice! -- I'm gonna quit. - I won't let you. You have a great voice -- Really? Do you think so? Really? - Yeah. It's terrific -I never even took a lesson, either -Hey, listen. Give me a kiss -- Really? - Because we're just gonna go home later -There's gonna be all that tension and I won't know when to make the right move -So we'll kiss now, we'll get it over with and then go eat -- We'll digest our food better. - OK -So now we can digest our food -I'm gonna have the corned beef, please -Oh. I'm gonna have pastrami on white bread -with mayonnaise and tomatoes and lettuce -So… your second wife left you. And were you depressed about that? -Nothing that a few megavitamins couldn't cure -And your first wife? Allison? -She was nice, but… That was my fault. I was just… I was too crazy -That was so nice -That was nice -As Balzac said, “There goes another novel.” -You were great -Yeah. I'm wrecked -- You're wrecked! - I mean it -I will never play the piano again -It was… I don't know. You really thought it was good? -Yes -That was the most fun I've ever had without laughing -Here. You want some? -No. I… I don't… use any major hallucinogenics because I… -took a puff about five years ago at a party and… -Tried to take my pants off over my head -Something got in one ear -Well, I don't really… I don't do it very often -It just sort of relaxes me -- You're not gonna believe this, but… - What? -I'm gonna buy you these books because I think you should read them -- Instead of that cat book. - That's pretty serious stuff there -Yeah. Cos I'm obsessed with death, I think. Big subject with me -I have a very pessimistic view of life -You should know this if we're gonna go out -I feel that life is divided up into the horrible and the miserable -Those are the two categories. The horrible would be like terminal cases -And blind people. And cripples. I don't know how they get through life -And the miserable is everyone else -So you should be thankful that you're miserable -You're very lucky to be miserable -Look at that guy -In the pink. Mr Miami Beach there -He's just come back from the gin rummy finals -placed third -Look at these guys. They're back from Fire Island. They're giving it a chance -- Italian, right? - Him? Yeah, he's the Mafia -Linen supply business or cement and contracting, I think -“Oh, gee! Must have my moustache waxed.” -There's the winner of the Truman Capote lookalike contest -You are extremely sexy. Unbelievably sexy -- No, I'm not. - Yes, you are -You know what you are? You're polymorphously perverse -What does that mean? I don't know what that is -You're exceptional in bed because you get pleasure -in every part of your body when I touch you. Like the tip of your nose -If I stroke your teeth or your kneecaps, you suddenly get excited -You know what? I like you -I really do like you -Do you love me? That's the key question -I know you've only known me a short while -I think that's sort of… Yeah. Yeah, yeah -Do you love me? -Love is… too weak a word for… the way I feel -I lurve you. You know, I loave you -I luff you. With two Fs. Yes, I have to invent… -Of course I do. Don't you think I do? -I don't know -You're not gonna give up your apartment, are you? -Of course -- But why? - I'm moving in with you -- But you've got a nice apartment. - I have a tiny apartment -- I know it's small. - And it's got bad plumbing and bugs -Granted. It has bad plumbing and bugs. You say that like it's a negative thing -You know, bugs are… Entomology is a rapidly growing field -- You don't want me to live with you. - I don't want you to live with me? -- Whose idea was it? - Mine -It was yours, actually. But I approved it immediately -I guess you think I talked you into something, huh? -No! We live together, we sleep together, we eat together -Jesus! You don't want it to be like we're married, do you? -- How is it any different? - Cos you keep your own apartment -We don't have to go to it. We don't have to deal with it -It's like a free-floating life raft. That we know that we're not married -That little apartment is $ a month, Alvy -- That place is $ a month? - Yes, it is -It's got bad plumbing and bugs -Jesus! My accountant will write it off as a tax deduction. I'll pay for it -- You don't think I'm smart enough. - Hey, don't be ridiculous -Then why are you always pushing me to take college courses like I was dumb? -Adult education's a wonderful thing -You meet interesting professors. It's stimulating -Does this sound like a good course? -“Modern American poetry”? -Or let's see now. Maybe I should take… -“Introduction to the Novel” -Just don't take any course where they make you read Beowulf. -Hey, what do you think? You think we should go to that party in Southampton? -Don't be silly. What do we need other people for? -We should just turn out the lights and play hide the salami or something -Well, listen, I'm gonna get a cigarette -Grass, right? The illusion that it will make a white woman more like Billie Holiday -- Well, have you ever made love high? - Me? No -If I have grass or alcohol or anything, I get unbearably wonderful -I get too wonderful for words -I don't know why you have to get high every time we make love -- Well, it relaxes me. - You have to be artificially relaxed -- before we can go to bed? - What's the difference? -Take a shot of Sodium pentothal. You can sleep through it -You've been seeing a psychiatrist for years -You should smoke this. You'd be off the couch in no time -- Come on. You don't need that. - What are you doing? -- No, Alvy. please. - You can live without it once -Wait. I got a great idea -Hang in there for a second. I got a little artefact -A little erotic artefact that I brought up from the city -which I think is gonna be perfect -There. Create a little old New Orleans essence -Now we can go about our business here -and even develop photographs if we want to -- Hey, is something wrong? - No. Why? -I don't know. It's like you're removed -- No, I'm fine. - Really? -I don't know. You seem sorta distant -Let's just do it, all right? -Is it my imagination or are you just going through the motions? -Do you remember where I put my drawing pad? -While you two are doing that, I think I'm gonna do some drawing -- That's what I call removed. - Oh, you have my body -Yeah, but I want the whole thing -Well, I need grass -Well, it ruins it for me if you have grass -I'm a comedian. If I get a laugh from a person who's high -it doesn't count, cos they're always laughing -- Were you always funny? - What is this? An interview? -We're supposed to be making love -This guy is naturally funny. I think he can write for you -Yeah, yeah. Hey, kid, he tells me you're really good -Let me explain how I work -I don't look like a funny guy like some of the guys that come out -You know you're gonna fall down -But material's gotta be sensational for me. I work with very… I'm kinda classy -Let me explain. For instance, I open with a song. Musical style like… -place looks wonderful from here -And you folks look wonderful from here -And seeing you there with a smile on your face -Makes me shout “This must be the place” -Then I open with some jokes. That's where I need you -“I just got back from Canada. They speak a lot of French up there.” -“The word to remember is Jeanne d”Arc. It means the light's out in the bathroom -“I met a big lumberjack…” -Jesus! This guys pathetic. -Look at him mincing around. -He thinks hes real cute. You wanna throw up. -If only I had the nerve to do my own jokes. -I dont know how much longer I can keep this smile frozen on my face. -Lm in the wrong business. I know it. -“But… chéri…” -“What will I do with this?” -“Oh, Marie! Sometime you make me so mad!” -They scream at that! Write me something like that. A French number. Can you do it? -Where am I? I have to reorient myself -This is the University of Wisconsin, right? Cos I'm always… tense… -I have a very bad history with colleges. I went to New York University -And I was thrown out of NYU in my freshman year -for cheating on my metaphysics final -I looked within the soul of the boy sitting next to me -My mother, an emotionally high-strung woman -locked herself in the bathroom and took an overdose of mah-jongg tiles -I was depressed at that time. I was in analysis -I was suicidal, as a matter of fact, and would have killed myself -But I was in analysis with a strict Freudian -If you kill yourself, they make you pay for the sessions you miss -Alvy, you were just great. I'm not kidding. It was… -- You were so funny. - College audiences are wonderful -And I'm starting to get more of the references too -Are you? Well, the o'clock show's completely different -I'm really looking forward to tomorrow. You'll meet Mother and Father -- They'll hate me immediately. - I don't think so -I don't think they're gonna hate you at all. It's Easter. We'll have a nice dinner -I think they're gonna really like you -It's a nice ham this year, Mom -Oh, yeah -Grammy always does such a good job -A great sauce! -It is. It's dynamite ham -We went over to the swap meet -Annie, Gram and I. We got some nice picture frames -We really had a good time -Ann tells us that you've been seeing a psychiatrist for years -Yes. I'm making excellent progress -pretty soon when I lie down on his couch, I won't have to wear the lobster bib -- Duane and I went out to the boat basin. - We were caulking holes all day -And Randolph Hunt was drunk. As usual -That Randolph Hunt. You remember Randy Hunt, Annie -- He was in the choir with you. - Oh, yes -I can't believe this family -Annie's mother is really beautiful -And they're talking swap meets and boat basins -And the old lady at the end of the table is a classic Jew-hater -They really look American. Very healthy. Like they never get sick or anything -Nothing like my family. The two are like oil and water -Let him drop dead. Who needs his business? -- His wife has diabetes. - Diabetes? -Is that an excuse? Diabetes? -The man is years old and doesn't have a substantial job -- Is that a reason to steal from his father? - What are you talking about? -Sure! Defend him! -pass the wurst there -Mo Moskowitz, he had a coronary -You don't say! -How do you plan to spend the holidays, Mrs Singer? -- We fast. - Fast? -No food. To atone for our sins -What sins? I don't understand -To tell you the truth, neither do we -Alvy -Hi, Duane. How's it goin'? -This is my room -Oh, yeah? It's terrific -Can I confess something? -I tell you this because, as an artist, I think you'll understand -Sometimes when I'm driving -on the road at night, I see two headlights coming toward me -Fast. I have this sudden impulse to turn the wheel quickly -head-on into the oncoming car -I can anticipate the explosion -The sound of shattering glass. The… -flames rising out of the flowing gasoline -Right. Well… -I have to go now, Duane, because I… -I'm due back on the planet Earth -- Don't let it be so long. - Look up Uncle Billy -- He is adorable. - Do you think so? -- You're taking them to the airport? - Duane can. I haven't finished my drink -Yes, Duane is. Just a second. I have to get… -- You followed me. - I didn't follow you -You followed me! -I was walking behind staring at you. That's not following -- What is your definition of following? - I was spying -- Do you realise how paranoid you are? - You've got your arms around a guy -That is the worst kind of paranoid -I didn't start out spying. I thought I'd pick you up after school -You wanted to keep the relationship flexible, remember? -You're having an affair with your professor -That jerk that teaches that crap course - Contemporary Crisis in Western Man? -Existential Motifs in Russian Literature! -It's all mental masturbation -We finally get to a subject you know about -Don't knock masturbation. It's sex with someone I love -We're not having an affair. He's married. He just happens to think I'm neat -Neat. Are you years old? -- That's a Chippewa Falls expression. - Who cares?! -Next he'll find you keen and peachy. Then he's got his hand on your ass -You've always had hostility towards David -- You call your teacher David? - It's his name -It's a biblical name, right? What does he call you? Bathsheba? -Alvy, you're the one who never wanted to make a real commitment -You don“t think l”m smart enough. -We had that argument just last month. Or dont you remember that day? -- I'm home! - Oh, yeah? How did it go? -Oh, it was really weird, but she's a very nice woman -I didn't have to lie down on the couch. She had me sitting up -I told her about the family and my feelings towards men -and my relationship with my brother -She mentioned penis envy. Do you know about that? -I'm one of the few males who suffers from that. Go on. I'm interested -She said I was very guilty about my impulses towards marriage and children -Then I remembered, when I was a kid, I accidentally saw my parents making love -All this happened the first hour? -I've been going for years. I don't have… nothing like that -I told her my dream and then I cried -You cried? I have never once cried. That's fantastic -I whine. I sit and I whine -In my dream, Frank Sinatra is holding this pillow across my face and I can't breathe -- Sinatra? - Yeah. Strangling me -Sure. Because he's a singer and you're a singer -It's perfect. So you're trying to suffocate yourself -It's a perfect analytic kind of insight -She said your name was Alvy Singer -- What do you mean? Me? - Yeah, you -Because in the dream I break Sinatra's glasses -You never said Sinatra had glasses. What are you saying? That I'm suffocating you? -God, Alvy. I did this really terrible thing to him -Because then, when he sang, it was in this real high-pitched voice -What did the doctor say? -I should probably come five times a week -I don't think I mind analysis at all. The only question is, will it change my wife? -- Will it change your wife? - My life -- You said, “Will it change my wife?” - I said, “Will it change my life?” -- You said wife. - Life! I said life -She said, “Will it change my wife?” You heard that, so I'm not crazy -I told her I didn't think you'd ever take me seriously -because you don't think I'm smart enough -Why do you always bring that up? -Because I encourage you to take adult education courses? -You meet wonderful, interesting professors -Adult education is such junk. The professors are so phoney -I don't care what you say about David. He's a fine teacher -And why are you following me around? -- I was following you and David. - Let's call it quits -That's fine. That's great. I don't know what I did wrong -She cooled off to me. Is it something that I did? -It's never something you do. That's how people are. Love fades -Love fades? God! That's a depressing thought -I have to ask you a question. With your wife in bed -does she need some kind of artificial stimulation? Like marijuana? -We use a large vibrating egg -A large vibrating egg? -Well, I ask a psychopath, I get that kind of an answer. Jesus! -Here. You look like a very happy couple -- Are you? - Yeah -So how do you account for it? -I'm very shallow and empty -and I have no ideas and nothing interesting to say -- And I'm exactly the same way. - I see. Well, that's very interesting -So you've managed to work out something, huh? -Well, thanks very much for talking to me -Even as a kid, I always went for the wrong women. I think thats my problem. -My mother took me to see Snow White. Everyone fell in love with Snow White. -I immediately fell for the Wicked Queen. -- We never have any fun any more. - How can you say that? -You're always leaning on me to improve myself -You must be getting your period -I don't get a period! I'm a cartoon character -Can't I be upset once in a while? -Max, forget about Annie. I know lots of women you can date -I don't wanna go out with any other women -I have got a girl for you. You'll love her. She's a reporter for Rolling Stone. -I think there are more people here to see the Maharishi than there were for Dylan -I covered the Dylan concert, which gave me chills -Especially when he sang, “She takes just like a woman.” -“And she makes love just like a woman. Yes, she does.” -“And she aches just like a woman.” -“But she breaks just like a little girl.” -After that, the most charismatic event I covered -was Mick's birthday at Madison Square Garden -- That's great. That's just great. - Did you catch Dylan? -Me? No, I couldn't make it. My raccoon had hepatitis -You have a raccoon? -A few -The only word for this is transplendid -It's transplendid -I can think of another word -He's God. This man is God. He's got millions of followers -who would crawl across the world just to touch the hem of his garment -Yeah? Must be a tremendous hem -I'm a Rosicrucian myself -I can't get with any religion that advertises in popular Mechanics. -Look. There's God coming out of the men's room -It's unbelievably transplendid! -I was at the Stones concert when they killed that guy -Were you? I was at an Alice Cooper thing -where six people were rushed to the hospital with bad vibes -I hope you don't mind that I took so long to finish -Oh, no. Don't be… Don't be silly. You know, I… -I'm starting to get some feeling back in my jaw now -Sex with you is really a Kafkaesque experience -Oh. Thank you -I mean that as a compliment -I think… I think there's too much burden placed on the orgasm -You know, to make up for empty areas in life -Who said that? -I don't know. I think it may have been Leopold and Loeb -Oh, hi! -Uh… no. What… -What's the matter? -You sound terrible -No. Sure, I… -What kind of emergency? -No. Well, stay there. I'll come over right now -Just stay there. I'll come right over -It's me. Open up. Are you OK? -What's the matter? Are you all right? -There's a spider in the bathroom -What? -There's a big, black spider in the bathroom -You got me here at three in the morning cos there's a spider in the bathroom? -You know how I am about insects. I can't sleep with a live thing crawling around -Kill it! What's wrong with you? Don't you have a can of Raid? -I told you a thousand times. You should always keep a lotta insect spray -You never know who's gonna crawl over -And a first-aid kit and a fire-extinguisher… -Give me a magazine, cos I'm a little tired -You make fun of me, but I'm prepared for anything -An emergency, a tidal wave, an earthquake -Hey, what is this? Did you go to a rock concert? -Oh, yeah? Really? -How'd you like it? -Was it… I mean, was it heavy? Did it achieve total heavy-ocity? -It was just great -Why don't you get the guy that took you to the rock concert -to come over and kill the spider? -I called you. You wanna help me or not, huh? -Since when do you read the National Review? -- What are you turning into? - I like to try to get all points of view -Then get William F Buckley to kill the spider -Alvy, you're a little hostile. You know that? -Not only that. You look thin and tired -It's three o'clock in the morning! You got me out of bed -I ran over here. I couldn't get a taxi cab. You said it was an emergency -I ran up the stairs. I was a lot more attractive when the evening began -Are you going with a right-wing rock-and-roll star? -Would you like a glass of chocolate milk? -Hey, what am I? Your son? I came over for… -I got the good chocolate -- Where's the spider? - It's in the bathroom -Don't squish it. And after it's dead, flush it down the toilet a couple of times -Darling, I've been killing spiders since I was , OK? -It's a very big spider. Lotta trouble. There's two of them -I didn't think it was that big, but it's a major spider. You got a broom? -It's at your house. I think I left it there. I'm sorry. What are you doing? -Honey, there's a spider in your bathroom the size of a Buick -- What is this? You got black soap? - It's for my complexion -What, are you joining a minstrel show? -Don't worry! -I did it. I killed them both. What are you sad about? -What did you want me to do? Capture 'em and rehabilitate 'em? -- Oh, don't go. please. - What do you mean, don't… -What's the matter? Are you expecting termites? -What's the matter? -I don't know. I miss you -- Oh, Jesus. Really? - Oh, yeah -- Alvy? - What? -Was there somebody in your room when I called you? -- What do you mean? - Was there… I thought I heard a voice -I had the radio on. I'm sorry - it was the television set -I was watching… -Alvy, let's never break up again -I don't wanna be apart -I think we're both much too mature for something like that -Living together hasn't been so bad, has it? -No. For me, it's been terrific. You know? -Better than either one of my marriages -There's just something different about you. I don't know what it is, but it's great -You know, I think that if you let me, maybe I could help you have more fun -I mean, I know it's hard. It's… -Alvy, what about… what if we go away this weekend? -Why don't we get Rob, and the three of us would drive into Brooklyn? -We could show you the old neighbourhood. That'd be fun for you -Yeah, it would -Oh, my God! It's a great day! -Watch the road! You're gonna total the whole car! -I've never even been to Brooklyn -I can't wait to see the old neighbourhood. We can show her the schoolyard -I was a great athlete. Tell her, Max. The best. I was all-schoolyard -They threw him a football once and he tried to dribble it -I used to lose my glasses a lot -Oh, look! That's my old house. That's where I used to live -Holy cow! -You're lucky. Where I lived is now a pornographic equipment store -I have some very good memories there -Your mother and father fighting all the time? -Yeah, and always over the most ridiculous things -- You fired the cleaner? - She stole! -She's coloured! They have enough trouble! -- She went through my pocketbook! - They're persecuted enough! -- Who's persecuting? She stole! - So? We can afford it! -How can we afford it? On your pay? What if she steals more? -She's a coloured woman from Harlem! She has no money! -She's got a right to steal from us! Who is she gonna steal from if not us? -- You're both crazy! - They can't hear you, Max -Leo, I married a fool! -Hey, Max. What's that? -That's the welcome-home party, , for my cousin Herbie -Look. There. That's Joey Nichols. He was my father's friend -He was always bothering me when I was a kid -Joey Nichols. See? Nickels -See? Nickels -You see? Nickels. You can always remember my name -Just think of Joey Five Cents -That's me! Joey Five Cents! -What an asshole -The one who killed me the most was my mother's sister Tessie -I was always the sister with good common sense -Tessie was always the one with personality -When she was younger, they all wanted to marry Tessie -Tessie Moskowitz had the personality. She's the life of the ghetto, no doubt -She was once a great beauty -Tessie, they say you were the sister with personality -I was a great beauty -- How did this personality come about? - I was very charming -There were many men interested in you? -Oh, I was quite a lively dancer -That's very hard to believe -Well, I had a really good day. It was just a real fine way to spend my birthday -- Your birthday's not till tomorrow. - But it's real close -Yeah, but no presents till midnight -I wonder what this is -- Happy birthday. - What is this? -Is this a present? Are you kidding? -- Yeah. Why don't you try it on? - Yeah? I don't… -- This is more like a present for you. - It'll add ten years to our sex life -- Yeah. Forget it. - Here's a real present -Oh, yeah? What is this, anyway? -- Check it out. - Let me see -OK. Let's see -Oh, God! -You knew I wanted this. God! It's terrific -Just put on the watch and the… and that thing and everything -Oh, God. Oh -Seems like -Old times -Having you -To walk with -Seems like -Old times -Having you to walk with -And it's still a thrill -Just to have my arms around you -Still the thrill -That it was the day I found you -Seems like -Old times -Dinner dates and flowers -Old times -Staying up all hours -Making dreams come true -Doing things we used to do -Seems like old times -Here with -You -Thank you -You were sensational. I told you if you stuck to it you would be great -And… and you know… you were sensational -Well, Alvy, they were just a terrific audience -It makes it really easy for me because I can be… -Excuse me -Hi, I'm Tony Lacey -We just wanted to stop by and say that we really enjoyed your set -Oh, yeah, really? -I thought it was very musical and I liked it a lot -That's really nice. Thanks a lot -Are you recording? Do you… Are you with any label now? -Me? No -No. Not at all -Well, I'd like to talk to you about that sometime if you get a chance -- possibly working together. - Well, that's nice -Oh, listen. This is Alvy Singer. Do you know Alvy? -No, but I know your work. I'm a big fan of yours -Thank you very much -This is Shaun and Bob and… Bob and petronia -Hi -We're going back to the pierre. We're staying at the pierre -We're gonna meet Jack and Anjelica and have a drink -If you'd like to come, we'd love to have you -We can just sit and talk. Nothing… -Not a big deal. It's just relaxed. It would just be very mellow -Remember we have that thing -What thing? -Don't you remember we discussed that thing that we were… We had a… -Oh, the thing! -Yeah… -Oh, well, if it's inconvenient, that's fine too. We'll do it another time -Maybe if you're on the coast, we'll get together and meet there -It was a wonderful set. I really enjoyed it -Nice to have met you. Good night -Bye -What's the matter? You wanted to go to that party? -I don't know. I thought it might be kinda fun -It would be nice to meet some new people -I don't think I could take a mellow evening. I don't respond well to mellow -I have a tendency to… If I get too mellow, I ripen and then rot -It's not good for my… -So you don't wanna go to the party. So what do you wanna do? -That was the last day I remember really having a good time -- We never have any laughs any more. - I've been moody and dissatisfied -- How often do you sleep together? - Do you have sex often? -- Hardly ever. Maybe three times a week. - Constantly. I'd say three times a week -- The other night Alvy wanted to have sex. - She would not sleep with me -Then… I don't know… Six months ago I would have done it just to please him -I tried everything, you know. I put on soft music and my red light bulb -But the thing is, since our discussions here -I feel I have a right to my own feelings -I think you would have been happy because I asserted myself -I'm paying for her analysis. And she's making progress and I'm getting screwed -I feel so guilty because Alvy is paying for it -So I do feel guilty if I don't go to bed with him -If I do go to bed with him, it's like I'm going against my own feelings -She's making progress and I'm not. Her progress is killing my progress -Sometimes I think I should just live with a woman -I don't believe it! You mean to tell me you guys have never snorted coke? -Well, I always wanted to try. But Alvy, he's very down on it -Don't put it on me. I don't wanna put a wad of white powder in my nose -There's the nasal membrane -- You never wanna try anything new, Alvy. - How can you say that? -I said that you, I and that girl from your acting class should have a threesome -- Well, that's sick! - I know it's sick, but it's new -You didn't say it couldn't be sick -Come on, Alvy -Do your body a favour. Try it -I'm sure it's a lot of fun, cos the Incas did it -And they were a million laughs -Come on. For your own experience. You wanna write -It's great stuff. A friend of mine just brought it in from California -Oh, you know, we're going to California next week -It's incredible. I'm thrilled, as you know -On my agent's advice, I sold out and I'm gonna do an appearance on TV -No. That's not it at all. Alvy's giving an award on television -You act like you're violating a moral issue -We have to leave New York during Christmas week, which kills me -Listen, while you're in California, could you possibly score some coke for me? -Oh, sure. I'd be glad to. I'll just put it in a hollow heel that I have on my boot -How much is this stuff, incidentally? -It's about $, an ounce -Really? And what is the kick of it? Cos I never… -I've never been so relaxed as I have been since I moved here, Max -I want you to see my house. I live next to Hugh Hefner. He lets me use the Jacuzzi -And the women are like the women in playboy magazine -only they can move their arms and legs -I can't get over it - this is really Beverly Hills -The architecture's so consistent -French next to Spanish next to Tudor next to Japanese -God! It's so clean out here -They don't throw their garbage out. They make it into TV shows -Give us a break, Max. It's Christmas -Can you believe this is Christmas? -It was snowing and really grey in New York, naturally -Santa Claus'll have sunstroke -Max, there's no crime. There's no mugging -There's no economic crime -But there's ritual religious-cult murders. There's wheat-germ killers out here -While you're out here, I want you to see some of my TV show -And we're invited to a big Christmas party -All right now, Charlie, give me a good laugh here -… limousine to the track break down? -A little bigger -Max, you realise how immoral this all is? -- Max, I got a hit series. - I know. But you're adding fake laughs -… home so early. -Give me a tremendous laugh here, Charlie -We do this show live in front of an audience -And nobody laughs, cos the jokes aren't funny -That's why this machine is dynamite -Honey, you“d better lie down. You”ve been in the sun too long. -Now give me a medium-sized chuckle here -And then a big hand -Is there booing on that? -Oh, Max -I don't feel well -- What's the matter? - I don't know. I just got… very dizzy -- I feel dizzy, Max. - Well, sit down -Oh, Jesus! -- Are you all right? - I don't know -- You wanna lie down? - No. My stomach felt queasy all morning -- How about a ginger ale? - Oh… Max, no -Maybe I'd better lie down -Why don't you try to get a little of this down? It's just plain chicken -Oh, no. I can't eat this -I'm nauseous -If you can just give me something to get me through the next two hours -I have to go out to Burbank and give out an award on a TV show -There's nothing wrong with you, actually, so far as I can tell -You have no fever. No symptoms of anything serious -- You haven't eaten pork or shellfish. - Excuse me. I'm sorry, doctor -Alvy, that was the show. They said everything is fine -They found a replacement so they're going to tape without you -Jesus! Now I don't get to do the TV show? -- I know. Listen, doctor. - I was just saying, I can't find anything -- Nothing at all? - No. I could get a lab man up here -Can I have the salt, please? -perhaps it would be even better if we took him to hospital for a day or two -Otherwise there's no real way to tell what's going on -This is not bad, actually -Don't tell me we have to walk from the car to the house -My feet haven't touched pavement since I reached Los Angeles -I'll take a meeting with you if you'll take a meeting with Freddy -I took a meeting with Freddy. Freddy took a meeting with Charlie -All the good meetings are taken -Right now it's only a notion. But I think I can get money -to make it into a concept, and then turn it into an idea -Like this house, Max? -I even brought a map to get us to the bathroom -You should have told me it was Tony Lacey's party -What difference does that make? -- I think he has a thing for Annie. - No. Unfortunately, Max -- he goes with that girl over there. - Where? -The one with the VpL -Visible panty Line -- Max, she is gorgeous. - Yeah, she's a ten, Max -- Great for you, cos you're used to twos. - There are no twos, Max -The kind with shopping bags in Central park with surgical masks on, muttering -How do you like this couple? They just came back from Masters and Johnson -Yeah. Intensive care ward -My God. Hey, Max, I think she's giving me the eye -If she comes over, my brain'll turn into guacamole -- Hi. - You're Alvy Singer, right? -- Didn't we meet at EST? - No, I was never to EST -- Then how can you criticise it? - Oh, he didn't say anything -I came out to get some shock therapy, but there was an energy crisis -- He's my food taster. Have you two met? - How you doing? -- You taste to see if the food's poisoned? - Yeah. He's crazy -You guys are wearing white. It must be in the stars. Uri Geller must be here -We're gonna operate together -We just need about six weeks. In six weeks we could cut the whole album -I don't know. This is strange to me -You can come and stay here. There's a whole wing you can have -- Yeah? Stay here? - Really. Why are you smiling? -I don't know -Not only is he a great agent, but he really gives good meeting -This is a great house. Really. Saunas, Jacuzzis, three tennis courts -You know who the original owners were? Nelson Eddy, then Legs Diamond -- Then you know who lived here? - Trigger -Charlie Chaplin. Right before his un-American thing -That's great -- But you guys are still New Yorkers. - Yeah, I love it there -I used to live there. I used to live there for years, but… It's so dirty now -I'm into garbage. It's my thing -This is a really nice screening room, Tony -There's another thing about New York -If you wanna see a movie, you have to stand in line. It could be freezing -We saw Grand Illusion here last night -Hey, that's a great film if you're high -Come and see our bedroom. We did a fantastic thing -No, thanks, man. I'm cool -It's wonderful. They just eat and watch movies all day -And gradually you get old and die -It's important to make an effort once in a while -Do you think his girlfriend's beautiful? -A tad on the androgynous side, but dynamite -Yeah. I forgot my mantra -That was fun. -I don“t think California”s bad at all. -Its a drag coming home. -A lot of beautiful women. -It was fun to flirt. -I have to face facts. -I adore Alvy, but our relationship doesnt seem to work any more. -Lll have the usual trouble with Annie in bed tonight. -What do I need this? -If only I had the nerve to break up. But it would really hurt him. -If only I didnt feel guilty asking Annie to move out. -Itd probably wreck her. But I should be honest. -Alvy, let's face it. You know… -I don't think our relationship is working -I know. A relationship, I think, is like a shark -It has to constantly move forward, or it dies -And I think what we got on our hands is a dead shark -Whose Catcher in the Rye is this? -If it has my name on it, then I guess it's mine -It sure has… You wrote your name in all my books -cos you knew this day was gonna come -Alvy, you wanted to break up just as much as I do -No question. I think we're doing the mature thing, without any doubt -All the books on death and dying are yours, and all the poetry books are mine -Denial of Death. This is the first book that I got you. Remember that day? -Jeez, I feel like there's a great weight off my back. Hm -Oh. Thanks, Annie -Oh, no, no, no. I mean, I think it's really important for us -to explore new relationships and stuff like that -There's no question about that. Cos we've given this a more than fair shot -My analyst thinks this move is key for me -And, you know, I trust her. Because my analyst recommended her -Why should I put you through all my moods and hang-ups anyway? -And you know what the beauty part is? -- We can always get back together again. - Exactly -I don't think many couples could handle this. Just break up and remain friends -Hey, this one's mine, this button. I guess these are all yours -Impeach Eisenhower. Impeach Nixon -Impeach Lyndon Johnson. Impeach Ronald Reagan -I miss Annie. I made a terrible mistake -She's living in Los Angeles with Tony Lacey -Then the hell with her. If she likes that lifestyle, let her live there -- He's a jerk, for one thing. - He graduated Harvard -He may have… Listen, Harvard makes mistakes too. Kissinger taught there -Don't tell me you're jealous -Yeah. Jealous? A little bit. Like Medea -Can I show you something, lady? I have here… I found this in the apartment -Black soap. She used to wash her face times a day with black soap -Don't ask me why -Why don't you go out with other women? -Well, I tried. But it's… you know, it's very depressing -This always happens to me. Quick! Get a broom! -What are you making such a big deal about? They're only lobsters -You're a grown man. You know how to pick up a lobster -- I'm not myself since I stopped smoking. - When did you quit? - years ago -What do you mean? -Mean? -You stopped smoking years ago. Is that what you said? -I don't understand -Are you joking or what? -Central park's turning green -Yeah. I saw that lunatic that we used to see -with the pinwheel hat, you know, and the roller skates -Listen, I… I want you to come back here -Well… Then I'm gonna come out there and get you -What do you mean, where am I? Where do you think I am? -I'm at the Los Angeles airport. I flew in -I… Well, I flew in to see you -Hey, listen. Can we not debate this on the telephone? -Because I feel that I got a temperature -And I'm getting my chronic Los Angeles nausea already. I don't feel so good -Wherever you wanna meet. I don“t care. L”ll drive in. I rented a car. -Lm driving. What do you… -What, is that such a miracle? Lm driving myself. -I'm gonna have the alfalfa sprouts and… -a plate of mashed yeast -You look very pretty -Oh, no. I just lost a little weight, that's all -Well… you look nice -I've been thinking about it, and I think that we should get married -Oh, Alvy. Come on -Why? You wanna live out here? -It's like living in Munchkin Land -What do you mean? It's perfectly fine out here -I mean, Tony's very nice -And… well, I meet people and I go to parties and we play tennis -I mean, that's a very big step for me, you know -I mean, I'm able to enjoy people more -So… you're not gonna come back to New York? -What's so great about New York? It's a dying city. You read Death in Venice. -You didn't read Death in Venice till I bought it for you -That's right. You only gave me books with the word “death” in the title -Cos it's an important issue -Alvy, you're incapable of enjoying life -You're like New York City. You're just this person -You're like this island unto yourself -I can't enjoy anything unless everybody is -If one guy is starving someplace, that's… it puts a crimp in my evening -So you wanna get married or what? -No. We're friends -I wanna remain friends -OK -Check, please! -You're mad, aren't you? -Yes, of course I'm mad. Because you love me. I know that -Alvy,
2 ) 愛總是一個(gè)太柔弱的詞
伍迪艾倫在他的著作《門薩的娼妓》中曾做了這樣的設(shè)想,他專為高智商的知識(shí)分子們設(shè)計(jì)了一種娼妓服務(wù)。這些娼妓擁有高深的文學(xué)造詣,能夠?yàn)椤伴T薩們”提供精神交歡的需求。他們可以暢談學(xué)術(shù),可以聊一聊象征主義,甚至可以將梅爾維爾和霍桑上升到比較文學(xué)的范疇,以補(bǔ)償他們在享受男女肉體歡樂中所缺失的精神交流。這是伍迪艾倫的美好愿望:一種精神和肉體雙重享受的男女關(guān)系新模式。
知識(shí)分子總是在尋找著一種性靈契合的愛情。但是徘徊之后才恍然發(fā)現(xiàn),完美的愛情根本不存在,男女關(guān)系總是非理性、瘋狂甚至是荒謬的。但是“就像雞需要雞蛋一樣,人們還是需要這一切”。伍迪艾倫可不接受好萊塢的空洞華麗,他可能是這個(gè)世界上為數(shù)不多的堅(jiān)定的懷疑論者之一。或者就如電影中安妮說的那樣:不信任這個(gè)世界,看什么都像是有陰謀。
伍迪艾倫本人和片子中的埃爾維如出一轍。這也是一部被稱為他半自傳式的電影。埃爾維就是這樣的一個(gè)人:猶太人、喜劇演員,喋喋不休的完美主義者、懷疑論者,有過兩次失敗的婚姻。電影的主線落在他的第三段愛情上,那是關(guān)于安妮霍爾的故事。
安妮這樣的女人確實(shí)有魅力。埃爾維與她初次相識(shí)是在網(wǎng)球場上。她是那種能把禮帽、領(lǐng)帶、夾克和襯衫穿出時(shí)尚的女人。緊張的時(shí)候會(huì)爆出有趣的調(diào)子。他們一見鐘情,但埃爾維有他知識(shí)分子的古怪習(xí)性,希望安妮與他在肉體的親密之外有更過精神世界的交流。于是他成為了安妮的精神導(dǎo)師,在它們的關(guān)系中因?yàn)樗麄儗?dǎo)向性的優(yōu)勢,他牢牢地握著安妮以及重新塑造她的樂趣。而她為他的見地而傾倒,她愿意隨他的意志去完善其身。
只是,愛情由濃轉(zhuǎn)淡是多么容易的事,和茶由熱轉(zhuǎn)涼一樣是在一瞬間,即使埃爾維也清楚地知道“愛本來就是一個(gè)太柔弱的詞匯”。他們漸漸對彼此不滿,生活中充斥著爭論。安妮在完善自我中,得到了許多埃爾維也始料未及的收獲。她與她在大學(xué)旁聽的文學(xué)課程的教室親密起來,她的唱歌事業(yè)也有了起色,世界也變得豐富起來。她變得有想法、有觀點(diǎn),而埃爾維糾結(jié)于他給予的指引帶來了安妮所擁有的一切。他們爭吵,最終分開。其實(shí),他們自己和我們?nèi)魏稳艘粯佣记宄孛髁恕皭蹠?huì)消退”的道理。
這是一次對愛情的檢索,在它最想要達(dá)到的那個(gè)境界中,它失敗了。如伍迪艾倫說的:它是那種以爭吵不休、相互怨恨、變得尖刻而告終的分手----它是以兩人之間形成了美好而溫暖的朋友關(guān)系而告終的。那或許也算是某種形式的補(bǔ)償。在人們興致勃勃于占據(jù)絕對主導(dǎo)的美好愛情故事面前,伍迪艾倫的電影拋出的是毫不留情的剖析,沒有完美的假象,只有生活的真實(shí)。他的觀點(diǎn)里或許是沒有愛情這種東西的存在,或者,愛情本來就是一瞬間的,從不長久存在。這個(gè)堅(jiān)定的懷疑論者只信任性和死亡。如果三分之二的婚姻是慣性的使然,只有余下的三分之一是愛情,那么我們都還走在尋覓的途中,就像“大多數(shù)人都需要雞蛋”一樣。
3 ) 一些亂七八糟的補(bǔ)充
關(guān)于《安妮·霍爾》的敘述問題,友鄰已經(jīng)講得很清楚了,參見//movie.douban.com/review/12065341/。以下僅對此作我個(gè)人的一些補(bǔ)充并配截圖,會(huì)引用其中的論述和概念界定,但說錯(cuò)不準(zhǔn)罵我(。
老師說艾爾維要向唐納德學(xué)習(xí),幼年艾爾維突然發(fā)問,用的是today
延續(xù)現(xiàn)在時(shí)態(tài),但此時(shí)觀眾還不知道是什么意思
此時(shí)旁白,即成年艾爾維(b)給出了解釋,用了wonder
觀眾這才明白用意,但同學(xué)究竟混得如何,觀眾依舊無法肯定
這一段友鄰將其解釋為“教室里的艾爾維突然讓小學(xué)同學(xué)講述他們?nèi)蘸蟮某删?,喜劇性來源于從超敘述層介入主敘述并讓主敘述的人物做出出人意料的行為。”其?shí)這里的敘述行為可以分解為:幼年艾爾維(a)和成年艾爾維(b)發(fā)生了重疊,既可以看作是主敘述層的敘述者b對被敘述者a的指導(dǎo),也可以看作是b對a的附身,然后“讓其他不重要的角色在主敘述中突然做出他們顯然不可能做到的事”。當(dāng)然總的來說還是敘述干預(yù)手段沒錯(cuò)。
友鄰還提到了旁白在基于影片的敘述結(jié)構(gòu)上呈現(xiàn)的效果之多樣,“‘取代’作為隨時(shí)可能發(fā)生的人物動(dòng)作,在發(fā)生的時(shí)候會(huì)打斷正常敘述的事件,其對敘述本身的破壞構(gòu)成了一種‘間離’式的喜劇性”。以下也是一個(gè)很好的例子:艾爾維在房間里與第二任妻子的對話:
伍迪·艾倫在這里就已狡黠地提到了“modes of alienation”
突然的直接引語,這里艾爾維還有一個(gè)很快地瞥向攝影機(jī)的小動(dòng)作
這一段又是b對a的突然“附身”,甚至可以說是宣告著自己的存在,而如此造成的間離效果,又與前面的臺(tái)詞“modes of alienation”構(gòu)成回響式的反諷。伍迪·艾倫喜劇效果往往就是以諸如此類復(fù)雜的文學(xué)和影像修辭交織而成。
友鄰還提到了電影開頭的b與a在“depressive character”問題上的強(qiáng)烈反差,此類例子還有:
這種喜劇效果既是敘事結(jié)構(gòu)的分層使然,也是向觀眾揭示b瑣碎自我沉溺善妒性格的手段。而這種剪輯邏輯在下面這一段也是被沿用的,但這次艾爾維(b)有些含糊其辭:
安妮問道:“你一直那么搞笑嗎?”艾爾維沒有正面回答,而是直接進(jìn)入了下一個(gè)敘事段落:
一方面接上了之前的臺(tái)詞,對艾爾維喜劇事業(yè)的具體展開,(也可以自然過渡到之后到安妮家吃飯的段落,可以說本片的剪輯是非常有邏輯的,而不是像一些影評所批評的“零散的碎片化的”)也構(gòu)成了另一個(gè)“回響”:艾爾維是不是天生搞笑并不重要,重要的是他的喜劇內(nèi)容源自其對自身悲劇性的充分認(rèn)識(shí)。而這也是伍迪·艾倫喜劇的核心。
另外,友鄰還提到了飯桌上黑衣黑帽的“大胡子形象”,其實(shí)這是傳統(tǒng)猶太教徒的裝束:
簡單來說,猶太教認(rèn)為,顏色越暗越虔誠,所以通常黑色是信仰猶太教人裝束的顏色。除了全身都是黑色,男性還留有絡(luò)腮胡,因?yàn)楠q太教經(jīng)典里規(guī)定:男性猶太人不能剃臉頰邊的須發(fā),包括鬢角的頭發(fā)。此外帽子也是必不可少的,一般有三種帽子:一種是非常小的無邊小氈帽(Kippah),另一種是有邊的大黑禮帽,還有一種是大的帶毛的圓帽(毛帽)。
這個(gè)鏡頭當(dāng)然暗示了b敘述之不可靠,而且也是源自其自身作為美國猶太人的文化心理(全片艾爾維一直在抱怨“反猶主義”),而文化背景的差異也是導(dǎo)致安妮和艾爾維的愛情悲劇的重要原因之一。
沒了。
4 ) 《安妮?霍爾》——伍迪?艾倫式的愛情矛盾
當(dāng)我們評價(jià)一部影片是否足夠伍迪·艾倫的時(shí)候,注重的往往是影片中演員的“語速”以及話語中透露出的,與影片主要結(jié)構(gòu)無關(guān)的信息量的多少,譬如《安妮·霍爾》之前的作品《愛與死》以及近幾年的《怎樣都行》。在我們看完這樣的影片,最直觀的感覺是:“我靠,這個(gè)老頭真他媽的絮絮叨叨!”?!栋材荨せ魻枴芬廊谎匾u了這種風(fēng)格,但是當(dāng)這樣的風(fēng)格嘗試與影片中的愛情元素相互作用的時(shí)候,便產(chǎn)生了貫穿影片的伍迪·艾倫式的愛情矛盾。
影片的開頭是伍迪·艾倫飾演的艾維用一種脫口秀的方式講了兩個(gè)笑話,其中一個(gè)是他對于生活的態(tài)度,笑話是這樣講的:兩位老婦人去卡茲基爾山旅游,其中一個(gè)說:“這地方的食物可真夠糟的”另一個(gè)說:“可不是嘛,給的分量又那么少”;另一個(gè)是他近段時(shí)間對于愛情的態(tài)度:我永遠(yuǎn)也不想加入這樣的俱樂部,它的會(huì)員是像我這樣的人。在沒有依據(jù)的說完這兩個(gè)以矛盾為噱頭的笑話之后,艾維說他與安妮分手了。
伍迪·艾倫并沒有急的講述艾維與安妮的愛情故事,而是駁費(fèi)心機(jī)的對艾維進(jìn)行最初的人物設(shè)定,分別利用了艾維兒時(shí)對于宇宙膨脹的困惑,6歲時(shí)親吻女生的經(jīng)歷以及成為喜劇演員后的母親的數(shù)落三個(gè)記憶片段。觀眾對于艾維最初的認(rèn)識(shí)是悲觀,對于世界的不信任以及性早熟。這些背景人物性格將會(huì)在的故事的展開過程中不斷的得到強(qiáng)化,并且與愛情這個(gè)元素產(chǎn)生矛盾。
影片的下一幕依然沒有明顯的時(shí)間信息,而是在艾維與朋友聊天之后安排了一段艾維與安妮的約會(huì)戲。在這一幕的三個(gè)場景中,艾維與安妮都發(fā)生了爭執(zhí),而原因無外乎是安妮的遲到,艾維忍受不了他人的高談闊論而大發(fā)牢騷惹怒了安妮以及安妮中止了艾維的性前戲。在這一幕中,二人的關(guān)系表現(xiàn)出來的始終都是負(fù)面的價(jià)值,但是由于三個(gè)場景中,安排的是平常事件,這種負(fù)面價(jià)值看上去也僅僅是一種“親描淡寫”。
上一幕最后一個(gè)場景中,二人在床上爭執(zhí)談及了艾維的前交往對象愛麗森。便緊接著切到艾維與愛麗森交往的戲。這一幕戲開始于艾維因?yàn)樽约旱淖炱ぷ佣藧埯惿?,結(jié)束于艾維利用自己的“絮絮叨叨”逃避了與愛麗森的性愛。這段很短的戲只是為了交待這樣一個(gè)事實(shí),而這樣的事實(shí)在這一幕的最后也經(jīng)由艾維的嘴得到證實(shí):艾維拒絕一個(gè)漂亮的,聰明的女人的原因是他永遠(yuǎn)也不想加入這樣的俱樂部,它的會(huì)員是像他這樣的人。這是艾維最核心的愛情價(jià)值觀,而他敷衍女人的方式,是通過伍迪艾倫最拿手的“絮絮叨叨”。以至于在這樣一個(gè)影片開頭的高明交待之后,接下來的多場艾維與安妮的戲中,每當(dāng)艾維又開始了他的伍迪艾倫式的“絮叨”時(shí),觀眾都知道他是在“敷衍”或者“拒絕”安妮的。在這里,艾維的“絮叨”一方面是在對抗著與安妮的愛情,另一方面也通過對于悲觀,對于死亡的不斷強(qiáng)化,加深對于艾維這個(gè)人物的塑造。
之后,場景切換到了二人家中,同樣是沒有明顯的時(shí)間信息的戲。但是在二人的閑談中,因?yàn)檎劶傲烁髯缘母星槭罚械搅税S與前妻的一場戲,在這場戲中艾維表現(xiàn)了對于各大評論媒體人的蔑視(這是典型的伍迪·艾倫的個(gè)人情緒),而前妻則恰好相反,當(dāng)前妻要求在獨(dú)自在臥室中看比賽的艾維出去和這些媒體人見面的時(shí)候,艾維提出要和前妻在臥室里做愛。前妻的反應(yīng)是艾維是在利用“性”表達(dá)自己的敵意,但是艾維用“為什么你總是把我的動(dòng)物本能,降格到心理分析范疇”精彩的反駁了前妻。這是艾維對于影片中“性觀念”的確定。與上一幕中艾維透露出的真相一起,構(gòu)成了接下來主導(dǎo)他與安妮交往過程中的核心價(jià)值觀。
在一場艾維與安妮的做愛被警笛打斷的戲之后,便干凈的切到了艾維與安妮初識(shí)的一場戲,接下來的故事便是好萊塢經(jīng)典的悲劇愛情故事的結(jié)構(gòu)——二人相識(shí)→相戀→感情升溫→出軌→復(fù)合→再次甜蜜→二人不和→分手。但是由于艾維在與安妮的交往過程中是被自己的價(jià)值觀所限制的,導(dǎo)致這段感情故事非常的反類型化。觀眾從二人的相識(shí)到二人的最終和平分手的過程中都沒有意識(shí)到艾維對安妮是有過愛情情愫的。通過無休止的“絮叨”構(gòu)建出的艾維是極端個(gè)人主義以及對于愛情持逃避態(tài)度的。在用大結(jié)構(gòu)控制著艾維對于安妮的感情的同時(shí),伍迪·艾倫也用了幾個(gè)精彩的技巧來強(qiáng)化。
譬如在二人初識(shí)在安妮家陽臺(tái)上對話的那場戲,伍迪通過對于字幕的添加與演員即時(shí)說的話進(jìn)行了對比,于是便產(chǎn)生了強(qiáng)烈的戲劇效果。二人在討論著安妮家中的照片以及其衍生的藝術(shù)性的同時(shí),安妮擔(dān)憂的是對方會(huì)不會(huì)認(rèn)為自己是傻瓜,而艾維在意的則是很想看到安妮不穿衣服的樣子。完全不一樣的心理活動(dòng)對比會(huì)影響著我們對于影片中人物的評價(jià),同樣這種手法在影片中多次用到。在與安妮一家就餐的一場戲中,伍迪·艾倫把兩個(gè)不同家庭的就餐場景拼在了一起;同樣在二人和平分手前的一場心理治療的戲,伍迪也把安妮與艾維在心理醫(yī)生面前的表現(xiàn)拼在了一起;包括二人在飛機(jī)上想要想對付坦白自己已經(jīng)不愛對方的時(shí)候的心理活動(dòng)。伍迪并沒有用平行蒙太奇而是進(jìn)行簡單的拼接,觀眾可以清晰的通過這幾場戲看到二人在對待這段感情時(shí)的不同側(cè)重點(diǎn)。
當(dāng)這樣的一個(gè)艾維被他的價(jià)值觀以及這樣的影片結(jié)構(gòu)所塑造出來的時(shí)候。伍迪·艾倫用一句:“我想念安妮,我犯了一個(gè)可怕的錯(cuò)誤”來試圖打破他之前的塑造。他安排艾維飛去加州并用艾維絲毫不擅長的“開車”方式去見了安妮。并且在見面的時(shí)候說出了“我考慮我們應(yīng)該結(jié)婚了”。艾維依然自負(fù)的質(zhì)疑著安妮的生活方式,但是安妮卻反擊說艾維就像紐約城一樣,是個(gè)瀕臨死亡的城市,像個(gè)小島,把自己封閉起來。艾維依然認(rèn)為安妮是愛他的,但是安妮失口否認(rèn)(并且通過前幾幕的鋪墊,觀眾也相信安妮的否認(rèn)是真實(shí)的)。之后,二人分別。艾維失魂落魄的撞了車,因?yàn)槊镆暯痪魂P(guān)進(jìn)了監(jiān)獄中,然后被朋友保釋。在這一段,艾維對于安妮的感情有了與之前截然不同的變化。之前的戲份里,艾維對于安妮的感情都是模糊的,被“性”所掩蓋的負(fù)面價(jià)值,但是在高潮戲中,艾維的焦急與失魂落魄則是正面價(jià)值。這樣的不可逆的價(jià)值轉(zhuǎn)變是一個(gè)好故事的基礎(chǔ)。但是截止至此,伍迪依然沒有告訴我們這樣的價(jià)值轉(zhuǎn)變的原因?是艾維真的發(fā)現(xiàn)他犯了一個(gè)錯(cuò)誤,他其實(shí)是愛安妮的,只不過是那些觀念在限制了故事,限制了我們對于影片中感情的認(rèn)識(shí)的同時(shí),也讓艾維本身沒有認(rèn)識(shí)到自己的感情還是簡單的一種嫉妒情緒和一時(shí)沖動(dòng)。
于是伍迪·艾倫“自戀”的讓艾維創(chuàng)作的戲劇的結(jié)尾展現(xiàn)在大銀幕上,復(fù)刻了艾維與安妮的最后一次見面的情況但是改變了結(jié)局(戲劇結(jié)尾中安妮說愛艾維)。影片中對于這一橋段的解釋是:人們總是通過藝術(shù)來創(chuàng)造完美,因?yàn)檎鎸?shí)的生活比較難纏。
影片的結(jié)尾是安妮與艾維的再一次相遇,伍迪用了大量的閃回片段,并在最后用長鏡頭和遠(yuǎn)景拍攝著兩人的分別,以及艾維的駐足和離去。畫外音提到了一個(gè)笑話:有一個(gè)人去看精神病醫(yī)生,說:“大夫,我兄弟病了,他以為他自己是只雞?!贬t(yī)生說:“那你為什么不把他帶來?”那家伙說:“我是想帶他來著,可是我需要雞蛋??!”這是現(xiàn)在艾維對于男女之間關(guān)系的感覺——它是完全非理性的,瘋狂的,甚至荒謬的,但是我想我們還是要經(jīng)歷這一切,因?yàn)槲覀兇蠖鄶?shù)人都需要雞蛋。
現(xiàn)在我們回頭再來看這部影片。與傳統(tǒng)愛情電影相比,最大的不同在于艾維這個(gè)人物的塑造。我們甚至可以說這個(gè)人物其實(shí)就是伍迪·艾倫本人。在影片中段,安妮出軌離艾維而去之后,艾維歇斯底里的問了三位路人他到底哪里出問題了。有一對看似很幸福的戀人,解釋說他們都很淺薄,空洞,所以幸福。這似乎不僅僅是一種嘲弄。
影片開頭的兩個(gè)笑話是艾維或者說伍迪·艾倫本身自己思考后對于生活和愛情的戲謔。其悲觀的原因之一在于說話人的高度個(gè)人主義。在安妮出軌之前,安妮對于伍迪是一種“崇拜式”的愛,伍迪從來不會(huì)因?yàn)榘材荻淖兪裁?,卻一直在灌輸著安妮,以至于在與安妮加州一別后的第一次重逢,發(fā)現(xiàn)安妮又回到了紐約,并且拉著她的男朋友去看《悲傷和憐憫》的時(shí)候還不忘說了一句:這個(gè)我可以算成我的個(gè)人勝跡。影片中不斷的流露出伍迪本身對于好萊塢式秀場的厭惡,以至于艾維被朋友規(guī)勸,被安妮諷刺之后,依然安然于紐約,答案就是安妮所說的:艾維其實(shí)是和紐約一樣的。所以說,盡管伍迪安排了艾維飛往加州挽回安妮的一場戲,卻依然無法改變之前創(chuàng)造出的那個(gè)艾維。矛盾在于影片最后,艾維通過畫外音講述了那個(gè)笑話之后,觀眾感覺到的僅僅是艾維接受了“愛情就像雞蛋一樣,大多數(shù)人都需要它”這一觀點(diǎn),但是卻還不足以摧毀影片開頭的兩個(gè)悲觀笑話。
這是一部悲劇,原因僅僅在于艾維或者說伍迪·艾倫式的愛情矛盾,當(dāng)我們把艾維不再限定為影片人物,甚至伍迪·艾倫本身的時(shí)候。悲劇便成為了一種現(xiàn)象:對于這批人而言,他們必須做出選擇,拋棄個(gè)人主義迎接愛情;亦或是和艾維一樣,在駐足之后,選擇離開。我們往往希望看到的是愛情的完滿,而實(shí)際情況是,這批人其實(shí)更愿意繼續(xù)把自己“困”在紐約。
5 ) 從敘述學(xué)看《安妮?霍爾》
獻(xiàn)給我最愛的導(dǎo)演,伍迪?艾倫
獻(xiàn)給我最愛的電影
獻(xiàn)給我的“安妮?霍爾”
(約12000字)
“你想怎么樣?這是我的第一部戲?!?/p>
電影末尾,在我們和他一同觀看由他導(dǎo)演的,最終“安妮?霍爾”選擇與“艾爾維”在一起的戲劇后,艾爾維向我們?yōu)樗牟徽\實(shí)(扭曲人物形象與故事結(jié)局)進(jìn)行了簡單而無力的辯駁。當(dāng)然,我們很快就接受并且原諒了這種不誠實(shí),畢竟在此前我們幾乎見證了他的童年,幾段非常失敗的感情,以及與安妮?霍爾的感情發(fā)展和結(jié)局。他給我們分享了如此多的私密回憶,在這樣的坦誠面前,那樣的不誠實(shí)似乎算不了什么,甚至可以認(rèn)為這又是他的一次(面向我們的)坦誠的自我暴露,就像他此前展示那些失敗的感情那樣。也就是說,即使我們看到了他在戲劇中表現(xiàn)出來的不誠實(shí),似乎也不影響他作為一個(gè)坦誠的敘述者對我們的誠實(shí)。
艾爾維是一個(gè)坦誠的,可信的敘述者,論據(jù)是影片中他對我們講述的一切,也就是他的記憶。其中,諸如愛麗絲指責(zé)他“用一切借口逃避性”這樣的,似乎是對他進(jìn)行負(fù)面揭露的,而且與主敘事無關(guān)的段落,并非一個(gè)不坦誠的敘述者會(huì)講述的。
但,上述論斷有兩個(gè)謬誤。
首先,艾爾維講述的并不是記憶,顯然沒有記憶里會(huì)有卡通形式的角色的對話,更不用說那些艾爾維打破第四堵墻直接與我們對話的場景。與其說艾爾維是向我們講述了他的記憶,不如說是向我們展示了他的意識(shí),一種記憶與當(dāng)下意志的混雜產(chǎn)物。
對話本身是真實(shí)發(fā)生的而場景完全非現(xiàn)實(shí)
其次,既然艾爾維向我們講述的不再是記憶,那他似乎也不再是個(gè)可靠的敘述者了。也許讀者會(huì)反駁,雖然記憶中參雜了他當(dāng)下的意志,但無損于記憶本身的真實(shí)性,所以他仍然是個(gè)可靠的敘述者。那我們不妨考察一組鏡頭:安妮?霍爾的家庭聚餐上,有組祖母—艾爾維(此時(shí)他突然變成了大胡子形象)的鏡頭,觀眾會(huì)認(rèn)為這就是祖母的真實(shí)視角。但事實(shí)上,艾爾維完全無法得知祖母眼中他的具體形象,這組鏡頭顯然超出了他的認(rèn)知范圍。即使認(rèn)為這是當(dāng)下意志的作用,讀者也需要承認(rèn),艾爾維的意志更改了祖母的形象。事實(shí)上,關(guān)于安妮?霍爾的段落中,這樣的例子更明顯而且更多,后文會(huì)有詳細(xì)論述。既然艾爾維的意志也會(huì)偽裝成可信的客觀記憶,并對記憶進(jìn)行一定的“藝術(shù)加工”,那么艾爾維就很難再被看作一個(gè)可靠的敘述者了。
也許到這里讀者會(huì)產(chǎn)生疑惑,即使上述反駁成立,似乎也不會(huì)產(chǎn)生實(shí)際性的影響,無非改變我們對艾爾維的看法,甚至不影響我們對他的同情和喜愛。的確,假如讀者會(huì)僅僅因?yàn)橹腊瑺柧S是個(gè)不可靠的敘述者便不再喜愛艾爾維,那只能說艾爾維是個(gè)蹩腳騙子,《安妮?霍爾》也不過是個(gè)無趣的謊言。
讓我們短暫地離開艾爾維,把目光轉(zhuǎn)向一位臭名昭著的不可靠敘述者——小說《洛麗塔》中的亨伯特。誠然,亨伯特并不像艾爾維那般招人喜愛,很大程度上是因?yàn)樗男袨槊黠@有違普遍的道德規(guī)范。但另一方面,小說中亨伯特給出的敘述比艾爾維的要值得同情的多,甚至于幾乎把他變成了一個(gè)可憐的,被誘騙的犧牲品。而且《洛麗塔》的敘述結(jié)構(gòu)和《安妮?霍爾》也很相似,同樣是由超敘述(關(guān)于超敘述,簡單來說,x講了一個(gè)故事。這個(gè)故事是在主敘述層,x在超敘述層)進(jìn)入由不可靠敘述者敘述的主敘述,最后結(jié)束在主敘述。敘述者上,除了同樣是不可靠的之外,亨伯特和艾爾維都是有超出主敘述層次的意識(shí)的敘述者,即知道自己是主敘述中的主角,也是知道自己是主敘事本身的敘述者,有與觀眾(亨伯特稱之為評審團(tuán))對話的能力與意愿。甚至于,敘述模式上,同樣是兩個(gè)較不成熟的女性,主動(dòng)吸引并“利用”了敘述者,最終變得“成熟”并拋棄敘述者這樣的模式。
繼續(xù)列舉兩部作品的相似之處并不難,但再多就有離題之嫌。《洛麗塔》在下文也并不會(huì)作為對比的對象被反復(fù)提及,在此只是借與亨伯特的對比來發(fā)問并引出主旨。既然兩部作品有諸多相似之處,而且最直觀的道德距離上的差距也有被亨伯特精妙的敘述所減弱,那么究竟是什么,讓《安妮?霍爾》和艾爾維自然地脫離了在相似之處上對《洛麗塔》和亨伯特的指責(zé),同時(shí)贏得我們的喜愛?
至此,我們終于切入了正題。接下來,本文將會(huì)從敘述學(xué)的角度考察《安妮?霍爾》,對上述問題提出盡可能合理的解答,并且嘗試讓讀者從一個(gè)新奇的角度去發(fā)現(xiàn)并理解《安妮?霍爾》的趣味和藝術(shù)性。
1.敘述層次,敘述者與隱含作者
一位友鄰如此評價(jià)這部電影:“伍迪艾倫電影里的伍迪艾倫有兩重人格,表層天真喜感(臉、神態(tài)、語言、動(dòng)作)的喜劇形象和里層的一個(gè)清醒理智的內(nèi)在,而里層的部分是受信任的、作為導(dǎo)演和觀眾在一起的,凝視之下的人格反差同時(shí)強(qiáng)化了喜劇性和自反性,這是他的結(jié)構(gòu)主義”。
這個(gè)評價(jià)非常準(zhǔn)確。顯而易見的是,《安妮?霍爾》中至少有兩個(gè)時(shí)態(tài)的艾爾維,過去進(jìn)行時(shí)的和現(xiàn)在完成時(shí)的。電影是艾爾維向我們講述他的經(jīng)歷,這毫無疑問,因此有了基本的敘述層次。現(xiàn)在完成時(shí)的艾爾維處于超敘述,他總是對主敘述進(jìn)行敘述干預(yù),敘述干預(yù)是這部電影的喜劇性來源之一。教室里的艾爾維突然讓小學(xué)同學(xué)講述他們?nèi)蘸蟮某删?,喜劇性來源于從超敘述層介入主敘述并讓主敘述的人物做出出人意料的行為?!栋材?霍爾》中獨(dú)特而有趣的敘述干預(yù)是,現(xiàn)在完成時(shí)的艾爾維有時(shí)候會(huì)在主敘述中取代過去進(jìn)行時(shí)的艾爾維,打斷主敘述并和我們對話,一方面這提供了很多喜劇段落,另一方面這讓艾爾維時(shí)刻可以像文章開頭那樣為他的行為辯解,使我們調(diào)整對他的看法。
為了不讓讀者混亂,在此將過去進(jìn)行時(shí)的艾爾維稱為a,現(xiàn)在完成時(shí)的則是b,并厘清幾個(gè)基本事實(shí)。首先,《安妮?霍爾》的主敘述的敘述者是b,但主人公是a,因?yàn)闊o論b如何進(jìn)行敘述干預(yù)都不會(huì)影響a的經(jīng)歷本身,因而a并非里層人格。b是與我們觀眾同一層次的(可以直接對話)存在,也是一個(gè)靜止的對象。其次,a對敘述是不自知的,電影中雖然有a和安妮?霍爾一起看滿嘴跑火車的前男友如何勾搭安妮?霍爾的段落,但這還是由b完成的對次敘述的視覺化展現(xiàn),a作為過去的“現(xiàn)在”不可能意識(shí)到“將來”的超敘述層次。最重要的是,b雖然是敘述者,但放在開頭引用的那段話的語境中,b依然是表層的喜劇人格(開場便確定了他是超敘述中的喜劇演員)的一部分,而不是里層人格。
既然否定了a,b作為里層人格的可能性,能不能找出第三個(gè)艾爾維并證明他的存在呢?給出直接證明是非常困難的,不妨讓我們先回到電影的開頭和結(jié)尾。開頭,b告訴我們,他不理解他和安妮?霍爾的感情哪里出了問題;結(jié)尾,通過旁白,b告訴我們僅僅是認(rèn)識(shí)安妮?霍爾這件事就已經(jīng)足夠幸福了。但事實(shí)上,每個(gè)看過電影的觀眾都知道哪里出了問題,甚至很少有人對此過程有所懷疑,因?yàn)閎的敘述已經(jīng)足夠清晰合理,而且b根本不滿足于故事結(jié)尾,這點(diǎn)開頭就講的再明白不過了。
這樣一來,第三個(gè)艾爾維的存在就非常清晰了。b不足以支撐起主敘述部分的全部敘述,那就需要一個(gè)有別于b的潛在的敘述者來完成敘述,這個(gè)潛在的敘述者,即是所謂的里層人格——一個(gè)清醒理智的內(nèi)在。
這樣的結(jié)論也許會(huì)讓讀者感到困惑,為了避免誤解,我將在之前指出的幾個(gè)基本事實(shí)上,進(jìn)行進(jìn)一步的解釋。
第三個(gè)艾爾維我們可以稱之為c。首先,a是主敘述(我們可以稱之為①)的主角,b是主敘述的敘述者,而c存在于把超敘述層包含在內(nèi)的新的主敘述層(我們可以稱之為②)的整體中,與b處于同一層次。不同的是c不進(jìn)行敘述干預(yù),c進(jìn)行的是對b的敘述行為的敘述指導(dǎo)。其次,放到①中,a是非全知的,但b是全知的,放到②中,b并非全知的,c是全知的(在對自身的清醒認(rèn)知上),而②中b是主角,他的行為就是敘述,他通過敘述和敘述干預(yù)展現(xiàn)他自己,因此b不再靜止,是個(gè)現(xiàn)在時(shí)的不斷行動(dòng)的角色。并且,由于層是敘述的產(chǎn)物,所以①層內(nèi)部并不遵循現(xiàn)實(shí)規(guī)律,但②層是敘述者所處的實(shí)在空間,可以認(rèn)為就是現(xiàn)實(shí)世界,遵循現(xiàn)實(shí)規(guī)律。
c則非常接近于“隱含作者”,隱含作者是小說的真正的非實(shí)在的作者,是小說體現(xiàn)的所有價(jià)值取向所形成的集合的人格化說法,是由小說內(nèi)部生成的靜態(tài)作者。由于c并不是實(shí)在(顯然不可能有兩個(gè)實(shí)在的艾爾維),自然也不可能用b的方式進(jìn)行直接的敘述干預(yù)。同樣,由于②就是電影本身,且內(nèi)容僅有b和b的敘述行為,而c的作用是對b的敘述行為進(jìn)行指導(dǎo),形式上是非直接的干預(yù),所以從結(jié)果來講,c既不作為角色在②層出現(xiàn),又不在①層中直接展示自己,因此c幾乎是隱身的存在。
那么,c是怎么指導(dǎo)b的呢?借摩爾悖論(“上周二我去看了電影,而我不相信我去了”)來講,“我去看了電影”是對命題中的主詞,也就是行動(dòng)者的一種狀態(tài)描述;而“我不相信我去了”是一個(gè)自我指涉的命題,它描述的是說話者的狀態(tài),因此這兩個(gè)分句有不同的指涉對象。更復(fù)雜的討論本文不會(huì)進(jìn)行,放入《安妮?霍爾》中,可以變?yōu)椤拔抑浪秊槭裁春臀曳珠_,但我不相信我知道”,后半句描述的是b的狀態(tài),而c則是整句話的言說者。因此,在這個(gè)意義上,b可以真誠地說他“不知道”,并且由c指導(dǎo)“不知道”的b完成敘述動(dòng)作。
最后,我還想?yún)^(qū)分一下敘述者的“可靠”的和“可信”。先說結(jié)論,b是個(gè)“不可靠”但“可信”的敘述者。沿用上一段的悖論,不自知的b作為敘述者當(dāng)然是事實(shí)上“不可靠”的,但由于b確實(shí)不自知,因此他的敘述可以是真誠的,也是主觀上誠實(shí)的,這樣來說,b在主觀上并沒有想欺騙我們這件事上是“可信”的。就像卡夫卡的《城堡》中的k,由于認(rèn)知上的限制和需要被認(rèn)知的主體的復(fù)雜性,k不足以成為“可靠”的敘述者,但他完全“可信”。相反是《洛麗塔》中的亨伯特,他從主觀上便存在欺騙的動(dòng)機(jī)和意圖,因此“不可信”,進(jìn)而也不可能“可靠”??赡茉诮酉聛矸治鯾的敘述干預(yù)時(shí),讀者會(huì)對b產(chǎn)生懷疑,但后文我為其做出的辯護(hù)可以打消這些懷疑。
一定程度上,艾爾維在電影的開頭便向我們做出了合理的辯解
2.敘述主體與敘述行為
顯然,a,b,c都在一定程度上代表了艾爾維,a在①中總是對著其他人發(fā)表他的各種觀點(diǎn),b則是通過旁白直接與我們對話,而c是我們信賴的清醒的敘述指導(dǎo)者。在三個(gè)人中,c毫無疑問最為可靠,a同樣是可信的,而b則不太可靠也未必足夠可信。但從時(shí)間上來講,a是相對靜止的過去時(shí),他只作為被敘述的客體為我們提供關(guān)于艾爾維的事實(shí),c過于清醒并不貼近客觀上艾爾維的真實(shí)人格,b作為現(xiàn)在時(shí)的“運(yùn)動(dòng)”的艾爾維,似乎才是艾爾維的真實(shí)性格。
《安妮?霍爾》的有趣之處以及復(fù)雜性就在于,發(fā)展的人物,敘述者,隱含作者這些可以認(rèn)為是同一人,而這同一個(gè)人的主體意識(shí)分散到了不同的角色上,不同的角色之間又有矛盾并且在敘述上相互干預(yù),其中最“事實(shí)”的部分總是被最“不可信”的角色打亂,而最不可信的部分又是最貼近人物真實(shí),同時(shí)角色的不可信行為又并不總是有意為之。正因如此,艾爾維幾乎是最為復(fù)雜有趣的角色之一,我們不得不承認(rèn),一方面,這個(gè)角色總是不停地向我們袒露他的內(nèi)心,他的過往,他所袒露的遠(yuǎn)多于我們見過的大多數(shù)人物。另一方面,我們卻幾乎不能在事實(shí)上對這個(gè)角色進(jìn)行堅(jiān)決的論斷,因而批判也幾乎成了一件不可能的事。
話雖如此,本文也不打算宣稱試圖理解艾爾維是件徒勞無益的事,就像嘗試?yán)斫狻斗浅O右煞浮防锸放晌鞯慕巧菢?。畢竟那樣的角色只是背離觀眾的騙子,以之為核心的電影也總是一次性消費(fèi)品。不論敘述者在敘述的過程中歪曲了多少事實(shí),使得敘述內(nèi)容變得不足信,他都會(huì)不可避免地留下他無法掩蓋的痕跡,即敘述這一行為本身。在《安妮?霍爾》中,因?yàn)閿⑹稣呔褪前瑺柧S,所以我們可以很自然地通過敘述行為去接近他,接近他敘述的內(nèi)容,也接近他可能下意識(shí)欺騙的部分。
艾爾維是真誠的,這點(diǎn)很難否認(rèn),因此我們可以相信艾爾維沒有編造出新的“事實(shí)”也沒有刻意歪曲原有事實(shí),這意味著,盡管b不夠可靠,主敘述依然是貼合事實(shí)的。這里需要明確的一點(diǎn)是,“事實(shí)”指的是以a為唯一的體驗(yàn)者的經(jīng)歷,而不是客觀上的事件本身。換句話來說,可信的主敘述部分必須是由a的視角限制下的事實(shí)和b的明顯直接敘述干預(yù)組成。
這里,也許讀者會(huì)對“可信敘述包含b的明顯直接敘述干預(yù)”這一判斷感到困惑。需要說明的是,除了偽裝成他人的視角外,b的敘述干預(yù)行為往往非常容易辯識(shí)。而只要它被辨別出為b的干預(yù)行為,就不會(huì)被認(rèn)為是a的事實(shí)的一部分,因而對我們對事實(shí)的判斷也不會(huì)造成干擾。同時(shí),b的干預(yù)行為作為行為,也為我們提供了關(guān)于b的事實(shí)(他的思想觀念)。在由b做出的行為可以直接反映b,且不干預(yù)我們判斷a的事實(shí)這點(diǎn)上,b的明顯直接敘述干預(yù)是可信的,因而是可信敘述的一部分。
我們可以稍微總結(jié)一下b主要的敘述干預(yù)行為:對過去的事實(shí)進(jìn)行不改變其事件本身但改變呈現(xiàn)方式的敘述;直接取代a在主敘述部分向我們或其他人對話為主,或讓其他不重要的角色在主敘述中突然做出他們顯然不可能做到的事。很明顯,他們并不屬于關(guān)于a的事實(shí)部分。
但有關(guān)安妮?霍爾本人的直接敘述干預(yù)就未必能被這樣帶過了,電影中有三處安妮?霍爾的視角,二人陽臺(tái)對話(安妮?霍爾的內(nèi)心獨(dú)白以字幕的方式出現(xiàn)),心理醫(yī)生和飛機(jī)上二人攤牌(安妮?霍爾直接的內(nèi)心獨(dú)白)。當(dāng)然,可以認(rèn)為她在此后告訴過艾爾維,因此這些可以歸結(jié)于可信的敘述補(bǔ)充,但這里的敘述補(bǔ)充太過清晰,似乎并不太貼合二次轉(zhuǎn)述的結(jié)果,更不用說其與艾爾維的視角形成的“巧妙”的對應(yīng)了??傊徽撐覀儽帜姆N觀點(diǎn),都必須承認(rèn)這段補(bǔ)充至少是不完全可信的。
這樣一來,b的不可靠敘述帶來的真正的問題就出現(xiàn)了,盡管過去時(shí)中的a和安妮?霍爾是被可信地?cái)⑹龅?,但由于b的敘述行為(選取素材并控制呈現(xiàn)長度與銜接順序,即剪輯,和對其他人物的敘述干預(yù)),我們對a和安妮?霍爾,以及他們的故事的看法會(huì)出現(xiàn)偏差。例如,a跟蹤過安妮?霍爾,這個(gè)行為不符合普遍道德規(guī)范。但b在敘述的時(shí)候,沒有敘述跟蹤行為,采用了(喜劇性)的爭吵—(安妮?霍爾)提起的上個(gè)月的爭吵—爭吵的結(jié)尾—b進(jìn)行喜劇性的敘述干預(yù)這樣的敘述結(jié)構(gòu)。顯然,艾爾維的道德缺陷就得到了一定的掩蓋,但表面上看起來b的敘述非常自然,并且依然是誠實(shí)的。
但這里需要說明的是,b并不一定是想要欺騙我們,a不認(rèn)為跟蹤有什么而b不愿意面對他和安妮?霍爾的矛盾所在,這里的敘述從艾爾維的角度出發(fā)是非常自然的。b的不可靠敘述無損其主觀上的真誠,因?yàn)樗⒉幌窈嗖啬菢?。亨伯特的不可靠敘述是面對讀者(陪審團(tuán))的,他的不可靠敘述帶有強(qiáng)烈的主觀上的自我辯駁與扭曲事實(shí)的意味,并且有著明確的目的(使陪審團(tuán)同情他)。除此之外,關(guān)于艾爾維不自知的欺騙(也許回避更加準(zhǔn)確)行為,b在主敘述部分也多次提及,比如他承認(rèn)愛麗絲對a的回避行為的指控。但有趣的是,面對安妮?霍爾對a找借口不愿意同居的指控,a沒有直接承認(rèn),而b也不像愛麗絲那段突然借a之口承認(rèn)??梢钥闯?,一旦涉及到與安妮?霍爾有矛盾的部分,b就可能會(huì)下意識(shí)地閃爍其辭,進(jìn)行巧妙的掩飾。
總的來說,b脫離了可信敘述的敘述行為大致有兩類:下意識(shí)地對與安妮?霍爾的矛盾或自身的道德缺陷進(jìn)行掩蓋,以及(很少)不完全可信地偽裝成其他正在面對a的角色的視角并進(jìn)行敘述補(bǔ)充。其中第二類行為出現(xiàn)的次數(shù)非常少,而且并不影響我們對人物大體上的判斷。第一類行為的危害性顯然更大,但在我看來,這恰好反映了b所言的他不清楚安妮?霍爾為什么會(huì)和他分開。而且就a后來跑到洛杉磯的那一連串行為而言,很難認(rèn)為艾爾維是個(gè)清醒而理性的角色。因此,以第一類行為為依據(jù),來否認(rèn)b主觀上的真誠,就像在說一個(gè)人不可能真誠地言說錯(cuò)誤的觀點(diǎn)一樣,很難被認(rèn)為是有力的論證。
3.結(jié)構(gòu),喜劇性與現(xiàn)實(shí)主義
《安妮?霍爾》是一部典型的“伍迪?艾倫”式的喜劇電影,這個(gè)論斷相信讀者并不陌生。所謂“伍迪?艾倫”式的喜劇電影,雖然無法給出準(zhǔn)確的定義,但還是可以提供幾個(gè)普遍規(guī)律。首先,必須是話嘮的,而且主人公的話往往是針對較為抽象的形而上話題,政治話題或者兩性關(guān)系,但并不是嚴(yán)肅的說教。在《安妮?霍爾》中,愛麗絲和艾爾維的初見,或者艾爾維給安妮?霍爾買《拒斥死亡》并對死亡大發(fā)議論之類的段落都可以歸結(jié)于此。這些段落中,主人公的話非常不合常理,但主人公本身足夠嚴(yán)肅,又稍顯自作聰明,情景與人物,行為的反差創(chuàng)造了喜劇性。其次,主人公往往有某種怪癖或者表面難以理解(但也許很正確)的信念,在《安妮?霍爾》中體現(xiàn)為艾爾維過分迷戀紐約,厭惡洛杉磯,對一些喜劇表演原則(反對加入虛假的笑聲)的堅(jiān)持和對頒獎(jiǎng)的反感。還有,主人公往往會(huì)不合時(shí)宜地固執(zhí)己見或突然做出非理性的舉動(dòng),像艾爾維會(huì)突然撕掉自己的駕照對抗交警。以及,最突出也是最重要的,當(dāng)然就是“伍迪?艾倫式”的笑話。
以上列舉的幾條基本都是通過臺(tái)詞和表演完成的、原理較為簡單的喜劇橋段,只是因?yàn)槲榈?艾倫高超而獨(dú)特的編劇技巧和略知識(shí)分子向的包袱,才得以自成一派。不過,在絕大多數(shù)喜劇電影中,雖然效果可能遠(yuǎn)不及伍迪?艾倫,應(yīng)該都可以找到很多原理類似的段落,這些顯然不是《安妮?霍爾》獨(dú)有的。而《安妮?霍爾》區(qū)別于這些喜劇電影,或者說區(qū)別于絕大多數(shù)電影的地方正是它獨(dú)特的敘述結(jié)構(gòu)與復(fù)雜的敘述者。因此,假如要找出本片獨(dú)有的喜劇性,從結(jié)構(gòu)出發(fā)毫無疑問是可行的角度。
《安妮?霍爾》的敘述結(jié)構(gòu)整體上并不復(fù)雜,是超敘述層—主敘述層這樣的結(jié)構(gòu),而且進(jìn)入主敘述層后再也沒有回到超敘述層。主敘述層的主要內(nèi)容是超敘述層中b的主動(dòng)敘述和聯(lián)想,或者b因?yàn)槠渌巧谥鲾⑹鰧?yīng)事件中提到某一此前事件而做出的解釋性的補(bǔ)充敘述??傮w來講,雖然①層梳理起來比較麻煩而且時(shí)間結(jié)構(gòu)復(fù)雜,但敘述本身是條理清晰的,對觀眾而言是復(fù)雜但卻不至于造成含混的。而正如之前所分析,b會(huì)對①層進(jìn)行頻繁的敘述干預(yù),甚至于附身a或者控制其他角色,這些敘述干預(yù)同樣是主敘述層的內(nèi)容。但從支撐敘事本身上起的作用來講,敘述干預(yù)可以認(rèn)為是次要內(nèi)容。
作為次要內(nèi)容的敘述干預(yù),正是其他喜劇電影所沒有的。因此,由敘述干預(yù)創(chuàng)造的喜劇性,可以認(rèn)為是《安妮?霍爾》獨(dú)有的。雖然上文已有所涉及,本文接下來將會(huì)對敘述干預(yù)如何創(chuàng)造喜劇性進(jìn)行詳細(xì)的分析。
在電影的進(jìn)入主敘述層之前,艾爾維告訴我們:“我以前是個(gè)相當(dāng)快樂的孩子,我在布魯克林長大,那是二戰(zhàn)期間”。接著,鏡頭(正式進(jìn)入主敘述層)切到坐在沙發(fā)上,過于嚴(yán)肅的小艾爾維;而他的母親在激動(dòng)地向心理醫(yī)生控訴“他最近情緒低落”。這里,超敘述層的b的(前)旁白與主敘述的a的實(shí)際情況形成了鮮明的反差,而對于構(gòu)造這樣的反差,兩個(gè)敘述層的結(jié)構(gòu)是必要的。
旁白作為b最直接的敘述干預(yù)手段,無疑是其最直接也最富攻擊性的手段。a登場前,旁白在電影中的喜劇作用可大致歸結(jié)為:直接指揮鏡頭中人物;與畫面形成反差營造喜劇效果,或?qū)Ξ嬅嬷械娜宋镞M(jìn)行直接而尖銳的攻擊營造喜劇效果,如教室段落,從學(xué)校到同學(xué)無一幸免。
不過在a正式登場后,旁白的形式就從b直接發(fā)出變?yōu)閎取代a再講出,由于多了取代a這個(gè)動(dòng)作,旁白的作用和效果也就更多樣了。首先,旁白作為敘述動(dòng)作,起到了壓縮敘述,引導(dǎo)敘述方向的作用。其次,“取代”作為隨時(shí)可能發(fā)生的人物動(dòng)作,在發(fā)生的時(shí)候會(huì)打斷正常敘述的事件,其對敘述本身的破壞構(gòu)成了一種“間離”式的喜劇性。而由于b取代了a,旁白不再僅僅只是以語言的形式出現(xiàn),而是作為新的動(dòng)作出現(xiàn),就像從笑話變成了b的喜劇表演本身,提供了一種來自敘述動(dòng)作的喜劇性。并且,因?yàn)榇藭r(shí)b代替a成為了主敘述層的行動(dòng)者,同時(shí)他又可以在超敘述層為主敘述層創(chuàng)造新的情景,所以b的行為并不局限于口頭形式,他可以在自己創(chuàng)造的情景中進(jìn)行舞臺(tái)式的喜劇表演,比如突然拉出麥克盧漢來反駁在隊(duì)伍后面喋喋不休的人。
上述所有喜劇手段中,舞臺(tái)式的喜劇表演無疑是最為特殊的,因?yàn)檫@需要被敘述者同時(shí)是敘述者為前提才能實(shí)現(xiàn)。不過,假如認(rèn)真分析的話,很多喜劇電影都可以找出類舞臺(tái)式的段落,雖然它們沒有《安妮?霍爾》的結(jié)構(gòu)基礎(chǔ),這樣的段落更多是在同一世界內(nèi)的偶發(fā)隨機(jī)事件。這樣的偶發(fā)隨機(jī)事件和《安妮?霍爾》的舞臺(tái)式喜劇表演的區(qū)別在于,前者在整體上是突兀的,是在現(xiàn)實(shí)意義上不合理的段落,而后者則因?yàn)橛薪Y(jié)構(gòu)基礎(chǔ),明顯區(qū)別于現(xiàn)實(shí)段落,因而對現(xiàn)實(shí)部分和影片整體不會(huì)產(chǎn)生破壞性。進(jìn)一步來說,《安妮?霍爾》中舞臺(tái)式的喜劇段落,因?yàn)椴皇峭皇澜绲呐及l(fā)隨機(jī)事件,形式上也變得更為自由,連場景本身的現(xiàn)實(shí)性都不再需要。而且,影片的現(xiàn)實(shí)部分本身是寫實(shí)的,這又于不寫實(shí)的舞臺(tái)段落形成了對比,在寫實(shí)—不寫實(shí)間不斷變化的對比結(jié)構(gòu)也讓舞臺(tái)段落的喜劇性得以強(qiáng)化。這正是之前引用的短評中所言的,“凝視之下的人格反差同時(shí)強(qiáng)化了喜劇性和自反性,這是他的結(jié)構(gòu)主義”。
不難看出,《安妮?霍爾》的結(jié)構(gòu),超敘述層—主敘述層與現(xiàn)實(shí)段落—非現(xiàn)實(shí)段落,在創(chuàng)造獨(dú)特的喜劇性上起到了多么重要的作用。但事實(shí)上,結(jié)構(gòu)的作用遠(yuǎn)不止于此,在創(chuàng)造寫實(shí)性上,其也起到了非常關(guān)鍵的作用。
顯然,去敘述干預(yù)的部分是更加寫實(shí)的,是去間離的,而敘述干預(yù)越多,場景本身就越虛假,甚至于變成非寫實(shí)的被創(chuàng)造物,是間離的。仔細(xì)分析的話,不難發(fā)現(xiàn),b進(jìn)行敘述干預(yù)行為的頻率是變化的。①層開頭由童年到a登場的部分中,b幾乎沒有中斷過他的敘述干預(yù)。而在兩次洛杉磯段落中,b竟然沒有進(jìn)行過任何敘述干預(yù),而且后者在時(shí)間上遠(yuǎn)長于前者。從整體來看,敘述干預(yù)的密度在影片的前中段遠(yuǎn)高于后段。最后一次敘述干預(yù)時(shí),a已經(jīng)完全失去了挽回安妮?霍爾的可能,可以說是過去完成時(shí)的,非常貼合現(xiàn)在完成時(shí)的b,因而“取代”的間離效果已不再強(qiáng)烈。因此,可以認(rèn)為電影的整體結(jié)構(gòu)是間離—去間離的,也就是說,觀眾對敘述內(nèi)容的距離感在不斷縮小,認(rèn)同感也在提升,因而強(qiáng)化了去敘述干預(yù)部分的寫實(shí)性。
而在具體內(nèi)容上,在與安妮?霍爾無關(guān)的段落敘述干預(yù)出現(xiàn)的頻率,高于相關(guān)的段落。他沒有打斷過安妮?霍爾的講話,僅有的幾次敘述干預(yù)發(fā)生在講話結(jié)束后,他甚至?xí)槕?yīng)安妮?霍爾的話進(jìn)行敘述內(nèi)容的補(bǔ)充(閃回)。在與安妮?霍爾相關(guān)的段落中,敘述干預(yù)出現(xiàn)在和安妮?霍爾相處融洽的部分多于產(chǎn)生矛盾的部分。從內(nèi)容與主軸(a與安妮?霍爾)的關(guān)系來看,敘述內(nèi)容的離散程度是由高向低的,而且后半段不出現(xiàn)安妮?霍爾的事件多少也和她有聯(lián)系。這也印證了b開頭對我們所說的,他在認(rèn)真梳理與安妮?霍爾相處的點(diǎn)滴,并嘗試著找出分開的原因,因此與分開這一結(jié)果關(guān)系越密切的段落他越認(rèn)真,越少插混打插。
以上論證,都是在內(nèi)容的角度,以將①層視為關(guān)于a的事實(shí)與b的敘述行為的總和,即過去時(shí)中穿插現(xiàn)在時(shí)行為的新被敘述物為基礎(chǔ)進(jìn)行的。但假如想要對上文提到的結(jié)構(gòu)基礎(chǔ)有更清楚的認(rèn)知的話,僅僅從內(nèi)容的角度是遠(yuǎn)遠(yuǎn)不夠的。換個(gè)角度,從②層來看,敘述行為正在進(jìn)行因此①層不是靜止的,而被敘述物由于必然確定在敘述行為發(fā)生前所以是靜止的。因此,此時(shí)①層不應(yīng)被認(rèn)為是被敘述物,而應(yīng)該被認(rèn)為是完全現(xiàn)在進(jìn)行時(shí)的敘述行為本身。也就是說,《安妮?霍爾》,在整體上,可以認(rèn)為是一部關(guān)于敘述行為本身,完全現(xiàn)在進(jìn)行時(shí)的電影。
《安妮?霍爾》是現(xiàn)在進(jìn)行時(shí)的,因此,它的不可預(yù)料,靈光一現(xiàn)以及尋找方向的過程本身也就成了觀看時(shí)獲得的趣味的最重要的來源之一。觀看《安妮?霍爾》時(shí),每逢當(dāng)前的敘述的方向走到終點(diǎn),接下來的場景會(huì)都變得完全無法預(yù)料,可能是從小艾爾維被母親訓(xùn)話突然跳到艾爾維向朋友控訴身邊的“反猶”行為,或者是從與前女友的爭論跳到艾爾維在廚房被蝦子嚇到手足無措。敘述時(shí)而偏題時(shí)而中斷,回到主軸時(shí)節(jié)奏又時(shí)快時(shí)緩,而敘述中的人物又是如此不確定,作為觀眾的我們不得不追隨敘述調(diào)整狀態(tài)。在這個(gè)意義上,我們是在通過追隨敘述,與作為喜劇演員的艾爾維進(jìn)行親密的互動(dòng),互動(dòng)的過程中我們又得以分享他的情緒變化,而不再是隔著安全的敘述距離觀看導(dǎo)向明確的情景以獲得快樂。
從這一角度,結(jié)構(gòu)也有了新的意義和作用。內(nèi)容的離散程度的變化,一方面是b作為敘述者在敘述中學(xué)習(xí)并逐漸熟悉敘述的結(jié)果,反映了其從不擅長敘述的喜劇演員到成熟的敘述者這一過程;另一方面,是b作為敘述者的敘述距離和情感狀態(tài)的結(jié)果。敘述距離由間離到非間離,是艾爾維與對應(yīng)事件中的a的人物狀態(tài)的距離變化,即從a與安妮?霍爾相戀(b與此時(shí)的a完全處于相反的情感狀態(tài))到a失去安妮?霍爾(a成為了b)。 同樣,敘述整體由輕松的,喜劇的轉(zhuǎn)變?yōu)楦袀?,悲劇的,這也是艾爾維對在不同階段的他和安妮?霍爾的關(guān)系的情感反應(yīng)的結(jié)果。電影后半段的情感力量也由此而來,當(dāng)敘述中斷,敘述者連敘述這一責(zé)任都已暫時(shí)忘卻的時(shí)候,我們便和他一起,看著安妮?霍爾的表演,或者伴隨著她的歌聲片段式地回憶往昔時(shí)光。在這樣一部不斷運(yùn)動(dòng)的電影中,這些靜止的時(shí)刻,從結(jié)構(gòu)中獲得了情感的力量,讓我們得以進(jìn)入無可挽回的感傷和懷緬情緒中。
因此,沒有觀眾會(huì)指責(zé)艾爾維壓軸的笑話是如此“不好笑”,以及后半段幾乎壓過喜劇性的傷感情緒。敘述是一個(gè)進(jìn)行時(shí)的動(dòng)作,它永遠(yuǎn)是敘述主體的意志外化的產(chǎn)物。在目睹原本出色的喜劇敘述發(fā)生不可抑制的“失敗”變化時(shí),我們便與敘述主體一同分享了他的內(nèi)在的崩潰。這是超越敘述控制的深刻共情,敘述控制只能把我們困在敘述者的言說中,言說的極限就是我們的極限。而當(dāng)敘述主體透過敘述的裂縫,作為客體被我們突然捕捉到時(shí),我們與他便獲得了超越言說的聯(lián)系,言說作為橋梁與限制在此都被取消,我們幾乎是把自己投入一個(gè)拒絕言說自己的客體,然后成為他。而在所有媒介中,再?zèng)]有一個(gè),能比電影更加直接地呈現(xiàn)敘述這一動(dòng)作,它的語氣,語調(diào),速度,變化以及停頓,或者說它的“運(yùn)動(dòng)”本身。在體驗(yàn)“運(yùn)動(dòng)”本身時(shí),我們與敘述的距離也天然地有所減小,因此能更直接地體驗(yàn)背后的情感。從這一角度來講,《安妮?霍爾》的情感力量是電影的,并且只能是電影的。
通常,“理解”一個(gè)人物總是意味著,我們能清晰地把握他的內(nèi)在,就像歸納出一套物理規(guī)律那樣。尤其是在好萊塢電影中,成熟的敘述模式,清晰的人物轉(zhuǎn)變,幾乎沒有任何留給神秘的余地。這種對解釋和“理解”的強(qiáng)制性需求,把人物從復(fù)雜的不確定的主體,降格成了敘述拼圖中形狀固定不可或缺的一塊。同時(shí),一個(gè)確定的敘述模式,總是指向一個(gè)確定的道德價(jià)值體系。敘述模式的發(fā)展與成熟,就是價(jià)值體系的完善與確定。但只有敘述模式總是要服從一套道德價(jià)值體系,現(xiàn)實(shí)則拒絕被任何價(jià)值體系指導(dǎo)運(yùn)行?,F(xiàn)實(shí)總是含混的,清晰的敘述模式本身在就是背離現(xiàn)實(shí),越清晰越背離。而個(gè)體經(jīng)驗(yàn)總是比被言說物更貼近個(gè)體,也更貼近個(gè)體的現(xiàn)實(shí)。個(gè)體經(jīng)驗(yàn)有時(shí)即使不夠確定,卻也因被言說而被限制了體驗(yàn)的廣度和深度。因此,以“不言說”的方式,將讀者的有限經(jīng)驗(yàn)引入,從而創(chuàng)造真實(shí)的體驗(yàn)深度,這無疑能夠更貼近現(xiàn)實(shí)的一種方式。假如從創(chuàng)造真正的個(gè)體經(jīng)驗(yàn),以接近真正的從個(gè)體出發(fā)的主觀世界的逼真性的立場出發(fā),《安妮?霍爾》毫無疑問是一部真正杰出的現(xiàn)實(shí)主義電影。
論述至此,已經(jīng)稍微脫離了電影本體,并且我無意于擴(kuò)充剛才的討論。因?yàn)樵谖铱磥?,任何我能做出的理論上對這部電影的擁護(hù),都比不過這部電影美妙的結(jié)尾。
在本文開頭那段申辯后,艾爾維告訴我們:“有趣的是,我的確又遇見過安妮”。伴隨著他的旁白,我們再一次進(jìn)入了現(xiàn)實(shí)部分,關(guān)于他和安妮?霍爾的最后一次見面。之后的段落由三個(gè)新鏡頭和一組蒙太奇組成,順序?yàn)殓R頭1—鏡頭2—蒙太奇—鏡頭3,配樂是(從艾爾維看完戲劇那刻響起的)安妮?霍爾的第二次獻(xiàn)唱,蒙太奇則是由之前出現(xiàn)過的現(xiàn)實(shí)鏡頭組成。
三個(gè)新鏡頭分別是大遠(yuǎn)景,遠(yuǎn)景,大遠(yuǎn)景,后兩個(gè)鏡頭還有明顯的前景遮擋,敘述距離明顯。鏡頭1距離最遠(yuǎn),內(nèi)容為安妮?霍爾與男友和艾爾維與女友在電影院再會(huì)。鏡頭2距離最近,內(nèi)容為安妮?霍爾和艾爾維坐在咖啡館中愉快地交談。鏡頭3距離遠(yuǎn),從前景遮擋來看,視角的出發(fā)點(diǎn)似乎是鏡頭2中二人交談的位置,內(nèi)容為二人告別。整個(gè)鏡頭就像是艾爾維停在二人最后交談的地方看著最終分別的二人,因而也有了幾分留念的意味。可以看出,這段的敘述距離的變化是疏遠(yuǎn)—貼近—最接近(蒙太奇段落)—疏遠(yuǎn)。疏遠(yuǎn)的部分是艾爾維厭惡的新男友與分離,而貼近的部分則是二人短暫的交談和過去。因此,隨著敘述距離和內(nèi)容的變化,我們也和此時(shí)的艾爾維一樣,陷入了對過去的緬懷,傷感和留戀之中。
有趣的是,鏡頭3中有一個(gè)非常奇妙而貼切的隱喻。艾爾維站的位置恰好有個(gè)紅綠燈,上面顯示著“DON’T WALK”,而且在安妮?霍爾離開前一直是紅燈,直到艾爾維轉(zhuǎn)身離開鏡頭才改變(見下圖)。而在這一段中,b對我們說的卻是,“之后,天有點(diǎn)晚了,我們都得回去了。但再一次見到安妮,我真的很高興。我意識(shí)到了她是多么好的人,以及僅僅是能認(rèn)識(shí)她(just knowing)就是一件多么有趣的事”。聽上去就像他并不怎么遺憾,也沒有多少留念的意味。所以這一幕看起來就像是,之前一直隱形的c,在電影結(jié)尾,終于忍不住越過了b的自欺欺人,說出了艾爾維最真實(shí)的愿望—希望安妮?霍爾不要離開。
不過說到底,這種理解方式,或是說本文一直在嘗試的對這部電影的有機(jī)性和整體性的辯護(hù),都只是一個(gè)理解電影的方向,而不是對電影的完美的解讀。畢竟就像艾爾維所言,我們總是試圖通過藝術(shù)來表達(dá)完美,因?yàn)樵谡鎸?shí)生活中完美非常困難。希望能讀到這里的讀者(感謝你們抽出時(shí)間)能有所收獲,也歡迎各位對本文進(jìn)行批評指正。
最后,感謝豆瓣友鄰(部分為化名,非豆瓣id)卡夫卡老師,“巴贊”,門之海,“列車員”,chaos在本文寫作前以及過程中對我提供的幫助和意見,尤其感謝推薦參考書目的卡夫卡老師,和提出了很詳細(xì)的批評的chaos和門之海(他甚至對我原本寫的感謝名單都提出了修改意見),感激不盡。
6 ) 誰是誰的Annie Hall?
我們也該放松放松了。一直看沉悶的電影怎么吃得消呢?那感覺就像面對一臺(tái)有無數(shù)零部件的龐大機(jī)器,你緊緊地盯著它,試圖弄明白一條或幾條生產(chǎn)線的運(yùn)行軌跡,然而齒輪接齒輪,履帶套履帶,最終你完全被這隆隆作響的大家伙繞得暈頭轉(zhuǎn)向,所有的線路在你頭腦里糾結(jié)在一起,成了一團(tuán)再也理不清的亂麻。
如果你還在堅(jiān)持,那是你不服輸?shù)墓虉?zhí)在作祟。不如讓我們放松一下,轉(zhuǎn)移你的注意力,試試別的電影。你擁有很多不錯(cuò)的選擇:黑幫片,邪典片,現(xiàn)實(shí)主義電影,黑色片,歌舞片,無厘頭喜劇片……當(dāng)然,因?yàn)槟阋幌虮謬?yán)肅的藝術(shù)評判標(biāo)準(zhǔn),所以你要謹(jǐn)慎對待那些商業(yè)電影,否則一不小心就會(huì)被他們害得惡心,嘔吐,內(nèi)分泌失調(diào)。
什么?這些沒有你喜歡的?你嘗試著表達(dá)自己的想法,你需要的是那樣一種電影:它表面看上去沒頭沒腦,仿佛就是無意識(shí)地把生活中的片斷拼湊在一起,然而卻有源源不絕的新點(diǎn)子刺激著你;它不要講什么大道理,最好是嬉笑怒罵,插科打諢,但其中要有你所感興趣的生活態(tài)度或處世哲學(xué);它不必借用任何突兀的效果就能吸引人,并且具有循環(huán)往復(fù)的魔力,當(dāng)它結(jié)束的時(shí)候,你覺得它剛剛開始……
好了,好了!不用繼續(xù)說下去了。我知道你要的是什么電影。我這里就為了準(zhǔn)備了一部:伍迪·艾倫的《安妮·霍爾》。
像你這樣的“文藝青年”,是很容易喜歡上一個(gè)怪怪的女孩的,像安妮·霍爾這樣的女孩。她可能不漂亮,不聰明,不靠譜,但是她有趣,這一點(diǎn)很重要。并不是說她會(huì)講笑話,而是說她具有一種特異稟賦——在你說出某些話時(shí)給你美妙回應(yīng)的笨拙技巧。長久以來,你不就是在尋找一個(gè)能聽懂你說話的女孩么?于是你拼命地向她灌輸你那些沒人聽也沒人懂的理論,把你喜歡的東西(可能就是你在豆瓣上選出的書、電影和音樂)一古腦兒推到她面前,希望她藉此發(fā)掘出整個(gè)的你,盡管你本人就在她面前。呵呵,不對啊,你強(qiáng)烈的擺脫孤獨(dú)、建立交流的渴望變異成了偏執(zhí)的控制欲,她理所當(dāng)然地感到疲倦,你對她的疲倦感到失望,然后你們都感到彼此若即若離……上天特意造就的兩個(gè)如此合拍的人,只好就此分道揚(yáng)鑣。當(dāng)孤獨(dú)感再次襲來,你意識(shí)到這個(gè)女孩的寶貴,而你和她的故事,就像生活本身,永遠(yuǎn)不會(huì)圓滿。
很可能你運(yùn)氣不好,從未遇上你的安妮·霍爾,這就越發(fā)證明了生活的不圓滿。你要盤點(diǎn)盤點(diǎn)你自己,看看你是不是有資格成為艾維·辛格。當(dāng)然艾維·辛格會(huì)講笑話,你不會(huì);或者你會(huì),但只會(huì)重復(fù)有限的幾個(gè)。這不是關(guān)鍵,關(guān)鍵是你對人生的感覺是沮喪的還是絕望的。艾維·辛格無疑是前者。他像我們的“文藝青年”一樣憤世嫉俗,看什么都不順眼,一肚子牢騷,但他其實(shí)只是在生活中輕微地發(fā)泄,骨子里他是懂得避讓的,否則他只能是絕望的。他被死亡困擾,但他不被自殺困擾,當(dāng)他坐上安妮患自殺妄想癥的弟弟駕駛的汽車,他差點(diǎn)被嚇?biāo)??;钪浅o趣,但還是要活下去,他是這樣一種人。只有對于這樣的人,安妮·霍爾才具有最大的意義。而對于絕望的人,安妮的意義很容易被扭曲或不具有意義。什么?你已經(jīng)絕望了嗎?那么放棄關(guān)于安妮·霍爾的想法吧。你心中的安妮·霍爾只是一個(gè)幻象,其價(jià)值等同于一把手槍或一根繩子。
我不能重男輕女,你很可能是一個(gè)女孩,那么我打賭你也在等你的艾維·辛格?,F(xiàn)在的女人給我一個(gè)這樣的印象,那就是她們比男人更易于沉醉在一種無聊的生命形式之中。我多么希望世間能有無數(shù)的艾維·辛格,來拯救這些女孩,使她們成為安妮·霍爾;然后這些安妮·霍爾再去拯救男孩,使他們成為艾維·辛格;然后這些艾維·辛格……那樣的話,這個(gè)世界將是艾維·辛格+安妮·霍爾的組合,我也就免了被傻逼們氣炸肺之苦了。我假設(shè)你——一個(gè)有希望成為安妮·霍爾的女孩,現(xiàn)在正徘徊于虛妄與現(xiàn)實(shí)之間,沮喪與麻木之間,哲學(xué)家與豬之間……要之,你處于一個(gè)最需要艾維·辛格的時(shí)刻,然而此時(shí)走到你身邊的男人卻不是艾維·辛格,而是東尼。輕率的女孩啊,你幾乎百分之百地會(huì)立即墮落為一個(gè)平平無奇的女子,從此與成為安妮·霍爾的可能性一刀兩斷。每當(dāng)想到這樣的事情在世界上不停地發(fā)生,我心中便替每一個(gè)你感到無限惋惜。假如此事發(fā)生在一個(gè)男孩身上,他卻不會(huì)因此斷絕成為艾維·辛格的可能啊。
既然我已經(jīng)開始想象你是一個(gè)女孩,那么我便無法停下來,我堅(jiān)定地認(rèn)為你就是那樣一個(gè)女孩,你處在無數(shù)個(gè)東尼的層層包圍之中,時(shí)刻面臨淪陷的危險(xiǎn)。我迫不及待地想要見到你,救你脫離苦海,我的人雖然坐在這里敲鍵盤,但我的心早已擠過電頻掃描的閘門進(jìn)入電腦顯示器,穿過叢林一般的電路板,進(jìn)入我的網(wǎng)線,然后架著電子訊號飛速駛過千千萬萬條網(wǎng)線縱橫交錯(cuò)的高速公路網(wǎng),拐進(jìn)你那條獨(dú)一無二卓爾不群的網(wǎng)路,趕在你關(guān)機(jī)之前跳到你面前……可是不行,我要先完成這篇文章。我本來打算介紹一下《安妮·霍爾》這部電影的,然而說了半天卻等于什么都沒說。極有可能偶爾看到這篇文章的你已看過這部電影,或者至少了解這部電影,因?yàn)闆]看過或不了解它的人又怎會(huì)被“安妮·霍爾”這個(gè)干巴巴的名字吸引呢?既如此,我再說下去還有什么意義呢?你需要靠你自己的理解力和辨別力去感受這部電影,去買來看吧!不管花什么價(jià)錢,這部電影會(huì)讓你感覺物有所值的。
不,現(xiàn)在別急著出門,女孩!把電腦開著。我敲完這最后幾個(gè)字,就飛過去和你相會(huì)??!
7 ) 我們都需要雞蛋(經(jīng)典臺(tái)詞)
伍迪·艾倫真能說呀,我聽都聽得口干舌燥。許多橋段反復(fù)看過幾遍。至少有十次,伍迪·艾倫惹得我驚呼我操,捶床大笑。邊看邊記錄其中的臺(tái)詞,一部90分鐘的電影我看完花去至少200分鐘。
記錄的一些臺(tái)詞:
—我沒來例假。每次我稍微有點(diǎn)不對勁,你就說我來例假了!
—你還可以再喊得響一點(diǎn),我想那邊還有一位沒聽見。
—我真希望現(xiàn)在手里有一只裝滿了馬糞的大襪套。
—你剛才說“我們的性生活有問題”是什么意思?對于一個(gè)在布魯克林長大的人來說,我還是比較正常的。
—非常抱歉,是我的性生活有問題,行了吧?我的性生活有問題!
—啊咳!我沒讀過那個(gè),那是亨利·詹姆斯的小說,對嗎?是《螺絲在旋緊》的續(xù)篇?《我的性生活》?
—我正在做我的學(xué)位論文。
—論題是什么?
—“二十世紀(jì)文學(xué)的政治任務(wù)”。
—這么說你屬于紐約猶太人、左翼自由派知識(shí)分子、住在中央公園西街、上布蘭德斯大學(xué)、參加社會(huì)主義夏令營、經(jīng)常罷工、父親喜歡本·肖恩的畫,對嗎?……如果你覺得我像個(gè)十足的白癡,你盡可以打斷我。
—有意思的是,我曾和艾森豪威爾班子里的一位女士約會(huì)過,時(shí)間不長。在我看來這真是很滑稽,因?yàn)槲蚁胍獙λ龅氖拢前劳栐谶^去八年里一直對這個(gè)國家做的。
—林登·約翰遜。
—林登·約翰遜?林登·約翰遜是個(gè)政客!你知道那些家伙的道德觀,他們比兒童騷擾犯還要低一個(gè)檔次。
—那么每一個(gè)人都參與了陰謀?聯(lián)邦調(diào)查局、中央情報(bào)局、約翰·埃德加·胡佛,還有石油公司、五角大樓,再加白宮衛(wèi)生間里的服務(wù)生?
—我看衛(wèi)生間里的服務(wù)生可以排除掉。
—我真受夠了整晚和那些干“痢疾”活的人進(jìn)行假惺惺的探討。
—干“評論”活的人。
—哦,是嗎?我怎么聽說“評論”和“異議”已經(jīng)合并成了“痢疾”?
—兩分鐘前,尼克斯隊(duì)還領(lǐng)先14分,可現(xiàn)在他們只領(lǐng)先2分了。
—艾爾維,一幫子腦垂體變異的怪胎忙活著將一只圓球塞進(jìn)一個(gè)鐵圈子里究竟有什么吸引人的呢?
—吸引人的地方在于這是體力活。而有關(guān)智力的往往是,知識(shí)分子看起來很才華橫溢,實(shí)際上卻狗屁不通。所以,身體從不口是心非。
—(求歡未遂)為什么你總是把我的動(dòng)物本能降格到心理分析的范疇?
—你網(wǎng)球打得很棒,但是你的車開得是我這輩子見到過的最糟的。在任何地方都是最糟的,歐洲,英國,任何地方,亞洲。不過我喜歡你的穿著。
—這條領(lǐng)帶是格萊美·霍爾給我的禮物。
—誰?格萊美?誰是格萊美·霍爾?
—是我的格萊美奶奶。
—怎么回事?難道你是在諾曼·羅克威爾的畫中長大的嗎?你的格萊美奶奶?
—希爾薇婭·普拉斯,很有個(gè)性的女詩人,她的自殺悲劇在一些大學(xué)女生們看來居然很浪漫。
—她的有些詩看上去很優(yōu)雅。
—優(yōu)雅?我不得不提醒你現(xiàn)在是1975年。你知道,優(yōu)雅在本世紀(jì)初就已經(jīng)消亡了。
—(內(nèi)心獨(dú)白)天哪,我的話聽上去像是調(diào)頻廣播。放松點(diǎn)!
—你星期五晚上有事嗎?
—我?(驚喜)哦,沒有!
—噢,對不起,等等,我有事!星期六晚上呢?
—沒有,沒有。
—你知道嗎?我甚至沒上過這方面的課。
—聽著,聽著,吻我一下。
—真的嗎?
—為什么不?因?yàn)槲覀儠?huì)呆到很晚才回家,是嗎?我們還沒有接過吻,所有總有些不自在,我會(huì)一直在想該什么時(shí)候吻你之類。所以我們現(xiàn)在吻一下,就可以克服緊張,然后我們就可以去吃飯了,行嗎?(接吻)
—好了,現(xiàn)在我們可以去消化食物了。
—(做愛后)就像巴爾扎克說的:“這是一部新的小說。”
—很棒是吧?
—很棒?是的,豈止很棒,這簡直是我獲得的不發(fā)出笑聲的最大樂趣了。
—(吸大麻)吸一口?
—不,我不用任何致幻藥。因?yàn)槲乙郧拔^一次,大概五年前在一次聚會(huì)上。
—結(jié)果呢?
—結(jié)果是我試圖把我的褲子從頭上脫下來,卡在我的一只耳朵上了。
—我的公寓很小。
—我知道它很小。
—而且水管壞了,還有很多蟲子。
—水管壞了,很多蟲子,聽起來好像是壞事似的。你知道蟲子是……昆蟲學(xué)是一門正在快速發(fā)展的學(xué)科。
—你不愿意我和你住在一起?
—我不愿意你和我住在一起?誰這樣想的?
—我。
—事實(shí)上是你這樣想的,但是,我也立刻同意了。
—你不會(huì)想讓我們看起來像是結(jié)婚了吧?
—有什么區(qū)別嗎?
—你有你的住處,那么就是有區(qū)別。因?yàn)樗谀莾?,盡管我們可以不去住,可以不去管它,但是它就像一只在水面上漂著的救生筏,有了它,我們就知道我們沒有結(jié)婚。
—那混蛋教《西方男人的當(dāng)代危機(jī)》,這都是什么垃圾課程啊,簡直令人難以置信!
—是《俄國文學(xué)中的存在主義主題》好不好?你說的真靠譜啊!
—有什么區(qū)別嗎?反正都是一些精神上的自瀆。
—噢,是啊,我們終于聊到你有所了解的題目了!
—咳,別貶低自瀆!那是和我愛的人做愛。
—你知道,在我很小的時(shí)候,我就總是找錯(cuò)女人,我想我的問題就出在這里。當(dāng)我媽媽帶我去看《白雪公主》的時(shí)候,人人都愛上了白雪公主,而我卻對刻毒的皇后一見傾心。
—快看!上帝從男洗手間出來了。
—蜘蛛在哪兒?在衛(wèi)生間?
—在衛(wèi)生間。……咳,別拍得稀爛。打死以后,用水沖進(jìn)馬桶,多沖兩次。
—親愛的,我從三十歲起就開始?xì)⒅┲肓耍判牧藛幔?br>
—我想讓你看看我的房子,我住在休·海弗納的隔壁,麥克斯,他允許我用他的水流按摩浴缸。還有女人,麥克斯,她們都和《花花公子》里的女郎一樣,所不同的是她們的手腳都會(huì)動(dòng)。
—我無法相信這真的是貝弗莉山莊。天哪,這兒真干凈。
—那是因?yàn)檫@里的人不扔垃圾,他們把垃圾都扔進(jìn)電視節(jié)目里去了。
—現(xiàn)在它只是一個(gè)想法,我想我可以弄到錢把它變成一個(gè)概念,然后再把它轉(zhuǎn)變成一種思想。
—哪一個(gè)?
—那個(gè)有“見褲線”的。
—“見褲線”?
—看得見內(nèi)褲的線。麥克斯,她太漂亮了。
—是呀,她得10分,對你來說太重要了,因?yàn)槟憷鲜钦抑挥?分的,不是嗎?
—我沒找過只有2分的,麥克斯。
—你習(xí)慣于找那種手里拎著購物袋、臉上戴著醫(yī)生用的大口罩、嘴里嘟嘟囔囔地走過中央公園的姑娘。
—瞧,這一對怎么樣?
—我想她正朝我這邊看。
—要是她過來的話,麥克斯,我的腦袋瓜會(huì)變成鱷梨醬的。
—我來應(yīng)付……嗨!
—艾爾維,讓我們面對現(xiàn)實(shí)吧。你知道,我不認(rèn)為我們的關(guān)系會(huì)有出路。
—我知道,這種關(guān)系我認(rèn)為就像一條鯊魚,它必須不停地往前游,否則就會(huì)死掉。我認(rèn)為在我們手里的,是一條已經(jīng)死掉了的鯊魚。
—這本《麥田里的守望者》是誰的?
—如果有我的名字在上面,那么我猜就是我的。
—當(dāng)然有,你在我所有的書上都寫上了你的名字,因?yàn)槟懔系搅诉@一天遲早會(huì)來。
—聽著,所有有關(guān)死亡的書都是你的,所有有關(guān)詩歌的書都是我的。
—這本《拒絕死亡》你還記得嗎?這是我給你買的第一本書。
—噢,上帝,是的。天哪,我感到我背后的負(fù)擔(dān)減輕了很多。
—多謝了,親愛的。
—咳,這個(gè)是我的,這顆徽章,還記得嗎?……我想,這些都是你的,“彈劾艾森豪威爾”“彈劾尼克松”“彈劾林登·約翰遜”“彈劾羅納德·里根”……
—再一次見到安妮,我真的很高興。我意識(shí)到她是一個(gè)多么好的人,能認(rèn)識(shí)她是一件多么有趣的事。我想起了那個(gè)老笑話,你知道,有個(gè)家伙去看精神病醫(yī)生,他說:“大夫,我兄弟瘋了,他以為他自己是一只雞。”醫(yī)生說:“那你怎么不把他帶來?”那家伙說:“我是想帶他來的,可是我需要雞蛋呀?!蹦憧?,我想這就是現(xiàn)在我對男女之間關(guān)系的感覺,你知道,它是完全非理性的、瘋狂的,甚至荒謬的,但是我想我們還一直要經(jīng)歷這一切,因?yàn)槲覀兇蠖鄶?shù)人都需要雞蛋。
四星半;將一個(gè)自大背后的龜毛男人演繹得活靈活現(xiàn);貌似淵博豐富的男人對年輕女孩總有吸引力,當(dāng)女孩有自己圈子、獨(dú)立人格和追求,關(guān)系也告完結(jié);幾乎所有男人都奢望擁有既知性達(dá)理又年輕漂亮的完美女人,卻不知自己輕重;片尾頗有“我努力想忘記你,卻發(fā)現(xiàn)自己變成了另一個(gè)你”之意。
安妮霍爾那一身行頭酷斃了?。。ǖ?0屆奧斯卡最佳影片、最佳導(dǎo)演、最佳原創(chuàng)劇本、最佳女主角獎(jiǎng))
愛死伍迪艾倫的神經(jīng)質(zhì)話嘮了?、僦R(shí)分子式的自嘲揶揄,對白轟炸,全程合不攏嘴;②幽默調(diào)侃下悲涼心酸盡顯,首尾格言式冷笑話獨(dú)白,令人咋舌;③多樣的視覺花招:分屏,對攝影機(jī)演說,做愛時(shí)靈魂出體旁觀,人物自由出入?yún)⑴c閃回場景,白雪公主動(dòng)畫戲仿;字幕透露真實(shí)想法...④費(fèi)里尼,麥克盧漢。(9.5/10)
雖然也看了很多,客觀說也真的還不錯(cuò),但對你們奉若大神的伍迪一直無感。為什么呢?因?yàn)樗莻€(gè)標(biāo)準(zhǔn)的文藝人。就是那種想打炮,喜歡打炮,還要把打炮說的不像打炮的。打炮前需要詩詞歌賦撩騷,打炮后需要琴棋書畫溫存的人。你們這幫文藝青年啊~~~就好這口~~~
男歡女愛電影的珠穆朗瑪峰,伍迪·艾倫此后所有作品感覺都只是它的衍生和變體。妙趣橫生的臺(tái)詞,細(xì)碎的拍攝技巧,帶著小知識(shí)分子的自嘲和清醒。中間那場心口不一的聊天戲?qū)嵲谔眯α耍。ú铧c(diǎn)以為屏幕壞掉2333333)
四星往上,這還真是我看了幾部伍迪艾倫之后感覺最好最愉快的一次了,集各種小清新和小聰明之大成啊。愛情嘛,兜兜轉(zhuǎn)轉(zhuǎn),有時(shí)候就這樣在一起了,有時(shí)候就那樣分開了,永遠(yuǎn)說不清的,再啰嗦都說不清。戴安基頓的衣服真好看!
男:你星期五晚上有時(shí)間嗎? 女:我…應(yīng)該有… 男:噢,周五我不行,周六晚上呢?
"我絕不加入有像我這樣會(huì)員的俱樂部"。其實(shí)片子不大應(yīng)該叫這個(gè)名字。直到現(xiàn)在,這部影片依然是學(xué)院獎(jiǎng)歷史上最反傳統(tǒng)的獲獎(jiǎng)作品.這個(gè)對一次失敗愛情的隨心所欲的剖析之作,借鑒了從伯格曼到格勞喬·馬克斯到麥克魯漢到《白雪公主》等等。這種借鑒不僅僅在故事內(nèi)容上,還包括形式上,比如角色對著攝象機(jī)
艾維最大的毛病,在于他身上那種自相矛盾的性格。用伊索寓言里的比喻來說,他就是那只蝙蝠,蝙蝠見獸裝獸,見鳥裝鳥。但艾維剛好是相反,跟知識(shí)分子在一起,他覺得自己跟著這群裝腔作勢的家伙絕不是一路人,跟普通人在一起他又開始鄙視這些人是文盲。蝙蝠其實(shí)就是哺乳動(dòng)物,艾維其實(shí)也就是個(gè)知識(shí)分子。
——真干凈啊這兒(比佛利山)——當(dāng)然,因?yàn)樗麄儚牟粊y扔垃圾,他們留著垃圾做電視劇呢。
我們都是成年人,即使分手了也可以冷靜地幫你打包東西,反正都到這個(gè)年紀(jì)了,誰沒分過幾次手呢;但是討厭坐飛機(jī)的我,不敢開車的我,還是甘愿飛三千英里再開車過來求你嫁給我。你不同意,沒關(guān)系,我不難過,因?yàn)槲沂浅赡耆恕4蚱频谒亩聣Φ呐臄z方式讓一個(gè)虛構(gòu)的故事變成現(xiàn)實(shí)。
額……臺(tái)詞太多了反應(yīng)不果來……
現(xiàn)實(shí)中也有不少自命不凡的知識(shí)分子(豆瓣文青)也活成了這個(gè)樣子,自己都煩自己,卻期盼著別人來愛自己。殊不知只有傻姑娘才會(huì)愛你,可你又十分嫌棄傻姑娘,想要把她改造成聰明姑娘,可是聰明姑娘是不會(huì)愛你的
重看,完美,感覺很多愛情電影講的都是同一個(gè)故事。
這姑娘笨拙的搭訕,笨拙的對他的喋喋不休表示回應(yīng),于是他愛上這個(gè)其實(shí)沒那么聰明的姑娘,并試圖把她變得和自己更合拍一些,然后他失敗了,他失去了她。這么看起來,這其實(shí)是個(gè)普通又正常的愛情故事啊,雖然期間少不了老頭的絮絮叨叨。
要是身邊有這么一個(gè)喋喋不休的話嘮,真想一腳踹過去,大釘子扎腦門上,讓他永遠(yuǎn)貼在墻上。
自傳性/猶太情結(jié)/對生與死、愛與罪、性與欲、道德與責(zé)任的探討/弗洛伊德無意識(shí)理論/中產(chǎn)階級知識(shí)分子的困惑/片段式結(jié)構(gòu)/畫外音、分屏、長鏡頭、中近景,心理外化,跳出情境,對著鏡頭喋喋不休
對白信息量太大,尤其是兩個(gè)初次見面在安妮家聊天時(shí)內(nèi)心的真實(shí)想法和嘴上裝逼說的話,真是太形象了。。。#論一個(gè)裝逼青年見到心動(dòng)的姑娘該如何聊天#
我一直覺得拍這部電影真的很需要勇氣,就像把自己剖開展現(xiàn)給大家看,你的人生觀、價(jià)值觀,你的思想與生活經(jīng)歷,你的愛情,得與失??梢哉f是可愛的。
這個(gè)死話癆XD 多么卡通的人格。 結(jié)尾蒙太奇又多么傷感的浪漫。除去知識(shí)分子中型文青,難想象若被尋常塑料片養(yǎng)成廢人后能夠挨得住、能夠消化得了這種速度:)