今天我们将要分析电影 Today we're gonna focus on the movie
《理发师的情人》 The Hairdresser's Husband.
下周三的阅读很少但很重要 On Wednesday, the readings are brief but important,
马太福音的第19章 from the nineteenth chapter of the Gospel of Mathew
和创世纪的前三章 and from the first three chapters of the book Genesis.
不要依赖你的记忆 Don't rely on your memory.
那些内容页数不多 Those particular pages, small as they are,
会觉得太熟悉了看不看都一样 are so familiar to us it's almost impossible to see them.
大家必须要对它们进行陌生化 You have to de-familiarize those texts
使自己在读的时候 in order to read them
带着开放的头脑和留心的耳朵 with an open mind and with an attentive ear.
大家先读马太福音第19章 So go back, read Mathew 19 first,
再读创世纪的内容 and then read the text from Genesis
里面耶稣提到了马太福音第19章 that Jesus's referring to in Mathew 19.
不要依赖你的记忆 Don't rely on your memory.
读的时候假装自己什么都不记得 Try to read it as if you don't remember it.
说到记忆 Speaking of memory,
《理发师的情人》 The Hairdresser's Husband,
和《费德鲁斯篇》中的车夫演讲一样 like the charioteer speech in the Phaedrus,
关注的是记忆在情爱生活中的位置 is focused on the place of memory in erotic life.
更笼统地说 More generally,
推动电影进展的 the engine of this movie
是对短暂和情爱的思考 is a reflection on the issues of temporality and Eros,
对时间和爱情的思考 of time and of love.
以前我提过维根斯坦 I've mentioned earlier Wittgenstein,
上世纪的伟大哲学家之一 as one of the great philosophers of the last century.
上世纪还有另外一个大哲学家 Another giant of last century's philosophizing
马丁·海德格尔 is Martin Heidegger.
他最为人称道或诟病的 And one of the things Heidegger is famous or notorious for
是对死亡重要性的讨论 is his discussion of the importance of death.
他说 Heidegger said that
对死亡的遗忘就是对生命的遗忘 forgetfulness of death is forgetfulness of being.
一个人活着 To live a human life,
如果忘了他终有一死 in forgetfulness that it's a mortal life,
那就并非以一个完整的人活着 is to live in a way that's not fully human.
这部电影做了一个思想实验 This movie is a thought experiment
即一个活着的人 about living a life
在有限的生命中感觉不到时间流转 that doesn't experience time within mortality.
男主角安东尼 Antoine the male figure
体验的时间不是线性往前走的 doesn't experience time as linear, as passing.
而是循环重复的 He experiences time as cyclical, as repeating.
所以对他而言时间的有限不等于死亡 So for Antoine temporality does not bring with it mortality.
可以说 他一直处在年轻的状态 He is sort to speak, in a constant state of youthfulness,
他不断重复的 a constant repetition of something
就如影片开头所说 the beginning of the movie shows us
是他童年的一部分 is a part of his childhood.
这就显得很可笑 There's something rather comic about
一个成年人不断重复他/她的童年 a grown-up, an adult repeating his/her childhood.
影片呈现这种搞笑的一个道具 The movie shows us some of this comedy
是一条羊毛游泳裤 with the theme of the woolen swimming trunks.
成年的安东尼很感激 The adult Antoine is grateful
那条怪怪的从没干过的游泳裤 to those awful, never-drying swimming trunks
因为它让他注意自己的生殖器 because they drew his attention to his genitals.
结婚那天 On the day that he's married,
他哥哥翻出了那旧泳裤 his brother digs out the old bathing suit
送他作为结婚礼物 and gives it to him as a wedding present.
这成了一个复现的视觉标志 So that we have a visual mark of this repetition.
当然影片也向我们展示了 And of course the movie also shows us
儿时的他对附近理发师的情感 how his schoolboy crush on the local hairdresser
如何构成了他的情爱结构 form for Antoine the structure of his own erotic desire
并一直伴随他成年 down into adulthood.
安东尼会爱上的每个女人 Every woman Antoine will love
某种程度而言都是同一种女人 will in a certain sense be the same woman.
他始终都是理发师的丈夫 He will always be the hairdresser's husband
至于那理发师是谁 and who that hairdresser is
我们可能觉得是次要的 is you might say of only secondary importance.
由此而言 安东尼体现了 In this respect Antoine is an embodiment
阿里斯托芬神话中的"类型模型" of the type interpretation of Aristophanes' myth.
但注意安东尼不是 But notice that Antoine is not sort to speak
生来就如此 merely born with that type.
他对那种类型的追求来自记忆 The type instead comes through memory,
来自过往的人生经历 through lived experience.
因此在《理发师的情人》中 So that in The Hairdresser's Husband,
决定我们情爱类型的 what makes us of a particular erotic type
是自己的历史 is our history.
我们的历史塑造了自我 It's our history that individualizes us,
让我们成为一个特定的人 that makes us a particular person
来对待爱情 when it comes to love
对待会爱上的人 and who will fall in love with,
不管是好是坏 for good or for ill.
安东尼有种强大的附于情爱的力量 Antoine is capable of unusually powerful erotic attachment.
他知道更多 He knows more part
因为奠定他情爱欲望基础的 because the childhood experiences
童年经历 that founded his erotic desires
非常强大 were unusually powerful.
我们也不同寻常地 And we're also in an unusual way bound up
与死亡特别是自杀连在一起 with death and more particularly with suicide.
因此安东尼这个角色 So the figure of Antoine is a figure
挣脱了有限 丧失了时间概念 who flees from temporality into a kind of timelessness.
通过重复淹没了时间 Timelessness through repetition.
可以做一个有趣的设想 It's interesting to wonder
要是性别对调 what this movie would look like
电影会怎么样 if we redid or reversed the gender roles.
安东尼正处中年 So we've got Antoine who is a middle-aged man of,
要是我没说错的话 I take it that I'm right in this description,
没什么特别的生理特征 no particular physical distinctiveness.
你看电影的时候 When you watch this movie,
你会认为安东尼是个美男子吗 did you think Antoine, what a hunk.
简直让人倾倒 He is really smoken.
他实际是个极乏味的人 He is absolutely drab.
尽管他爱搞笑 He's very funny,
因此这个角度他是有吸引力的 so he might be attractive in that way,
但身体上却没什么吸引力 but he's not physically attractive.
而女主角马蒂尔德 But the woman who plays Mathilde
可以说惊艳四座 is almost impossibly gorgeous.
称她是阿芙罗狄蒂都不过分 She might as well have been named Aphrodite.
当然她看上去也年轻不少 And of course she's noticeable younger.
她并不真的年轻 She's not exactly young,
但看上去比安东尼年轻 but she's noticeably younger than Antoine is.
设想如果两个人反过来 Imagine if the movie were inverted,
女主角人到中年 单调乏味 so that the female figure were middle-aged and frumpy
而男主角是个阿多尼斯那样的美男子 and the male figure was a young hunky Adonis,
故事会怎么发展呢 how would the movie work?
我想至少在我们所处的时空中 I think that at least in our place and time,
影片是在思考 the movie is thinking that
男性对时间的体验 the male experience of temporality
是不同于女性的 is different from the female experience of it,
女性对时间的体验 and that the female experience of temporality
是将时间的流逝 feels the passage of time
当做对情爱吸引力的威胁 as more of a threat to erotic attractiveness,
因此我们更容易去设想 so that it's much easier for us to think of
五十甚至六十的男演员 male actors who well into their fifties, even their sixties,
仍然可以做主角 are still leading men,
保罗·纽曼 Paul Newman
罗伯特·雷德福 and Robert Redford
这是上一代的演员 in an earlier generation,
还有肖恩·康纳利 Sean Connery,
哈里森·福特 Harrison Ford.
相反 我们很难设想 It's much more difficult to think of
五六十岁的女性能够主宰荧屏 women who've been able to command the screen to be
成为浪漫故事的焦点 the focus of romantic fantasy into their fifties and sixties
像男演员那样 in anything like the way men have.
可见影片在思考这个问题 So the movie is thinking about that.
我想放一个片段 I wanna show a clip from the movie
其中出现了好几个主题 that I think brings together some of these themes
无限的时间和有限的 of the timeless and the temporal,
以某种强大方式飞逝的时间 the fleeting in a particularly powerful way.
要想两周减十磅 We start out with
只吃黄瓜只喝茶 Mathilde reading a diet advertisement in a magazine.
你买了吗？ Antoine, after she unbuttons her dress, is caressing her.
- 你在哪儿看的？ - 这儿 Antoine says to her
他们说有医学根据的 "Lose half a pound and I'll throw myself under a bus..."
几点了 Now what does Antoine think he's saying when he says that?
六点四十五 He's saying
打烊吧 "Mathilde, you shouldn't have any worries.
你要是减半磅 我就去撞车 I love you completely.
答应我一件事 There's nothing for you to change.
就一件 I can't imagine loving you any more than I do right now.
哪天你不爱我了 I love you so much
别假装你爱我 that any change that you try to make
有客人 wouldn't make you any better for me.
让他明天再来 Things are perfect."
一开始 But the thought that goes through her head is
马蒂尔德在念杂志上的节食广告 "the day you don't love me anymore,
她解开扣子后 安东尼去吻她 don't pretend you do."
安东尼说 So he says "you're perfect,
你要是减半磅 我就去撞车 if you lose a pound, I'll throw myself under a bus."
他说这话时想的是什么 And she thinks that he said
他是要说 "don't change!
马蒂尔德 别担心 If you change, I won't love you anymore."
我爱你的全部 What he means to say is an expression
你不用改变 of timeless repetition in a perfect romantic bliss.
我想不出来怎么可以更加爱你 And what she hears is
我爱你如此之深 a threat to their relationship
因此你的任何改变 as the inevitable changes of time weigh upon them
都无法让我更加爱你 and most particularly on her.
一切都是完美的 So the very thing that Antoine thinks he can say to reassure her
但她想的则是 turns out to put words on her deepest anxiety,
哪天你不爱我了 the anxiety about the mortality of their love.
别假装爱我 This goes along with the number of other things in the movie.
安东尼说的是 你是完美的 You'll remember earlier
你掉半磅肉 我就去撞车 when they are in their wedding clothes in the salon,
马蒂尔德则以为他说 this is 14 on your handout if you have it,
别改变 when Antoine's brother is there
你要变了 我就不爱你了 and brings the wool trunks.
安东尼的意思是 And Antoine's mother brings
完美的浪漫喜悦会无尽重复下去 a childhood picture of Antoine with his father.
马蒂尔德听到的 So the scene flashes us back
是对他们关系的威胁 as the movie does so many times
不可避免的改变迟早会影响他们 to Antoine's childhood to the way that
尤其是影响到她 for Antoine
安东尼用来让她确信的话 the child has been the father to the man.
却触及到了她最深的关切 By contrast,
即对爱的终止的关切 when Antoine asks Mathilde
影片中其他地方也有诸多体现 if he can see childhood pictures of her,
稍早之前 she says she has no childhood pictures,
他们穿着结婚礼服在理发店 because they make her sad.
大家讲义中的第14点 She says time flies too fast.
安东尼的哥哥也在 There are a number of other places in the movie
带来了羊毛泳裤 where this issue about
他母亲捎来了 the two different perceptions of time
他小时候和父亲在一起的照片 between Antoine and Mathilde
影片闪回到了过去 is central to the drama.
这种手法在影片中多次使用 So that in all these rather sweet, concrete scenes,
回到了他的童年 there's a very deep and threatening theme going on,
对他而言 a theme that doesn't become fully conscious for us,
那时的他就注定了现在的自己 the threat doesn't come down on us fully
这句话源于华兹华斯的诗歌My Heart Leaps Up 表达永恒统一之意 后成为一句俗语 常译成“三岁看老”。 until toward the very end of the movie
形成对比的是 when Mathilde finally reaches the logical conclusion
当安东尼问马蒂尔德 of her fears of temporality.
能不能看她小时候的照片 The second scene from this clip
她说自己没有小时候的照片 about Edward the awful boy,
因为它们使她难过 it's a scene that always has a particular shock value
她说岁月如梭 to somebody like me
影片中还有好几个地方 since two of my three daughters are adopted.
也谈到这个主题 So this scene along with the scenes with the Goras.
即安东尼和马蒂尔德 Remember the man who comes in, hiding from his wife
对时间的不同感知 who comes in and slaps him.
处在核心地位 And they too have three children.
在所有这些甜蜜具体的场景中 This is one of the scenes
蕴含着一个深刻挑衅的主题 that inserts as a theme into the movie,
这个主题我们并没充分意识到 the question of the relationship between romance and children.
我们真正完全意识到这种挑衅 The interpretation of children that this scene gives
是在影片结尾 is a lot like the interpretation of children
马蒂尔德终于想通了 in the speech of Aristophanes.
她对短暂时间的畏惧 Children form no part
别不乖 of the erotic union that this couple seeks.
真不像话 Children indeed can be nothing
别叫 爱德华 but an intrusion into that kind of relationship.
你保证过的 In an earlier scene
爸爸怎么对你说的 没事的 when Antoine is dancing as he normally does,
瞧 有好玩的书 dancing seems to me here a symbol
这里有船 还有马 of his timelessness,
你喜欢马吗 of his ability to sort to speak
这个阿姨多好 给你书看 live so completely in the moment
爱德华也是好孩子 可听话了 that he doesn't experience the moments as passing.
有玩具枪吗 In an earlier scene, it's 16.
砰砰作响 还闪出火星 Antoine says to Mathilde,
我有个小火车 "We'd be so closely welded
他不喜欢那个 that nothing cold or evil could slip between us."
来 有你的椅子 This is just after they are getting married.
还有个靠垫 The very word weld seems to be drawn from the scene
多好看的靠垫 when Vulcan comes and speaks to the lovers in their bed
他不是我们亲生的 and asks them what it is they most truly want.
我们领养的 大错特错 This couple Antoine and Mathilde
你们有孩子吗 they know what they most truly want.
很明智 千万别领养 For Mathilde, though not so much for Antoine,
他们会把你榨干 death is the threat to that enduring relationship.
让你头大 The awful boy Edward
乖 爱德华 is soothed by Antoine's dancing
我有糖 who says
有根绳才行 把他绑起来 "I'll show you something you've never seen."
我摁住头 你来绑 And in the voiceover, Antoine says,
他会冷静的 "We've no children. ... We've no friends.
我给你看点东西 What could they add to our lives?"
你一定没见过 He says, "[When couples spend time with others,]
我们没有孩子 it's a proof that their love is lacking."
只有别人家的孩子 爱德华 保罗 安德鲁 Antoine and Mathilde form a perfect couple,
阿曼德 杰里米 艾蒂安 西蒙 a couple that's perfect not only because
有的一洗头就害怕发抖 they satisfy each other's needs so well
为了圣餐仪式或放假就把头发剪短 in such a complementary way
冬天脖子那里不能剪得太短 that they really are each other's other half.
马蒂尔德肚子还是扁扁的 But they also form a perfect couple because
这么光滑的肚子 不会允许怀孕而变形 they are closed couple, not an open couple.
我们没有朋友 You may have noticed that
从没有过 when one of your friends is in the throes of falling in love
朋友能给我们生活带来什么呢 or establishing a romantic relationship,
我为这样的夫妻感到悲伤 they often seem to disappear from view for a while.
他们跟其他夫妻一起出去 They go into a kind of romantic cocoon.
一起度假 Their friends complain,
这说明他们缺少爱情 "hey, you never go out with us anymore!"
夫妻间的鸿沟要靠外部友谊来搭桥 You know they do smile sheepishly,
我和马蒂尔德过得很好 but they don't go out with you any more often.
两个人幸福才是最重要的 There's a kind of enclosure
剪完了 that at least a certain stage of romantic love
看 不错吧 seems to offer to us, to invite us into.
终于干净多了 Antoine and Mathilde
记住我的话 别领养 are trying to live out that life of enclosure.
别担心 It doesn't mean they are mean to other people,
再见 far from it.
喜欢这首吗 But it does mean that everything except themselves
我昨天找到的 is exterior to the nature of their erotic love.
很好听 And most particularly, children are exterior to it.
一起来跳吧 If they had enough sex,
跟这音乐我不会跳 particularly of the type that we now call "unprotected",
我也不会 那就闭上眼睛吧 what a romantic term that is,
告诉自己没人在看 they might end up with a baby or two.
快点 But the damn thing's it being the way.
看 多简单 How many movies can you think of
哪一天 I'll tell you I've tried coz I stick them in the course
我会买张彩票 就一张\ where a central aspect of the romantic attraction
我当然会赢走整个奖池 between two lovers
我们就去巡游尼罗河 is their desire to have children through each other's bodies.
在船甲板上跳舞 Children in a romance are almost always
从早跳到晚 the cause of comic impediments to the lovers' romance.
看着太阳落山 They are virtually never the expression of,
消失在金字塔后面 or the their commination of
抱紧我 安东尼 用你全部的力气 the lover's romance.
压着我的胸部 让我喘不过气 The erotic cocoon is so tightly closed
我怕有一天你不想再和我跳舞 that even the children of a particular romantic couple
别胡说 count as intruders.
我怎么会不想贴着你的肚子？ Now I suspect that a lot of you would be surprised
触摸你的肌肤 not to say mollified to find out
亲吻你的肩膀 how much of the time that your parents spend on dates
脖子 they do still go on date whether you like it or not
臀部 how much of the time they spend talking about you?
安东尼 我也认识过其他男人 Even if you are a brouche.
但没人像你这样 That's still what they talk about.
我从没属于过任何人 Do they experience you as an intrusion into their relationship?
我对你没什么要求 Or do they experience you as
抱紧我 such an integral part of their relationship
短片中的这个场景 that when they're together,
出现了捣蛋的小孩爱德华 trying to have the kind of the intimacy
这个场景让人震撼 a good conversation provides,
对于像我这样的人 the most natural topic of that intimate conversation
因为我三个女儿中 两个是领养的 is their child, their children?
类似的还有葛拉夫妇的场景 So much so that people without children
一个男的躲着妻子进来了 can hardly stand talk to people who have children,
妻子也跟着进来打了他一巴掌 because they're so boring,
他们也有三个小孩 they talk about their children all the time.
这个场景 Now people with children, it's not so bad
在影片中引入了一个主题 because you let those people
即浪漫爱情和孩子的关系问题 brag about their children for a while
片中对孩子的认识 and then you get the turn to brag about yours.
很像阿里斯托芬演讲中 It's even worse with grandchildren.
对孩子的认识 So the movie is focusing on the way
孩子并不是 that children are perceived as intruders
这对夫妇追求的情爱交融的一部分 within this aristophanic model
孩子什么都不是 of the welded, enclosed couple.
而只是对这层关系的打扰 The structure of the actual desire
之前的一个场景中 for union between these two human beings
安东尼和往常一样在跳舞 has as no aspect of it a desire for procreation or reproduction.
我觉得舞蹈在片中就象征着 Antoine goes so far as to describe
他不受时间所限 the effects of pregnancy on Mathilde's body as something
可以说它有那种能力 that would deform her,
完全生活在此刻 her flat belly will never be deformed by pregnancy.
而体会不到时间的流逝 So the movie presents us
这是第16个场景 with the model of the romantic cocoon,
安东尼对马蒂尔德说 the enclosed couple.
我们交融得如此紧密 But it also presents us sort to speak on its edge
任何冷峻邪恶的东西都无法溜进来 with another possibility,
这是他们结婚后不久 the possibility not of a closed couple
交融这个词仿佛是从这儿来的 but of an open couple, procreatively open.
即伏尔甘下到人间问床上的夫妻 The movie does not give us
他们真正想要的是什么 a healthy model of that kind of couple.
安东尼和马蒂尔德 It's a question whether there are any romantic movies
他们清楚自己最想要什么 that give us a healthy model
马蒂尔德的体会超过安东尼 of that procreatively open couple.
死亡是对这恒久关系的威胁 Of course there are family joke movies,
捣蛋鬼爱德华 Yours, Mine and Ours, the movies like that,
在安东尼的舞蹈中变得平静 that are about people who just have so many kids
安东尼说 and it's hilarious.
我给你看你没见过的东西 In the contemporary...
在旁白中 安东尼说 when I was growing up,
我们没有孩子 没有朋友 how many kids that you have to be before you were comic,
他们能给我们生活带来什么呢 about 8.
他说 一对夫妻跟其他人一起度过 Now if you have more than two.
表明他们之间缺少爱 When my three girls were all little,
安东尼和马蒂尔德是一对完美的夫妻 say under the age of 5,
他们的完美不仅是因为 if I'd go to the mall with them
他们完全满足了对方的需求 and their mom wasn't there,
以一种互补的方式 people would damn you congratulate me like
真正是彼此的另一半 "Ah! I don't...
他们的完美同时也是因为 That's amazing you can take three of them at once.
他们是封闭的而不是开放的夫妻 You can juggle'em in the air like balls."
大家可能会注意到 People used to think that was like child work.
当你的朋友正在经历一场恋爱 So there's something in our place and time
或者说建立一段浪漫关系 in our culture that this movie is really getting at,
仿佛就会消失一阵子 something about children
因为他们进入了浪漫之茧 And more generally
朋友会抱怨说 I think it's reflected in
嗨 怎么不跟我们一起玩儿了 what kinds of movies there are about romance,
他们会不好意思地笑笑 how hard it is to find a good movie
但还是不会跟你一起玩 where the desire for children
有那么一种封闭的状态 is a central part of people's love life.
至少在浪漫爱情的某个阶段 You'd think that
会邀请我们进入 every couple in the movies
安东尼和马蒂尔德 was in some sense a Catholic,
就想过这样一种封闭的生活 because all the children seem like accidents.
这不意味着他们对人刻薄 So let's think a little more about the figure of Mathilde.
远非如此 Antoine in part because of his own sense
而是说除了他们自己以外 of romantic possibility
任何东西都是他们情爱本质之外的 is so thoroughly male.
特别地 孩子也是排除在外的 Antoine doesn't find
如果他们做爱不少 time to be a threat to his romantic potential.
特别是我们所说的"无安全措施性行为" But Mathilde is constantly working with the anxiety
这真是个浪漫的表达 that what makes her the perfect person
他们可能也会有一两个孩子 for the man she loves, Antoine,
但偏偏就是没有 will be diminished even destroyed with the passage of time.
你能想出几部电影 She has such a different relationship
可以告诉大家我想过 因为上课要提 to her childhood than Antoine does.
电影中爱人间浪漫情爱吸引的 Far from repeating her childhood, she suppresses it.
核心成分 She wants no reminders of it.
是通过彼此的身体生育孩子的欲望？ When Antoine and Mathilde go to visit
情爱中的孩子十有八九是 the former owner of the salon Mr. Agopian,
一种充满喜感的对浪漫关系的阻碍 in the old folk's home,
他们从来不是用来表达 it's not Antoine, it's Mathilde who turns to look back
而是用来威胁 with a look of horror on her face
爱人间的浪漫 because Agopian's present is her future.
情爱之茧封闭程度之高 For Antoine, that's not a problem,
甚至连一对夫妻的小孩 being old for Antoine is just another temporal accident.
都被算作入侵者 It's not something that changes his life
我怀疑你们很多人都会惊讶 in some fundamental way.
而不是感到抚慰 The movie's, as I mentioned it,
当你们发现你们父母约会时 it codes this as a male-female difference.
他们确实还会约会 不管你愿不愿意 We wouldn't have to code it the same way.
你会惊讶于他们花多少时间在谈论你 But I do think the movie will be much harder to make
就算你放荡不羁 if you try to invert the gender roles.
他们还是会谈论你 There's something that the movie is capturing
他们是把你当做他们爱情中的入侵者吗？ whether it's just a passing part of our culture or not,
还是说把你作为 there's something that it's capturing.
他们关系不可分割的一部分 It's a theme that we can see
以至于当他们在一起 floating around in the Symposium,
试图通过一段良好的对话 especially in the speeches that we'll be coming to,
制造一种亲密 the theme about the nature of youthfulness
这种亲密对话最自然的话题 within the economy of romantic love.
就是他们的孩子 Aristophanes's speech
这一点甚至让没有孩子的人 allows us to think of union, reunion,
没法容忍跟有孩子的人对话 that kind of the intimacy of a closed couple
因为他们实在无聊 as the center of our erotic desire.
只知道谈自己的孩子 But it adds that
而对有孩子的人就不是什么坏事 there is a divine dimension of the physical expression
因为你可以先让别人 of reunion and sexuality,
吹一阵子自己的孩子 a divine dimension in procreativity.
然后就轮到你吹自己的孩子 Part of what we'll be doing on Wednesday
说的要是孙子孙女就更是如此 is to think about
因此影片所关注的 how these texts from the New Testament and the Old
是在阿里斯托芬那个 are in their own way working out
交融封闭的情爱模型中 the economy of union and procreativity
孩子作为侵入者的问题 within their conception of marriage and sexuality.
两个人渴望交融 In The Hairdresser's Husband,
这个结构实际上 the last word on the nature of our erotic desire
并不包含对生育的渴望 comes from Antoine,
安东尼甚至描写了 who says, enigmatically enough,
怀孕对马蒂尔德身体的影响 "The hairdresser will be back."
说她会因为怀孕而变形 Because Antoine is always dancing,
因而她扁扁的肚子不会怀孕 is always living in the mode of repetition.
影片所呈现的 For him, the hairdresser will always be back.
是浪漫之茧的模型 So he's dancing
表现一对封闭的夫妻 and he's dancing all the way to the grave.
但可以说它也触碰到了 Seems like a nice theme as we move into Ash Wednesday.
另外一种可能 See you then.
即不是一对封闭的夫妻
而是一对从生育上来讲开放的夫妻
影片并没有给出
那种夫妻的健康的模型
有没有电影会给出那种
生育上开放的夫妻模型
还是一个问题
当然有些搞笑家庭电影
比如《双乐满堂》那样的电影
讲的是有的人养一群小孩
还无比欢乐
在这个时代...
我小的时候
养多少孩子别人会开始觉得你可笑呢？
八个左右
现在超过两个就不行
我的三个女儿小时候
不到五岁的时候
要是我带她们去商场
而她们妈妈不在
就会有人来恭喜我
啊 这...
有三个小孩真是不可思议
都可以像球一样在空中抛起来了
而以前人们则觉得这很正常
因此影片的一些思考
也适用于我们所处的时代和文化
关于孩子的话题
广义来看
我觉得这反映在
浪漫爱情电影的类型
要找到一部好电影的难度
能表现出对孩子的渴望
是爱情的核心部分的电影
你可能觉得
影片中的所有夫妇
某种程度上都是天主教徒
因为他们似乎都是因为意外而有了小孩
再来想想马蒂尔德这个角色
安东尼由于他有自己对
浪漫的感知和认识
因而完全站在男性的角度
他不觉得
时间是对他浪漫潜能的威胁
而马蒂尔德则备受这种忧虑的煎熬
令她完美的那些东西
让安东尼觉得完美的东西
会随着时间的流逝而减少甚至不见
在对待童年时
他和安东尼如此不同
她不是重复童年 而是压抑童年
不希望有任何关于童年的提醒
当他俩去拜访
理发店的前主人艾歌先生
去老人院的时候
不愿看的不是安东尼 而是马蒂尔德
脸上还带着惊恐
因为眼前的艾歌先生就是她自己的未来
这对安东尼不是问题
变老不过是另一个短暂的意外
这不会从根本上
改变他的生活
我已经提过
这部电影着眼于男女的区别
我们不必跟着它走
但我确实认为如果男女角色对调
影片会难拍很多
影片试图捕捉一些东西
不管是不是我们文化中短暂的一部分
它是试图捕捉一些东西的
我们会发现这个主题
在《会饮篇》中随处可见
尤其是在我们将要读到的演讲中
即在浪漫爱情中
年轻的本质这一主题
阿里斯托芬的演讲
让我们想到重合和交融
一对封闭夫妻的这种亲密
是情爱欲望的核心
但同时又补充到
在交融和做爱这种生理表达中
有一个神圣的维度
即生育这一神圣维度
我们下周三的主题之一
就是要探讨
新约和旧约中的文本
是怎么
在婚姻和性的概念之下
处理做爱和生育的问题的
在《理发师的情人》中
关于情爱欲望本质的最后一句话
是安东尼说的
他让人费解地说
理发师会回来的
因为安东尼一直在跳舞
一直生活在重复中
对他来说理发师始终会回来
他就一直跳舞
直到跳进坟墓
看起来是我们圣灰星期三一个不错的主题
下周见