How did Same Old Song come about? Alain Resnais: After Smoking and No Smoking, Bruno Pesery asked me to film an opera written for the big screen. It probably would have been easy to finance the project in English but I felt that my knowledge of the language was insufficient for such an undertaking. I therefore looked for an alternative. During the work on the adaptation of Intimate Exchanges, the series of plays by Alan Ayckbourn that led to Smoking and No Smoking, I had become close friends with Agnès Jaoui and Jean-Pierre Bacri. I admired the musicality of their dialogue and their performances on stage and screen. I therefore asked them if they would be interested writing a screenplay. They replied that they would but, having not appeared in our two "twin films," they didn't want to write for other actors than themselves. This suited me perfectly. We then spent three or four afternoons talking about characters, outlines, what we wanted or didn't want to do on film. We ferreted through my subject box. I think I even gave the "Jaoui-Bacris" a totally outrageous halfhour improvisation, a little like automatic writing, that I had recorded on audio tape. The theme of the outer appearances that we wear throughout our lives rose to the surface along with other elements, like a guide and her visits and the psychology of the hermit crab. Then, as I am a great admirer of the English writer, Dennis Potter, I showed them extracts from his TV films. In some of them, the characters regularly lip-synch to popular songs. And gradually, the outline of the film came into shape. The challenge was the following: how not to copy Potter, given my passion for his work? We therefore decided to use French songs rooted in an everyday climate, excluding any notion of fantasy. The songs, with two or three exceptions, don't describe the characters' imaginary world either. Nicole Vedres, with whom I worked as an assistant in 1947 on Paris Mil Neuf Cent, told me one day that the novel, in its descriptions of love and its melodies, could never match so-called popular or music-hall songs. And I've often noticed that popular songs accompany the acts of our everyday lives. If we behaved at all naturally, we'd use song lyrics in conversation.
Your love of musicals is well known and yet it is hard to find an illusion to the genre in Same Old Song. Alain Resnais: I was particularly determined not to stray into that area. A musical almost always contains dancing or at least movements and gestures by actors to evoke dancing. Once again, we were aiming for a more everyday style. We wanted the songs to enter the scenes without any warning. If the audience, even only once or twice, could forget that it was hearing a song and think that the words were dialogue, then we would be happy.
Jean-Pierre Bacri: In this way, the songs have a direct link to the theme of appearances because the medium of song is both universal and imprecise or approximate. True, people use it to communicate and form bonds, but this is also a mask and it's not an ambitious and personal way of communicating. If someone is sad, you say "Every cloud has a silver lining," and he understands what that means. And, at the same time, you don't really reveal your own personality. They are merely a semblance of contacts and relationships. In the film, the family photo shown by my character (Nicolas) that looks like an ad for breakfast cereal is an image of success. The ad for breakfast cereal is a photographic song: "I show you a certain idea of happiness and you think I'm happy." Agnès Jaoui: We also aimed to talk about happiness and the difficulty of being happy, of what happiness means. For me, one of the reasons why people feel unhappy is because they compare themselves to others. We are bombarded with images of young, healthy people with a happy family... and we continually compare ourselves to this image of happiness. If you're over twentyfive, if you're a bit fatter, a bit thinner, a bit taller, a bit more single, a bit more childless, etc.... not only do you feel unhappy, but you also feel lonely, excluded and abnormal. Jean-Pierre Bacri: In the film, the theme of appearances is balanced out by the thesis. This is a successful relationship. It's taken to its complete and logical conclusion. in this case, on the yeomen of Paladru Lake in the year 1000. You do 800 pages to deal with the issue fully, and you end up within something thick, solid, expansive - the ideal way of boring other people silly. We need brief and simplistic signs, as in advertising or these songs that don't mean anything but that we identify with. They talk to everyone, providing a sort of secret for success encapsulated in three words. Agnès Jaoui: And, at the same time, the consumer society, like popular music, is reassuring. We're not saying that it shouldn't exist. Jean-Pierre Bacri: Not at all. One of the common themes in Cuisine et Dépendances, Un Air de Famille and Same Old Song is the idea that you can go beyond those appearances and get to the heart of things, despite the dangers of conflict, even with yourself, and the risk of seeing yourself as you really are. Too bad if it's even further from that particular ad and the songs. You discover yourself. That's the main thing. Discovering yourself. Agnès Jaoui: Odile (Sabine Azéma) is the character who maintains this need to put on a front the most stubbornly. She is always on top of the world and doesn't understand other people's suffering because she refuses to accept her own. Jean-Pierre Bacri: For her, as for many people, admitting one's weaknesses is tantamount to failure. It's a defeat.
In the film, Camille (Agnès Jaoui) has a nervous breakdown just when everything is going well for her. She is in love, she has just obtained her doctorate... Do you think that often happens? Jean-Pierre Bacri: When you spend years - as someone working on a thesis does - devoting all your energy to a specific goal, once you reach that goal, you end up in a void. Agnès Jaoui: You say: "So what, I've obtained my doctorate - or whatever - and nothing has changed. I'm not different, better, more beautiful, I'm just myself. I could die tomorrow. What use is it all?" And in general that happens when you're twenty-five or thirty. Becoming an adult, marks the end of a certain dream, a certain projection into the future, and you have to face the present and the absurdity of this life... You are. that's all.
A Merchant Ivory Films Release in association with Artistic License Films presents
《法国香颂》给X ，英文名：Same Old Song/中文名：老调重弹。这个老套的爱情故事，其实适合作为雷乃一直以来的左岸派“技术”服务，在电影里体现最明显的“人”“声”分离都是老声画分离的体现，但技术旨在磨平好与坏、美与丑的性质差异，当然会忽略好并不是坏的克服，美也并不是坏的铲除这样只有力学因素在其中的简单编排，对很喜欢左岸派的我来说，比较掉价。
斯蒂格勒曾将电影电视、音乐广播称为工业时间客体，对应着一种流动的名为“我们”的时间意识，这些装置将离散于不同时空的诸意识容纳入同一共时之中，最终这些“意识”汇为同一人的意识，也即无人-意识，如同独眼巨人，没有视角，没有景深，一切皆为扁平——这种统一划归的消费主义设计便是当代大众的存在之痛。
《法国香颂》恰恰将这两种媒介的共时性作用发挥到了近乎极致。雷乃用法国当时脍炙人口的通俗歌曲唱段代替剧中人物的对白（要注意，这些唱段并非由人物转唱，而是将原曲音轨片段直接呈现），并且在公映时，银幕上并不提供这些唱段台词的字幕，一种时间客体的双重同步机制由此显形：剧中诸意识被歌曲占据，而银幕外的观众借由电影音轨被歌曲寄居。其中的关键在于记忆的机制——歌曲要作为一种第三持存（斯蒂格勒将之称为“义肢”，一种外化的记忆）发挥作用，也就是说，银幕前的观众并非首次聆听这些歌曲，而是通过工业复制技术将过去的现时感知再次呈现于当下，这种第三重复具有强化或取消的作用：强化歌曲人物的意识、情绪、时间，取消诸听众的个体意识，从而形成某种同一性“我们”——“重复可以产生一种无差异”。从这一角度说，影片标题中的“法国”显得尤为重要，它是起到限定作用的定语，它定义了同一时代、同一文化中的“我们”。（题外话，正由于这个原因，尤其是唱段字幕的缺乏，我的观影体验十分别扭。）
至此，电影的主题也变得通透，它表现了一种当代性空虚的存在之痛，一种工业时代侵占历史记忆之痛，一种不知思考什么、如何思考之痛。影片开始于纳粹首领肖尔蒂茨违抗希特勒炸毁巴黎指令的往事，而这则历史事件由本片的女主——历史系学生及巴黎兼职导游卡米叶向游客盘托出。这里的双重身份值得玩味，它意味着卡米叶在空间（导游）与时间（历史研究员）双重维度上守卫着巴黎的历史。同时有趣的是，她是全片唱段最少的人物，仅仅歌唱过两次，是在她爱上全片中最可恶、最世俗、最利益熏心，也最具当代性的马克时，并且两次唱毕后失音，最终陷入胸闷气短的痛苦。在卡米叶这里，史籍/古迹与录制歌曲在象征层面构成巨大的对立，并借由生理之痛揭示出当代生存之痛：过去知识与精神的丧失（卡米叶的研究受到诸人的嘲笑，并被质疑其当下效用），以及当代的虚无与贫乏（现代喷泉艺术被当代庸俗人物解读为“一摞碟子”）。最终，在影片的结尾，象征达到高潮：在不久的将来，经由当代者马克所中介的房产前会拔地而起一座高楼，从而阻挡在公寓观赏巴黎景致的视野；女主人奥迪尔在一段近乎神迹的“闪前”（flash -forward）中预见了这一残酷事实，如同卡米叶一般，她陷入了身体的巨大痛苦与疲惫。在这一刻，巴黎坍塌的预言性未来与当代的存在之痛降临于这一尊象征性容器中。这种类似心悸的生理之痛还同时于显现于唯唯诺诺的男主人克洛德，风流倜傥、满口谎言的尼古拉，甚至是被卡米叶驱逐出屋、徘徊于街的马克。这些痛楚的人物连同面向银幕共情（亚里士多德意义上的净化/卡塔西斯）于人物及歌曲的观众，共同构成了居身贫乏当代，饱含存在之痛的“我们”。
本月最佳电影
香颂的味道
采访Alain Resnais
手册：很高兴见到您，因为 《法国香颂》 让我们着迷...
A.R:面对他人的赞美而感到惊喜，似乎总是非常不安，但这是真的。在电影公开放映之前，总有那么一个时刻，我们害怕灾难，我们想知道谁会喜欢它。更不用说许多技术问题，例如获得令人满意的标准副本。总是有点焦虑，现在我有点放心了。无论如何，我不是那种在周三打电话询问售出多少椅子的人。（译者著：此处应该是谚语，大概表示提前想知道答案。）
手册：
提问：《法国香颂》是怎么来的？
阿兰·雷奈：在《吸烟与不吸烟》之后，布鲁诺·佩塞里让我拍摄一部为大银幕创作的歌剧。在英国，资助这个项目可能很容易，但我觉得我的语言知识不足以完成这样的任务。因此，我寻找了另一种解决方案。在改编Alan Ayckbourn的《亲密交流》系列戏剧《吸烟与 不吸烟 》的过程中，我与Agnès Jaoui和Jean-Pierre Bacri成为了亲密的朋友。我钦佩他们对话的音乐性以及他们在舞台和银幕上的表演。因此，我问他们是否有兴趣写剧本。他们回答说他们会，他们想既写又演。这非常适合我。然后，我们花了三到四个下午的时间谈论角色、大纲，以及我们想在电影中做什么或不想做什么。我们翻遍了我的主题百宝袋。我想我甚至给了“Jaoui Bacris”一个完全离谱的半小时即兴创作，有点像自动写作，我把它录在了录音带上。我们一生中所穿的外表主题与其他元素一起浮出水面，比如导游和她的来访以及寄居蟹的心理。然后，由于我非常崇拜英国作家丹尼斯·波特，我向他们展示了他的电视电影摘录。其中一些角色经常与流行歌曲假唱。渐渐地，电影的轮廓形成了。挑战如下：考虑到我对波特作品的热情，如何不复制他的作品？因此，我们决定使用植根于日常气候的法国歌曲，排除任何幻想的概念。除了两三首歌曲外，这些歌曲也没有描述人物的想象世界。 我想起了1947年我在《巴黎1900》担任助理时妮可·维德雷斯的一个想法。她说，流行歌曲最真实地表达了人类的感情。有时皮亚芙或特雷内的歌声比细腻、雅致的小说描述得更为精准。” 我经常注意到流行歌曲伴随着我们日常生活的行为。如果我们表现得很自然，我们会在谈话中使用歌词。
提问：你对音乐剧的热爱是众所周知的，但在《同一首老歌》中很难找到这种类型的幻觉。
阿兰·雷奈（Alain Resnais）：我告诫自己不能走偏。音乐剧几乎总是包含舞蹈，或者至少是演员的动作和手势来唤起舞蹈。再一次，我们的目标是更日常的风格。我们希望歌曲在没有任何警告的情况下进入场景。如果观众哪怕只有一两次，都能忘记自己在听一首歌，认为歌词是对话，那么我们就会很高兴。
大师兄：本片香颂歌唱部分其实给我的感觉全部是在说话或者讲自己的内心活动，同时雷乃活用了演员的手部动作来达到了音乐剧的效果，再添加了自己的技巧和蒙太奇手法。
让-皮埃尔·巴克里：这样的话，歌曲与表现主题就有着直接的联系，因为歌曲的媒介既普世又模棱两可。诚然，人们用它来交流和建立联系，但这也是一种面具，不是一种雄心勃勃的个人交流方式。如果有人感到悲伤，你会说“乌云都有一线希望”，他就会明白这意味着什么。而且，与此同时，你并没有真正展现自己的个性。它们只是接触和关系的表象。在电影中，我的角色（尼古拉斯）展示的家庭照片看起来像早餐麦片的广告，这是一个成功的形象。早餐麦片的广告是一首摄影歌曲：“我向你展示了某种幸福感，你认为我很幸福。”
大师兄：是的，巴克里片中的角色在片中给阿泽玛展示家庭照片，我们却无法从摄影机镜头里面看到。其根本原因就是他和他的妻子孩子并不和谐，所以雷乃让观众无法看到照片那个虚假的幸福。
Agnès Jaoui：我们还想谈谈幸福和幸福的困难，幸福意味着什么。对我来说，人们感到不快乐的原因之一是他们将自己与他人进行比较。我们被年轻、健康的人和幸福家庭的照片轰炸了...我们不断地将自己与这种幸福的形象进行比较。如果你超过25岁，如果你有点胖，有点瘦，有点高，有点单身，有点没有孩子，等等……你不仅会感到不快乐，还会感到孤独、被排斥和不正常。
大师兄：所以夏薇依片中所饰演的兼职导游的历史系博士生，她在博士论文通过后，反而找不到快乐了。巴克里在片中也是找了三位不同的医生进行身体检查，他心悸所以甚至怀疑自己得了癌症，和电影1小时后的转折点（博士生论文答辩后夏薇依晕倒难受）一样，他们需要的都是调整心态做自己。
让-皮埃尔·巴克里：在电影中，出场的主题被论文所平衡。这是一段合理的逻辑概念。它已经得出了完整而合乎逻辑的结论。在这种情况下，在公元1000年的帕拉德鲁湖上的自由骑士就有了意义。你花了800页来全面处理这个问题，结果却陷入了一种厚厚的、坚实的、广阔的境地——这是让其他人无聊至极的理想方式。我们需要简洁明了的标志，比如广告或这些歌曲，它们只代表我们认同的东西。他们与每个人交谈，提供了一种用三个词概括的成功秘诀。
Agnès Jaoui：与此同时，消费社会，就像流行音乐一样，令人放心。我们并不是说它不应该存在。
大师兄：所以夏薇依和巴克里在后面的创作中，其实一直在探讨现存社会的方方面面对人的影响及人处于其中的相关反应。
让-皮埃尔·巴克里：一点也不。《厨房浮世绘》、《家庭气氛》和《法国香颂》中的一个共同主题是，尽管有冲突的危险，甚至是与自己的冲突，以及看到自己真实面貌的风险，但你可以超越这些外表，触及事物的核心。如果它离那个特定的广告和歌曲更远，那就太糟糕了。你发现了自己。这是最重要的。发现自己。
大师兄：大师兄已经通过第三幕长达30分钟的最后一场室内派对戏中运用了七次水母的叠印总结出来本片的主题：不能再当单细胞动物，我们妇女要当家做主人！
Agnès Jaoui:Odile（Sabine Azéma饰）是最顽固地坚持这种需要的角色。她总是站在世界的顶端，不理解别人的痛苦，因为她拒绝接受自己的痛苦。
让-皮埃尔·巴克里：对她来说，就像对许多人一样，承认自己的弱点就等于失败。这是一场失败。
问：在电影中，卡米尔（Agnès Jaoui饰）在一切顺利的时候精神崩溃了。她恋爱了，她刚刚获得博士学位...你认为这种情况经常发生吗？
Jean-Pierre Bacri：当你花了数年时间——就像写论文的人一样——把所有的精力都投入到一个特定的目标上时，一旦你达到了这个目标，你就会陷入一种空虚。
Agnès Jaoui：你说：“那又怎样，我获得了博士学位——或者别的什么——什么都没有改变。我没有什么不同，更好，更漂亮，我只是我自己。我明天可能会死。这一切有什么用？”一般来说，当你25岁或30岁的时候就会发生这种情况。成为一个成年人，标志着某个梦想的结束，对未来的某种投射，你必须面对现在和今生的荒谬。。。是的。这就是全部。
大师兄：很多没有兴趣爱好的人在目标达成后最终遁入虚无，找不到生活目标了！
Alain Resnais: After Smoking and No Smoking, Bruno Pesery asked me to film an opera written for the big screen. It probably would have been easy to finance the project in English but I felt that my knowledge of the language was insufficient for such an undertaking. I therefore looked for an alternative. During the work on the adaptation of Intimate Exchanges, the series of plays by
Alan Ayckbourn that led to Smoking and No Smoking, I had become close friends with Agnès Jaoui and Jean-Pierre Bacri. I admired the musicality of their dialogue and their performances on
stage and screen. I therefore asked them if they would be interested writing a screenplay. They replied that they would but, having not appeared in our two "twin films," they didn't want to
write for other actors than themselves. This suited me perfectly. We then spent three or four afternoons talking about characters, outlines, what we wanted or didn't want to do on film. We
ferreted through my subject box. I think I even gave the "Jaoui-Bacris" a totally outrageous halfhour improvisation, a little like automatic writing, that I had recorded on audio tape. The theme
of the outer appearances that we wear throughout our lives rose to the surface along with other elements, like a guide and her visits and the psychology of the hermit crab. Then, as I am a great admirer of the English writer, Dennis Potter, I showed them extracts from his TV films. In some of them, the characters regularly lip-synch to popular songs. And gradually, the outline of the
film came into shape. The challenge was the following: how not to copy Potter, given my passion for his work? We therefore decided to use French songs rooted in an everyday climate, excluding
any notion of fantasy. The songs, with two or three exceptions, don't describe the characters' imaginary world either. Nicole Vedres, with whom I worked as an assistant in 1947 on Paris Mil
Neuf Cent, told me one day that the novel, in its descriptions of love and its melodies, could never match so-called popular or music-hall songs. And I've often noticed that popular songs accompany the acts of our everyday lives. If we behaved at all naturally, we'd use song lyrics in conversation.
Your love of musicals is well known and yet it is hard to find an illusion to the genre in Same Old Song.
Alain Resnais: I was particularly determined not to stray into that area. A musical almost always contains dancing or at least movements and gestures by actors to evoke dancing. Once
again, we were aiming for a more everyday style. We wanted the songs to enter the scenes without any warning. If the audience, even only once or twice, could forget that it was hearing a song and think that the words were dialogue, then we would be happy.
Jean-Pierre Bacri: In this way, the songs have a direct link to the theme of appearances because the medium of song is both universal and imprecise or approximate. True, people use it to
communicate and form bonds, but this is also a mask and it's not an ambitious and personal way of communicating. If someone is sad, you say "Every cloud has a silver lining," and he understands what that means. And, at the same time, you don't really reveal your own personality. They are merely a semblance of contacts and relationships. In the film, the family photo shown by my character (Nicolas) that looks like an ad for breakfast cereal is an image of success. The ad for breakfast cereal is a photographic song: "I show you a certain idea of happiness and you think I'm happy."
Agnès Jaoui: We also aimed to talk about happiness and the difficulty of being happy, of what happiness means. For me, one of the reasons why people feel unhappy is because they compare
themselves to others. We are bombarded with images of young, healthy people with a happy family... and we continually compare ourselves to this image of happiness. If you're over twentyfive,
if you're a bit fatter, a bit thinner, a bit taller, a bit more single, a bit more childless, etc.... not only do you feel unhappy, but you also feel lonely, excluded and abnormal.
Jean-Pierre Bacri: In the film, the theme of appearances is balanced out by the thesis. This is a successful relationship. It's taken to its complete and logical conclusion. in this case, on the
yeomen of Paladru Lake in the year 1000. You do 800 pages to deal with the issue fully, and you end up within something thick, solid, expansive - the ideal way of boring other people silly. We
need brief and simplistic signs, as in advertising or these songs that don't mean anything but that we identify with. They talk to everyone, providing a sort of secret for success encapsulated in
three words.
Agnès Jaoui: And, at the same time, the consumer society, like popular music, is reassuring. We're not saying that it shouldn't exist.
Jean-Pierre Bacri: Not at all. One of the common themes in Cuisine et Dépendances, Un Air de Famille and Same Old Song is the idea that you can go beyond those appearances and get to the
heart of things, despite the dangers of conflict, even with yourself, and the risk of seeing yourself as you really are. Too bad if it's even further from that particular ad and the songs. You discover
yourself. That's the main thing. Discovering yourself.
Agnès Jaoui: Odile (Sabine Azéma) is the character who maintains this need to put on a front the most stubbornly. She is always on top of the world and doesn't understand other people's
suffering because she refuses to accept her own.
Jean-Pierre Bacri: For her, as for many people, admitting one's weaknesses is tantamount to failure. It's a defeat.
In the film, Camille (Agnès Jaoui) has a nervous breakdown just when everything is going well for her. She is in love, she has just obtained her doctorate... Do you think that often happens?
Jean-Pierre Bacri: When you spend years - as someone working on a thesis does - devoting all your energy to a specific goal, once you reach that goal, you end up in a void.
Agnès Jaoui: You say: "So what, I've obtained my doctorate - or whatever - and nothing has changed. I'm not different, better, more beautiful, I'm just myself. I could die tomorrow. What use is it all?" And in general that happens when you're twenty-five or thirty. Becoming an adult, marks the end of a certain dream, a certain projection into the future, and you have to face the present and the absurdity of this life... You are. that's all.
A Merchant Ivory Films Release
in association with
Artistic License Films
presents
主持人 @鲍勃粥
大家好，欢迎大家来到第21届法罗岛电影节主竞赛场刊圆桌的第二天，首先我们讨论的电影是雷乃导演的《法国香颂》，在深入之前，请各位嘉宾先基于自己的场刊打分聊聊打这个分数的原因，简单说说自己对这个电影的感想吧！
场刊嘉宾 @杰瑞米太阳????
我给《法国香颂》4星，其实有点冲动打3星更合适，但是我特别喜欢这部电影，我也知道你们很多人不喜欢。
场刊嘉宾 @给艾德林的诗
《法国香颂》给X ，英文名：Same Old Song/中文名：老调重弹。这个老套的爱情故事，其实适合作为雷乃一直以来的左岸派“技术”服务，在电影里体现最明显的“人”“声”分离都是老声画分离的体现，但技术旨在磨平好与坏、美与丑的性质差异，当然会忽略好并不是坏的克服，美也并不是坏的铲除这样只有力学因素在其中的简单编排，对很喜欢左岸派的我来说，比较掉价。
场刊嘉宾 @果樹
我给X，具体原因我后头会细细道来。但我要先说一下选片内幕，97年显然是亚洲片非常强势的一年，但法国队一贯在法罗岛表现抢眼，因此不可能缺席。这届有一个新选片人加入组委会，这位选片人一己之力负责了法国队的选片。最终在全年多部精彩的电影中，选择了这部有大导名声的《法国香颂》，代表法国出战冲击金火车，法国一脉乌拉那拉氏的荣光将由雷乃承继。
主持人 @鲍勃粥
闭嘴，这位选片人只是因为想要把杜蒙的《人之子》作为法国队塞进主竞赛，但是大家认为杜蒙处女作不够格做主竞赛，所以打发去了无人知晓。而无人知晓有了法国队后建议法国队也出征主竞赛，但无奈同年的夏布洛尔并没有字幕，只能遗憾选择雷乃。
场刊嘉宾 @果樹
主竞赛处女作很多，不要用这个当借口，就是看上了雷乃的名声。不过也能理解了，《法国香颂》片如其名，自立项起可能就背负了要光大香颂的重任，作为主竞赛代表情有可原。
主持人 @鲍勃粥
不如请果樹老师讲讲法国队还有哪些“同年多部精彩电影”，愿闻其详。
场刊嘉宾 @杰瑞米太阳????
其实我不觉得它是个多么优秀的电影，但就是好看，这种漫不经心的都市生活、小资情趣男女情爱，是特别能让我愉悦的东西，这就是为什么我特别爱伍迪艾伦，我觉得这片和伍迪的《汉娜姐妹》非常像。
场刊嘉宾 @果樹
你觉得它呈现的漫不经心与小资情趣，是影片中的香颂们带来的吗？还是别的？或者说《法国香颂》与“法国香颂”到底有没有互相加成呢？
场刊嘉宾 @杰瑞米太阳????
我不知道什么叫法国香颂，我只是觉得电影好看，差不多就是女孩看韩剧的那种态度吧。这部电影其实就非常简单，我向往那种生活，充满小资情趣和精神物质追求，但我只是向往，自身并没有那种情趣。
主持人 @鲍勃粥
好了，我们拉回正题，进入到第一个话题，这部电影其实资源本身有一些缺陷，比如所有的唱腔是并没有字幕的，而唱段也恰巧是这部电影精髓的和反传统的地方，那么并不能听懂法语的观众是否真正看到了电影的全貌？这些缺失的字幕对于你们的理解产生了什么样的影响？
场刊嘉宾 @给艾德林的诗
可以看懂，那种生活形式不需要完全懂法语，雷乃的场景编排正是那种巴黎随便选一个差不多档次就能让人感受到的。
场刊嘉宾 @果樹
不能把没有字幕作为电影的扣分点，最重要的扣分点其实是剪辑，我们来谈谈剪辑吧。因为此前也有过对这部影片的交流，对于这一部的剪辑，其实评价很两极。
有的人会认为这种随性的跳切，很法国，也很吻合香颂的感觉，很契合电影，还呈现了独特的声画关系，让人陶醉；但我不这么认为，我认为这片子的剪辑是在乱搞，片子为了顺应香颂的出现，打乱了自己应有的节奏。
主持人 @鲍勃粥
我的意思其实是基于没有歌曲字幕的理解上对电影的讨论是否有失公正？，不过既然大家都不在意的话，下一个话题，顺着你们讨论的剪辑问：
影片的剧本非常复杂形成了人物之间的回环，也经常出现在不同的平行时间发生的事情的来回剪辑，大家怎么看待雷乃在这上面的把握？
场刊嘉宾 @果樹
我认为影片的剧本出现的复杂度、平行叙事等等，都是迁就了香颂的出现的产物。我解释一下：不知道大家看没看过，90年代、00年代一些杂志，会有一些读者把一些歌名，强行串起来，讲成一个故事？
助理主持人 @子夜无人
王源最近的新歌还在干这个。
场刊嘉宾 @杰瑞米太阳????
李是我易生最美的峰景（在微博上看到的
场刊嘉宾 @果樹
一般这种故事，为了配合歌名的出现，会强行反转、引入很多动作与人物，导致叙事复杂度很高，《法国香颂》在我看来就是这样一部作品。它为了让一些名曲都能露脸，进行了强行拼贴，这是我打X的真正理由。就像我不会把那些杂志上的玩票之作当成文学来看一样，我也不会把《法国香颂》当成艺术品来看。
场刊嘉宾 @给艾德林的诗
很像B站鬼畜，韵律对上就行，不用考虑内容。
场刊嘉宾 @果樹
当然了，拼贴本身可以说是一种行为艺术，我认为雷乃本身也是带着实验与玩票性质来做的这部影片，所以我认同片中出现的随性感。
场刊嘉宾 @给艾德林的诗
这是说雷乃向沃霍尔跪拜了，哈哈。
主持人 @鲍勃粥
沃霍尔倒不是拼贴，而是波普。那再说回来，如果我们把《法国香颂》放在雷乃的作者序列上来看，它是什么样的地位？
场刊嘉宾 @果樹
很低，我不认为这是一部基于艺术创作而精心打造的作品，这更像是玩乐之作。所以带着轻松的心态去观赏，是OK的。但是在评价体系里，我不建议把它的地拉抬高。
场刊嘉宾 @杰瑞米太阳????
这一部看的时候比较沉浸，完全没有去动用理性思维。所以你们前面提到说剪辑什么的，我是没有任何印象的。
场刊嘉宾 @果樹
这一点确实，这一部的主要观赏点，就是香颂们带来的轻松氛围，不需要太用力去思考，这一点我是认可的。所以如果要认真去讨论人物动机、叙事线，反而不是这部影片的正确打开方式。
场刊嘉宾 @杰瑞米太阳????
非要去讨论的话，这也算是多线叙事呢。
选片人代表 @我略知她一二
所以在名曲和名导和名演员的存在下，我觉得入选主竞赛也无可厚非吧。
主持人 @鲍勃粥
最后想问，《法国香颂》中频繁提到巴黎的历史，无论是楼房，还是公园，还是隐藏在各种音乐名曲中的历史，这种对于历史和文化的引用在这部电影中有何作用？起到什么效果？
场刊嘉宾 @给艾德林的诗
多线叙事和这些元素我觉得都可以视为建立一种交流的情境，交流还是爱情最需要的吧。
场刊嘉宾 @杰瑞米太阳????
哎我喜欢这个观点，我也觉得有构建情境的效果。
场刊嘉宾 @果樹
我觉得这和以香颂为根源的立项理由是共通的，就是一种拼贴，看上去是这些元素藏在了影片各处，实则是整部影片就是为了串起这一切。
场刊嘉宾 @杰瑞米太阳????
那《戏梦巴黎》对电影史的引用，也算是一种拼贴吗？
场刊嘉宾 @果樹
不是，对比起来《法国香颂》是做到挺极致的了，所以我会把它当成行为艺术在看。人家片名都叫《法国香颂》了，本身也没有在标榜其他意图，也算是一种纯粹的创作吧。
#FIFF21#DAY2的场刊评分将于稍后释出，请大家拭目以待了。