O somma luce

剧情简介

　　转自：http://www.filmlinc.com/nyff/2010/views-from-the-avant-garde-friday-october-1/views-from-the-avant-garde-jean-marie-straub　　“ [:^The ,*end of
 pa#ra\]dise on earth.”—Jean --Marie Straub　　The 33*)=rd verse an
d% las t+%.. c@(hant of “para_;dis*e” in Dante’s Divi%ne C;[ome*dy. The film start-[ s with ver
se
! 67, “O ^_somma luce…” and \continues[  to the end. “O Somma luce” recalls th[*!e fir $st[/ words uttered- ; by E mped_)
ocle` s `in: Danièl=_%e Huillet and Jean-Marie Str?;aub’/s 19!](8] 7 _
+The Death of Empedocles—“\;O hi._-mm+lisch Licht!…= ”
;`@ (O )[heaven# l %y light!).+\. This extra)c@]t fro.m Höl,`*der.lin`
@’s%`* tex
-t is al(s`=+o i?#ns#_erte$[d into t(^heir 1989 film Cézanne.　　“O somma luce” invokes+: utopia, or bette\/r still “u-topos,” Dante,,, H.olderlin,+ Cé\ z.,%\#an+ne… the cam!;era mo(%vemen
 t, recalli;[?ng Sisy(p^_)hus, in  the film’s lon!#g s#)hot_s, sugg[e\,st-s* i ts difficulty..@　　In O (),=somma:@ luce, with /Giorgio Pas\`serone’s Da`%\!nte a/,nd th=*;e ve)rse that concluded th;]/;e D\^ivine( Comed!=y, we f[ind a+t th/e extrem(= ity of its po=*,ssibili_?ties,/ ) -?$the almost happy() speech o
^^f a ma!n w,ho has just left earthly par$ adise., who tri]es to f: ull!y r_ealize t! he potenti. al +^;of his% nat![ure.=%( Betwee n* th )?:e( two** _we )
^f%-^(ind the story o f ,th,e:.*@ world. The firs t+/ Jean-Ma.rie Straub (/film shot - i n HD.　　S -)o # sing$ular are the`
)`, _# @te:xt ual w:orking metho(ds of Straub-=*],Huillet, )^an*,!d ?now Straub on]- his own,[? tha]=)t i?#/ t is hard t)o[ grasp how far reachi-ng they+ are. Direction .is a ;%matter of` word$s ; a:nd speech, not emotions and (action. Nothing hap`(pe)ns a)t th(e edges, (,`everythin g is at^$\# the -?core and shin:es fro_m th)ere [:alone.-^_\　　.Duri]_n g t=#he #_%)reh= ;ea*rsals  we se@?:-nse a sl!_ow process by which [_ing(]redients *# (a \ text, actors, # $ a!n intuition) progress towa@ rds c_\ohesi^#vene:ss. It @_is, for!gi% \ve the comparison, like the kneadi`ng of dou-gh. =It i.%
s\@]= the .=,as[sembl ([ing and worki$+*ng of$_ s+omething until it beco.mes`!% somethin [g;(*@? ?else…:/ and, in thi:?s@ case@`), st+@a,r!ts
to\
sh/in:e_`:. Actual

ly(+.% i : t’s very ,simp le#[, it’s just a question=- = o):f opening u
=(p to the light  @:material ? ?that has be?,=en s) ea/led up.-` He
r?)e, the process of ;_kneading is to b
^+%-r=/ing to life a.n/d then reveal. The m/-aterial #that is wor+$ked on i:)+=`s sp[eech. So it is speech that becomes$ vis!-ible—nothing e=lse. “L!/ogos” c%omes to the cinema.. ?　　-The mise )*en scène of w+,hat words $exactly?\
　　The process of^_]= revealing, “phai/nestai” “p$hainomenon,” the !##p/_,henom
 enon, is w/^hat ?^`take splace, what b$ecomes visi [ble to the e([%ye.　　Is “%+%S[traub
ie” Greece?;?*　　Th\ is]%@ mi:^%se en scène,(^ [[\ _of s@_peec!,h, which goes_$ beyond a cl/(ose r,_e /ading of th!]e chose# n text, ]#*is tr;^u/!l*% $y comes from +a dis tant source.—Bar\)bara Ulrich