射杀钢琴师

可能不属于最动人的电影，但绝对是最有活力的电影，无愧“新浪潮”的奠基之作。传统犯罪故事为壳，爱情悲剧为骨（所以有评论结合二者，亦归为黑色电影范畴），“悬念”一直留到了最后十分钟，但散漫直接、跳跃多变的镜头记录下的情感世界却无疑是现代的（几处镜头甚至做出了默片的效果）。闷骚男主的口不对心一次次酿成了爱人的悲剧，除了一段床戏，他的状态总是平静的，观众很难进入其内心与其共情，从而被迫去思考背后的原因。开头的追踪、中间的绑架&脱困、结尾的枪战，印证着本片具有“对犯罪情节即兴的、充满深情的戏仿式处理”的倾向的论断。仔细想想，犯罪元素似乎隐隐将男主的困境指向出身与阶级，而不时出现的（透过人物）关于婚姻与爱情的评论和流行乐（酒吧歌手真人献唱那首Framboise很好听）传递出对爱情的怀疑这一社会性讯息。

Du burlesque qui fait travailler les corps en relation avec le cadre/les cadres : l’écran du cinéma, la rue, la voiture, la chambre. Sur ce burlesque, une spontanéité de mouvement spatial, formel, mais aussi dramatique - insert, zoom, disparition, plan d’ensemble, tout vient créer une errance profonde, presque néo-réaliste. Finalement Truffaut ajoute de la voix du protagoniste sur ce drame absurde et chaotique, qui fait en même temps de la narration et de la non-narration. Parce que même si on entend, semblablement, les pensées de Charlie-Édouard, cette voix intérieure ne se réalise ni se projette dans le monde réel. La voix est du côté de la déception, de la non-action. Alors de ce principe du burlesque, on arrive à un esprit immobile. Un Keaton déçu, moderne et triste, qui joue toujours son piano quoiqu’il arrive. Il est pianiste, on tire sur le pianiste.

1960年，正值法国电影新浪潮的黄金时期。法国导演弗朗索瓦·特吕弗可以说是当时备受瞩目的电影艺术家之一。比起《四百击》来说这部《射杀钢琴师》可以说是最名不见经传的，但丝毫不能掩盖这部电影的艺术造诣和意义深远.片中不仅涵盖了对法国社会的暗讽还有对人性爱情的思考.

片头以一段月夜追逐戏拉开序幕，片头用了一段快速连续剪辑，车灯，人物，道路的混剪让人应接不暇，极具作者电影风格，萨洛阳为躲避追杀而寻求哥哥钢琴师查理的帮助，查理帮助弟弟逃走.寥寥数笔就将人物关系树立起来了，简洁利落.

钢琴师有着两段感情，第一段感情是以回忆插叙的手法引出的，查理其实是一个化名，他真正的身份是爱德华一个钢琴师，他的妻子是在一个酒吧认识的服务员，走运的是也在这里结识到赏识他的经纪人。

这里有一段特别有意思的镜头，在爱德华准备踏进经纪人办公室的大门时，虽然没有刻意的心理描写但是暗喻了他心中的挣扎，这里特吕弗用了推镜的手法，从小到大从全景到近景，最后给到手指按门铃的特写，有点千钧一发的感觉，时间很短短短十几秒的镜头，这段可以说是心理描写的极致.后来爱德华的事业风声水起，成了声名显赫的钢琴家.但在一次与妻子的争执得知，这一切都是一个交易，是经纪人部的局，而她只是一个引爱德华上钩的鱼饵，但她是真心实意的爱着爱德华的。

尽管爱德华告诉自己绝对不能抛弃妻子，感性在那一刻战胜理性，爱德华摔门而出后妻子自杀.悲痛欲绝的爱德华躲进了一家默默无闻的酒吧在里面当了一名钢琴伴奏师，化名查理.

在酒吧查理遇上了第二段感情女侍莉娜，重燃爱情之光的查理准备重新进入艺术之门，重拾爱德华的身份。但是命运可能就是这样捉弄人，美好的爱情昙花一现.意外卷入这场残酷的生死逃亡之中。幸运之神并没有眷顾与查理生死与共的莉娜，在激战中，莉娜不幸中弹身亡。片尾查理回到了那家酒吧，爱德华被射杀了。

本片虽说是新浪潮电影但用的是左派的手法，可以说融会贯通吧。左派最擅长的心理蒙太奇被特吕弗配置的服服帖帖。片中的主角查理可以说隐喻的那一批渴望爱情，艺术服务于爱情的艺术家，讽刺了上世纪60年代法国利益社会的丑恶。高雅艺术在这个年代沦为了人们手中的金钱玩物亦或是爱情也是有着明显的利益向。片中查理重归闲云野鹤的生活是对命运和人性的抗争.

片中特吕弗把这枚子弹安排射向丽娜但效果确实一箭双雕，一枚子弹杀死了两个人。不经让人惊叹特吕弗真不愧是大师。这部《射杀钢琴师》可以说是射向法国物质社会的催命弹.

特吕弗把好莱坞的这些经典情节都捏碎了，然后随意填充到自己的电影里，让人感觉一切都似曾相识，却又摸不到头脑、搞不清来龙去脉

抽掉好莱坞所用的转折，这是这部电影所用的反好莱坞技巧，夫妻在吵架，妻子前面还在发怒，镜头一切却原谅了丈夫，丈夫的话被切掉了

好莱坞的情节叙事讲究个完整性，但特吕弗不然，他把一段情节的前段或者后端裁去了，或者只让观众看到一个引子或者结果，观众必然会问“然后呢”“为什么会这样”，但特吕弗不会回答，他貌似是想让观众意识到自己被好莱坞叙事惯坏了，从而建立一种新的电影叙事规则

The French New Wave, in general, was about both iconoclasm and reverence for the long-lasting film traditions. If the fragmentary editing epitomized by jarring jump cuts, and the extended long takes consisted of medley montages in New Wave films were a testimony against the institutionalized cinema, then, the adoption and references of antecedent film movements and genres were the most sincere accolade to early art-cinemas from the New Wave directors.

Shoot the Piano Player(Francois Truffaut, 1960), Truffaut’s second feature film may on the surface level may feel like a modest tale of crime thriller centering on pianist Charlie’s (Charles Aznavour) entanglement in a bizarre cat-and-mouse game. However, it is full of intimation and little eccentricities worthy of the viewers’ attention, crystalizing the spirit of the French New Wave.

It is often noted how many of the directors within the New Wave made references to classic film movements and genres; so did Truffaut. For instance, the claustrophobic atmosphere stemmed from the chiaroscuro lighting schemes, and the dramatic shadow patterning right at the opening of the film is his direct tribute to the classic American noir films (1:50). Yet, this 4-min sequence is full of Truffaut’s acute implementation of salient New Wave stylistic elements. The scene starts with a chase sequence displaying Chico (Albert Remy) running for life from the two gangsters (Daniel Boulanger, Claude Mansard) pursuing. The interposition of shots of Chico sprinting and the car following with disoriented camera movements are the distinct language of the New Wave directors who knowingly twist temporal and spatial continuity. At the same time, Truffaut adopts the nonlinear storyline from neorealist films to play with the narrative a bit. While the viewers are still fixated on the thrilling chase sequence, in the next second Chico is stunned by a streetlight and soon gets rescued by a stranger (Alex Joffe) just passing by (2:37). Rather than return to Chico’s escape, for the next two minutes, the narrative digresses instead to capture Chico and the stranger having a casual conversation about life, love, and marriage. It is not until the stranger disappears at the corner (and never reappears in the rest of the film), the chase again carries on.

Still, the innovative editing and the episodic narrative structure are just one snippet of cinematic elements that Truffaut utilizes inShoot the Piano Player. Followed by the wildly acclaimed debutThe 400 Blows(Francois Truffaut, 1959), Truffaut continued to masterfully maneuver the frame to draw audiences’ attention to a specific point in the scene. In the final snowbound shootout with the gangsters (79:00), Lena (Marie Dubois) gets accidentally shot at on her way looking for Charlie. When Charlie finally shows up, everything is too late as Lena, covered in snow, has lost her breath already. As Charlie holds Lena with remorse, rather conventionally cut to a close-up of Lena’s face, Truffaut employs a combination of zoom shot and freeze-frame to immortalize this poignant moment, magnifying Charlie’s anguish in losing the beloved one.

Truffaut takes the free-wheeling side of the French New Wave further by implementing gentle humor into his film even if the tone and subject matters can be quite intense. In the scene where Charlie and Lena have been kidnapped by the gangsters, for example, Truffaut turns a supposed agitated maneuver with the criminals into a waggish slapstick (25:30). Despite being kidnapped, Charlie and Lena keep having discussion apropos of driving, women, and sex with the two gangsters along the way, as if they have known each other for a long time. Then, noticing that the two gangsters have let down their guards, Lena pushes her foot on the drivers’s pedal in an attempt to get the car pulled over. The tactic is successful, allowing Charlie and Lena to walk away with ease while the gangsters have to end the kidnapping to deal with a passing traffic policeman. Interpolating these humorous aspects within the story again emphasizes the versatility and playfulness of this film alone. SometimesShoot the Piano Playerbecomes reflexive as Truffaut reflects on the making of the film and makes flippant remarks about it. In an erotic scene where Charlie is about to enjoy himself for the rest of the night as Clarisse (Michele Mercier), already naked, is lying next to him (20:58), Charlie takes the bedsheet to cover Clarisse’s breast, joking “This is how it’s done in the movies.” Just like that, Truffaut, in sleight of hand, integrates his jocular comment about the classic Hollywood’s finicky Production Code, evincing his attitude towards the need for modern movies to disregard any forms of restriction.

Besides, Truffaut did not apply all the cinematic elements of the French New Wave just for the sake of applying it; what really appeals to him in making the film is the sense of loneliness and alienation that is suggested for the protagonist. Charlie, a passe classical pianist, is portrayed as a diffident and reticent person who seems to be a little bit cut off from the rest of the world. In order to reflect such personality appropriately, Truffaut makes use of many New Wave stylistic devices, along with voiceovers and flashbacks, guiding the viewers into Charlie’s psyche. The voiceover is the most frequent and effective device that sheds light on Charlie’s subjective thoughts throughout the film. In particular, in the sequence where Charlie accompanies Lena back home right off the work (15:30), the close-ups of Charlie’s hand seeking to hold Lena’s is juxtaposed with shots of his restrained face. Such thoughtful editing is an apposite representation of Charlie’s lack of courage in taking initiatives, exemplifying his agitated state at the moment. The subsequent voiceover of Charlie searching for improvisations to break the silence once again directly demonstrates to the viewer Charlie's reserved character.

Another brilliant example of Truffaut’s keen link of visual style with the story’s idea and characterizations is the audition scene. Truffaut deliberately utilizes montage to call attention to Charlie’s psychology. As Charlie walks across the corridor and about to enter the audition room (33:53), first a medium close-up of Charlie playing with the door key is shown. Forthwith, we get three different close-ups of his finger teasing the door bell within different scales, and then a long shot from the end of the hall which completely jolts us back out again. The montage of Charlie’s hesitant actions plus the elongated corridor scene reinforce the idea of hollowness, as his ambivalent behavior keeps haunting him. What’s more scintillating is that, in the next shot, the door is opened by a young lady who has just finished her audition. In most cases, we would expect the camera to follow Charlie entering the audition room and watching him performing in front of the judges. However, the camera instead stays with this young lady, tracking back with her as she walks through the corridor and out of the building. Such an open-ended sequence epitomizes Truffaut’s mastery of the incidental narrative structure, and makes us wonder about his ulterior motif in creating it. Is he showing the lady because she might just be another victim of the sexual harassment just like Charlie’s dead wife, or because he simply wants to? By constantly incorporating stylistic features from the New Wave, meanwhile, blending his uptake of the modern cinema, Truffaut in harmony, creates an idiosyncratic film language that is distinct from any other coeval peers.