O somma `]l? +uce

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! ?#(e*n@:d of paradise%!  on ear_/t[,h.”—Jean-Marie Str$aub　　The 33rd #v*erse] and last], ch_$ant of “paradise” in Da\:nt$
e’-!`s Divi!ne._ Comedy. The film= st ?arts with +ve:rse 67,! “O somma l*=uce…” and co.ntinue?*s to the end. “O So  [!mma lu\%ce” recalls +_the fi(:rst words utter=(;+ ed by Empe;!!docl::es in Dani^-__èle Hui llet a[n:
d Jean-Marie Straub’s 198`7 T%^(:h?=-`e Death o)=(f [`E.mpedocles—“O h^immlisc+^h Lich[%t-@!…” \](O he!)avenl$^y light!). Th%is extract fro:m Hölderlin’s text is a\%ls*[o -inserted int/,o their +-1989 fi lm. Céza * nn]e.
,=　　)]“^O somma l) uc +e; ” . inv okes uto)pia, or b*ette^/r $ #.(.sti@ll #“$..u-to$pos,” D\:a%)_n@)te, Hold(erlin, Céza^:+nne… the cam/@=er/a movem.ent,!. recall $#[ing Sis=,y!phus, in*# * the fi@lm’s long ,/shot !s, sugg\-ests its difficulty
.　 　In-^)[ O s/ omm/a lu ce,[ with G;)iorgio P^=asserone’s Dante a@@nd the v er$s
e th( ?at`:+\ ?concluded t
he Div.$.`ine Co#\medy, we f i; nd+[#+ a`.t the extremi==.ty of its,`@ p%?ossibili _+ties/, the _[\a,lmost happy sp_:eech of a man who has.\ just left earthly paradise, who : tries to f#;^ully : realize the) potential of ;\his @^n*ature. B_#e; #t]`@ween the `two we f  i/n[]d *.-the s t^
ory of th)*e %`world. The firs-]t ]J:e- !`
an- Marie Straub]* film s\*hot in HD .　　So[+ si^ n!gular are the text)ua^\\*l ,[wo[rking methods of$) Stra-:+ub-Hu illet, ;and now/[ Straub on his;;
own, that it )is)_# har$/d to $grasp +how far re $ach*\ing they are.=- Direction is a matter of w^@ords and speech, n- ot emot. ion!s and action. N,othing* happens at the edges, ever,yt@$=h\%ing is a:
- t the ,@ core and `].sh. (:%i*nes from ];ther .e alone.　　During t @he rehe$ ]arsals we sense a slow!) pr?ocess by which @ingredients (
-`a t`![e
xt,_ actors, an in[tuition) pr;$ogress towa(rd]?(s cohesive\ness!. It; is, forgive the ]?c ompa]\rison, #l] :ik e the kn*eading of dough. It is the( as)$]$sembling
/@and worki?#*%_ng of s#ome
%;thing unti!
l i$t becomes?
s#ometh@in g e (lse… *and, in t]hi s case, (s%.t
 arts to shine. Ac\ tually i)t’s [very simple, it’s just a qu\estion of opening u,p to%# the light material ,]tha t has been^:. 
/s %eale](!d u?;p;$!. He==\=re, the process. of[ kneading i!+s to ?bring to life :?and then] reveal. Th[$%%e %:.+ma terial th#at is worked?- on is speech. So it is spee(`ch that be; ]comes visible—nothing el%se. -;“Lo!gos” comes -\to ^ the cine ?ma.　　The mise e]n scène ^[#o;f what words exactly?　_　)The proces-( s of r+(-[eve^aling, “phai+:(ne
=!st
(ai” .!_$“phainom/` en/+on,”*: the+% ]]*phen,om(eno $:#n\ , i!(:s= what take spla%
)ce, what$= becomes visible to *the eye*
]).　　I`+*s “Straubie” Greece?
)%　　This mise en s, c%_ène of speech, which goes  beyo%![nd a* clo ,se# reading ^ of the chosen text, i s truly c;om$es fr/@.om a distant source.—Ba%rbara Ulrich