“人们迫切地想知道兰波的脑子在想什么
在他写下《醉舟》这首诗的时候
莫扎特在想什么
在他写下交响乐《朱庇特》的时候
我们想要了解那个神秘的过程
引导着创作者穿越危机丛生的冒险历程
幸运的是
这些对于诗歌和音乐不可能的事
对绘画来讲却是可能的
要知道一个画家的头脑里在经历什么
你只要看看他的手
这就是一个画家在经历的
他行走在绷紧的绳索上
他跟随者右一个曲线 左一个点
如果他失误 失去了平衡
那一切都玩了
画家像一个盲人
蹒跚地走在白色画布的黑暗中
慢慢显现出的光
仿佛是画家创造出的
他画出了一个又一个黑色的曲线
第一次
这位绘画天才隐秘的戏剧般的日常生活将被公众所体验
帕布罗·毕加索答应
今天就体验
在你面前
和你一起”
这是写在篇首的创作意图解密。莫名还蛮喜欢这段文字就记录下来。(有意思的事情是本来想试试今天刚刚到的外接键盘,才发现买成了接线的而我想要的是蓝牙的。但是颜色好好看舍不得退就留下了。我这个人就这样,沉溺于外表的美丽不去思考意义。
最近醉心于实验性强的片子。生活里也做着一些实验性强的事情。比如社交social。今天和现在的同班同学小聊了一下,发现还蛮喜欢别人眼中的自己,大概就是有个性爱艺术。
叛逆期来的太晚又太长,16岁后,我的思想开始停止成长。
小时候是大众意义上的优秀。从来没有体验过大家说的被父母拿去跟别人家的小孩比较这种事情,可能因为小时候是“别人家的小孩”。成绩上游没有偏科认真学习,不用要努力就看上去蛮优秀。
现在才明白,我们这一代人就是应试教育下被牺牲的一代人。大学里跟家人说过最悲哀的一句话就是,我的人生到现在,最擅长的事就是考试。
我从三岁开始学画画,十八岁时候迫于高考的压力放下。这算是人生里重要的遗憾瞬间。
于是,荒诞,奇怪,异类,不凡,特别,成为了余后一生都将最吸引我的词语。
幸运的是,归于艺术。
回到片子,不禁感慨毕加索创作生命如此活跃不竭。
保佑吧,不竭的源泉。
Pablo Picasso (1881-1973) is such a larger-than-life and unique personage who is bound to get numerous cinematic treatments, here is a brace of them, one centers on his tumultuous private life, another offers an innovative, direct look on his creativity and genius on the canvas.
James Ivory's SURVIVING PICASSO is a hallmark Ivory-Merchant production (which entails a script from Ruth Prawer Jhabvala), and not the usual hagiographic kind. The story is lensed through one of his lovers, Françoise Gilot (1921-2023), who, literally, succeeds in "surviving Picasso". Picasso (Hopkins), the pick-up artist, first meets Françoise in Nazi-occupied Paris, she is 21 and he is 61. An aspiring artist herself, Françoise cannot resist being the "apple of the eye" of one of the major artists in the world and takes the plunge of shacking up with him, bearing 2 children for him in the following years.
How much has Françoise gained from Picasso, career-wise, is left untapped in SURVIVING PICASSO, there is mentioning of promoting her works in passing, but the toil of unconditionally subsuming herself into his life raises a red flag for all comers. Picasso is unqualifiedly self-centered, his needs and whims are of utmost primacy. Perpetually, Françoise's life must be orbited around his and she should always be at the beck and call of his dictates, and that doesn't mean she is enough for him. Picasso is always on the lookout for new muses in the name of inspiration, that could leave those women with a permanent scar, like his first wife Olga Khokhlova (Lapotaire), a member of the looney tunes, or an embittered Dora Maar (Moore, sporting an Eastern European accent standoffishly and fiddling with mumblety-peg manically); then there is Marie-Thérèse Walter (Harker), who is able to keep her marbles, yet still pointedly proprietorial when she sees a newcomer getting his favor.
Compared to them, Françoise is the lucky one because she is brave enough to implement a stop-loss severance, which ensures that she can maintain an amicable, yet independent relation with Picasso after their breakup, they can still be friends, chew the fat, under the alertness of Picasso's new flame and later second wife Jacqueline Roque (Venora). More than a ribald affair of exploiting Picasso's satyriasis, SURVIVING PICASSO is unconventionally modern in exhorting youngsters to heed the pitfalls of surrendering themselves to someone's genius. Hopkins is uncharacteristically flippant, even mischievous as Picasso, the hellion of an old man, but the film's real strength lies in McElhone's feminine resilience, her doe-eyed desire and internal disenchantment, it is her liberation we are rooting for, although the drama in question never culminates in a white-heat spectacle as in some best Ivory-Merchant productions, nor any colorful peripheral characters can be rightfully called "scene-stealing".
Now let's turn back time to 40 years earlier, in 1956, Picasso himself headlines Clouzot's documentary to reveal his artistry and THE MYSTERY OF PICASSO vouchsafes audience the privilege to witness the maestro's painterly techniques first-hand.
The whole process is fascinating, Picasso starts drawing with ink on a piece of white paper, meantime Clouzot sets the camera angling at the backside of the paper, with the ink bleeding through the paper, thus audience can watch the whole process with nearly real-time veracity in its mirror image. Gradually, he adds oil paint and collages onto the canvas, and his works become more and more variegated and elaborate. To save time (one painting takes Picasso several hours to finish), Clouzot effects a stop-motion-like technique to demonstrate how a Picasso's painting evolves and transmogrifies with his quirky brushstrokes to a transcendent end result, and how the same painting can morph into another with a multifaceted truly, seeing is believing.
That said, THE MYSTERY OF PICASSO is a one-trick pony, an inventive documentary serving as an irrefutable testimony of Picasso's genius, that and that only. Advisedly, the film should be obligatorily watched by all the art students around the globe, even for common viewers (like Yours Truly), to see Picasso's creative juice flowing in front of your face is something no less of a revelation.
referential entries: Ivory's THE REMAINS OF THE DAY (1993, 7.5/10), QUARTET (1981, 6.2/10); Orson Welles's F FOR FAKE (1973, 7.5/10).
Title: Surviving Picasso
Year: 1996
Genre: Biography, Drama, Romance
Country: USA
Language: English
Director: James Ivory
Screenwriter: Ruth Prawer Jhabvala
based on the book by Arianna Huffington
Music: Richard Robbins
Cinematography: Tony Pierce-Roberts
Editor: Andrew Marcus
Cast:
Anthony Hopkins
Natascha McElhone
Julianne Moore
Dominic West
Peter Eyre
Susannah Harker
Diane Venora
Joseph Maher
Bob Peck
Joan Plowright
Allegra Di Carpegna
Jane Lapotaire
Joss Ackland
Dennis Boutsikaris
Peter Gerety
Laura Aikman
Nigel Whitmey
Vernon Dobtcheff
Rating: 7.2/10
English Title: The Mystery of Picasso
Original Title: Le mystère Picasso
Year: 1956
Genre: Documentary, History
Country: France
Language: French
Director: Henri-Georges Clouzot
Music: Georges Auric
Cinematography: Claude Renoir
Editor: Henri Colpi
Cast:
Pablo Picasso
Rating: 7.4/10
像片头就揭晓的那样 当诗人和作曲家创作时怎样思考 我们无从知晓 但绘画却不同 若想瞥见作者的秘密 你便看他的手,电影的介质使得这个过程永存 作为一种叙事也让漫长的创作浓缩 而绘画则是本片最基本的内容 90%的时间都由纯粹的画面构成,图形、色彩的变化形成一种独特的节奏 并配合以音乐形成一种隐秘的叙事 从中我们得以窥见毕加索的“秘密”,那是创作过程中的云诡波谲 也是克鲁佐所说的“冒险” 有时诙谐 有时焦虑 有时恐怖。
这种惊心动魄在毕加索创作最后一幅画时被推上高潮 反反复复地修改、整饰、覆盖、填补 最后竟整个推翻重来 但肉眼可见作品的境界已大不相同 这种对于艺术的赤诚让我这个艺术的门外汉也感动了 也突然理解毕加索的一生是怎样不断突破自己的创作界限。
还有一个有趣的点是当客观镜头切进来 我们才知道原来观众的视角不是毕加索的视角 而是画布的背面 不由感叹不愧是大师 作品的结构从背面看也依然维持着平衡的美感 只可惜在影片结束后 他将所有作品皆毁 世人再无亲眼见证的机会 不过我好像也能理解 毕竟这些画作是电影与绘画合谋生下的孩子 脱离了电影就根本不可能存在 同时又是将他的魔法昭然于天下的告密者 就像刘谦回避好事者时所用的借口:一个魔术师袒露他的秘密是会折寿的
色块堆叠的时候从半透塑料板背面也没法拍画作啊,难不成让毕加索画两下就停笔拍一下?
还是上美术课时老师给看的 有时候吧你得瞧得起你的美术老师你就不会觉得她讲都是假大空的东西因为她年轻的时候也有牛逼的梦想
魔术师的绘画艺术。
这种片就是不好评价啊
碟片遗失
cool
所有想知道为什么说毕加索是天才的人,可以看看本片中他那个花五小时画的羊头。
只此一份记录,对于他的那些瞬息消失的画。
1,这的确是一部悬疑片,因为你不知道画家下一笔要落在哪里,其实画家自己也不知道他到底要什么样的画作,到底要一只黑脸的公牛还是一只白脸的公牛呢?反复试验了好多次,觉得对劲了,就停下来。一朵花先是变成一条鱼,接着变成一个美人,然后变成一只公鸡,最后变成了牧神。画家在创作的同时不断否定原来的构思和成品。对于电影拍摄,画着出现的和跳着出现方式交替呈现,很好的控制了节奏,控制了时间,五小时的画作在银幕上不到十分钟的时间里可以将完成的过程展现出来,电影截获了时间的流动哟。但是这样的电影,大概也只能有着一部。
行不行啊~~~毕大爷~~~
note:畢卡索作畫的過程。作畫是破壞過程中產生的,其中許多片刻有很可愛的部分岔出來,畢卡索很可愛,真可愛。
原来我上高中的时候就看过。。。只不过一直管它叫作 毕加索的纪录片 原来是Clouzot拍的啊~
毕加索花五小时完成的作品人们天真地以为只用十分钟。影片最珍贵之处在于通过两位天才的合作,利用电影艺术对时间的浓缩,以及夹杂得恰到好处的谈话,充分展示了画家对自身作品的摒弃保留,你从来都不知道流动的画布上最终呈现的究竟是什么。同时,这些最终被毕加索亲手销毁的作品十足具备遗憾的魅力。
太棒了!电影和绘画的奇妙结合。
一幅画,好比一个孩子,画家好比母亲,那么看画画的过程,就相当于看母亲生孩子的过程,这个过程未必美好,但充满神奇。尤其是毕加索这种天才,谁也猜不到他下一笔是什么,比如那幅花变成鱼,鱼变成鸡,鸡变成人脸的画,如果只看成品,我们永远不会知道它是这么来的。这是艺术的神奇,也是创造的神奇。
法国将此片定位国宝,本片的珍贵之处在于以拍罪案片闻名的亨利-乔治·克鲁佐竟然征得大画家毕加索的同意,进入到他在戛纳的画室里,对这位世纪伟人的作画过程。毕加索大名如雷贯耳,我直到看到这部片子才得以目睹大师的尊容,居然还赤膊上阵画画。对绘画我不是很敏感,不过看了此片后确实很佩服老毕
片頭說:詩人無法拍這樣一部紀錄片。真的嗎?只怕未必,觀賞張大春所謂「塗抹在原稿上的立可白總有剝落之日」的時序恐懼,未嘗不是一種樂趣。說到底還是表演性的問題,能夠轉換多少視覺表演性才是影像首重的考慮。如此想來,文字工作者在這個影像時代,還真是不得不依附附加價值而苟活。
纪录片本身不评价 绘画作品绝对超五星 作画过程每一刻其实都是“成品” 不断发展变化 或颠覆过去 最后的面貌不能代表这幅画所有魅力 运动中充满神奇 整个过程就像一部电影
化繁为简,大师和大师的碰撞,天才般的尝试,实在是大饱眼福。“这幅画是太小了吧?我需要一幅更大的画布!”电影在这个时候画幅也徐徐展开。叹服。实在是八辈子也想不到毕加索的一幅画成型前有这样七七四十九变,艺术大师看东西这个视角确实咱普通人不仅是想不到,而是只能试着去理解啊…
哇……