《写作》 1993年 伽利玛
沃维尔的事件，我取名为《年轻的英国飞行员之死》。最初我讲给伯努瓦·雅科听，他当时来特鲁维尔看望我。他想到拍一部片子，让我讲述这位二十岁的年轻飞行员之死。于是他拍成了。摄影师是卡罗琳·尚珀蒂埃·德·里布，录音师是米歇尔·维奥内。地点是我在巴黎的寓所。
片子拍完以后，我们就去到我在诺弗勒堡的别墅。我谈到写作，我试图谈论这个：写作。于是出了第二部片子，拍摄与制片仍是原班人马——国家视听学会的西尔维·布吕姆和克洛德·吉萨尔。
取名为《罗马》的这篇文字最初是一部片子：《罗马的对话》，它是应朋友焦瓦内拉·扎诺尼之邀而摄制的，由意大利广播电视台资助。
玛格丽特·杜拉斯
一九九三年六月于巴黎
沃维尔的事件，我取名为《年轻的英国飞行员之死》。最初我讲给伯努瓦·雅科听，他当时来特鲁维尔看望我。他想到拍一部片子，让我讲述这位二十岁的年轻飞行员之死。于是他拍成了。摄影师是卡罗琳·尚珀蒂埃·德·里布，录音师是米歇尔·维奥内。地点是我在巴黎的寓所。
片子拍完以后，我们就去到我在诺弗勒堡的别墅。我谈到写作，我试图谈论这个：写作。于是出了第二部片子，拍摄与制片仍是原班人马——国家视听学会的西尔维·布吕姆和克洛德·吉萨尔。
取名为《罗马》的这篇文字最初是一部片子：《罗马的对话》，它是应朋友焦瓦内拉·扎诺尼之邀而摄制的，由意大利广播电视台资助。
玛格丽特·杜拉斯
一九九三年六月于巴黎
《副领事》 1965年/小说 伽利玛出版社
劳儿·瓦·施泰因生在此地，沙塔拉，在这里度过了青少年时期的大部分时光。她的父亲曾是大学老师。她有一个大她九岁的哥哥——我从未见过他——据说住在巴黎。她的父母现已不在人世。
关于劳儿·瓦·施泰因的童年，即便从塔佳娜·卡尔那里，我也从来没有听到什么给我留下特别印象的事情。塔佳娜是劳儿中学时最好的女友。
关于劳儿·瓦·施泰因的童年，即便从塔佳娜·卡尔那里，我也从来没有听到什么给我留下特别印象的事情。塔佳娜是劳儿中学时最好的女友。
《印度之歌》系应伦敦国家剧院经理彼得·豪之请，写于一九七二年八月。
“帕斯特拉，这是姓。罗德里戈·帕斯特拉。”
“罗德里戈·帕斯特拉。”
“对。他杀的人是佩雷斯。托尼·佩雷斯。”
“托尼·佩雷斯。”
在雨下，两位从广场上走过。
“他在几点钟杀死佩雷斯的？”
那位客人也不清楚，此时正近黄昏，大概在下午刚开始的时候吧。罗德里戈·帕斯特拉杀了佩雷斯，同时还杀了自己的妻子。两具尸体在两小时前被发现，躺在佩雷斯的车库深处。
“罗德里戈·帕斯特拉。”
“对。他杀的人是佩雷斯。托尼·佩雷斯。”
“托尼·佩雷斯。”
在雨下，两位从广场上走过。
“他在几点钟杀死佩雷斯的？”
那位客人也不清楚，此时正近黄昏，大概在下午刚开始的时候吧。罗德里戈·帕斯特拉杀了佩雷斯，同时还杀了自己的妻子。两具尸体在两小时前被发现，躺在佩雷斯的车库深处。
她们是包揽家务的女佣，在巴黎火车站下车的不计其数的布列塔尼女人。他们是乡村集市的流动小贩，卖点儿针头线脑，零七八碎。他们——成千上万——不名一文，惟有一个死亡的身份。
这些人惟一关心的是如何生存下去：不要饿死，每晚都要找到栖身之地。
还要不时地，在偶然的相遇中，聊聊天。聊聊他们共同的不幸与各自的艰辛。这一幕幕往往发生在夏日的广场上，列车上，以及集市上那些熙熙攘攘、有音乐伴奏的咖啡馆里。没有这些，照他们的说法，他们就无法摆脱孤独。
这些人惟一关心的是如何生存下去：不要饿死，每晚都要找到栖身之地。
还要不时地，在偶然的相遇中，聊聊天。聊聊他们共同的不幸与各自的艰辛。这一幕幕往往发生在夏日的广场上，列车上，以及集市上那些熙熙攘攘、有音乐伴奏的咖啡馆里。没有这些，照他们的说法，他们就无法摆脱孤独。
《广岛之恋》 1960年/电影脚本 伽利玛出版社
Hiroshima mon amour is an acclaimed 1959 drama film directed by French film director Alain Resnais, with a screenplay by Marguerite Duras. It is the documentation of an endless conversation between a French-Japanese interracial couple about memory and forgetfulness. It was a major catalyst for the Nouvelle Vague (French New Wave), making highly innovative use of miniature flashbacks, a deflated sense of time, and omniscient narration from multiple characters.
The title literally translates from French to English as 'Hiroshima, My Love', though the film is almost always referred to by its original French title.
Plot
Hiroshima mon amour concerns a series of conversations (or one enormous conversation) over a 36-hour long period between a French actress (Emmanuelle Riva), referred to as she, and a Japanese architect (Eiji Okada), referred to as him. They have had a brief relationship, and are now separating. The two debate memory and forgetfulness as She prepares to depart, comparing failed relationships with the bombing of Hiroshima, and the perspectives of people inside and outside the incidents. The early part of the film recounts, in the style of a documentary, but narrated by the so far completely unidentified characters, the effects of the Hiroshima bomb on August 6, 1945, in particular the loss of hair and the complete anonymity of the remains of some victims. He had been conscripted into the Japanese army, and his family was in Hiroshima on that day.
The film uses highly structured, repetitive dialogue, mostly consisting of Her narration, with Him interjecting to say she is wrong, lying, confused, or to deny and contradict her statements. Although He disagrees and rejects many of the things She says, he pursues her constantly throughout the film. Hair, skin, loneliness, and desire are recurring motifs throughout the film.
Cast
* Emmanuelle Riva as Elle
* Eiji Okada as Lui
* Bernard Fresson as L'Allemand
* Stella Dassas as La Mere
* Pierre Barbaud as Le Pere
Production
According to James Monaco, Resnais was originally commissioned to make a short documentary about the atomic bomb, but spent several months confused about how to proceed because he did not want to recreate his 1955 Holocaust documentary Night and Fog. He later went to his producer and joked that the film could not be done unless Marguerite Duras was involved in writing the screenplay.
The film was a co-production by companies from both Japan and France. The producers stipulated that one main character must be French and the other be Japanese, and also required that the film be shot in both countries employing film crews comprising technicians from each.
Reception
Hiroshima mon amour earned an Oscar nomination for screenwriter Marguerite Duras, as well as a special award at the 1959 Cannes Film Festival, where the film was excluded from the official selection because of its sensitive subject matter as well as to avoid upsetting the U.S. government.
Hiroshima mon amour has been described as "The Birth of a Nation of the French New Wave" by American critic Leonard Maltin. New Wave filmmaker Jean-Luc Godard described the film's inventiveness as "Faulkner plus Stravinsky" and celebrated its originality, calling it "the first film without any cinematic references". Filmmaker Eric Rohmer said, "I think that in a few years, in ten, twenty, or thirty years, we will know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema".
Among the film's innovations is Resnais' experiments with very brief flashback sequences intercut into scenes to suggest the idea of a brief flash of memory. Resnais later used similar effects in Last Year at Marienbad.
Film references
In his book on Resnais, James Monaco ends his chapter on Hiroshima mon amour by claiming that the film contains a reference to the classic 1942 film Casablanca:
“ Here is an 'impossible' love story between two people struggling with the imagery of a distant war. At the end of this romantic, poignant movie about leave takings and responsibilities, the two fateful lovers meet in a cafe. Resnais gives us a rare establishing shot of the location. 'He' is going to meet 'She' for the last time at a bar called 'The Casablanca' - right here in the middle of Hiroshima! It's still the same old story. A fight for love and glory. A case of do or die. The world will always welcome lovers. As time goes by. ”
Cultural errors
In Japan Journals: 1947-2004, film historian Donald Richie tells in an entry for 25 January 1960 of seeing the film in Tokyo and remarks on various distracting (for the Japanese) cultural errors which Resnais made. He notes, for example, that the Japanese-language arrival and departure time announcements in the train scenes bear no relation to the time of day in which the scenes are set. Also, people pass through noren curtains into shops which are supposedly closed. The noren is a traditional sign that a shop is open for business and is invariably taken down at closing time.
In popular culture
Music
* The film has inspired several songs. One was written by John Foxx and Billy Currie, and initially recorded and performed by their band Ultravox! in 1977. One recorded version of the song is a romantic electronic ballad, notable for showcasing an early use of a drum machine in popular music. Ultravox! also recorded a different arrangement of the song, in an aggressive punk style. This version was covered by the band The Church.
* The heavy metal band Alcatrazz also recorded a song titled "Hiroshima Mon Amour" on their debut album, No Parole from Rock N' Roll.
* In 2003, the New York-based no wave band My Favorite released "Burning Hearts," which draws upon the main characters in the film.
* Punk rock band The (International) Noise Conspiracy's album The Cross of My Calling features a song entitled "Hiroshima Mon Amour."
* In 2002, Bryan Ferry released the album Frantic which includes the song "Hiroshima", where the chorus includes the full sentence of "Hiroshima Mon Amour".
Film
* In 2001, Japanese film director Nobuhiro Suwa directed a remake, titled H Story.
* In 2003, Iranian film director Bahman Pour-Azar released Where Or When. The 85-minute film places Pour-Azar's characters in the same circumstances as Resnais' nearly a half century earlier. However, the current global tension of today's world is the backdrop instead of post-war Hiroshima. When screening the film, Stuart Alson, who founded the New York International Independent Film and Video Festival, said that the piece was "a parallel line of work with the French masterpiece "Hiroshima mon amour".
Hiroshima mon amour is an acclaimed 1959 drama film directed by French film director Alain Resnais, with a screenplay by Marguerite Duras. It is the documentation of an endless conversation between a French-Japanese interracial couple about memory and forgetfulness. It was a major catalyst for the Nouvelle Vague (French New Wave), making highly innovative use of miniature flashbacks, a deflated sense of time, and omniscient narration from multiple characters.
The title literally translates from French to English as 'Hiroshima, My Love', though the film is almost always referred to by its original French title.
Plot
Hiroshima mon amour concerns a series of conversations (or one enormous conversation) over a 36-hour long period between a French actress (Emmanuelle Riva), referred to as she, and a Japanese architect (Eiji Okada), referred to as him. They have had a brief relationship, and are now separating. The two debate memory and forgetfulness as She prepares to depart, comparing failed relationships with the bombing of Hiroshima, and the perspectives of people inside and outside the incidents. The early part of the film recounts, in the style of a documentary, but narrated by the so far completely unidentified characters, the effects of the Hiroshima bomb on August 6, 1945, in particular the loss of hair and the complete anonymity of the remains of some victims. He had been conscripted into the Japanese army, and his family was in Hiroshima on that day.
The film uses highly structured, repetitive dialogue, mostly consisting of Her narration, with Him interjecting to say she is wrong, lying, confused, or to deny and contradict her statements. Although He disagrees and rejects many of the things She says, he pursues her constantly throughout the film. Hair, skin, loneliness, and desire are recurring motifs throughout the film.
Cast
* Emmanuelle Riva as Elle
* Eiji Okada as Lui
* Bernard Fresson as L'Allemand
* Stella Dassas as La Mere
* Pierre Barbaud as Le Pere
Production
According to James Monaco, Resnais was originally commissioned to make a short documentary about the atomic bomb, but spent several months confused about how to proceed because he did not want to recreate his 1955 Holocaust documentary Night and Fog. He later went to his producer and joked that the film could not be done unless Marguerite Duras was involved in writing the screenplay.
The film was a co-production by companies from both Japan and France. The producers stipulated that one main character must be French and the other be Japanese, and also required that the film be shot in both countries employing film crews comprising technicians from each.
Reception
Hiroshima mon amour earned an Oscar nomination for screenwriter Marguerite Duras, as well as a special award at the 1959 Cannes Film Festival, where the film was excluded from the official selection because of its sensitive subject matter as well as to avoid upsetting the U.S. government.
Hiroshima mon amour has been described as "The Birth of a Nation of the French New Wave" by American critic Leonard Maltin. New Wave filmmaker Jean-Luc Godard described the film's inventiveness as "Faulkner plus Stravinsky" and celebrated its originality, calling it "the first film without any cinematic references". Filmmaker Eric Rohmer said, "I think that in a few years, in ten, twenty, or thirty years, we will know whether Hiroshima mon amour was the most important film since the war, the first modern film of sound cinema".
Among the film's innovations is Resnais' experiments with very brief flashback sequences intercut into scenes to suggest the idea of a brief flash of memory. Resnais later used similar effects in Last Year at Marienbad.
Film references
In his book on Resnais, James Monaco ends his chapter on Hiroshima mon amour by claiming that the film contains a reference to the classic 1942 film Casablanca:
“ Here is an 'impossible' love story between two people struggling with the imagery of a distant war. At the end of this romantic, poignant movie about leave takings and responsibilities, the two fateful lovers meet in a cafe. Resnais gives us a rare establishing shot of the location. 'He' is going to meet 'She' for the last time at a bar called 'The Casablanca' - right here in the middle of Hiroshima! It's still the same old story. A fight for love and glory. A case of do or die. The world will always welcome lovers. As time goes by. ”
Cultural errors
In Japan Journals: 1947-2004, film historian Donald Richie tells in an entry for 25 January 1960 of seeing the film in Tokyo and remarks on various distracting (for the Japanese) cultural errors which Resnais made. He notes, for example, that the Japanese-language arrival and departure time announcements in the train scenes bear no relation to the time of day in which the scenes are set. Also, people pass through noren curtains into shops which are supposedly closed. The noren is a traditional sign that a shop is open for business and is invariably taken down at closing time.
In popular culture
Music
* The film has inspired several songs. One was written by John Foxx and Billy Currie, and initially recorded and performed by their band Ultravox! in 1977. One recorded version of the song is a romantic electronic ballad, notable for showcasing an early use of a drum machine in popular music. Ultravox! also recorded a different arrangement of the song, in an aggressive punk style. This version was covered by the band The Church.
* The heavy metal band Alcatrazz also recorded a song titled "Hiroshima Mon Amour" on their debut album, No Parole from Rock N' Roll.
* In 2003, the New York-based no wave band My Favorite released "Burning Hearts," which draws upon the main characters in the film.
* Punk rock band The (International) Noise Conspiracy's album The Cross of My Calling features a song entitled "Hiroshima Mon Amour."
* In 2002, Bryan Ferry released the album Frantic which includes the song "Hiroshima", where the chorus includes the full sentence of "Hiroshima Mon Amour".
Film
* In 2001, Japanese film director Nobuhiro Suwa directed a remake, titled H Story.
* In 2003, Iranian film director Bahman Pour-Azar released Where Or When. The 85-minute film places Pour-Azar's characters in the same circumstances as Resnais' nearly a half century earlier. However, the current global tension of today's world is the backdrop instead of post-war Hiroshima. When screening the film, Stuart Alson, who founded the New York International Independent Film and Video Festival, said that the piece was "a parallel line of work with the French masterpiece "Hiroshima mon amour".
《情人》 1984年/小说 子夜
前不久我买得一处房屋。所在地点十分佳美。让人觉得就像是在希腊一样。房屋四周的树木也都归属于我。其中有一株树巨大无比，在夏天，绿阴如盖，我不会以溽暑为苦了。我要找人修筑一座露天平台。黄昏时分，在平台上，我将眺望希腊夕照……
在这里，在某些时刻，阳光是纯一而绝对的，把一切都照得通体分明，是多重性的，同时又是准确无误的，猛烈地射向那惟一的一个目标……
——一九六○年夏日听到的谈话
在这里，在某些时刻，阳光是纯一而绝对的，把一切都照得通体分明，是多重性的，同时又是准确无误的，猛烈地射向那惟一的一个目标……
——一九六○年夏日听到的谈话
已经十六岁。在这个年龄上，我的行为举动还是像一个孩子。那是从西贡回国，同中国情人分别以后，乘夜车，从波尔多开出的列车，在1930年。我是和我一家人在一起，我的两个哥哥，还有我母亲。在三等车有八个坐位单间车厢时，我想另外还有两、三个人，其中有一个年轻人，坐在我的对面，他在看我。他大概有三十岁。那应该是在夏季。我一直是穿着在殖民地时穿的浅色裙衫，光脚穿一双凉鞋。我没有睡。那个男人问起我家庭情况，于是我就讲殖民地生活，下雨，炎热，游廊，与法国的不同之处，去森林远足，我还要通过这一学年学士学位考试这一类事，无非火车上成了惯例的那种闲谈，这是只要把自己的故事，家里的事照直说就是了。后来，突然发现所有的人都睡着了，我的母亲和我的哥哥车一开出波尔多很快就睡着了。我说话声音很低，不要吵醒他们。如果他们听到我讲家里的事，他们会吼叫、威胁我不许开口。轻声和那个男人谈话，车厢里另外那三、四个人也睡去了。这样就只有那个男人和我醒着没有睡。就这样，突然一下，开始了，就在同一时刻，转眼之间，千真万确，而且方式粗野。在那个时候，这类事是决不说的，特别是在那种场合，这一来我们也就不可能继续谈话了。彼此也不可能再看谁。一点力气也没有了。被击倒了。是我，大概说必须睡一睡明天一早到巴黎不要太疲劳。他坐在靠近门口的地方，他把灯关了。在他和我之间有一点空隙。我伸直躺在长椅上，把腿攀起，合上眼。我听见他打开车厢门。他出去了，回来拿着车上的一条盖被，他把被盖在我身上，我张开眼睛，对他笑笑，说谢谢。他说：“夜里火车上他们把暖气关掉，早晨很冷。”我就睡了。我被他伸到我腿上热热软软的手受弄醒，他的手轻轻把我的腿分开，试着往我身上伸来，我微微张开眼睛。我看见他在看车厢里的人，他在注意察看，他害怕。我把我的身体一点点慢慢往他那边伸过去。我把我的脚抵在他的身上。我把脚给他。他抓住我的脚。我闭着眼睛顺应着他的动作。开始动得很慢，后来越来越慢；始终是克制着，最后达到快感，不动了，要是他叫出声来，那就无法忍受了。
有很长一段时间，除了火车震动响声以外别无动静。车开得更快了，响声震耳欲聋。随后火车声又低下来，变得又可以忍受了。他的手摸到我身上。手显得惊慌不定，依然热热的，它害怕，我拿它我在我的手里。后来我又放开，随它怎么动。
列车响声又震响起来。他的手缩回，有很长一段时间躲开我，后来我就不知道了，我一定是睡着了。
它又来了。
它抚摩全身，抚摩，腹，腰下，带有欲望再升温情激起那种情味。有时它突然又停下来。它摸到那个地方，在发抖，像是要啮咬，滚烫滚烫。然后，又开始移动。它给自己设置一种理智，又温柔又知理，让自己亲切可爱地向这个孩子告别。在手的周围，是火车的喧闹声。在火车四周，一片黑夜。在火车的喧声之中，是车上通道中沉寂。火车停站，把人吵醒。他在夜里下车。到了巴黎，我张开眼睛一看，他的位子空在那里。
有很长一段时间，除了火车震动响声以外别无动静。车开得更快了，响声震耳欲聋。随后火车声又低下来，变得又可以忍受了。他的手摸到我身上。手显得惊慌不定，依然热热的，它害怕，我拿它我在我的手里。后来我又放开，随它怎么动。
列车响声又震响起来。他的手缩回，有很长一段时间躲开我，后来我就不知道了，我一定是睡着了。
它又来了。
它抚摩全身，抚摩，腹，腰下，带有欲望再升温情激起那种情味。有时它突然又停下来。它摸到那个地方，在发抖，像是要啮咬，滚烫滚烫。然后，又开始移动。它给自己设置一种理智，又温柔又知理，让自己亲切可爱地向这个孩子告别。在手的周围，是火车的喧闹声。在火车四周，一片黑夜。在火车的喧声之中，是车上通道中沉寂。火车停站，把人吵醒。他在夜里下车。到了巴黎，我张开眼睛一看，他的位子空在那里。
《物质生活》 1987年 P．O．L．出版社
法国著名女作家玛格丽特·杜拉（Marguerite Duras，1914-）1987年有两本书出版，一是小说《埃米莉·L．》，一是随笔集《物质生活》（副题为《对热罗姆·博儒尔谈话录》）。随笔集收有四十八篇文章，长短不一，短文不过三、五百字，长的有一万字，大多与写作的事相关，涉及作者自己的作品，以及与此相关的其它方面，有关与扬·安德烈结识之事，作者本人饮酒致疾等，也是书中记述的材料。有关杜拉的思想，阅读她这些文章便可了然，无须多言。但可注意的却是他关于写作、写法的一种独到见解。作者在引言中说，书中“没有一篇文字完全反映我一般对所涉及的问题进行思考的内容，因为一般来说，我并没有思考什么，除了社会不公正这个问题之外，其它我并没有思索什么。”事实上，即使是涉及写作的事等等，似乎也与“社会不公正这个问题”相关，这是不须在字面上求证的，从潜在方面去感受便可体知。文学与写作不可能排除社会历史现实。作者申明：“这本书至多代表我某些时机、某些时日、关于某些事情的想法。所以也代表我的思想。”作者认为“那种专横武断的思想”，“那种作为最后确定的思想”，是她远远避开的“祸害”。
法国著名女作家玛格丽特·杜拉（Marguerite Duras，1914-）1987年有两本书出版，一是小说《埃米莉·L．》，一是随笔集《物质生活》（副题为《对热罗姆·博儒尔谈话录》）。随笔集收有四十八篇文章，长短不一，短文不过三、五百字，长的有一万字，大多与写作的事相关，涉及作者自己的作品，以及与此相关的其它方面，有关与扬·安德烈结识之事，作者本人饮酒致疾等，也是书中记述的材料。有关杜拉的思想，阅读她这些文章便可了然，无须多言。但可注意的却是他关于写作、写法的一种独到见解。作者在引言中说，书中“没有一篇文字完全反映我一般对所涉及的问题进行思考的内容，因为一般来说，我并没有思考什么，除了社会不公正这个问题之外，其它我并没有思索什么。”事实上，即使是涉及写作的事等等，似乎也与“社会不公正这个问题”相关，这是不须在字面上求证的，从潜在方面去感受便可体知。文学与写作不可能排除社会历史现实。作者申明：“这本书至多代表我某些时机、某些时日、关于某些事情的想法。所以也代表我的思想。”作者认为“那种专横武断的思想”，“那种作为最后确定的思想”，是她远远避开的“祸害”。
《蓝眼睛黑头发》 1986年/小说 子夜
一个夏日的夜晚，演员说，将是这个故事的中心所在。
一丝风也没有。岩石旅馆已经在城市的前方显露。旅馆大厅的门窗都敞开着，背后是红里透黑的夕阳，前面是若明若暗的花园。
大厅里有一些妇女，身边带着孩子。她们在谈论夏日的夜晚。那真是难得遇到，整个夏季大概只有三四个这样的夜晚而且还不是年年如此。趁还活着，应当好好享受享受，因为谁也不知道上帝是否还会让人享受到如此美丽的夏夜。
一个夏日的夜晚，演员说，将是这个故事的中心所在。
一丝风也没有。岩石旅馆已经在城市的前方显露。旅馆大厅的门窗都敞开着，背后是红里透黑的夕阳，前面是若明若暗的花园。
大厅里有一些妇女，身边带着孩子。她们在谈论夏日的夜晚。那真是难得遇到，整个夏季大概只有三四个这样的夜晚而且还不是年年如此。趁还活着，应当好好享受享受，因为谁也不知道上帝是否还会让人享受到如此美丽的夏夜。