《寫作》 1993年 伽利瑪
沃維爾的事件，我取名為《年輕的英國飛行員之死》。最初我講給伯努瓦·雅科聽，他當時來特魯維爾看望我。他想到拍一部片子，讓我講述這位二十歲的年輕飛行員之死。於是他拍成了。攝影師是卡羅琳·尚珀蒂埃·德·裏布，錄音師是米歇爾·維奧內。地點是我在巴黎的寓所。
片子拍完以後，我們就去到我在諾弗勒堡的別墅。我談到寫作，我試圖談論這個：寫作。於是出了第二部片子，拍攝與製片仍是原班人馬——國傢視聽學會的西爾維·布呂姆和剋洛德·吉薩爾。
取名為《羅馬》的這篇文字最初是一部片子：《羅馬的對話》，它是應朋友焦瓦內拉·紮諾尼之邀而攝製的，由意大利廣播電視臺資助。
瑪格麗特·杜拉斯
一九九三年六月於巴黎
沃維爾的事件，我取名為《年輕的英國飛行員之死》。最初我講給伯努瓦·雅科聽，他當時來特魯維爾看望我。他想到拍一部片子，讓我講述這位二十歲的年輕飛行員之死。於是他拍成了。攝影師是卡羅琳·尚珀蒂埃·德·裏布，錄音師是米歇爾·維奧內。地點是我在巴黎的寓所。
片子拍完以後，我們就去到我在諾弗勒堡的別墅。我談到寫作，我試圖談論這個：寫作。於是出了第二部片子，拍攝與製片仍是原班人馬——國傢視聽學會的西爾維·布呂姆和剋洛德·吉薩爾。
取名為《羅馬》的這篇文字最初是一部片子：《羅馬的對話》，它是應朋友焦瓦內拉·紮諾尼之邀而攝製的，由意大利廣播電視臺資助。
瑪格麗特·杜拉斯
一九九三年六月於巴黎
《副領事》 1965年/小說 伽利瑪出版社
勞兒·瓦·施泰因生在此地，沙塔拉，在這裏度過了青少年時期的大部分時光。她的父親曾是大學老師。她有一個大她九歲的哥哥——我從未見過他——據說住在巴黎。她的父母現已不在人世。
關於勞兒·瓦·施泰因的童年，即便從塔佳娜·卡爾那裏，我也從來沒有聽到什麽給我留下特別印象的事情。塔佳娜是勞兒中學時最好的女友。
關於勞兒·瓦·施泰因的童年，即便從塔佳娜·卡爾那裏，我也從來沒有聽到什麽給我留下特別印象的事情。塔佳娜是勞兒中學時最好的女友。
《印度之歌》係應倫敦國傢劇院經理彼得·豪之請，寫於一九七二年八月。
“帕斯特拉，這是姓。羅德裏戈·帕斯特拉。”
“羅德裏戈·帕斯特拉。”
“對。他殺的人是佩雷斯。托尼·佩雷斯。”
“托尼·佩雷斯。”
在雨下，兩位從廣場上走過。
“他在幾點鐘殺死佩雷斯的？”
那位客人也不清楚，此時正近黃昏，大概在下午剛開始的時候吧。羅德裏戈·帕斯特拉殺了佩雷斯，同時還殺了自己的妻子。兩具屍體在兩小時前被發現，躺在佩雷斯的車庫深處。
“羅德裏戈·帕斯特拉。”
“對。他殺的人是佩雷斯。托尼·佩雷斯。”
“托尼·佩雷斯。”
在雨下，兩位從廣場上走過。
“他在幾點鐘殺死佩雷斯的？”
那位客人也不清楚，此時正近黃昏，大概在下午剛開始的時候吧。羅德裏戈·帕斯特拉殺了佩雷斯，同時還殺了自己的妻子。兩具屍體在兩小時前被發現，躺在佩雷斯的車庫深處。
她們是包攬傢務的女傭，在巴黎火車站下車的不計其數的布列塔尼女人。他們是鄉村集市的流動小販，賣點兒針頭綫腦，零七八碎。他們——成千上萬——不名一文，惟有一個死亡的身份。
這些人惟一關心的是如何生存下去：不要餓死，每晚都要找到棲身之地。
還要不時地，在偶然的相遇中，聊聊天。聊聊他們共同的不幸與各自的艱辛。這一幕幕往往發生在夏日的廣場上，列車上，以及集市上那些熙熙攘攘、有音樂伴奏的咖啡館裏。沒有這些，照他們的說法，他們就無法擺脫孤獨。
這些人惟一關心的是如何生存下去：不要餓死，每晚都要找到棲身之地。
還要不時地，在偶然的相遇中，聊聊天。聊聊他們共同的不幸與各自的艱辛。這一幕幕往往發生在夏日的廣場上，列車上，以及集市上那些熙熙攘攘、有音樂伴奏的咖啡館裏。沒有這些，照他們的說法，他們就無法擺脫孤獨。
《廣島之戀》 1960年/電影腳本 伽利瑪出版社
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/小說 子夜
前不久我買得一處房屋。所在地點十分佳美。讓人覺得就像是在希臘一樣。房屋四周的樹木也都歸屬於我。其中有一株樹巨大無比，在夏天，緑陰如蓋，我不會以溽暑為苦了。我要找人修築一座露天平臺。黃昏時分，在平臺上，我將眺望希臘夕照……
在這裏，在某些時刻，陽光是純一而絶對的，把一切都照得通體分明，是多重性的，同時又是準確無誤的，猛烈地射嚮那惟一的一個目標……
——一九六○年夏日聽到的談話
在這裏，在某些時刻，陽光是純一而絶對的，把一切都照得通體分明，是多重性的，同時又是準確無誤的，猛烈地射嚮那惟一的一個目標……
——一九六○年夏日聽到的談話
已經十六歲。在這個年齡上，我的行為舉動還是像一個孩子。那是從西貢回國，同中國情人分別以後，乘夜車，從波爾多開出的列車，在1930年。我是和我一傢人在一起，我的兩個哥哥，還有我母親。在三等車有八個坐位單間車廂時，我想另外還有兩、三個人，其中有一個年輕人，坐在我的對面，他在看我。他大概有三十歲。那應該是在夏季。我一直是穿着在殖民地時穿的淺色裙衫，光腳穿一雙涼鞋。我沒有睡。那個男人問起我家庭情況，於是我就講殖民地生活，下雨，炎熱，遊廊，與法國的不同之處，去森林遠足，我還要通過這一學年學士學位考試這一類事，無非火車上成了慣例的那種閑談，這是衹要把自己的故事，傢裏的事照直說就是了。後來，突然發現所有的人都睡着了，我的母親和我的哥哥車一開出波爾多很快就睡着了。我說話聲音很低，不要吵醒他們。如果他們聽到我講傢裏的事，他們會吼叫、威脅我不許開口。輕聲和那個男人談話，車廂裏另外那三、四個人也睡去了。這樣就衹有那個男人和我醒着沒有睡。就這樣，突然一下，開始了，就在同一時刻，轉眼之間，千真萬確，而且方式粗野。在那個時候，這類事是决不說的，特別是在那種場合，這一來我們也就不可能繼續談話了。彼此也不可能再看誰。一點力氣也沒有了。被擊倒了。是我，大概說必須睡一睡明天一早到巴黎不要太疲勞。他坐在靠近門口的地方，他把燈關了。在他和我之間有一點空隙。我伸直躺在長椅上，把腿攀起，合上眼。我聽見他打開車廂門。他出去了，回來拿着車上的一條蓋被，他把被蓋在我身上，我張開眼睛，對他笑笑，說謝謝。他說：“夜裏火車上他們把暖氣關掉，早晨很冷。”我就睡了。我被他伸到我腿上熱熱軟軟的手受弄醒，他的手輕輕把我的腿分開，試着往我身上伸來，我微微張開眼睛。我看見他在看車廂裏的人，他在註意察看，他害怕。我把我的身體一點點慢慢往他那邊伸過去。我把我的腳抵在他的身上。我把腳給他。他抓住我的腳。我閉着眼睛順應着他的動作。開始動得很慢，後來越來越慢；始終是剋製着，最後達到快感，不動了，要是他叫出聲來，那就無法忍受了。
有很長一段時間，除了火車震動響聲以外別無動靜。車開得更快了，響聲震耳欲聾。隨後火車聲又低下來，變得又可以忍受了。他的手摸到我身上。手顯得驚慌不定，依然熱熱的，它害怕，我拿它我在我的手裏。後來我又放開，隨它怎麽動。
列車響聲又震響起來。他的手縮回，有很長一段時間躲開我，後來我就不知道了，我一定是睡着了。
它又來了。
它撫摩全身，撫摩，腹，腰下，帶有欲望再升溫情激起那種情味。有時它突然又停下來。它摸到那個地方，在發抖，像是要嚙咬，滾燙滾燙。然後，又開始移動。它給自己設置一種理智，又溫柔又知理，讓自己親切可愛地嚮這個孩子告別。在手的周圍，是火車的喧鬧聲。在火車四周，一片黑夜。在火車的喧聲之中，是車上通道中沉寂。火車停站，把人吵醒。他在夜裏下車。到了巴黎，我張開眼睛一看，他的位子空在那裏。
有很長一段時間，除了火車震動響聲以外別無動靜。車開得更快了，響聲震耳欲聾。隨後火車聲又低下來，變得又可以忍受了。他的手摸到我身上。手顯得驚慌不定，依然熱熱的，它害怕，我拿它我在我的手裏。後來我又放開，隨它怎麽動。
列車響聲又震響起來。他的手縮回，有很長一段時間躲開我，後來我就不知道了，我一定是睡着了。
它又來了。
它撫摩全身，撫摩，腹，腰下，帶有欲望再升溫情激起那種情味。有時它突然又停下來。它摸到那個地方，在發抖，像是要嚙咬，滾燙滾燙。然後，又開始移動。它給自己設置一種理智，又溫柔又知理，讓自己親切可愛地嚮這個孩子告別。在手的周圍，是火車的喧鬧聲。在火車四周，一片黑夜。在火車的喧聲之中，是車上通道中沉寂。火車停站，把人吵醒。他在夜裏下車。到了巴黎，我張開眼睛一看，他的位子空在那裏。
《物質生活》 1987年 P．O．L．出版社
法國著名女作傢瑪格麗特·杜拉（Marguerite Duras，1914-）1987年有兩本書出版，一是小說《埃米莉·L．》，一是隨筆集《物質生活》（副題為《對熱羅姆·博儒爾談話錄》）。隨筆集收有四十八篇文章，長短不一，短文不過三、五百字，長的有一萬字，大多與寫作的事相關，涉及作者自己的作品，以及與此相關的其它方面，有關與揚·安德烈結識之事，作者本人飲酒緻疾等，也是書中記述的材料。有關杜拉的思想，閱讀她這些文章便可瞭然，無須多言。但可註意的卻是他關於寫作、寫法的一種獨到見解。作者在引言中說，書中“沒有一篇文字完全反映我一般對所涉及的問題進行思考的內容，因為一般來說，我並沒有思考什麽，除了社會不公正這個問題之外，其它我並沒有思索什麽。”事實上，即使是涉及寫作的事等等，似乎也與“社會不公正這個問題”相關，這是不須在字面上求證的，從潛在方面去感受便可體知。文學與寫作不可能排除社會歷史現實。作者申明：“這本書至多代表我某些時機、某些時日、關於某些事情的想法。所以也代表我的思想。”作者認為“那種專橫武斷的思想”，“那種作為最後確定的思想”，是她遠遠避開的“禍害”。
法國著名女作傢瑪格麗特·杜拉（Marguerite Duras，1914-）1987年有兩本書出版，一是小說《埃米莉·L．》，一是隨筆集《物質生活》（副題為《對熱羅姆·博儒爾談話錄》）。隨筆集收有四十八篇文章，長短不一，短文不過三、五百字，長的有一萬字，大多與寫作的事相關，涉及作者自己的作品，以及與此相關的其它方面，有關與揚·安德烈結識之事，作者本人飲酒緻疾等，也是書中記述的材料。有關杜拉的思想，閱讀她這些文章便可瞭然，無須多言。但可註意的卻是他關於寫作、寫法的一種獨到見解。作者在引言中說，書中“沒有一篇文字完全反映我一般對所涉及的問題進行思考的內容，因為一般來說，我並沒有思考什麽，除了社會不公正這個問題之外，其它我並沒有思索什麽。”事實上，即使是涉及寫作的事等等，似乎也與“社會不公正這個問題”相關，這是不須在字面上求證的，從潛在方面去感受便可體知。文學與寫作不可能排除社會歷史現實。作者申明：“這本書至多代表我某些時機、某些時日、關於某些事情的想法。所以也代表我的思想。”作者認為“那種專橫武斷的思想”，“那種作為最後確定的思想”，是她遠遠避開的“禍害”。
《藍眼睛黑頭髮》 1986年/小說 子夜
一個夏日的夜晚，演員說，將是這個故事的中心所在。
一絲風也沒有。岩石旅館已經在城市的前方顯露。旅館大廳的門窗都敞開着，背後是紅裏透黑的夕陽，前面是若明若暗的花園。
大廳裏有一些婦女，身邊帶着孩子。她們在談論夏日的夜晚。那真是難得遇到，整個夏季大概衹有三四個這樣的夜晚而且還不是年年如此。趁還活着，應當好好享受享受，因為誰也不知道上帝是否還會讓人享受到如此美麗的夏夜。
一個夏日的夜晚，演員說，將是這個故事的中心所在。
一絲風也沒有。岩石旅館已經在城市的前方顯露。旅館大廳的門窗都敞開着，背後是紅裏透黑的夕陽，前面是若明若暗的花園。
大廳裏有一些婦女，身邊帶着孩子。她們在談論夏日的夜晚。那真是難得遇到，整個夏季大概衹有三四個這樣的夜晚而且還不是年年如此。趁還活着，應當好好享受享受，因為誰也不知道上帝是否還會讓人享受到如此美麗的夏夜。