正在同步电影信息
"ApparentlyinresponsetotheadverseaudiencereactionstoImpatience,Dekeukeleiredecidedtotryanewapproach.AftertheFrenchpremiere,hetoldaParisianinterviewer:<br/> Thetonehereisabitpompous,butDekeukeleiredidmanagetoaccomplishhisgoalinhisfirstnarrativefilm,Histoirededétective.ThefilmcontainsdevicesfamiliarfromImpatience:anobsessiverepetitionofasmallnumberofelements,handheldmovementsoverlandscapes,andrhythmicediting.Butseveralnewstructuresshapethismaterial.Thefilmpresentsitselfastherecordofacasemadebyadetective,T,whousesthemotion-picturecameraashisinvestigativetool.AsidefromafewshortscenesofTatworkinhisdeveloping,editing,andviewingrooms,alltheshot(exceptintertitles)purporttocomefromT’swork.Histoirededétectiveisthusafilmwithinafilm,andtheintertitlestellusthestory,notsimplyofthecase,butalsoofT’sfilmingofthecase.<br/> ThestoryconcernsJ.Jonathan,whoisinaneurasthenicstate.Mme.Jonathanhas,atthebeginningofthefilm,justhiredTtodiscoverthereasonforherhusband’scondition.ThefilmshowsshotsofJonathaninBrussels.HethengoestoOstendetorecover,butheisboredthere.HesetsouttoreturntoBrusselsbutgoesontoLuxembourg,isboredagain,andgoestoBruges,wherehestaysforsometime,makingfrequenttripstotheseaside.DekeukeleireinsertsseriesofshotsofMme.Jonathan,inmodernistclothes,energeticallytalkingonthephone,listeningtothegramophone,writing,andgivingaspeech.Sheisportrayedasafreneticallyup-to-datewoman.FinallyJonathanwandersthroughahillycountrysideanddecidestobuildafactoryamongitspicturesqueancientruins.Hiswifeconcludesthatheisnowcured;Thassucceeded.<br/> ThereisastrangetensioninthepresentationoftheseeventsinHistoirededétective.Theimagesthemselvesconveynoneoftheaction.Allweseearethetwocharacters,andoccasionallyT,alwaysinseparateshots,walking,sitting,speakingintophones.Therearenodialoguetitles.Dekeukeleireinterspersesshotsofthecharacterswithnumerousshotsofbuildingsandlandscapes,oftenseenupside-downorrollinginextremelyjerkyhandheldmovements.Healsoincludesshotsoftrivialobjects—cups,books,piecesofbread—whichdonotentercausallyintothenarrative.Insteadofconveyingtheeventsinacceptedsilent-filmfashion,throughasfewtitlesaspossible,Dekeukeleireinsertsnumerouslengthytitles.Virtuallytheentirenarrativedependsontheseintertitles.Theshotsbetweenseemsouninformativethattheyalmostcometoresemblefoundfootagearoundwhichanarrativehasbeenconstructed.<br/> Histoirededétectiveisanexperimentalfilmwhichallowsnarrativein,onlytonegateitbysuppressing,notjustacting,butallthevisualconventionswhichthesilentcinemahadbuiltuptopresentstorymaterialtothespectator.ContemporaryreviewsconsistentlyrebukedDekeukeleirefordependingtoheavilyonintertitles.CommentatorshadlongbecomeaccustomedtopraisingfilmslikeDerletzteMannforeliminatingintertitles.Littleinpreviousfilmmakingcouldhavepreparedspectatorsforafilmthatdeliberatelymadeitsimageswhollydependentuponanextensivetextfornarrativemeaning.<br/> Theoverallresultoftacticslikethisisafilmwhichseemsalmosttohaveaninvisiblenarrative.Thetitlesmakethestorylineclearenough,butinwatchingthefilmthespectatorcannotreallyseethenarrativebeingworkedout.Theimagesdon’tcontradictwhatthetitlespresent,butonlyoccasionallydotheyshowanythingwhichaddstoorreallytallieswiththeverbaldescriptions(exceptinapassiveway,aswithJonathansittingonthebridgeasthetitlesdescribehim“notseeing”things).Idon’tmeantosuggestthatthefilmisuninteresting—itsviolentcameramovementsandrhythmicmontagestendtoaddsomeofthequalitiesofanabstractfilm.And,asonestrainstodiscoverthenarrativesignificanceoftheseshots,theirveryopacitymakesthemintriguing.<br/> KristinThompson