{"id":33299,"date":"2018-12-01T12:00:50","date_gmt":"2018-12-01T11:00:50","guid":{"rendered":"http:\/\/cornandsoda.com\/?p=33299"},"modified":"2018-12-01T11:31:05","modified_gmt":"2018-12-01T10:31:05","slug":"kotelezo-filmek-kifulladasig-a-bout-de-souffle-1960","status":"publish","type":"post","link":"https:\/\/cornandsoda.com\/wp\/kotelezo-filmek-kifulladasig-a-bout-de-souffle-1960\/","title":{"rendered":"K\u00f6telez\u0151 filmek \u2013 Kifullad\u00e1sig (\u00c0 bout de souffle, 1960)"},"content":{"rendered":"
\"Kifullad\u00e1sig\"<\/a>
Forr\u00e1s: Mafab<\/figcaption><\/figure>\n

Ma reggel olyan sz\u00fclet\u00e9snapi hangulatom volt, mint kider\u00fclt: nem v\u00e9letlen\u00fcl. Woody Allen \u00e9ppen ma, december 1-j\u00e9n \u00fcnnepli 83. sz\u00fclet\u00e9snapj\u00e1t, \u00e1m holnaput\u00e1n az a filmalkot\u00f3 t\u00f6lti be a 88-at, akit \u2013 egyszer\u0171en nincs jobb sz\u00f3 \u2013 im\u00e1dok. Sz\u00f3val n\u00e9mi t\u00f6preng\u00e9s ut\u00e1n \u00fagy d\u00f6nt\u00f6ttem, most Jean-Luc Godard<\/strong>-r\u00f3l mes\u00e9lek nektek (mert te j\u00f3 \u00e9g, eddig m\u00e9g nem tettem!), \u00e9s a Kifullad\u00e1sig<\/em><\/a> (\u00c0 bout de souffle<\/em>, 1960) c\u00edm\u0171 filmet teszem k\u00f6telez\u0151v\u00e9. \u00c9s mit ne mondjak, v\u00e9lem\u00e9nyem szerint Woody Allen \u00f6r\u00fclne, ha tudn\u00e1, hogy egyazon cikkben szerepel a neve a francia \u00faj hull\u00e1m, s\u0151t a filmm\u0171v\u00e9szet \u00e9l\u0151 legend\u00e1j\u00e1\u00e9val\u2026<\/p>\n

<\/p>\n

\u201eAzt ugye \u00f6n is elismeri, hogy egy filmnek kell, hogy legyen eleje, k\u00f6zepe \u00e9s v\u00e9ge?<\/em><\/p>\n

H\u00e1t persze! Csak nem felt\u00e9tlen\u00fcl ebben a sorrendben.\u201d<\/em><\/p>\n

Az \u00e1llamvizsga t\u00e9teleim \u2013 amelyek a mai napig k\u00e9zn\u00e9l vannak \u2013 egy igaz\u00e1n tetszet\u0151s mapp\u00e1ban sorakoznak, t\u00e9telenk\u00e9nt abban a bugyi nevezet\u0171 m\u0171anyag irattart\u00f3ban; s minden egyes t\u00e9telen \u00e1ll egy id\u00e9zet. A fenti A francia \u00faj hull\u00e1m<\/em> elej\u00e9n, jelezve: ebben a korszakban tal\u00e1lhat\u00f3 A ZSENI, akinek filmjeiben a t\u00f6rt\u00e9net, a jelenetek sorrendje \u00e9s a sz\u00edn\u00e9szi j\u00e1t\u00e9k is saj\u00e1tos szab\u00e1lyok alapj\u00e1n m\u0171k\u00f6dik, akinek filmjei nemcsak egy \u00faj korszakot vezettek be a francia filmm\u0171v\u00e9szetben, hanem valamelyest \u00e1tform\u00e1lt\u00e1k a filmr\u0151l val\u00f3 gondolkod\u00e1st. Ugyanis: ha filmr\u0151l gondolkozunk, net\u00e1n a filmk\u00e9p \u00e9s -hang k\u00f6z\u00f6tti kapcsolatr\u00f3l, akkor nem ker\u00fclhetj\u00fck meg Jean-Luc Godard szem\u00e9ly\u00e9t, hiszen \u0151 a film \u00e9lenj\u00e1r\u00f3 szemiotikusa, valamint (szerintem) a filmt\u00f6rt\u00e9net egyik legmer\u00e9szebb filmk\u00e9sz\u00edt\u0151je.<\/p>\n

\"Kifullad\u00e1sig\"<\/a>
Jean-Luc Godard \u00e9s Fran\u00e7ois Truffaut Forr\u00e1s: Mafab<\/figcaption><\/figure>\n

Azt \u00edg\u00e9rtem, r\u00f3la mes\u00e9lek nektek, \u00fagyhogy most \u2013 ahelyett, hogy \u00e1ttekinten\u00e9m a francia \u00faj hull\u00e1m t\u00f6rt\u00e9net\u00e9t \u2013 ezt teszem. Jean-Luc Godard fels\u0151-k\u00f6z\u00e9poszt\u00e1lybeli p\u00e1rizsi csal\u00e1dban sz\u00fcletett, iskol\u00e1it Sv\u00e1jcban \u00e9s P\u00e1rizsban v\u00e9gezte. A Sorbonne-on n\u00e9prajzot tanult. Az \u00f6tvenes \u00e9veket azzal t\u00f6lt\u00f6tte, hogy filmeket n\u00e9zett, csavargott a vil\u00e1gban, \u00e9s k\u00fcl\u00f6nf\u00e9le alkalmi munk\u00e1kb\u00f3l tartotta fenn mag\u00e1t. Ebben az id\u0151szakban r\u00e9szt vett a Gazette du Cin\u00e9ma megalap\u00edt\u00e1s\u00e1ban, szerz\u0151je lett a Cahiers du Cin\u00e9m\u00e1nak \u00e9s az Artsnak, szenved\u00e9ly \u00e9bredt benne Hollywood ir\u00e1nt, \u00e9s kritikai \u00e9rz\u00e9k a francia filmmel szemben. Ekkor rendezett n\u00e9h\u00e1ny r\u00f6vidfilmet, majd elkezdett forgat\u00f3k\u00f6nyveket \u00edrni. Fran\u00e7ois Truffaut-val, Claude Chabrollal, \u00c9ric Rohmerrel \u00e9s Jacques Rivette-tel egy\u00fctt hamarosan kulcsfigur\u00e1j\u00e1v\u00e1 v\u00e1lt az \u00f6tvenes \u00e9vek v\u00e9gi, hatvanas \u00e9vek eleji francia \u00faj hull\u00e1mnak.<\/p>\n

Korai j\u00e1t\u00e9kfilmjei zs\u00e1nermeg\u00faj\u00edt\u00f3 darabok, rendszerint b\u0171n\u00fcgyi t\u00f6rt\u00e9netek, amelyek a n\u0151i szexualit\u00e1s rejt\u00e9ly\u00e9t bogozgatj\u00e1k. Kifullad\u00e1sig<\/em> c\u00edm\u0171, 1959-es alkot\u00e1sa anarchista, k\u00f6tetlen t\u00f6rt\u00e9net egy tolvajr\u00f3l, aki lel\u0151 egy rend\u0151rt \u00e9s addig menek\u00fcl, am\u00edg bar\u00e1tn\u0151je el nem \u00e1rulja. Az 1964-ben sz\u00fcletett K\u00fcl\u00f6n banda<\/em> (Bande \u00e1 part<\/em><\/a>, 1964) k\u00e9t fiatalemberr\u0151l sz\u00f3l, akik k\u00e9ptelen b\u0171ntettet terveznek, csak hogy impon\u00e1ljanak egy n\u0151nek, akibe mindketten szerelmesek. A f\u0151h\u0151sn\u0151t Anna Karina alak\u00edtja, aki 1960 \u00e9s 1965 k\u00f6z\u00f6tt Godard feles\u00e9ge volt. \u0150 j\u00e1tssza a rendez\u0151 Az asszony az asszony <\/em>(Une femme est une femme<\/em><\/a>, 1961) c\u00edm\u0171 els\u0151 sz\u00ednes filmj\u00e9nek f\u0151szerep\u00e9t, valamint \u0151 kelti \u00e9letre az egyik legfontosabb karaktert az \u00c9li az \u00e9let\u00e9t<\/em> (Vivre sa vie<\/em><\/a>, 1962) c\u00edm\u0171 alkot\u00e1sban. A hatvanas \u00e9vek derek\u00e1n Godard t\u00f6bb olyan kalandfilmet is k\u00e9sz\u00edtett, melynek a szerelem \u00e1ll a k\u00f6z\u00e9ppontj\u00e1ban: a Bolond Pierrot<\/em> (Pierrot le fou<\/em><\/a>, 1965) sz\u00ednes, sz\u00e9lesv\u00e1szn\u00fa l\u00e1tv\u00e1nyoss\u00e1g \u00e9s tragikomikus mont\u00e1zs, amelyben egy p\u00e1r elmenek\u00fcl a f\u0151v\u00e1rosb\u00f3l, hogy D\u00e9l-Franciaorsz\u00e1gban \u00e9lje a maga bolondos \u00e9s vesz\u00e9lyes \u00e9let\u00e9t.<\/p>\n

\"Kifullad\u00e1sig\"<\/a>
Forr\u00e1s: Mafab<\/figcaption><\/figure>\n

A hatvanas \u00e9vek k\u00f6zep\u00e9n a komoly baloldali elk\u00f6telezetts\u00e9g fel\u00e9 vett ir\u00e1nyt Godard politiz\u00e1l\u00e1sa. Kulcsm\u0171 ebb\u0151l a korszakb\u00f3l a 2 vagy 3 dolgot tudok csak r\u00f3la <\/em>(2 ou 3 choses que je sais d\u2019elle<\/em><\/a>, 1967), amelyben az akkori P\u00e1rizs szociol\u00f3giai tanulm\u00e1ny\u00e1val a h\u00e1tt\u00e9rben egy p\u00e1rizsi h\u00e1ziasszony prostitu\u00e1ltt\u00e1 v\u00e1l\u00e1s\u00e1t k\u00f6vethetj\u00fck nyomon. Ekkoriban sz\u00fcletett A k\u00ednai l\u00e1ny<\/em> (La chinoise<\/em><\/a>, 1967) \u00e9s a Weekend <\/em>(Week End<\/em><\/a>, 1967) c\u00edm\u0171 alkot\u00e1sa is. Ezt k\u00f6vet\u0151en, 1968-ban dokumentum- \u00e9s essz\u00e9filmek v\u00e1ltott\u00e1k fel Godard j\u00e1t\u00e9kfilmjeit, amelyek a k\u00f6zvetlen politikai realit\u00e1ssal foglalkoztak. Ez \u00e9v m\u00e1jus\u00e1t k\u00f6vet\u0151en a rendez\u0151 szak\u00edtott a m\u0171v\u00e9szfilmmel, szerz\u0151i egy\u00e9nis\u00e9g\u00e9vel hozz\u00e1j\u00e1rult a Dziga Vertov-csoport k\u00f6z\u00f6ss\u00e9g\u00e9hez \u2013 amelyet l\u00e9nyeg\u00e9ben \u0151 \u00e9s Jean-Pierre Gorin alkotott \u2013, \u00e9s a politik\u00e1r\u00f3l, valamint az ideol\u00f3gi\u00e1r\u00f3l k\u00e9sz\u00edtett k\u00eds\u00e9rleti filmessz\u00e9ket. Ezek a kezdem\u00e9nyez\u00e9sek csak akkor tal\u00e1ltak maguknak egys\u00e9ges form\u00e1t, amikor a rendez\u0151 1971-es motorbalesete ut\u00e1n Godard \u00e9s Gorin \u00fajra visszat\u00e9rtek a mainstream filmhez, \u00e9s elk\u00e9sz\u00edtett\u00e9k Jane Fonda f\u0151szerepl\u00e9s\u00e9vel a Minden rendben<\/em> (Tout va bien<\/em><\/a>, 1972) c\u00edm\u0171 alkot\u00e1st.<\/p>\n

Godard ezut\u00e1n tov\u00e1bbl\u00e9pett egy \u00faj m\u00e9dium, a video fel\u00e9, \u00e9s Sv\u00e1jcban saj\u00e1t t\u00e9v\u00e9st\u00fadi\u00f3t \u00e1ll\u00edtott fel a k\u00eds\u00e9rletez\u00e9sre. \u00daj munkat\u00e1rs\u00e1val \u2013 aki k\u00e9s\u0151bb a harmadik feles\u00e9ge lett \u2013, Anne-Marie Mi\u00e9ville-jel m\u0171vek eg\u00e9sz sor\u00e1ban kutatta az \u00faj m\u00e9dium lehet\u0151s\u00e9geit, ezek k\u00f6z\u00fcl A kommunik\u00e1ci\u00f3 f\u00f6l\u00f6tt \u00e9s alatt<\/em>\/Hatszor kett\u0151<\/em> \u00e9s a K\u00e9t gyermek k\u00f6rben Franciaorsz\u00e1gban<\/em> c\u00edm\u0171 t\u00e9v\u00e9sorozat a legnevezetesebb, tov\u00e1bb\u00e1 a Kettes sz\u00e1m<\/em> (Num\u00e9ro deux<\/em><\/a>, 1975) c\u00edm\u0171 j\u00e1t\u00e9kfilm, amelynek megsokszorozott videok\u00e9pei a francia munk\u00e1soszt\u00e1ly \u00e9let\u00e9nek teljess\u00e9gre t\u00f6r\u0151 \u00e1br\u00e1zol\u00e1s\u00e1val t\u00f6ltik be a v\u00e1sznat, k\u00fcl\u00f6n\u00f6s tekintettel a munka \u00e9s a szexualit\u00e1s \u00e1br\u00e1zol\u00e1s\u00e1ra.<\/p>\n

\"Kifullad\u00e1sig\"<\/a>
Forr\u00e1s: Mafab<\/figcaption><\/figure>\n

A t\u00f6rt\u00e9netmond\u00f3 j\u00e1t\u00e9kfilmhez 1980-ban a Mentse, aki tudja (az \u00e9let\u00e9t) <\/em>[Sauve qui peut (la vie)<\/em><\/a>, 1979] c\u00edm\u0171 m\u0171v\u00e9vel t\u00e9rt vissza Godard, ezt pedig a Passi\u00f3j\u00e1t\u00e9k<\/em> (Passion<\/em><\/a>, 1982) k\u00f6vette. A nyolcvanas \u00e9vekben k\u00e9sz\u00edtett filmjei nagy sz\u00f3r\u00f3d\u00e1st mutatnak: van k\u00f6z\u00f6tt\u00fck pszeudothriller [Detekt\u00edv <\/em>(D\u00e9tective<\/em><\/a>, 1985)]<\/em> \u00e9s romantikus gyilkoss\u00e1gi t\u00f6rt\u00e9net (Nouvelle vague<\/em>), de ebben az id\u0151szakban sz\u00fcletett a Lear kir\u00e1ly<\/em> (King Lear<\/em><\/a>, 1987) szt\u00e1rpar\u00e1d\u00e9s feldolgoz\u00e1sa \u2013 benne Norman Mailer, Burgess Meredith, Molly Ringwald \u00e9s Woody Allen\u2026 igen, Woody Allen! \u2013, valamint a sokat vitatott \u00dcdv\u00f6zl\u00e9gy, M\u00e1ria<\/em> (Je vous salue, Marie<\/a>, 1985) is, amely a mai (pontosabban a nyolcvanas \u00e9vekbeli) Sv\u00e1jcba helyezi \u00e1t a bibliai legend\u00e1t. A j\u00e1t\u00e9kfilmrendez\u00e9s mellett Godard folytatta a vide\u00f3z\u00e1st is \u2013 munk\u00e1ss\u00e1g\u00e1nak e sokszor mell\u0151z\u00f6tt r\u00e9sz\u00e9nek 1992-ben ki\u00e1ll\u00edt\u00e1st szenteltek New York-ban. Godard a kilencvenes \u00e9s a k\u00e9tezres \u00e9vekben is hatalmas lelkesed\u00e9ssel filmezett, munk\u00e1i pedig most is \u00e9pp olyan izgalmasak, frissek \u00e9s \u00fajszer\u0171ek, mint kor\u00e1bban. \u00c9n most igaz\u00e1n szubjekt\u00edv m\u00f3don kiemelek kett\u0151t: a 2001-es A szerelem dics\u00e9ret\u00e9<\/em>t (\u00c9loge de l\u2019amour<\/em><\/a>, 2001) \u2013 amely nem a klasszikus \u00e9rtelemben vett szerelmes film, hanem a szerelem \u00e9rtelmez\u00e9se a film a filmben m\u00f3dszer\u00e9vel \u2013, illetve a Godard: B\u00facs\u00fa a nyelvt\u0151l<\/em> (Adieu au langage<\/em><\/a>, 2013) c\u00edm\u0171 filmet, amely v\u00e9lem\u00e9nyem szerint olyannyira fantasztikus, hogy megfelel\u0151 szavakat sem tal\u00e1lok r\u00f6vid le\u00edr\u00e1s\u00e1ra.<\/p>\n

\"Kifullad\u00e1sig\"<\/a>
Forr\u00e1s: Mafab<\/figcaption><\/figure>\n

Godard filmjeinek k\u00f6zponti t\u00e9m\u00e1ja a p\u00e9nz, a szexualit\u00e1s, a politika \u00e9s maga a film, az \u00e1br\u00e1zol\u00e1s g\u00e9pezete. A klasszikus hollywoodi szellemmel \u00e1thatott filmjeit eur\u00f3pai modernizmus f\u00e9mjelzi, amely \u00e9lvezettel n\u00e9zhet\u0151 \u00e9s hallgathat\u00f3, gy\u00f6keresen \u00faj form\u00e1kat teremt. Godard \u201ev\u00e9rbeli narr\u00e1tora annak a m\u00e9diumnak, amelynek t\u00fal sok a mes\u00e9lni- \u00e9s az elhallgatnival\u00f3ja; a film \u00e9lenj\u00e1r\u00f3 szemiotikusa, a filmk\u00e9p \u00e9s -hang k\u00f6z\u00f6tti \u00e1gas-bogas kapcsolatok \u2013 \u00e9s t\u00e1vols\u00e1gok \u2013 \u00e9letfogytiglani kutat\u00f3ja, nem sz\u0171n\u0151 elk\u00f6telezetts\u00e9ggel az ember mint szubjektum \u00e9s mint t\u00e1rsadalmi l\u00e9ny ir\u00e1nt.\u201d<\/p>\n

Hosszasan tudn\u00e9k m\u00e9g mes\u00e9lni Godard \u00e9let\u00fatj\u00e1r\u00f3l \u00e9s \u00e9letm\u0171v\u00e9r\u0151l, s legsz\u00edvesebben szinte az \u00f6sszes filmj\u00e9t k\u00f6telez\u0151v\u00e9 tenn\u00e9m, de az\u00e9rt kiv\u00e1lasztottam egyet: ez a Kifullad\u00e1sig<\/em>. Amelynek f\u0151h\u0151se Michel, egy k\u00f6r\u00f6z\u00f6tt b\u0171n\u00f6z\u0151, aki Marseille k\u00f6zel\u00e9ben lel\u0151 egy motoros rend\u0151rt, majd tov\u00e1bbhajt P\u00e1rizsba. A f\u0151v\u00e1rosban kapcsolatba l\u00e9p egyik bar\u00e1tn\u0151j\u00e9vel, egy amerikai di\u00e1kl\u00e1nnyal, Patrici\u00e1val. A minden k\u00f6t\u00f6tts\u00e9get elutas\u00edt\u00f3 Michelt egyed\u00fcl a szerelem teszi sebezhet\u0151v\u00e9. \u0150 a szerelmet kergeti, \u0151t mag\u00e1t pedig a rend\u0151r\u00f6k, \u00e9s ennek nem lehet j\u00f3 v\u00e9ge\u2026<\/p>\n

\"Kifullad\u00e1sig\"<\/a>
Forr\u00e1s: Mafab<\/figcaption><\/figure>\n

Rengeteg mindent mondhatn\u00e9k err\u0151l a filmr\u0151l, kiemelhetn\u00e9m Jean-Paul Belmondo alakj\u00e1t \u00e9s j\u00e1t\u00e9k\u00e1t, Raoul Coutard operat\u0151ri munk\u00e1j\u00e1t, Martial Solal zen\u00e9j\u00e9t, s azt is hangs\u00falyozhatn\u00e1m, hogy ez a francia \u00faj hull\u00e1m egyik kulcsm\u0171ve. De ink\u00e1bb csak id\u00e9zem Bik\u00e1csy Gergelyt. \u201eA Kifullad\u00e1sig<\/em> nemcsak a francia, hanem az egyetemes filmt\u00f6rt\u00e9netben is hat\u00e1rk\u0151, korszaknyit\u00f3 \u00e1llom\u00e1s. L\u00e1tsz\u00f3lag izgalmas b\u0171n\u00fcgyi t\u00f6rt\u00e9net, melyben egy gengszter gyilkol \u00e9s szeretkezik, \u00fcld\u00f6zik, \u0151 meg a szerelmet kergeti, m\u00edg a szeretett n\u0151 el nem \u00e1rulja. A Kifullad\u00e1sig<\/em> a kaland mitikus izgalm\u00e1ra \u00e9p\u00fcl, rendez\u0151je visszany\u00fal a \u2019tiszta forr\u00e1sig\u2019, a b\u0171n\u00fcgy amerikai klasszikusaiig.\u201d<\/p>\n

Mi\u00e9rt k\u00f6telez\u0151 megn\u00e9zni?<\/strong> Mert a filmt\u00f6rt\u00e9net egyik, ha nem a legizgalmasabb filmje \u2013 mind a t\u00f6rt\u00e9net, mind a b\u0171n\u00fcgyi film zs\u00e1ner\u00e9nek meg\u00faj\u00edt\u00e1sa szempontj\u00e1b\u00f3l. \u00c9s mert Godard zseni!<\/p>\n

Forr\u00e1s: Oxford Filmenciklop\u00e9dia<\/p>\n","protected":false},"excerpt":{"rendered":"

Ma reggel olyan sz\u00fclet\u00e9snapi hangulatom volt, mint kider\u00fclt: nem v\u00e9letlen\u00fcl. Woody Allen \u00e9ppen ma, december 1-j\u00e9n \u00fcnnepli 83.<\/p>\n","protected":false},"author":925,"featured_media":33306,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7524,7521],"tags":[10825,10826,10823,10827,10821,10822,10824,3226,10820,4163,3885,3887,6194],"class_list":["post-33299","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kotelezo-filmek","category-mozgokep","tag-2-vagy-3-dolgot-tudok-csak-rola","tag-a-kinai-lany","tag-az-asszony-az-asszony","tag-bolond-pierrot","tag-bucsu-a-nyelvtol","tag-eli-az-eletet","tag-evfordulo","tag-filmtortenet","tag-francia-uj-hullam","tag-francois-truffaut","tag-jean-luc-godard","tag-jean-paul-belmondo","tag-kifulladasig"],"yoast_head":"\nK\u00f6telez\u0151 filmek \u2013 Kifullad\u00e1sig (\u00c0 bout de souffle, 1960) - Corn & Soda<\/title>\n<meta name=\"description\" content=\"Jean-Luc Godard a francia 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