A man and a woman kiss passionately. We see these prolonged french-kisses several times as they get closer to a bed where he lies her down and they continue to kiss until interrupted. During all this they are fully clothed and although their hands are all over each other in embrace, they never touch any “special” parts.


Film review:Translated by www.rabudo-ru.com


In 1897, at the age of 29, Edmund Rothstein wrote sihano de Bergerac. He called the five act poetic drama heroic comedy. Soon, this poetic drama became the most frequently staged drama in the late 19th century and the early 20th century. It greatly increased the popularity of Edmund Rothstein, so that four years later, 33 year old Edmund Rothstein was elected an academician of the French Academy.

Why was the play so popular at that time? Because it gave the confused French a sense of courage and honor, which was the spiritual strength necessary for the chaotic France to enter the new century.

Of course, the artistic form of drama is also the main reason for success. Since it is a poetic play, the dialogue of the characters in the play must be poetry. Rothstein uses the Alexandrian script of 12 syllables per line. Rhythms did not limit Rothstein’s lively literary thinking. In strict poetic rules, funny words can be seen everywhere. Sometimes the 12 syllables of a poem are spoken by two or three people respectively, which is both natural and in line with the dramatic action. The liveliness and harmony of these words and poems create an unprecedented heroic comedy mood and convey inspiring spiritual power.

France urgently needed this spiritual power at the end of the 19th century. The Franco Prussian War not only completely frustrated the arrogance of the French in the Napoleonic era, but also lost not only a whole era, but also the territory of Alsace and Lorraine provinces. Then came the Paris Commune uprising and the bloody suppression of the uprising. The Dreyfus case, concocted by anti Semites, trampled on the only conscience of the French nation. When the famous writer Zola shouted “I complain…”, France was almost on the verge of national division. As time approaches the end of the century, the spiritual crisis becomes more and more intense. Anarchists put bombs in parliament, the scandal of corruption and pervertion of the law in government departments has become commonplace, the activities of the right-wing conservative forces advocating national chauvinism are unprecedented rampant, and various new ideas negating old values are also widely spread. People feel confused in these overwhelmed changes, and the decadent air spreads like a plague. In connection with such a social background, it is not surprising that a heroic comedy has received a warm welcome.

Over the past 100 years, because of the dramatic plot of sihano de bezelac, it has often become the blueprint adapted by film makers. By the time lapno made the film, at least seven films had been adapted from the original version of Rothstein, including the film of the same name directed by Michael Gordon. Joseph Ferrer, who plays sihano, won the best actor Oscar in 1950. Even the famous film master Orson wells once wanted to adapt sihano de Bergerac into a film. For this, he actually spent nearly a year. This heroic comedy written at the end of the 19th century can still affect the hearts of film creators because some of its spirit still has an irresistible attraction to modern people. A hundred years later, the French face another new century. Before the threshold of the 21st century, the French have new confusion and confusion. Political scandals, workers’ strikes, students’ emotional turmoil, farmers feel the threat posed by the European community to their market, immigrants from the old colonies exacerbate the employment crisis, terrorist bombs are heard from time to time in Paris, the impact of reunified Germany on the future of France is uncertain, and it is difficult to predict whether European integration will be bad or good for France’s economic development, The divorce rate has risen sharply, and AIDS and drug addiction are threatening the younger generation. The proliferation of American films has accelerated the French film industry’s depression, and the collapse of values has resulted in the general loss of spirit. Just like the appearance of the Eiffel Tower in Paris at the end of the 19th century, a glass pyramid designed by American architects also appears in the courtyard of the Louvre, where the French nation is proud of its culture. At such a time, it is no surprise that sihano de Bergerac has once again caused a sensation in France.

But not necessarily! Shortly before lapno shot the film, which won ten Caesar awards, the original play of Rothstein was staged on the stage in Paris, and sihano was played by the famous actor Belmondo. Although a lot of advertisements were made for the performance of stage plays, the results were relatively cold. Seeing the failure of the stage play, lapno still has the courage to adapt the film, which shows that he has the confidence to make the film successful. Where does grasp come from? From his understanding of the artistic characteristics of film and his conception of film.

The poetic drama sihano de Bergerac is almost the same age as the film. However, since 1895, film has experienced qualitative changes, and has evolved from early recording means to sound and painting art. Movement expands the expression time and space of this art, and even extends this time and space to people’s inner world. Lapno and his collaborator, the famous screenwriter Jean Claude Carriere, began their success by devising a suitable time and space for the characters in sihano de Bergerac to fully move. They created such a time and space. They reproduced the world in the 17th century and the turbulent era at that time. More than 40 large-scale sets are for the activities of more than 2000 actors. They bustled around the theater with three floors of audience in Burgundy building, watched sihano duel with Viscount valville in the square in front of the building, talked and laughed in the Ragno pastry shop, practiced martial arts and performed in the magnificent martial arts hall of gasconi legion, stormed the battle in arras, and walked and talked in the big garden of the monastery. Such an open space is not only impossible for the stage, but also can not be seen in the past adaptation films of the same name. The problem does not lie in the scale of the set or the extent of the still space. The film art lies in how to mobilize the space. For example, in the film directed by Michael Gordon, the scene is also very big. However, when Joseph Ferrer, who plays sihano, is talking incessantly, the crowd actors are just a dull background. Such a space is just a dramatic scene. However, in lapno’s films, pictures outside language are often as important as language. It makes space produce reality and meaning. For example, in the paragraph of Burgundy building, people flock to the theater at the beginning. The mirror head inadvertently made us notice a child with strong curiosity in his eyes. Later, when sihanou dueled with warville in front of the Burgundy building, we saw a close-up of the child. His eyes were full of admiration for sihanou. In order to facilitate the duel, sihano threw aside his cloak and handed his hat to a bystander. The bystander is the child. When sihanou stabbed Viscount valville and the onlookers dispersed, we saw the child running nervously to the front of the camera with sihanou’s hat in his hand, and then running back. Finally, he met sihano in an alley and returned his hat to him. The child is not in the original play. Lapno and Calier created such a wordless image, which not only filled the space of this paragraph with reality, but also produced rich meaning. The children’s eyes provide the audience with many psychological data of onlookers!

Of course, lapno’s main means of mobilizing space is movement. He keeps actors and cameras in constant motion. Take the paragraph of Burgundy building as an example. De padieu plays sihano, who sometimes has to recite more than 50 lines of 12 syllable poems at one go. As he recited, he walked back and forth, pointing fingers and feet, and kept moving. At that time, the onlookers were also constantly moving. The camera was not only “shaking” around the people, but also patrolling up, down, left and right. He wished he could sweep all corners, and these movements were centered on sihano. In this way, the spaces centered on sihanou appear so real that the audience has a sense of being on the scene, and even experience the unspeakable riots, excitement, anxiety, happiness and panic in the hearts of the people there. Viscount valville wanted to go away after humiliating sihanou. Sihanou followed him and mocked him. He angrily boarded the carriage and jumped out of the carriage. At this time, the camera lens seems to become his respiratory organ, conveying his ups and downs to the audience. Such a long follow-up shot, with the rhythm of harmony and shaking, coincides with the cadence and cadence of sihano’s gushing 12 syllable lines, and the lens seems to become the extension of sihano’s vocal organ. In this way, the movement of the lens not only creates space, but also creates the emotions of people active in space.

Lighting gives a special meaning of time to the space of the film. Most films show night or dark places. This has symbolic significance in emphasizing the dark aspect of sihanou’s personality. Sihano’s dissolute, brave and irritable is actually his cloak to hide his inner pain and elegance. So his feats are always accompanied by the hazy moonlight. The duel outside Burgundy building dispelled the ambush of 100 killers, poured out tenderness to Roxanna through Christian’s mouth, and finally read Roxanna Christian’s suicide note written by himself. All these scenes took place in the moonlight, but sometimes accompanied by staggered lights and shadows, and sometimes covered by a sad drizzle, Only the scene of his death in Roxanna’s arms was as bright as day.

Past adapters believed that the poems in the original work could not be adopted by the film. However, as mentioned earlier, Edmund Rothstein’s language and poetry are one of the main reasons for the success of the original play. Therefore, lapno adopted the method similar to that adopted by Lawrence Oliver in the adaptation of Hamlet, that is, to retain the form of poetry. It is true that rapno did not and could not retain all of Rothstein’s dialogue. As a film, he had to make a lot of additions and deletions to the original dialogue. It’s easy to delete, but it’s not easy to increase. Because rosedan’s plays are different from Shakespeare’s. Shakespeare used plain (i.e. no rhyme) poetry, and rosdan used Alexandrian with 12 syllable rhyme in each sentence. Lapno and Calier followed the unity of poetic rules in their adaptation. “I hope the dialogue in the movie script makes people feel that it will be like this even if rosdan writes it himself,” lapno said The film retains the language charm of the original play, which proves that this is also the main reason for the success of the film.

However, it is not easy for a modern actor to read the dialogue of 12 syllable poems in a film with such a strong sense of reality without appearing artificial or inconsistent with the situation. The contradiction between the rhythm of language and active action sometimes becomes an almost insurmountable obstacle. The outstanding actor de padieu accomplished the task of overcoming this obstacle. His performance is very natural. His 1400 lines of poetry are said in different emotions, different activity rhythms and different situations. He plays a legendary hero who is both humorous and brave, especially with a fragile heart. People can believe that he will be the benchmark to play this role in the long term in the future.

LEAVE A REPLY

Please enter your comment!
Please enter your name here