“你的意思是你想要改变观众?”

　　“不。我在试图改变世界。”

　　让·吕克·戈达尔(Jean-Luc Godard)，1930年12月3日出生于法国巴黎，法国导演、编剧、制作人，法国新浪潮电影的奠基人之一。

　　1968年的一次采访中，面对记者的犀利提问，戈达尔坚定又干脆地回答这句“我在试图改变世界”。据多家外媒报道，让·吕克·戈达尔于9月13日去世，享年91岁。消息传来，朋友圈的电影人/非电影人纷纷感叹：一个时代的终结。

　　至此，“新浪潮五虎将”特吕弗(1984)、夏布洛尔(2010)、侯麦(2010)、里维特(2016)、戈达尔(2022)均已先后去世，始于20世纪50年代的法国新浪潮，徐徐落幕。

　　只要看电影的人，应该没人没看过戈达尔的作品，《精疲力尽》、《随心所欲》、《法外之徒》、《侦探》，你可以不知道戈达尔是谁，但你一定看过他的电影。中国著 名导演墨镜王亦是他虔诚的学徒。

　　Jean-Luc Godard, giant of the French new wave, dies at 91

　　Jean-Luc Godard, the French-Swiss director who was a key figure in the Nouvelle Vague, the film-making movement that revolutionised cinema in the late 1950s and 60s, has died aged 91, French newspaper Libération reported.

　　据法国《解放报》报道，法籍瑞士裔导演，始于20世纪50、60年代的法国新浪潮电影奠基人之一，让·吕克·戈达尔逝世，享年91岁。

　　Best known for his iconoclastic, seemingly improvised filming style, as well as unbending radicalism, Godard made his mark with a series of increasingly politicised films in the 1960s, before enjoying an unlikely career revival in recent years, with films such as Film Socialisme and Goodbye to Language as he experimented with digital technology.

　　戈达尔以其打破传统、看似即兴的拍摄风格以及不屈不挠的激进主义而闻名，他在20世纪60年代的一系列越来越政治化的电影中崭露头角，但近年来，他经历了一场不太可能的职业复兴，他尝试了数字技术，拍摄了《电影社会主义》和《再见语言》等电影。

　　Born in Paris in 1930, Godard grew up and went to school in Nyon, on the banks of Lake Geneva in Switzerland. After moving back to Paris after finishing school in 1949, Godard found a natural habitat in the intellectual “cine-clubs” that flourished in the French capital after the war, and proved the crucible of the French New Wave. Having met the likes of critic André Bazin and future fellow directors François Truffaut, Claude Chabrol and Jacques Rivette, Godard began writing for the new film magazines, including Bazin’s soon-to-be-influential Cahiers du Cinema.

　　戈达尔 1930 年出生于巴黎，长大后在瑞士日内瓦湖畔的尼永上学. 1949年完成学业回到巴黎后，戈达尔在战后法国首都蓬勃发展的知识分子“电影俱乐部”中找到了天然栖息地，证明了法国新浪潮的熔炉。在结识了评论家安德烈·巴赞和未来的导演弗朗索瓦·特吕弗、克劳德·夏布罗尔和雅克·里维特等人之后，戈达尔开始为新的电影杂志撰稿，其中包括巴赞后来创办的《电影手册》。

　　20世纪50年代以《电影手册》影评人出道的那一拨人当中，戈达尔是家境最 优渥的一位。

　　Godard struck a maverick note from the start, defending traditional Hollywood film-making and promoting the likes of Howard Hawks and Otto Preminger over more fashionable figures. Godard also had a reverence for Humphrey Bogart, something that would come out in his first feature, Breathless, which he released in 1960.

　　戈达尔从一开始就以特立独行的姿态为传统好莱坞电影制作辩护，并宣传霍华德·霍克斯和奥托·普莱明格等更时尚的人物。戈达尔也对汉弗莱·鲍嘉(Humphrey Bogart)怀有崇敬之情，他在1960年发行的第 一部长片《精疲力尽》(Breathess)中表现了这一点。

　　Before that, however, Godard eased his way into film-making via a series of short films, such as Charlotte and Véronique, or All the Boys Are Named Patrick in 1957, which prefigured his loose, apparently slipshod film-making style. An earlier idea of Truffaut’s, about a petty criminal and his girlfriend, had been abandoned, but Godard thought he could turn it into a feature, and asked for permission to use it.

　　然而，在此之前，戈达尔通过一系列短片轻松进入了电影制作领域，如《夏洛特和她的情人》，或《所有的男孩都叫派翠克》，这预示着他松散、明显草率的电影制作风格。

　　Truffaut, meanwhile, had scored a major success with his own feature, The 400 Blows, and his clout helped Godard get his project off the ground. Shot on the Paris streets in 1959, with negligible use of artificial lighting, and a script written day-to-day, Breathless turned into a bona fide cultural phenomenon on its release, making a star of Jean-Paul Belmondo and winning Godard best director at the Berlin film festival.

　　与此同时，特吕弗凭借自己的《四百击》获得了巨大成功，他的影响力帮助戈达尔启动了他的项目。1959年在巴黎街头拍摄的这部电影，几乎没有使用人工照明，每天都在写剧本，在上映时，《精疲力尽》成为一种真正的文化现象，使让·保罗·贝尔蒙多成为明星，戈达尔柏林电影节上获得最 佳导演奖。

　　1959年，戈达尔曾给特吕弗写了一封信，大致描述了关于他长片处女作《精疲力尽》的计划，在结尾附上“来自你其中一位儿子的亲切问候。”当时拍出《四百击》的特吕弗在戛纳电影节拿了最 佳导演奖，而此时的戈达尔资历尚浅，仅有几部短片傍身。后来，特吕弗帮他写了《精疲力尽》三页的剧本，才得以说服制片人Georges de Beauregard投资这部片。

　　Godard went on to make a string of seminal films in the 1960s at a furious rate. His next film, Le Petit Soldat, suggested the French government condoned torture, and it was banned until 1963, but it was also the film on which Godard met his future wife, Anna Karina, as well as coining his most famous aphorism, “Cinema is truth at 24 frames a second.”

　　在20世纪60年代，戈达尔继续以惊人的速度拍摄了一系列开创性的电影。他的后一部电影《小兵》(Le Petit Soldat)暗示法国政府纵容酷刑，直到1963年才被禁止，但这也是戈达尔与未来妻子安娜·卡丽娜(Anna Karina)相遇的电影，也是在这里诞生了他最 著 名的那句话：“电影是每秒二十四次的真实。”

　　Other highlights included A Woman Is a Woman, a self-referential homage to the Hollywood musical, which again starred Karina, along with Belmondo and won more Berlin awards; the extravagant, epic film-about-film-making Contempt, with Michel Piccoli, Brigitte Bardot, Jack Palance and Fritz Lang; and Alphaville, a bizarre hybrid of film noir and science fiction.

　　其他亮点包括《女人就是女人》，这是对好莱坞音乐剧的自我致敬，该剧再次由卡丽娜和贝尔蒙多主演，并赢得了更多柏林奖项;由米歇尔·皮科利(Michel Piccoli)、布里吉特·巴多(Brigitte Bardot)、杰克·帕朗斯(Jack Palance)和弗里茨·朗(Fritz Lang)主演的《蔑视》;还有《阿尔法城》，一部黑色电影和科幻的奇异混合体。

　　让·吕克·戈达尔的《阿尔法城》(1965)拍摄在1960年代中期的巴黎，这是一个城市扩张强有力且充满戏剧性的时代。戈达尔强调了一个现代主义城市的神秘特质，就像是突然从古老的奥斯曼时代中迸发出来的——这是一片霓虹灯的海洋，高楼大厦彻夜灯火通明。

　　By 1965 Godard’s marriage with Karina had ended in divorce; their last feature together was Made in USA, a homage to American pulp fiction that ran into copyright trouble in the US. By this time Godard was also thoroughly identified with the revolutionary politics of the age, and his film-making reflected this: he set up a film-making collective named after Dziga Vertov, the Soviet director of Man with a Movie Camera, helped to shut down the Cannes film festival in 1968 in sympathy with the student riots in Paris, and collaborated with young Marxist student Jean-Pierre Gorin on Tout Va Bien, a study of a strike in a sausage factory featuring Jane Fonda.

　　到 1965 年，戈达尔与卡琳娜的婚姻以离婚告终。他们最后的合作是《美国制造》，向在美国遇到版权问题的美国低俗小说致敬。此时，戈达尔也彻底认同了当时的革命政治，他的电影创作反映了这一点：他成立了一个电影创作集体，以《持摄影机的人》的苏联导演迪加·维托夫(Dziga Vertov)的名字命名，并在1968年帮助停止了戛纳电影节，并与年轻的马克思主义学生让·皮埃尔·戈林(Jean-Pierre Gorin)合作，制作了以简·方达(Jane Fonda)为主角的《一切安好》。

　　1968年的5月，巴黎爆发了学生罢工运动，也就是著 名的五月风暴，戈达尔毅然与过去决裂，积极投拍政治电影，激进分子打成一片。

　　Godard also met, in 1970, film-maker Anne-Marie Miéville who would become a regular collaborator, and later partner after the breakdown of his second marriage, to Anne Wiazemsky, who had starred in Godard’s 1967 study of student radicals, La Chinoise.

　　1970年，戈达尔还与电影制作人安妮·玛丽·米维尔(Anne Marie Miéville)相识，后来戈达尔与安妮·维泽姆斯基(Anne Wiazemsky)成为伴侣。维泽姆斯基曾在戈达尔1967年的《中国姑娘》(La Chinoise)中担任主角。

　　As the 70s moved on, Godard’s strident political and intellectual stances began to lose their cachet, and his work reduced in impact in the 1980s.

　　随着70年代的到来，戈达尔尖锐的政治和思想立场开始失去其威望，他的作品在20世纪80年代的影响力也有所下降。

　　His 2001 feature In Praise of Love marked a comeback, being selected for the Cannes film festival, while the release of Film Socialisme in 2010 preceded the award in 2010 of an honorary Oscar (the citation read: “For passion. For confrontation. For a new kind of cinema”). Typically, Godard failed to collect it in person. His 2014 film Goodbye to Language saw him pick up a major film-making award, the jury prize at Cannes, and Image Book, which was selected for the 2018 Cannes film festival, was given a one-off “special Palme d’Or”.

　　他2001年的电影《爱的挽歌》标志着他的回归，入选戛纳电影节，而2010年《电影社会主义者》的上映早于2010年获得奥斯卡荣誉奖(引文为：“为了激情，为了对抗，为了一种新的电影”)。他 2014 年的电影《再见语言》让他获得了一项重要的电影制作奖，即戛纳电影节评审团奖，而入选 2018 年戛纳电影节的《影像之书》则获得别金棕榈奖。

　　瑞典大师伯格曼曾对他的作品大加批判：“他的电影做作、知识分子气、自恋，沉闷而又无趣。没完没了又令人讨厌。”

　　有人爱之若狂，有人恨之入骨。但无可否认的是，戈达尔始终是电影语言的革新者，不停地战斗着，试图改变世界。