| 35 Shots of Rum |
克莱尔·丹尼斯的《三十五盅朗姆酒》开场采用了多组缓慢移动中火车凄凉的影像。我们看到火车们沿着阳光中的铁轨滑动、然后在下面黑暗的隧道中消失——在几个瞬间之后却有突然出现在阳光下。在光亮和黑暗、主动的操作和被动的观望中都带有一种节奏，。在这个节奏中，我们了解了李奥尼（艾力克斯·德斯卡斯扮演），一个属于工人阶级的列车售票员，和他那个年龄刚好在上大学的女儿约瑟芬（玛逖·迪奥普扮演），李奥尼在一天的工作结束以后回到家准备吃晚饭。 场景设在巴黎城郊的少数人群聚居区，《三十五盅朗姆酒》细究一个年青女人和她父亲之间复杂的关系。职场上的李奥尼正在缓缓向退休迈进，而此时的约瑟芬则正从事着学术方面的研究，于是在家中开始了一场温和的争抢，原因是两人都不愿意放弃承担家庭责任。李奥尼希望的是约瑟芬能过上一个有社交活动的、正常的生活，而约瑟芬则坚持要每天晚上给她父亲做饭，并且承担起了她不在了的母亲所应负担的那份家务。“我们这儿什么都有——干吗还要到别处找？”她说。约瑟芬的忠心是如此之坚定，甚至拒绝了她那英俊的邻居Noé（由French heartthrob, Grégoire Colin扮演）的示爱。 对话和音乐在这部电影中少之又少，保持了丹尼斯电影一贯的风格。而李奥尼和约瑟芬所分享的那些微妙瞬间，则在《三十五盅朗姆酒》经常出现中家庭场面中诉说着它们的重要性。丹尼斯以善于捕捉到当代法国既让人感到亲切又让人不忍目睹的真实画面而闻名，本片让我们有机会见识她这一手法，看到她如何让约瑟芬和李奥尼的家庭生活焕发出光芒。在那个小小的、温馨的公寓里，摄影机紧紧追随着李奥尼和约瑟芬的一举一动，让那种缺少口头表白、却蕴含了深沉感情的美得以浮现。尽管演员在屏幕上说的话不多，精心安排的图像却弥补了任何言语性的缺失，深深吸引着观众。一次又一次我们通过摄影机长时间地凝视着一台家用电器、一辆出租汽车或者一列地铁列车——机械式的存在和机器操作者的温柔在对比映照。 就像《三十五盅朗姆酒》是用火车和汽车的受控运动开场的，它结束在了一个更有机的音符上。我们看到的是约瑟芬怎样成长进入年青女人的角色，看到她如何不在把李奥尼当作为他们家“指挥者”，摆脱了这一想法的束缚，。丹尼斯所塑造的有力角色自始至终表达着家庭是一个变量的观点。在李奥尼和约瑟芬的小世界里，邻居在他们的居住区扮演着母亲、姐妹、情侣、婚姻伴侣以及成年人的角色，所有这些都在丹尼斯的电影中完美结合，告诉着人们有关放手。 
Claire Denis’ 35 Shots of Rum opens with pensive shots of slow moving trains. We see them glide along sunlit rails and disappear beneath dark tunnels – only to appear again moments later to the daylight. There is a rhythm of light and dark, actively driving and then passively watching. In this rhythm, we are introduced to Lionel (Alex Descas), a working-class train conductor and his college-aged daughter, Joséphine (Mati Diop), as Lionel’s workday ends and he arrives home for dinner. Set in a minority suburb of pairs, 35 Shots of Rum explores the complex relationship between a young woman and her father. Lionel’s career is creeping toward retirement and as Joséphine pursues her collegiate studies, there is a tender struggle to maintain family responsibility that neither father nor daughter want to relinquish. Lionel wishes for Joséphine to seek a social, well-traveled life, but Joséphine insists on cooking dinner nightly for her father and shouldering the household responsibilities of her absent mother. “We have everything here – why go looking elsewhere?” she says. Joséphine’s loyalties even go so far as to resist the romantic advances of her handsome neighbor Noé, played by French heartthrob, Grégoire Colin. Dialogue and music are minimal in the film, and in a style reminiscent of Denis’ other works the two lovers, Lionel and Joséphine frequently share subtle moments of hushed domesticity that highlight the intimacy of their relationship. The camera lingers on Joséphine and Lionel’s movements in a small but cozy apartment, highlighting the beauty in an emotionally deep yet verbally sparse relationship. While the characters have few words on screen, the film’s strategic visuals make up for any loss of viewer interest. We are repeatedly faced with a lingering shot of a home appliance, taxicab or a fleet of subway cars – a mechanical presence that contrasts the tenderness of those who operate them. Just as 35 Shots of Rum opens with the controlled movement of trains and cars, it closes on a more organic note. We see how Joséphine has grown into her role as a young woman and how her bond with Lionel as the “conductor” of their family has evolved. Denis’ strong characters consistently express the idea of Family as a changing value. In Lionel and Joséphine’s tiny world, neighbors in their apartment complex act as mother, sister, lover, mentor and friend, exploring the subtle ways that relationships evolve over time. Weaving the powerful themes of death, marriage and coming-of-age together with her signature intimacy, 35 Shots of Rum is yet another expression of Dennis' talent and a subtle lesson in familial love. |
 
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