一个隐名埋姓的钢琴师查理(主角的名字乃是对卓别林的致敬),被动卷入他哥哥与歹徒的复杂纠缠之中。影片开头极有惊险悬疑的风格,但很快转入两个陌生人之间关于女人的闲聊,颠覆之意满满的。法国新浪潮著名导演特吕弗的第二部长片《枪击钢琴师》,兼有悬疑与爱情的追踪与探讨,既是向美国B级片的致敬之作,亦是向希区柯克的致敬之作。但《枪击钢琴师》拒绝成为一部黑帮片或爱情片,特吕弗的重心并不在此,他把一部貌似类型片的电影拍成一部清新脱俗的反类型片,引导观者脱离原有的视觉期待,不断融入文艺性的内心独白,混搭好莱坞的喜剧、通俗剧、心理剧、惊悚剧、爱情剧等各种模式,以悲喜交加的形式及天马行空的想象力完成了一个完整的电影体验,却未必与真实世界有关。查理与美貌的女招待利娜(一种罕见的美丽),不过一场春梦,结局查理还是回归到隐名埋姓的酒馆里,本是尘土,归于尘土。对于社会边缘人的刻画,《枪击钢琴师》显得游刃有余,那种孤寂与疏离感,清晰可触。
The French New Wave, in general, was about both iconoclasm and reverence for the long-lasting film traditions. If the fragmentary editing epitomized by jarring jump cuts, and the extended long takes consisted of medley montages in New Wave films were a testimony against the institutionalized cinema, then, the adoption and references of antecedent film movements and genres were the most sincere accolade to early art-cinemas from the New Wave directors.
《射杀钢琴师》兜兜转转又一圈
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