ジャン＝リュック・ゴダール(ハンス・リュカス)監督『ジャン＝リュック・ゴダール/遺言 奇妙な戦争』(2023)
新宿武蔵野館にて鑑賞。
なぜか、映画の幕が開く前に号泣してしまったが、一番前の席だったので花粉のようにして誤魔化せたことにする。
最初に自分の話ー
その昔、表現したいことが山積みの高校生時代、文学と映画をやりたくて受けていた大学に落ち、滑り止めに通った地方の大学ではそのようなものを学ぶ機会を見つけられず、先輩から誘われた体育会スポーツに打ち込んで大学生活を過ごしたが(今思うとスポーツの中に自分の"芸術性"のようなものは見出していたように思う)、いざ社会に出る瞬間となって、やはり創作をしたいという思いから、何の技術も習得していない今からでも叶えられるところはないか…という流れでテレビ局に入社。
映像グループという部署(スイッチャーというカメラマンに指示を出して画を決めていく業務が今の監督としての"見せかた"にも役立っている気がする)でまさに映像を学びながら、週末にはテレビ局の音声さんを捕まえて2人で自主映画を撮り始めた。
仕事終わりには映画館に通い詰め、元町映画館で遭遇したのがゴダールの『気狂いピエロ』。
おそらく映画を志している青年ならとっくに中学〜高校生ぐらいに出逢っている作品だろうが、私は遅ればせながらこの時だった。
たしかその瞬間に頭がスパークして、純粋に思ったのは「あ、自分の居場所があった」ということ。その瞬間から、自分は映画でやっていくのだと深いところで確信していた気がする。
で、会社を飛び出しーーーー創ーーーーーーー作ーーーーーー(略)ーーーのーーーーー嵐ーーーーーーーーで、31才の私の誕生日にゴダールが死んだ。
ゴダールに勝手に縁を感じているのか、そんな恐縮なことは理性ではできないのだけれど、なぜか、過敏に反応してしまう自分がいて、それでまぁ、(商業的な告知方針は色々あれど)最期の作品というわけだから、そういうエモさに泣けてきた単純さはあると思うのだけれど、それよりもたぶん映画を選んだ自分を支えてくれている劇場の椅子の安心感が、よくぞ映画にきたと自分をまるっと肯定してくれているようで、そういうのまるっと含めて、泣けた、のかもしれないなと。
何はともあれ、始まって、
開始2カット目で左隣のオジ様がウトウトと眠り始めた。
ゴダール特有の唐突な音楽とともに起こされ、無音とともに寝かされ、20分のうち約9割を安眠の中で観たゴダールの映画の感想もぜひ聞いてみたいという好奇心を左側にためこみながら(この映画を寝ようが寝まいがどちらでも鑑賞者の人生は愛に包まれていると思うが)、私は私の観方でこの映画を観た。席が右前だったので斜めにもみた。
シモーヌ・ヴェーユ(山科信仰中)、カフカ、ハンナ・アーレント、、引用されるそれら哲学者、小説家たちの、生命の残滓が散りばめられていて、
トロツキスト！ の強さも弱さに変わるぐらい、
ゴダールの肉声が消え入る時代の最後の断片を、とはいえ、らしく、いつも通りの言語にしていた。
暗闇でもともといない猫を探すのはむずかしいよね。と冒頭にこたえる言葉を探していたらプツリ終。ああ、なるほどねって、今日は映画デーだったから1,000円でこの20分の作品を観た観客たちと無言で互いにどうだったかを聞きたそうな雰囲気でゾロゾロ束になって映画館を出た。
外に出ると降っていた雨が止んでいて、袖から春の冷たい風が入ってきた。
帰りの電車でこの文章を書きながら、うまい終わり方を探しているが、電車が最寄駅に着きそうでーーー着いて、ガストで温かいスープ飲んで、ワイン頼んだら、何かひとつまた新しい企画ができそうな気がする気もしないでもない。
今日は早めにねるかも。
映画よありがとうみたいなノリで。
Jean-Luc Godard (Hans Lucas) director “Film annonce du film qui n'existera jamais: 'Droles de guerres'” (2023)
For some reason, I burst into tears before the movie even started, but since I was in the front seat, I decided to cover it up with pollen.
My story first
A long time ago, when I was in high school and had a lot of things I wanted to express, I didn't get into the university I applied to because I wanted to study literature and film, but I couldn't find an opportunity to study such things at the local university I went to to avoid slipping, so I was invited by my seniors. I spent my university life devoted to the sports I was taught (now that I think about it, I think I had discovered something like my "artistic" in sports), but when the moment came for me to go out into the workforce, I wanted to create something, so even though I didn't have any skills, I thought there was something I could do to achieve that goal, so I joined a television station.
While learning about film in a department called the video group (I feel like the job of giving instructions to a cameraman called a switcher and deciding on the picture is also useful for my current "presentation style" as a director), I worked at a TV station on the weekends. The two of them started filming an independent film together.
After work, I went to the movie theater and came across Godard's ``The Mad Clown'' at the Motomachi movie theater.
This is probably a work that young people who aspire to become films would have encountered long ago, around middle school or high school, but I was around this time, albeit belatedly.
I'm sure that at that moment, my mind sparked and I simply thought, ``Ah, there's a place for me.'' From that moment on, I feel like I was convinced deep down that I would make a career in film.
So, I ran away from the company to create the work (omitted), and Godard died on my 31st birthday.
Maybe I just feel a connection to Godard? I can't rationally say something like that, but for some reason, I find myself overreacting, and that's okay (although there are various commercial advertising policies). Since it's his last film, I think there's a simplicity to it that made me cry because of the emotion, but perhaps more than that, I felt the sense of security in the theater chair that supported me in choosing the movie. It seemed like he was totally affirming who he was, and I think that's why I was able to cry.
Anyway, let's start,
In the second cut, the old man on the left began to doze off.
I was woken up by Godard's characteristic sudden music, then put to sleep without any sound, and I watched 90% of the 20 minutes in a peaceful sleep.I was curious to hear your impressions of Godard's movies. Whether you watch this movie in bed or not, I think your life will be filled with love), but I saw this movie the way I saw it. My seat was on the right front, so I looked at it diagonally.
The remnants of the lives of Simone Weil (a member of the Yamashina faith), Kafka, Hannah Arendt, and other quoted philosophers and novelists are scattered throughout.
Trotskyist! So much so that its strength turns into weakness,
However, it seems to be the last fragment of the era when Godard's real voice was disappearing, and he made it into the usual language.
It's difficult to find a cat that isn't there in the dark. I was looking for words to respond to that opening sentence, but it just came to an end. Oh, I see. Today was Movie Day, so I left the theater in a huddle with the audience who had watched this 20-minute movie for 1,000 yen, silently wanting to ask each other what they thought.
When I went outside, the rain had stopped, and the cold spring breeze came through my sleeves.
As I'm writing this on the train on the way home, I'm looking for a good way to end the story, but it looks like the train is about to arrive at the nearest station.When I get there, I have some hot soup at Gusto, and I order some wine, and then I come up with another new project. I don't even feel like I can do it.
I might go to bed early today.
It was like thank you for the movie.
