费里尼:8 1/2的色彩 FELLINI, 8 1/2 COLOUR


Photographs by Paul Ronald

费里尼:8 1/2的色彩


As if by magic, Federico Fellini’s legendary black and white film 8 1/2 makes an appearance in colour, immortalised by Paul Ronald. The producers asked him to photograph scenes in black and white. But Ronald had two Hasselblad cameras, and he loaded the second one with a roll of colour film, not knowing what he would do with it.

就像魔术一样,费德里科•费里尼的传奇黑白电影《8 1/2》“彩装”登场,在保罗·罗纳德的镜头下变得不朽。制作人原本请他拍摄黑白场景。但罗纳德有两台哈苏摄像机,而且他在第二台相机上装上了彩色胶卷,但他并不知道将怎么如理这卷交卷。

Colour reveals all. It underscores the aesthetic choices’ resolute modernity, from the sets to Piero Gherardi’s costumes, the eminently contemporary figures of Anouk Aimée and Claudia Cardinale, and Marcello Mastroianni’s lecherous poses. It takes us out of the film’s rigorous structure, brings us behind the scenes and shows us the festive mood that prevailed on Fellini’s set.

色彩揭示所有东西。色彩突出了审美选择的果断坚决的现代性,从布景到皮耶罗·盖拉尔迪(Piero Gherardi)的服装,阿努克·艾美(Anouk Aimée)与克劳蒂雅·卡汀娜(Claudia Cardinale)的显著当代形象,再到马赛罗·马斯楚安尼(Marcello Mastroianni)的情色姿势。色彩将我们抽离出电影的严密结构,领到场景背后,给我们展示了费里尼的布景中盛行的喜庆气氛。

81/2 was the last black and white film in a long series that the master began making in the early 1950s. It was never intended to be seen in colour, but Piero Servo recently found Ronald’s long-forgotten box of negatives. That rediscovery, accompanied by Anouk Aimée’s recollections, is the focus of this show.

《8 1/2》是这位艺术大师在20世纪50年代早期开始制作的长系列中都最后一部黑白电影。这部电影从未被设想过以彩色的形式呈现,但皮耶罗·塞尔沃(Piero Servo)最近发现了罗纳德的一盒被遗忘已久的底片。这一发现,加之阿努克·艾美的回忆,是此次展览的焦点。

Curator: Sam Stourdzé.

策展:萨姆•斯道兹(Sam Stourdzé)

With support from the Centre des Monuments Nationaux and the Fondation Fellini pour le Cinéma, Sion.

This exhibition is based on a project presented in 2011 at the Maison du Diable in Sion, coproduced by the Fondation Fellini pour le Cinéma and the Musée de l’Elysée, whom we thank for it.

We warmly thank Anouk Aimée, Piero Servo, and Antonio Moraldi.

支持:国家纪念中心(Centre des Monuments Nationaux),费里尼电影基金会(Fondation Fellini pour le Cinéma)(法国锡永).

本次展览基于2011年在法国锡永“魔鬼大厦”Maison du Diable呈现的一个项目,由费里尼电影基金会以及爱丽舍宫博物馆(Musée de l’Elysée)联合呈现,我们向其表达谢意。

我们由衷感谢阿努克·艾梅,皮耶罗·塞尔沃以及安东尼奥·莫拉尔地(Antonio Moraldi)。


Excerpt from Sam Stourdzé’s interview with Anouk Aimée




Sam Stourdzé: In 8 1/2, you play Luisa, the wife of the uninspired director. Today, the biographical elements are troubling when we watch the film again. Was it known at the time that it was Fellini’s life that was being performed?

萨姆•斯道兹: 在《8 1/2》中,你扮演的是路易莎(Luisa),一个平庸导演的妻子。如今,当我们再看这部电影,里面的传记性元素则令人困扰。拍摄的时候大家知道呈现的是费里尼的生平吗?


阿努克·艾梅: One day, Giulietta [Massina] came on the set. I was finished shooting by then, and they called me: ‘The Maestro wants to see you!’ ‘But it’s over!’ ‘No, no, he wants you on the set!’ The assistants were all running left and right because Giulietta was there. She did not know the script. It was the first time she was coming. The scene in shooting was the one where Luisa discovers the tests, and all the women are there! It is the only time I saw Federico nervous. He told me: ‘But Giulietta is here, go say hello to her!’ So I went and sat next to her… I used to get along very well with Giulietta: maybe it was because I never tried to charm Federico. I was not part of all these women who were running after him… As a matter of fact, Federico always used to say to Marcello [Mastroianni], speaking of me: ’She’s our little sister from the country…’ In that scene, we understand quite quickly that the character of Luisa is in fact her. So I am sitting next to Giulietta, and she’s asking me questions: ‘But what’s this, and what about her, who is she, a mistress?’ So I explain to her: ‘She’s gone, she’s S icilian, with the feathers.’ And then she asks me: ‘And what about you?’ ‘I am not there, but I play the director’s wife…’ And one of Federico’s assistants would come to me every ten minutes, and discreetly ask me: ‘The Maestro is asking what Giulietta is saying?’ [Laughs]. ‘It was amazing because she was discovering the movie at the same moment when, in the film, Luisa discovers everything!’


阿努克·艾梅: 有一天,茱丽叶塔[马西纳](Giulietta [Massina])来到布景前。那时我已经拍完了,然后他们把我叫住:“大师要见你!”“但我已经拍完了啊!”“不,不,他想要你加入到布景中!”由于茱丽叶塔在场,助理们都在四处忙碌。她不知道台本。那是她第一次来。当时正在拍摄的场景是路易莎进行屏幕测试的场景,而所有的女士都在现场!那我我唯一一次看到费德里科紧张起来。他跟我说:“但茱丽叶塔在这儿呢,去跟她打声招呼!”于是我过去在她边上坐下了…我以前和茱丽叶塔相处得很好:也许是因为我从来没有试图去迷住费德里科。我并不是这些追随他的女人中的一员…事实上,费德里科过去常跟马赛罗[马斯楚安尼](Marcello [Mastroianni])提起我:“她是来自农村的咱们的小妹妹…”在那个场景下,我们很快就发现路易莎的角色原来由她扮演。于是我坐在茱丽叶塔边上,而她正问我:“但这是什么,她呢,她是谁,一个小姐?”于是我向她解释:“她走了,她是西西里人,身上带羽毛。”然后她问我:“那你呢?”“我不在那儿,但我扮演导演的妻子…”然后费德里科的其中一位助理每十分钟就来到我跟前,小心地问我:“大师问茱丽叶塔在说什么?”[大笑]。“实在太棒了!正当电影中的路易莎在厘清所有事情的时候,她也在参悟着这部电影!”