毕加索的秘密

Pablo Picasso (1881-1973) is such a larger-than-life and unique personage who is bound to get numerous cinematic treatments, here is a brace of them, one centers on his tumultuous private life, another offers an innovative, direct look on his creativity and genius on the canvas.

James Ivory's SURVIVING PICASSO is a hallmark Ivory-Merchant production (which entails a script from Ruth Prawer Jhabvala), and not the usual hagiographic kind. The story is lensed through one of his lovers, Françoise Gilot (1921-2023), who, literally, succeeds in "surviving Picasso". Picasso (Hopkins), the pick-up artist, first meets Françoise in Nazi-occupied Paris, she is 21 and he is 61. An aspiring artist herself, Françoise cannot resist being the "apple of the eye" of one of the major artists in the world and takes the plunge of shacking up with him, bearing 2 children for him in the following years.

How much has Françoise gained from Picasso, career-wise, is left untapped in SURVIVING PICASSO, there is mentioning of promoting her works in passing, but the toil of unconditionally subsuming herself into his life raises a red flag for all comers. Picasso is unqualifiedly self-centered, his needs and whims are of utmost primacy. Perpetually, Françoise's life must be orbited around his and she should always be at the beck and call of his dictates, and that doesn't mean she is enough for him. Picasso is always on the lookout for new muses in the name of inspiration, that could leave those women with a permanent scar, like his first wife Olga Khokhlova (Lapotaire), a member of the looney tunes, or an embittered Dora Maar (Moore, sporting an Eastern European accent standoffishly and fiddling with mumblety-peg manically); then there is Marie-Thérèse Walter (Harker), who is able to keep her marbles, yet still pointedly proprietorial when she sees a newcomer getting his favor.

Compared to them, Françoise is the lucky one because she is brave enough to implement a stop-loss severance, which ensures that she can maintain an amicable, yet independent relation with Picasso after their breakup, they can still be friends, chew the fat, under the alertness of Picasso's new flame and later second wife Jacqueline Roque (Venora). More than a ribald affair of exploiting Picasso's satyriasis, SURVIVING PICASSO is unconventionally modern in exhorting youngsters to heed the pitfalls of surrendering themselves to someone's genius. Hopkins is uncharacteristically flippant, even mischievous as Picasso, the hellion of an old man, but the film's real strength lies in McElhone's feminine resilience, her doe-eyed desire and internal disenchantment, it is her liberation we are rooting for, although the drama in question never culminates in a white-heat spectacle as in some best Ivory-Merchant productions, nor any colorful peripheral characters can be rightfully called "scene-stealing".

Now let's turn back time to 40 years earlier, in 1956, Picasso himself headlines Clouzot's documentary to reveal his artistry and THE MYSTERY OF PICASSO vouchsafes audience the privilege to witness the maestro's painterly techniques first-hand.

The whole process is fascinating, Picasso starts drawing with ink on a piece of white paper, meantime Clouzot sets the camera angling at the backside of the paper, with the ink bleeding through the paper, thus audience can watch the whole process with nearly real-time veracity in its mirror image. Gradually, he adds oil paint and collages onto the canvas, and his works become more and more variegated and elaborate. To save time (one painting takes Picasso several hours to finish), Clouzot effects a stop-motion-like technique to demonstrate how a Picasso's painting evolves and transmogrifies with his quirky brushstrokes to a transcendent end result, and how the same painting can morph into another with a multifaceted truly, seeing is believing.

That said, THE MYSTERY OF PICASSO is a one-trick pony, an inventive documentary serving as an irrefutable testimony of Picasso's genius, that and that only. Advisedly, the film should be obligatorily watched by all the art students around the globe, even for common viewers (like Yours Truly), to see Picasso's creative juice flowing in front of your face is something no less of a revelation.

referential entries: Ivory's THE REMAINS OF THE DAY (1993, 7.5/10), QUARTET (1981, 6.2/10); Orson Welles's F FOR FAKE (1973, 7.5/10).

Title: Surviving Picasso

Year: 1996

Genre: Biography, Drama, Romance

Country: USA

Language: English

Director: James Ivory

Screenwriter: Ruth Prawer Jhabvala

based on the book by Arianna Huffington

Music: Richard Robbins

Cinematography: Tony Pierce-Roberts

Editor: Andrew Marcus

Cast:

Anthony Hopkins

Natascha McElhone

Julianne Moore

Dominic West

Peter Eyre

Susannah Harker

Diane Venora

Joseph Maher

Bob Peck

Joan Plowright

Allegra Di Carpegna

Jane Lapotaire

Joss Ackland

Dennis Boutsikaris

Peter Gerety

Laura Aikman

Nigel Whitmey

Vernon Dobtcheff

Rating: 7.2/10

English Title: The Mystery of Picasso

Original Title: Le mystère Picasso

Year: 1956

Genre: Documentary, History

Country: France

Language: French

Director: Henri-Georges Clouzot

Music: Georges Auric

Cinematography: Claude Renoir

Editor: Henri Colpi

Cast:

Pablo Picasso

Rating: 7.4/10

“人们迫切地想知道兰波的脑子在想什么

在他写下《醉舟》这首诗的时候

莫扎特在想什么

在他写下交响乐《朱庇特》的时候

我们想要了解那个神秘的过程

引导着创作者穿越危机丛生的冒险历程

幸运的是

这些对于诗歌和音乐不可能的事

对绘画来讲却是可能的

要知道一个画家的头脑里在经历什么

你只要看看他的手

这就是一个画家在经历的

他行走在绷紧的绳索上

他跟随者右一个曲线 左一个点

如果他失误 失去了平衡

那一切都玩了

画家像一个盲人

蹒跚地走在白色画布的黑暗中

慢慢显现出的光

仿佛是画家创造出的

他画出了一个又一个黑色的曲线

第一次

这位绘画天才隐秘的戏剧般的日常生活将被公众所体验

帕布罗·毕加索答应

今天就体验

在你面前

和你一起”

这是写在篇首的创作意图解密。莫名还蛮喜欢这段文字就记录下来。（有意思的事情是本来想试试今天刚刚到的外接键盘，才发现买成了接线的而我想要的是蓝牙的。但是颜色好好看舍不得退就留下了。我这个人就这样，沉溺于外表的美丽不去思考意义。

最近醉心于实验性强的片子。生活里也做着一些实验性强的事情。比如社交social。今天和现在的同班同学小聊了一下，发现还蛮喜欢别人眼中的自己，大概就是有个性爱艺术。

叛逆期来的太晚又太长，16岁后，我的思想开始停止成长。

小时候是大众意义上的优秀。从来没有体验过大家说的被父母拿去跟别人家的小孩比较这种事情，可能因为小时候是“别人家的小孩”。成绩上游没有偏科认真学习，不用要努力就看上去蛮优秀。

现在才明白，我们这一代人就是应试教育下被牺牲的一代人。大学里跟家人说过最悲哀的一句话就是，我的人生到现在，最擅长的事就是考试。

我从三岁开始学画画，十八岁时候迫于高考的压力放下。这算是人生里重要的遗憾瞬间。

于是，荒诞，奇怪，异类，不凡，特别，成为了余后一生都将最吸引我的词语。

幸运的是，归于艺术。

回到片子，不禁感慨毕加索创作生命如此活跃不竭。

保佑吧，不竭的源泉。

1

音乐跟画面根本就不配，可以说是一种巨大的干扰。但是看老毕画画本身太享受，你一开始看他要画一个形状，最后又不断的把痕迹消抹掉，这就是老毕的高明之处。

第5幅画，一个斗牛士被牛单挑在肩膀上，一副殉难者的模样。本来是线条勾勒的多么生动和美妙啊，但是后来却不断的被颜色和色块所掩盖，又形成了一种血色之美。简直就是红与黑的交响。这一典范形式被他反复表现，后面还有。

画第8 大公鸡的时候，克鲁佐老在打断老毕。但最后老毕的呈现真是让人惊讶，除了线条好以外，它最后变成了一幅《红与黑》。就像是米什莱笔下的女巫，向画外送出惊异的表情。更像一个化生为大公鸡的魔鬼，在黑暗中露出微笑。

第九幅斗牛士与裸妇，他的线条真的美丽极了。但是在上色以后，他却把某些线条给隐去了，让那些美丽的线条看起来更美丽了。以蓝黄黑绿为主色调。蓝颜色表现天空的色块，就和后来黑颜色栏杆互相打破。唯一不解的是，为什么他在最后的阶段要把裸妇脸给画成圈圈。

这让我想起了第1幅的画家与模特。画笔所在的一道竖线，形成了镜像的间隔。他也喜欢绘画周围的帷幕或者是帘幕，来增加画面的向心性。第2幅也是三个男人看左边的美女，其画的形式和第9幅相同。每一个人体的姿势都画的很有体式，特别是那一双小脚。 第10副的开头是一个齐白石式的图示，一盘茄子加酒壶。第11幅却是白菜骷髅和青蛙，过得特别快。第12幅先画了一匹马，补上了侏儒，两个美女和一个大胡子之后，我们才知道这又是马戏团里的情况。

（第52分钟）画羊的第13幅是个很好的例子，表现了毕加索不断的追求深度和冒险。随着背景的不断变换，我们确实发现了深度，而且充分利用了电影这个媒体，它做成了一种个人动画片，极具可看性。

第14幅变成了宽银幕，以拼贴画的风景画为主，加上了阴影的操作。其后的一幅（第15幅）裸妇图，已经把轮廓线和contour画好，但就像iPad绘画一样，他不断地变换轮廓线，体现出少女的姿态。甚至画上了猫的耳朵，后来又把她的肚子画的下垂起来。

第16幅同样是一幅夸张的裸体画，但是较为抽象，就像是圆柱体的组合。仍然向iPad毕加索不断的变换着大腿的姿势，就像他强烈的利比多投射。粗大的如同利比多器官。

第17幅是他热爱的公牛主题，斗牛士趴死在公牛身上，色彩强烈，红色，绿色和蓝色，代表着死亡与热爱的主题。公牛的眼神极为骄傲和凌厉，完全不带表情，去昂首向天。最后毕加索又把他们的脸改成了立体主义。第18幅同样是这个主题，却表现了公牛顶死斗牛士的场景，用几何线条来勾线，让我们一开始不知道他想干什么。

第19幅是一幅沙滩的风景画，里面有很多的半裸的男性女性，在享受阳光，享受冲浪。黄金分割线的位置是，穿比基尼的女士在挥手，但最后却被改成了情侣相拥。画面的最右侧也改成了一个看客，并且尺幅越来越大。第20副也是类似的。

第3遍通看全篇，你仍然会认为这些都是半成品的性质，但仍然揭露了毕加索的创作思维。 2

一张近乎自画像开头，反映了他的性欲投射。一个带着全部胡须的老画家拿着画笔，在画一个裸女。如果仔细理解，你就知道那其实不是画笔，他的全部精神就是那个器官。

说到他最觊觎的女性类型，第15幅最好的反映了这一点。少女型，熟女型（第9幅也是），如蒙娜丽莎式的拱砌塔，豹女，印度妹，海之女，惆怅的妹妹。

这种多元化的品味，在第2幅中却得到了精华呈现，这是一个高冷的大胸妹，年纪在二十上下，这是当时毕加索最喜欢的女人。 他的心理凸显了达纳俄效应：他把自己想成宙斯，而周围所有的女人都是睡着的达纳俄，一只天鹅都可以和她交配。 他光着个膀子，信手画出，就像儿童一般，旁边是他的酒，偶尔倒一下，喝上几口。性的事和绘画在他来说可以随时切换。