真相1960是由亨利-乔治·克鲁佐执导的一部拍摄于1960年剧情片在法国上映，主演由碧姬·芭铎,夏尔·瓦内尔,Louis,Seigner领衔。 IMDB简介：Dominique Marceau is on trial for the murder of Gilbert Tellier. The counsels duel relentlessly, elaborating explanations for why the pretty, idle and fickle girl killed the talented and ambitious conductor freshly graduated from the conservatory. Was it passion, vengeance, desperation, an accident? The acquaintances of Gilbert testify, as well as Dominique's former lovers, and her sister, Annie, the studious violin player engaged to Gilbert. The evidence they give progressively paints a more finely-shaded picture of the personalities of Dominique and Gilbert, and of their relationship, than the eloquent and convincing justifications of the counsels. Written by Eduardo Casai
Contrary to one’s received wisdom, Brigitte Bardot, barring her iconic curvaceous allure and bimbo vim and vigor, actually has acting chops ablaze in her, and H.G. Clouzot’s LA VERITE is an irrefutable testament.
A courtroom procedural is instituted and dramatized to get the bottom of the whys and wherefores concerning the death of a young promising music student Gilbert Tellier (Frey) at the hands of his former girlfriend Dominque Marceau (Bardot), who is hailed from a small town and instantly taken by the Left Bank’s modish atmospherics, only her liberated disposition can barely provide her for a living, when she finally caves in to Gilbert’s relentless courtship, little does she know, the balance starts to being tipped and soon she is the one being jilted with teary-eyed misery and abjection.
While the prosecuting attorney Eparvier (Meurisse, excellent as a hard-nosed, bloody-minded moralistic shyster) sets his mind to pin down the case as premeditated murder; defense attorney Guérin (a capable if underused Vanel ) counterpoises it by justifying the case is an act of passion, which could save Dominique from death penalty, but the truth (la vérité) sits vaguely between those two distinctions, it is the thorny middle ground that tests the legitimacy and equity of the legal system, and cannily the film finds a way to reach its coda without embroiling judicial verdict to the sticking point.
Splicing the ongoing procedural with chronological flashback unfolding the entanglement between Dominique and Gilbert in dribs and drabs, LA VÉRITÉ digs in its heels in giving Dominique a voice of her irrepressible fun-seeking temperament, unshackled by any moral obligation, she weaponizes her sex appeal to get what she wants but has a clear sense to distinguish between a flirtation and a relationship commitment, which only compromised by her fun-seeking caprices and mood swings, more often than not, precipitated by Gilbert’s straight-arrow, often Bach-infused jealousy.
Through Clouzot’s highly expressive modus operandi, the lowdown of this star-crossed pair’s undoing is unpicked arrestingly, the barrier between a highbrow music prodigy and a lowbrow soubrette, a Dionysian and Apollonian discrepancy thrusts in the different genders, a man falls in and out of his infatuation rather quickly, whereas a woman might like to play hard to get at first, but once her true feelings are entrenched, there is no way back.
A 25-year-old Bardot is a bona-fide barn-burner in the acme of her career and youth, Dominique is a full-blown character that twins Bardot’s irresistible magnetism with a defiant pervasion of vulnerability, despair and pathos, and Bardot holds it on her own from the stem to the stern without slackening. Also shining brightly is a young Sami Frey, whose callous about-face is so chilling and explosive that remarkably sustains a drastic contrast to his prior handsome shyness.
Finally, a sagacious advice from this exceedingly entertaining and truth-revealing Gallic crime-drama: always stick to your type when you choose the other half, it is safer and much wiser to handle the devil you know, than those you don’t.
referential entries: Clouzot’s DIABOLIQUE (1955, 9.2/10); LE CORBEAU (1943, 7.1/10).
Clouzot, avec une froideur cynique et une ironie impitoyable, fait de son actrice icône la véritable martyre d'une société puritaine et hypocrite. Elle la seule victime, nous les coupables. Imbue d'une humanité inouïe, la poupée française ne s'est jamais si remarquablement donnée à l'écran par l'ambiguïté de son personnage tourmenté à l'intérieur. « J'ai peur de rien. Vous êtes là, déguisés ridicules. Vous voulez juger mais vous n'avez jamais vécu jamais aimé, c'est pour ça que vous me détestez puisque vous êtes tous morts morts. » - sans doute l'une des plus bouleversantes déclarations de guerre envers le moralisme bourgeois.
I'm sorry, I was just born this way, it dizzied you in the beginning but after a while it started to disgust you. We just didn't love at the same time. 你甚至没有爱过，只是刹那间被她的光芒击中而中暑眩晕，你在说着爱情与承诺的时候，只不过是在热病中的胡言乱语，你准备好接受这样一个你驾驭不住的随性灵魂了吗？而她在犹豫再三思前想后以后，做出了认真去爱、拥抱一切好与坏的准备。性格截然不同的两人再相爱也不应该在一起，毁灭自己的人格是比失去爱情更加悲惨的事情。
人性太卑鄙，太龌龊了，看完电影《真相》的第一个感，就是恶心。无论是法官、公诉人还是律师，这些高高在上的人，他们只是一个个巨大的机器，没有情感，让人想到了电梯检修口，当一个人掉下去，就会被机器无情的卷进去并搅碎。这是个由爱生恨进而被制度彻底毁灭的故事，庭审制度及其权利机器中人性的可怕，让人想到了加缪的《局外人》，爱情及其毁灭，让人想到了《苦月亮》。演员是一代性感女神，碧姬芭铎，跑龙套的竟然是雅克贝汉。
Contrary to one’s received wisdom, Brigitte Bardot, barring her iconic curvaceous allure and bimbo vim and vigor, actually has acting chops ablaze in her, and H.G. Clouzot’s LA VERITE is an irrefutable testament.
A courtroom procedural is instituted and dramatized to get the bottom of the whys and wherefores concerning the death of a young promising music student Gilbert Tellier (Frey) at the hands of his former girlfriend Dominque Marceau (Bardot), who is hailed from a small town and instantly taken by the Left Bank’s modish atmospherics, only her liberated disposition can barely provide her for a living, when she finally caves in to Gilbert’s relentless courtship, little does she know, the balance starts to being tipped and soon she is the one being jilted with teary-eyed misery and abjection.
While the prosecuting attorney Eparvier (Meurisse, excellent as a hard-nosed, bloody-minded moralistic shyster) sets his mind to pin down the case as premeditated murder; defense attorney Guérin (a capable if underused Vanel ) counterpoises it by justifying the case is an act of passion, which could save Dominique from death penalty, but the truth (la vérité) sits vaguely between those two distinctions, it is the thorny middle ground that tests the legitimacy and equity of the legal system, and cannily the film finds a way to reach its coda without embroiling judicial verdict to the sticking point.
Splicing the ongoing procedural with chronological flashback unfolding the entanglement between Dominique and Gilbert in dribs and drabs, LA VÉRITÉ digs in its heels in giving Dominique a voice of her irrepressible fun-seeking temperament, unshackled by any moral obligation, she weaponizes her sex appeal to get what she wants but has a clear sense to distinguish between a flirtation and a relationship commitment, which only compromised by her fun-seeking caprices and mood swings, more often than not, precipitated by Gilbert’s straight-arrow, often Bach-infused jealousy.
Through Clouzot’s highly expressive modus operandi, the lowdown of this star-crossed pair’s undoing is unpicked arrestingly, the barrier between a highbrow music prodigy and a lowbrow soubrette, a Dionysian and Apollonian discrepancy thrusts in the different genders, a man falls in and out of his infatuation rather quickly, whereas a woman might like to play hard to get at first, but once her true feelings are entrenched, there is no way back.
A 25-year-old Bardot is a bona-fide barn-burner in the acme of her career and youth, Dominique is a full-blown character that twins Bardot’s irresistible magnetism with a defiant pervasion of vulnerability, despair and pathos, and Bardot holds it on her own from the stem to the stern without slackening. Also shining brightly is a young Sami Frey, whose callous about-face is so chilling and explosive that remarkably sustains a drastic contrast to his prior handsome shyness.
Finally, a sagacious advice from this exceedingly entertaining and truth-revealing Gallic crime-drama: always stick to your type when you choose the other half, it is safer and much wiser to handle the devil you know, than those you don’t.
referential entries: Clouzot’s DIABOLIQUE (1955, 9.2/10); LE CORBEAU (1943, 7.1/10).
天呐，看完了好难过啊，眼泪一直流下来。一个那么美丽那么有活力，就像她说的“只有我是活着的，你们都是死的。”这样的女孩儿，却被活活凌迟致死，而且不止是她，只要符合她这种特点的，越美丽、越有生命力、越忠于自我的女孩儿，越是会得到这样的结局。最终留在这世上的却是些虚伪到底的恶心男人和奴隶一样的没有灵魂的女人。
男人真的是最脆弱最脆弱的动物，为了分别满足安全感和色欲，他们把女人分成妻子和“妓女”，但没一个男人是只得到女人中的某类就满足的，他们的一生都既要妻子的顺从又要“妓女”的激情。他们以爱的名义追逐热情似火的女孩儿，玩够了就要找个老婆安定下来，这老婆还最好“干净”如处子，然后给热情女孩儿安上放荡的罪名，说自己都是被她引诱才犯下的错。这世上没道理，道理都是男人编出来的道理，全都是对女人的PUA。
女人很辛苦，妻子和“妓女”彼此瞧不起，互相攻击，都以为自己才是男人的真爱，把自己奉献给男人，可男人根本谁都不爱，他只是想满足安全需求就找妻子，想满足生理需求就找“妓女”，没有爱不爱这回事，女人都是工具人。
但这样做对男人也有反噬，为了控制女人，他们把“贞洁”这武器玩得如此趁手，但削弱女性的同时，也就意味着他们自己也永远不会爱上一个势均力敌的女人，只能和一个傻子或者一个疯子过一辈子，不把女人的武器（性）还给女人，你们得到的女人永远不完整不独立，这样一来，没有够强够好的女人，也不会有够强够好的男人，削弱一方的结果就是两败俱伤，相互拖后腿，相互牵制，最后谁都无法进步成更好的自己那一性。
拿一夫一妻制来说话更加搞笑，一夫一妻我觉得原理上是保护男人限制女人的，因为男人要保障自己的崽都是亲生孩子，为限制女人出去乱搞，男人偷了女人的武器，给女人洗脑，这武器不好，不能乱用，乱用就是坏女人，然后女人信了他的鬼话，在家相夫教子，可没想到男人这么坏，他把女人限制成这样，自己却到外头花天酒地，三妻四妾。然后就又有新说法出来，男人为保证家庭稳定，保护妻子的安全感也要遵循一夫一妻制。哈哈，搬起石头砸自己的脚，虽然如此，受害最多的还是女人，男人已经享用了几千年的好处。
现在看到女人们还在为脱衣不脱衣性感不性感的展开大辩论大运动，我只觉得可悲，贞洁这牌坊，性感这武器，说到底还没有被我们自己掌握好，控制权依然在男人手上。但有觉察好歹也是有进步了吧
« J'ai peur de rien. Vous êtes là, déguisés ridicules. Vous voulez juger mais vous n'avez jamais vécu jamais aimé, c'est pour ça que vous me détestez puisque vous êtes tous morts morts. » - sans doute l'une des plus bouleversantes déclarations de guerre envers le moralisme bourgeois.
她在陌生人面前撕心裂肺，不是为了辩白，只是为了说服所有人，包括自己，他真的爱过。如果他爱过，她便绝无独活的可能；如果他未曾爱过，她生命的支柱坍塌，便更无理由存活于世。横竖都是死。这是一部真正的关于爱与死的电影，比«巴黎野玫瑰»的小题大作强一百倍。
他在台上指挥，我和她一样屏息凝视，激动得热泪盈眶。她在小酒馆打情骂俏，轻巧地扭动着身体，那样鲜活的生命力。他们在各自的舞台熠熠生辉，这样的璀璨却是相互矛盾、永无交集的；他的古典乐让她崇拜仰视又感到无趣，她的恰恰勾起他的欲望与嫉妒。她是天涯浪荡女，地点在城市和男人之间；她只是骄傲又自由，只是敢爱又敢恨，只是对世界嗤之以鼻。
I'm sorry, I was just born this way, it dizzied you in the beginning but after a while it started to disgust you. We just didn't love at the same time. 你甚至没有爱过，只是刹那间被她的光芒击中而中暑眩晕，你在说着爱情与承诺的时候，只不过是在热病中的胡言乱语，你准备好接受这样一个你驾驭不住的随性灵魂了吗？而她在犹豫再三思前想后以后，做出了认真去爱、拥抱一切好与坏的准备。性格截然不同的两人再相爱也不应该在一起，毁灭自己的人格是比失去爱情更加悲惨的事情。
这样的审判让我想起了«复活»和«印度之行»。有点滥俗地想起那句歌词，“海鸟和鱼相爱，只是一场意外”。爱情没有逻辑，亲密关系却要找同类，橄榄树不可能生活在北方的雪原。