一接近你，我就晕了。

我恨！我恨！我恨！我恨！我恨！

你到底是36岁还是46岁，看起来像是16岁……

不怕记不住，就怕忘不了；忘不了，太熟；太熟了，就要跑。

那可是屁股啊，如果不是手摸了屁股，难道是屁股摸了手吗？

我必须告诉你，感情不是计算出来的。

这地方，陌生。

你这么做，是要出人命的。

没事儿，拆了就好……哎呀，拆早了。

可是你老婆肚子，根本不像天鹅绒。

搞对象的野鸡也不能打。——不能趁人之危。

阿辽沙，别害怕，火车在上面停下了，他一笑天就亮了。

我知道，我知道。

我听的不是表面，我听的是心声。

美丽的梭罗河，我为你歌唱。

占着茅坑不拉屎。

黄鹤一去不复返，白云千载空悠悠。

刚看完《太阳照常升起》，急吼吼想嚷点啥，但发现对这部怪异、华丽并且超级强硬的作品来说，细致的解读将令整个事情变得支离破碎毫无乐趣。

我只想说，如果你认为自己历经淘摸的破兜里头，还揣着一星半片疯狂的余烬，或理想主义的票根的话，打上伞去电影院吧；你去寻一个靠谱的同志，要么宁可独个；你要离大屏幕很近，保证前面没有一个人，你最好能吃力地仰着脑袋；如果疯魔呓语、奔跑、晃动的电筒、轰然作响的枪声，饱含寓意的小号都没能搞穿你的话，放心，你一定会在结尾婚宴的狂欢中，搭乘燃火的帐篷布，飞越闪亮的火车上空，达成充满躁点的完美高潮——你并一定将在一遍一遍的喊魂声里，逼真体验到高潮后那万事休提的冷酷消沉。

 PS，感谢Soup的梦游推荐；感谢哈mm的支持陪伴；特别感谢远在新西兰的小最同志，出于良知不用你补票钱了，同样出于良知，对你无法在大屏幕前观看的冰冷现实，教你一句片中台词：“我恨！我恨！我恨！我恨！我恨！”

      《吕西安·拉贡布》

　　Lacombe Lucien

　　编剧：路易·马勒、巴特克·莫迪亚诺 Louis Malle, Patrick Modiano

　　导演：路易·马勒 Louis Malle

　　主演：皮埃尔·布莱斯、奥罗尔·克莱芒 Pierre Blaise, Aurore Clément

　　1944年6月，法国西南部的一个小镇。18岁的男孩吕西安·拉贡布在一家收容所当清洁工，他的收入全部交给妈妈，但他希望做些大事。因为父亲和房东的儿子都被德国人抓去参加了游击队，他找到身为老师的贝萨克·罗伯特（人称沃尔泰的民兵首领），也希望参加抵抗组织，但因年龄小被拒绝了。他在骑车返回收容所途中轮胎瘪了，他只好推着车徒步前进，经过巴黎被巡夜的德国警察发现抓进了警察局。在警局里的酒吧，他遇到了自己喜欢的同乡自行车手，于是他很顺利地成了警察局内部的一份子。他透露了沃尔泰的身份，老师因此被抓，但他对此却无动于衷。

　　另一日，警察托尼带着吕西安到巴黎知名的裁缝阿尔贝的家里，准备为他做一身新的西装,吕西安这才了解到阿尔贝原来是在警察保护之下的犹太人，为了保住家人的性命，阿尔贝不得不定期向托尼提供钱财。在上门取衣服的时候，吕西安发现阿尔贝有一个会弹钢琴的漂亮女儿弗兰茨，并很快喜欢上了她。他企图利用自己的职权帮弗兰茨买东西插队，但弗兰茨没有买帐。第二次，吕西安强迫弗兰茨参加警察局的社交舞会，弗兰茨在舞会上遭到了排斥犹太人的女人的奚落，她十分失意，吕西安的爱情安慰了她。

　　吕西安居无定所，时常在阿尔贝家下榻。阿尔贝、女儿以及老母亲慑于他的权力敢怒不敢言。吕西安想娶弗兰茨，并答应带他们全家离开法国。阿尔贝不堪压迫到警察局寻找吕西安，但不幸被捕。吕西安在和德国人搜查裁缝家时杀掉了德国人，救出了弗兰茨和奶奶，并把他们带到了乡下暂时躲避。

　　到了1944年10月，吕西安最终被捕，经过抵抗组织军事法庭的审判，被判处死刑并执行了枪决。

　　精彩视点：

　　1974年法国和德国（前西德）合拍的以二战为背景的剧情片，描写了一个年轻小伙子从一个普通的农民变成一个纳粹帮凶，又转而成为革命者的过程，具有震撼人心的力量。本片获得1975年金球奖、奥斯卡奖的双料“最佳外语片”奖提名。赢得了1975年英国电影电视艺术学会“最佳影片”奖。

      以上引自央视网站http://www.cctv.com/movie/20050523/100229.shtml之节目介绍，情节描述有很离谱的错误，电视台播放时也有非常过分的删节。

      吕西安很大程度上是因为那只金表而杀死了德国兵，并且他也绝对不曾转变为一个革命者，因此对那些惯于从文艺作品中寻找中心思想者而言其实是缺乏所谓“震撼人心的力量”的。

      在sou看来，导演试图表现的是大时代里小人物们的命运，他们彷徨于大地之上，可有可无，东漂西荡，却也拥有自己刹那而微妙的美丽涟漪。

      整部影片有很多出采之处，但我想一定有很多人最欣赏路西安带着芙朗丝和她的奶奶逃到荒郊的小农庄后那段，那是一段传说中才存在的轻松浪漫的生活。远离战争和恐惧之外，生活的美好还原本色，他用铁丝和机关套兔子和鸟，芙朗丝趴在草地上看书，奶奶永远玩着她的扑克牌，每个晚上在阁楼上，都是一对年轻男女的游戏和缠绵。但芙朗丝仍旧有挣扎，从她向着熟睡的路西安举起的石块就可以看出——但路西安醒来了，他淡淡地看着她微笑。事实上，以上也就是整部电影的结尾，路西安最后的命运是用字幕来表现的，但那已经不重要了，除了一抹更浓重的悲色，它更像一个花体的“END”。

      下面是来自外文网站的一些评论http://www.learmedia.ca/product_info.php/products_id/247，较为中肯，偷懒挑了最短的一段翻译，今后有时间再补上。另外有几张质量不算上乘的海报照片，一并提供。

      最后罗嗦一句，法国人在三十年前居然就能拍出这样一部描写大奸大恶的“法奸”的电影，对比今天中国阳痿的电影业和虚火上身的民族主义者，委实心中有难言的感慨。

 - Innocence in sin

Evil in goodness. The moral ambiguity of Lucien Lacombe, the innocent boy who happily and childishly turns into a Nazi collaborator for the adventure of being in a war, is chilling. The boy is clearly doing something evil, but at the same time you know he is innocent. Or is he? "Forgive them Father, for they don't know what they are doing".

Malle explored this same theme from a different perspective in "Pretty Baby", where Brooke Shields played a 10-year old girl who happily and childishly has sex for money.

Both movies are moral dilemmas. That's what makes them hard to forget.

      ·罪恶中的清白

      邪恶孳生于善良。令人感到恐惧的是路西安·拉贡布那模糊的道德感，他本是个纯真的法国孩子，却简直略显快乐地投入了纳粹的怀抱。他的恶行是无疑的，但同时你也一定晓得，他是无辜的。“天上的父，请原谅他们吧，他们不知道自己在做什么。”

      Malle在另一部影片Pretty Baby中再次试图表达这个主题，其中Brooke Shields扮演了一位快乐地卖身的十岁小女孩。

      两部影片都存在道德上的进退维谷，也许正因为如此，它们都很难忘。

- The Banality of Evil

Hannah Arendt's famous phrase sounds custom-made for this film. Young Lucien wants to join the French Resistance, but he's too immature. No problem, the Gestapo's hiring, and it can get so boring during wartime in a small, provincial town.

This film shocked France with its taboo subject of collaboration. They say that anyone can become a torturer. That is where this film's power lies -- Louis Malle lets us confront our heart of darkness. Devastating and unforgettable.

- A fascinating subject...

I wouldn't say I was totally bowled over, but there's little doubt that Malle's film is daring, original and certainly gives plenty of food for thought. His version of occupied France is one of banal existence peppered with casual brutality, so much so that Lucien's naive, easy compliance with evil is almost forgivable. Rejected by the resistance, Lucien falls in with the German police, outs and condemns his ex-teacher, and discovers an uneasy sense of fulfillment despite the depravity of his work.

Malle certainly communicates the confusion of occupation - the uneasy marriage of doing ones duty in war while trying to lead a normal life, there are times when it feels the whole society has been intangibly corrupted. But it's in the character of Lucien that the film has its power - his unapologetic destructiveness, yet that feeling that somehow he is both enemy and victim in the war...

- When this movie was released in 1974, it created a huge scandal and strong controversies because it was the first movie about the second world war to introduce a collaborator and not a resistant as a main character. Louis Malle was surely affected by these controversies and he decided to escape into the dream and imagination in his next film: the odd and underrated "Black Moon". So the main character here, Lucien Lacombe, is a member of the German police but he didn't choose this situation because he is anti-semitic or he's fond of Nazi thesis. It's simply because he is a victim of his naivety and of his foolishness and he's easy to persuade. Several times in the movie, you are under the impression that he doesn't know what he's doing or saying (for example, when he's drinking champagne with Albert Horn, a Jew tailor and his daughter France). On the other hand, the stroke is responsible of Lucien's entrance in the collaboration: the school teacher doesn't want him to enter the Resistance because he's too young, he had a flat tyre.... Moreover, the action takes place in june 1944 and it's not the right era: it's nearly the end of the war I also noticed that the collaborators were initiating him into several activities (at one moment, one of them is learning him to fire with a browning) without taking care of his opinion. With all these happenings, Lucien's behaviour is changing: he becomes rough, haughty, scornful, takes advantage of his wealthy life and committs a few errors ( Horn is under arrest due to him and he didn't want it to happen). At the end, Pierre Blaise provides a great calibre in his main rôle and thanks to this, the film is strong, powerful and remain one of Malle's best films.

Note: the movie was inspired by a real fact: during the second world war in France, a young collaborator had arrested and killed numerous resistants.

- Brilliant and Complex Story of Innocence Lost

Lacombe Lucien is an understated yet complex story of innocence corrupted by war. Though commercially successful, the film was judged harshly in France by critics on the Left because of its non-judgmental stance toward collaboration. Indeed, the film offers no psychological interpretations but is content to simply show what happened in almost Bressonian fashion (Malle worked as an assistant with Bresson in producing a documentary).

Based on the childhood memories of Louis Malle, Lacombe Lucien tells the story of Lucien (Pierre Blaise) a rural French teenager who, having been rejected by the French resistance in 1944, joins with the German occupiers and becomes an enforcer. It is brilliant in its understated portrait of how self-interest and pride can lead to regrettable choices.

Lucien lives with his mother together with another man while his father remains a prisoner of war. With limited education and lacking sophistication, Lucien is angered when his desire to join the underground is rejected because of his youth. Instead, he opportunistically becomes a member of the German police and soon takes on the persona of a surly thug. Malle makes clear that Lucien is neither fundamentally good nor bad, but only becomes involved with the Gestapo through a series of accidental circumstances. Though the film implies that Lucien is attracted to the Gestapo as a means for an individual without status or power to achieve a sense of self worth, ultimately Lucien must take responsibility for his choice.

He becomes involved with Albert Horn (Holger Lowenadler), a wealthy Jewish tailor from Paris, his mother Bella (Therese Giehse) who has lived in an Eastern European ghetto, and his young daughter France (Aurore Clement) who is totally Parisian and uncomfortable with her Jewish heritage. Their relationship becomes the turning point for Lucien's struggle to come to grips with who he is and retain his humanity. Though I felt repelled by Lucien's actions during the film, I also sympathized with his plight and understood the circumstances that led to his corruption. I felt he was moving toward self-awareness before the end of the film.

Lacombe Lucien poses moral questions about the point that innocence and immorality meet, and with its almost matter-of-fact style, the powerful conclusion almost takes us unaware. I found the film to be gripping and heartfelt and I would strongly recommend it. Pierre Blaise, in his first acting role as Lucien, turns in a performance of raw power. Unfortunately he was killed just one year later in an auto accident at the age of 24.