Jean-Luc Godard Histoire(s) du Cinema 4 (b) Part One

continued from
chapter 4(a) Part Two
http://jdcopp.blogspot.com/2006/12/jean-luc-godard-hitchcock.html

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.Introduction
to
a
veritable
history
of
cinema
the only
the true
.
.
chapter 4 (b)
Part One
The Signs Among Us
for
Anne-Marie
Miéville
for
myself
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man
man
has in his poor heart
places
places
which do not exist
yet
and where
pain
enters
in order that
that they would be
that they would be
and I understand
better
why I met with
so many problems
beginning
just now
I know very well
now
what was the voice
which I should have wanted
to precede me
to bear me
to invite me
to speak
and which itself dwells
in my own discourse
I know
what was
so petrifying
in starting
to speak
since I was starting
in this place
where I once listened to him

and where he no longer is
himself
to hear me
oh that
guessing the moment
the loneliest
of nature
my melody
complete and unique
rises
into the night
and redoubles
and does
everything that it can
and speaks the thing
which is the thing
and falls back down
and re-echos
and brings grief
oh
alone of sobbing
and re-echos
and falls again
according to the task
that is assigned it
sometimes I hear
men
telling stories
sometimes
I hear
men telling stories
of the pleasure
that they took
with this one
or that one
oh
it is not
coarseness
the words sometimes
very precise
no
but I do not know
I wanted
to tell them
let's see
let's see
it was something else
something else

there are no words
for that
it can not be recorded

in the sentences
or rather
if I begin
a sentence
thinking that I have there
on the tip
of my tongue
the scene
the moment
the color
the undone dress
this clarity
on the body
of the woman
a shoulder
strap which slips down
and this feeling
of fear
mixed with hatred
in her
her arms
the lost head
the disorder
which reveals itelf
in the memory
I have not
truly forgotten
but it's going
if I force
the memory
all of a sudden
I understand
what is happening to me
I imagine
there it is
I no longer remember
I imagine
well, now
it is day
I think
you are deaf
Rachel, cruel
but I have
what I wanted
you have nothing
at all
to love
one needs a body

without Simon
you would not exist
you don't enter the homes

of others that way

that is not quitecorrect
this is what is correct
in 1932
the Dutchman, Jan Ort
is studying the stars
which are splitting away
from the milky way
soon
as foreseen
gravity attracts them
to draw back
by observing the position
and the speed
of these repatriated stars
Ort was able to calculate
the mass of our galaxy
it was his surprise
to discover
that visible matter
represented only
50 per cent
of the mass necessary
for the deployment
of such as that force
of gravity
where passed thus
the other half
of the universe
the phantom matter
was born
omnipresent
but invisible
do not go
gentle

into that good night
it is the time when
in the countryside
we suspect
the barking of dogs
in the dead of night
the time when
multicolored parachutes
laden with guns
and cigarettes
fell out of the sky
in the light of fires
in clearings
or on plateaus
the time of cellars
and these desperate screams
which the tortured shout
with childlike voices
the great battle
of the shadows
has begun
enter here
Jean Moulin
with your terrible procession
with those who died
in the cellars
not having talked

like you
and even those
who maybe
more monstrous
after having talked
in a sense
you see
fear is all the same
the daughter of God
redeemed on the night
of good friday
she is not beautiful to see
no
sometimes taunted
or cursed
renounced by all
and however
do not fool yourself
she is at the bedside
of those at death's door
she intercedes
for man

and now
that night
rising in the night
every night
weak light
in the room
from there
null mystery
from the window

no
almost null
it does not exist
null
still pure
like a negative
called Ilford
Kodak or Fuji
still in one piece
also
and it is enough
to breath
forcefully on it
to draw it tight
whatever would be
the name of the breather
Hitchcock
Langlois
Vigo
yes
let us link together
an attractive montage
of ideas
with no points of suspension
we are neither
in a detective story
nor Celine
that one
let's leave him
literature
he rightly merits
to suffer
and to re-enlist
book by book
in the regiments
of language
us
with film
that is something else
and first life
which is not new
but difficult to speak about
we can scarcely but
live it
and die it
but to speak about it
oh well
there are books
yes
but about film
we haven't books
we have only music
and painting
and those also
you know this well
live together
but do not speak to each other
so
film
maybe you understand
a little now
why
what to say of it
because life
is the subject
with 'scope
and color
as attributes
if we have broad ideas
life
I should say
a beginning of life
a little bit
like the story
of Euclid's parallels
that is the beginning
of geometry
there have been
other lives
and there will be others
enough to think
of the blossom which is broken
of the lions
that were hunted with bows
of the silence of a spa
in the north
of Sweden
but the live
of others
discomforts
always
for the strongest of reasons
thus life
quite alone
that I had much wanted
to pin down
to make it admired
or to reduced
its fundamental elements
to interest students
the inhabitants
of the earth in general
and the spectators
of films
in particular
in brief
the life quite alone
which I had much wanted
to hold prisoner thanks to
panoramas
of nature
fixed shots
on the dead
images short
and long
of sounds loud
and feeble
of actors
and actresses free
or slave
and who knows what
but life flounders around
more arrantly than Nanuck's
fish
slips
between our fingers
like the memories
of Monica Vitti
in the red desert
of the suburbs
of Milan
all eclipsed
and here
I take advantage
to tell you that
as if by chance
the only
great problem
of film
seems to me to be
where and why
to commence a shot
and where
and why
to end it

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