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>The rough and the smooth: narrative, character and performance inFingers(1978) andDe battre mon cœur s’est arrêté/The Beat That My Heart Skipped(2005)
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The rough and the smooth: narrative, character and performance inFingers(1978) andDe battre mon cœur s’est arrêté/The Beat That My Heart Skipped(2005)
As is well known, Jacques Audiard’s De battre mon cœur s’est arrêté (2005) is a remake of Fingers (1978), directed by James Toback. Bucking the usual trend of remakes, De battre is popularly regarded as a more successful film than Fingers. The French film helped propel the careers of Audiard and stars Romain Duris and Niels Arestrup, whereas the careers of Toback and Harvey Keitel stalled in the wake of Fingers. The French remake is also seen as more aesthetically successful in its narrative structure and characterisation. Where Fingers – in some ways typical of the New Hollywood cinema – revolves around the hysterically improbable masculine crisis of Jimmy Angeleli, incarnated in Keitel’s hyperactive performance, Duris’s more nuanced acting creates a more plausible and likeable character in Thomas Seyr. Ironically, the usual complaint about film remakes – that the ‘copy’ tends to smooth out the rough edges of the ‘original’, resolving ambiguities in a neat narrative arc – is arguably as true as ever in this pair of films where the standard national identifications are reversed (the French film is a polished remake of the problematic American model). This article compares the two films through a close reading of the performance styles of Keitel and Duris and an analysis of the protagonists’ respective character trajectories. In the process, it asks questions about Audiard’s debt to American cinema and about his work with actors.udud
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机译：众所周知，雅克·奥迪亚德（Jacques Audiard）的《蝙蝠侠》（2005）是詹姆斯·托贝克（James Toback）执导的《手指》（Fingers）（1978）的翻版。与通常的翻拍趋势相反，De battre被公认为比Fingers更成功的电影。这部法国电影帮助推动了奥迪（Audard）和明星罗曼·杜里斯（Romain Duris）和尼尔斯·阿雷斯特鲁普（Niels Arestrup）的事业，而托巴克（Toback）和哈维·凯特（Harvey Keitel）的事业在《手指》（Fingers）之后停滞了。法国的翻拍在叙事结构和特征上也被认为在美学上更加成功。手指（某种程度上代表了新好莱坞电影的某种特征）围绕着吉米·安杰利（Jimmy Angeleli）的歇斯底里般不可思议的男性危机而发生，而吉米·安吉利（Kimtel）的过度活跃表现则使杜里斯更细微的表演在托马斯·赛尔（Thomas Seyr）中显得更加合理和讨人喜欢。具有讽刺意味的是，通常关于电影翻拍的抱怨-“复制”趋于平滑“原始”的粗糙边缘，以整洁的叙事弧度消除歧义-在这对电影中，与以往一样，这无疑是真实的。标识被颠倒了（法国电影是对有问题的美国模型的完美翻版）。本文通过仔细阅读Keitel和Duris的表演风格，以及对主角各自的角色轨迹进行分析，对这两部电影进行了比较。在此过程中，它询问有关奥迪亚德（Audard）对美国电影的欠款以及他与演员的合作的问题。 ud ud
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