In the finest scene of the movie, Jean shakes hands with the boys near him just before he's taken away; it's a well-brought-up young boy's leavetaking,and nothing has prepared you for it. But throughout Lrean is used as an aesthetic objea-spiritual, sensitive, foreign . He's often shot in profile, with his lips parted, and in one scene he goes to Mass with the other boys and tilts his face, open-mouthed-almost yearning-to receive the holy wafer, whichm is denied him by the Reverend Father, the headmaster. Is the boy merely seeking acceptance by the other boys-is he just trying to pass as one of them-or is something else implied? The whole movie seems padded and muted, it's designed to make you understand that Julien is stricken by the horror of what happens to his friend. But nothing in it comes into clear focus-not the boys' attitudes, not even the images (and certainly not a lengthy sequence in which the two boys are on a treasure hunt in Fontainebleau Forest).

Malle has said that this is the most personal and important film of his career,and I believe that he thinks that. I also believe that he's wrong. If "Au Revoir"is very personal to him, this may be because as an adult he has felt stricken by the recognition that he wasn't stricken then, and it may involve his feelings of guilt over his own family's safety and prosperity-everything that the film barely touches on.

影片有一场精彩之至。让即将被人带走，他与身边的同学一一握手；一个很有教养的少年跟人话别的做派，事先未做任何铺垫。但让自始至终都用来充当一个审美的对象——超凡脱俗，有灵性，希罕。他往往拍成双唇微启的侧面形象，有一场戏是他随同学去做弥撒，他仰起脸，张着嘴——几乎是渴望着——去领神父大人即校长并没有赐给他的圣饼。这孩子是否只求同学收下他——只求把他当自己人，还是其中别有寓意呢？整部影片显得沉闷压抑，意在要你理解朱利安因见朋友惨遭不幸而深感痛心。不过，影片中一切都看不真切——同学的态度如此，就连图像也如此（两个孩子在枫丹白露森林里寻宝的那一长段穿插，自然也是如此）。

马尔曾说，这是他导演生涯中最富自传色彩也是最重要的一部影片。我认为他是这样想的。我又认为他并没有说对。如果说他自认《再见》一片极富于自传色彩，那也许是因为他成年后认识到当年未感痛心，因而一直深感痛心，其中也许还夹有他自己的家庭当年安富尊荣因而每每内疚于心——这一切在影片中倒是甚少触及。

Malle has said of "Au Revoir." "I reinvented the past in the pursuit of a haunting and timeless truth." Maybe that's why I felt as if I were watching a faded French classic, something I dimly recalled. In pursuit of haunting and timeless truth, Malle has gone back to the anti-Nazi movies of the forties,and polished and formalized the actions until he's turned melodrama into polite reverie.

Yes, it gets to you by the end. How could it not? But you may feel pretty wom down-by how accomplished it is, and by all the aching, tender shots of Jean. He's photographed as if he were a piece of religious art: Christ in his early adolesence. There's something unseemly about the movie's obsession with his exotic beauty-as if the French-German Jews had come from the far side of the moon. And does he have to be so brilliant, and a gifted pianist, and courageous? Would the audience not mourn him if he were just an average schmucky kid with pimples?

对《再见》马尔说过：“我这样旧事新编，是在追寻一段永世难忘的史实。”难怪我觉得像是在看一部退了色的法国经典片，依稀中似曾相识，恐怕就是这个缘故。马尔在追寻永世难忘的史实中回到40年代那些反纳粹的电影，他对剧情加工润色，自成一格，终于把情节剧变成了文雅的幻想曲。

不错，你看到剧终正是这般感受。岂有他哉？但你也许会感到疲惫不堪——就为它技法如此精湛，就为让有那么些凄楚动人的镜头。他摄下的形象犹如一件宗教艺术品：少年时期的基督。影片一味醉心于他的异族情调之美，总不那么妥当吧——仿佛法德两国的犹太人都是来自天外的月球。再说，他难道就非如此光彩照人不可吗，又有弹钢琴的天赋，又能临危不惧？他若只是个普普通通、呆头呆脑的孩子，长一脸雀斑，观众难道就不哀其不幸了吗？

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