BY JONATHAN HOLLAND PUBLISHED IN VARSITY

Isaki Lacuesta’s debut documentary, “Cravan vs. Cravan,” spins a riveting hour and a half out of the strange life and stranger death of the marginal figure of Arthur Cravan, the early 20th-century poet, boxer and Dadaist who made his life his art. The stranger-than-fiction raw material is compelling enough in itself, but Lacuesta crafts it well, shuttling nimbly between personal recollections, old footage, talking heads and dramatic recreation in a manner, which discloses something of the life of its complex subject while also contributing to the legend. Perfect for cult-seekers, pic took the public prize at the recent Sitges fest and has done low-key theatrical at home during October and November. Fest and international tube showings are its likely fate.

French boxer-turned cineaste Frank Nicotra goes in search of the elusive Cravan, who was the nephew of Oscar Wilde and whose own father disappeared when the boy (real name: Fabian Lloyd) was three months old. Born in Lausanne, Switzerland, Cravan ran away at 16 and traveled widely before settling in Paris where he wrote poetry, hung out with bohemians like Ravel and Duchamp, edited an alternative arts magazine, gave public speeches naked, faked his own death, tried out different personalities and honed his boxing skills.

電影: 達達電影A Dada Movie

Isaki Lacuesta (伊薩基·拉克斯塔)的首張紀綠片” Cravan vs. Cravan(克拉萬與克拉萬)” 片長一個半小時, 描述Arthur Cravan這個邊際人物的陌生的生命與死亡, 他是二十世紀早期的詩人, 拳擊手和達達主義者, 藝術是他的生命。這個陌生的腳色原本就比材料本身更受注目, 但是Lacuesta拉克斯塔把這部電影拍得很好, 他在個人回憶之間靈活地穿梭遊走, 以舊的錄像形式, Talking Heads的配樂和戲劇性的娛樂方式來呈現這部作品, 在其中, 他披露了生活表面上的一些東西, 以他複雜的主題, 同時也為此傳奇做出貢獻。這部作品特別對於那些迷信狂熱者所愛, 該片在最近的Sitges錫切斯節日贏得了公眾獎, 並在十月和十一月於國內低調了安排了一齣戲劇演出。它能獲獎以及於國際巡迴展演可說是實至名歸。

A lengthy debate about the true origin of paintings ascribed to Cravan, and his draft dodging at the start of WWI, are the prelude to pic’s busy final half-hour, centered on his Barcelona fight with world heavyweight champ Jack Johnson (Cravan was KO’d in Round 1) and his intense relationship (here tenderly recreated) with poet/artist Mina Loy. Cravan set sail from Mexico and disappeared without trace in 1918, at age 32.

Pic raises complex issues about the way Cravan created his own myth, though without becoming philosophically abstract: There are plenty of raw facts for interviewees — including Wilde’s grandson, Merlin Holland; Spanish painter Eduardo Arroyo; and Juli Lorente, who attended the Cravan-Johnson bout — on which to chew.

法國拳擊手搖身一變, 成為了電影人Frank Nicotra弗蘭克尼科特拉, 他尋找著難以捉摸的腳色Cravan克拉萬, 他是Oscar Wilde奧斯卡王爾德的侄子也是某個男孩(真名:Fabian Lloyd)三個月大時從他生命中消失的父親。生於瑞士洛桑(Lausanne, Switzerland), Cravan克拉萬在16歲的時候決定離家, 行走迢迢萬里路後, 他終於決定定居在巴黎, 他在那裡寫詩創作, 與Ravel拉威爾和Duchamp杜尚這樣的波西迷亞藝術家聚在一塊兒. 他編撰另類藝術雜誌, 赤裸裸地公開發表言論, 並偽造他的死亡, 他嘗試了不同的個性以及磨練他的拳擊技巧。

關於Cravan克拉萬的繪畫世界的起源的漫長辯論, 他的草稿在第一次世界大戰開始時僥倖躲過了一劫, 在影片中最後那半小時後的序幕, 電影集中在他在Barcelona巴塞隆納, 與世界重重量級冠軍Jack Johnson傑克·約翰遜的那場鬥爭(Cravan克拉萬在第一回合被打敗了), 並溫柔地呈現出他與詩人 / 藝術家Mina Loy的親密關係。Cravan克拉萬在1918年從墨西哥出海航行, 並在32歲時消失無蹤。

Nictora’s close identification with Cravan generates an intimate link between the subject and the viewer, though there’s too much of Nictora’s own boxing exploits. Likewise, a series of aging Spanish pugilists reminiscing and a sequence showing bullfight gorings seem to belong in a different film.

Brief recreations of key moments bring the shaky old recordings (there are only two minutes of extant footage of the man) and blurred old photos to dramatic life, with the final 20 minutes feeling a little rushed as the out-there events pile up. For the record, one commentator theorizes Rene Clair’s surrealistic 1924 debut, “Entr’acte,” is based on Cravan’s life.

片中提出了Cravan克拉萬創造了自己神話的複雜問題, 儘管它沒有成為哲學上抽象性的概念: 在這場Cravan克拉萬和Johnson約翰遜的回合中, 有很多的原始事實來自於受訪者 ─ 包括Wilde王爾德的孫子, Merlin Holland梅蘭荷蘭; 西班牙畫家Eduardo Arroyo愛德華多·阿羅約; 以及JuliLorente的聲音可以讓後人來細細品味與討論。

Nictora與Cravan克拉萬的密切關係, 雖然Nictora本身的拳擊漏洞太多,但

在主體與觀眾之間產生密切的聯結。同樣地, 從一系列老掉牙的西班牙拳擊手回想起來, 似乎還有一些屬於不同系列展示鬥牛場景序列的電影。

在最這關鍵的短暫娛樂中帶來了搖搖欲墜的舊式錄音聲 (這個男人存在鏡頭中的那兩分鐘) 並將老照片模糊的呈現出戲劇化的生活, 在最後的那二十分鐘裡, 於那一片堆積如山的事件中, 是顯得有些匆忙。在此紀錄裡面有一位評論家推論電影導演Rene Clair勒內·克萊爾於1924年的超現實首部演出, “Entr’acte幕間節目”是基於Cravan克拉萬的生平而寫作的。

Courtesy of Varsity – Varsity was founded by Sime Silverman, 1873-1933

譯文撰寫 – Coraline Chuang