大獨裁者

大獨裁者 （简体）

此條目仍有文字未被翻譯成中文，條目是根據其他語言維基百科的內容進行翻譯的。（2008年4月17日） 歡迎您協助翻譯與校對以改善這篇條目。 長期閒置的非中文內容可能會被移除。

The Great Dictator
Image:The Great Dictator.jpg
導演	查理·卓別林 Wheeler Dryden
監製	查理·卓別林
編劇	查理·卓別林
主演	查理·卓別林 Paulette Goddard Jack Oakie
音樂	Meredith Wilson Charlie Chaplin
發行商	美國
上映日期	1940年10月15日（美國）
片長	124分鐘
語言	英語
製片預算	$2,000,000
IMDb 資訊（英語）

《大獨裁者》（英語：The Great Dictator）是由查理·卓別林自導自演的一部電影。於1940年首映，它尖銳諷刺了納粹主義和阿道夫·希特勒。全戲高潮是在片末，他公然要求在政治上對抗法西斯主義。

本片特別之處就是在於其上映時代，那是美國人加入第二次世界大戰之前，美國仍和納粹德國保持良好關係。在對納粹主義的恐慌還未完全爆發時，卓別林此作就已經震撼人心了，並對希特勒、法西斯主義、軍國主義和納粹主義予以譴責。他在片末說道：「機器人只有機械的思想和機械的心靈！」(machine men, with machine minds and machine hearts) [1]

這部戲是卓別林首部有聲電影，也是他票房最好的其中一部戲。

目錄 1 內容簡介 2 班底與分析 3 Making film 4 Reception 5 Score 6 Lawsuit 7 See also 8 參見 9 Additional references 10 外部連結

內容簡介

這部電影由第一次世界大戰為起始點。卓別林飾演一個沒有名字的猶太理髮師(為了表達方便，其後都會稱之為「卓」)，他在戰爭期間英勇地試圖救護一名叫Schultz(Reginald Gardiner)的官員。當時他們一起乘坐的飛機燃油耗盡，並與一棵樹相撞，但卓只是失去了部分記憶。Schultz成功逃過一劫，而卓就在醫院裡住了二十年，對Tomainia發生的改變完全不在乎：Adenoid Hynkel（影射希特勒，卓別林的雙重角色），現在就成為了Tomainia的殘暴獨裁者，並在其大臣Garbitsch（影射約瑟夫·戈培爾） (由Henry Daniell飾演)和Herring（影射赫爾曼·戈林） (由Billy Gilbert飾演)的協助下試圖迫害全國的猶太人。

另一邊廂，卓回到其猶太區的髮廊，仍未察覺到當時政局的變化，並對軍警在其髮廊的窗上用白漆塗上「Jew」感到震驚。在和士兵連續不斷的打鬥中，卓重遇好友，又並對一名美麗的女猶太區移民Hannah (由Paulette Goddard飾演)產生了好感。

Schultz在卓住院的二十年間，在軍中平步青雲，他在士兵們快要將卓痛打一頓的時候，認出了卓就是其救命恩人，又對他其實是猶太人而感到吃驚。而當時卓也回復了當時的記憶，Schultz命令士兵們放過卓和Hannah。因為Garbitsch的慫恿， Hynkel 開始對征服世界一事著迷。(在其中一場最著名的鏡頭，是他與一個大氣球做的地球共舞。)

因為Garbitsch的忠告，Hynkel 計劃侵略鄰國Osterlich（影射奧地利）和借貸以完成此行動。後來，因為一名猶太財主不肯借款給Hynkel，所以Hynkel又恢復他對猶太人的迫害，事態比上一次還要嚴重。

Schultz表達了他對大屠殺的反對，但卻被Hynkel安排到集中營。他逃到猶太區和計劃推翻Hynkel的政權。為了決定誰去實行這個計劃，就把一個硬幣藏在五個布丁裡，誰吃到硬幣就要去實行炸毀Hynkel住所的自殺式任務。然而，Hannah把每一個布丁都加了硬幣，造就了卓別靈此作最搞笑的場面之一。最後，Schultz 和他的好友卓都被抓和遣送到集中營。

Hynkel侵略Osterlich的計劃最初被Napaloni（影射墨索里尼與拿破崙·波拿巴）(由Jack Oakie飾演)―Bacteria的獨裁者反對。在這兩個獨裁者發生了一些爭執之後(包括經典笑點―食物大戰)，一個交易終於都達成了，而且得到一個頗成功的侵略成果。當Hannah已經移居到Osterlich，她發現自己又在生活於Hynkel的統治之下。

Schultz和卓一起從集中營逃走，他們穿著Tomainia軍人的制服。因為卓和Hynkel 太相似，衛兵以為他就是Hynkel。相反地，Hynkel正在進行他的獵鴨活動(其實是為戰爭而作的偵察行動)，但他被其衛兵誤會他就是逃走的卓，結果他被自己的士兵拘捕了。

另一邊廂，卓被誤認為是Hynkel本人，並被帶到Tomainia的首都去做一場勝利演說。Garbitsch在為群眾引見「Hynkel」的時候，誹謗民主自由的思想和其他可能的背叛以及舊思想。

之後，卓卻發表了一場發人深省的演說：取消Hynkel的反猶政策和歡迎民主新時代。(演說原文可見於:text of the speechWikiquote)

該片段成為了全片重頭戲之一，其演說譯本如下：

對不起，我並不想成為一個皇帝，這不是我應作的。我不想控制或是戰勝任何人，如果是可以的話，我要幫助猶太人、異教徒、黑人、白人、所有人。人就是要互相幫助的。我們要生活在大家的快樂之中，而不是活在彼此的痛苦之間！我們也不要憎恨和瞧不起其他人。

這個世界是所有人的家，而且一個康寧的地球是富有的、是能為人們提供所需的。這樣，生命就可以自由和美麗，但我們迷了路。貪婪把人的心靈毒害了，令世界被仇恨阻礙了，我們正往痛苦和殺戮之路走去。我們已經把自己禁錮在高速的進步裡。機械給予我們的令我們留在無限需求中，我們的知識令我們常常對別人冷嘲熱諷，我們的聰明是嚴酷不仁的。我們思慮太多而感覺太少了。我們需要的不只是機械，也要慈愛。我們需要的不只是伶俐，更要仁慈和慷慨。如果沒有了這些元素，那生命就會變得兇暴然後失去所有。

飛機和收音機把我們的距離拉近了。這些發明的真正目標是為人類的福祉呼求―為連起跨國界的兄弟之情呼求―是為了把我們團結起來。甚至到現在我的聲音正傳送到世界各處人民的耳中―絕望的男人、女人、小孩子―被現存社會體制所折磨、禁錮的無辜受害者。所有聽見的人，我要說：不要絕望。痛苦現在正隨著我們，但貪婪消失―酷烈的人們害怕人類的進步，人們的仇恨就會過去，然後獨裁者就會消逝，他們從人民所得的權力就會還給人民。

戰士們！不要將你們的生命交給那些衣冠禽獸手中―那些會鄙視你―奴役你―用極權控制你―命令你怎樣做、怎樣想、怎樣感覺的人！那些槍殺你―指定你吃啥―當你是畜生，當你是炮灰的人！不要將你們的生命交給這些變態的人手中―那些機器人只有機械的思想和機械的心靈！你不是機器！你不是畜生！你是人！你的心有愛和仁慈。

不要憎恨！沒有被愛的人才會去憎恨―那些邪惡的未被愛者！戰士們！不要為奴役而戰！要為自由而戰！路加福音第十七章中寫：神的國度降臨在人間―不是一個人或是一撮人，而是所有人！包括你！你，是一個有能力的人―有能力去創造機器的人。有創造快樂的能力！你，是一個有能力去令生命變得自由而美麗、去令生命成為一場美妙的冒險的人。

再者，讓我們以民主之名，去使用這力量！讓我們團結起來！讓我們為一個新世界―一個體面的世界―一個能讓人有機會工作的、給青年未來的、給老人安全的世界而戰。透過這些承諾，那些衣冠禽獸掌握了力量，但他們卻是在撒漫天大謊！他們並沒有履行諾言；他們也永遠不會。那些獨裁者解放了自己，但他們就奴役人民！現在，讓我們為履行這些諾言而戰！讓我們以鬥爭去解放這世界、去消除國際障礙、去消除貪婪、仇恨和偏執。讓我們以鬥爭去令世界以合理、科學和進步去領導人們的快樂。

戰士們！以民主之名，讓我們都團結起來！

Hannah對近來的事情都感到沮喪，她聽到了卓於收音機的演說，並對「Hynkel」立刻回應她的說話感到驚奇：「Hannah,你聽到我的說話嗎？無論你在哪裡，都看看天空！Hannah你看吧！烏雲消散了，陽光出現了！我們從黑暗之中走到光明了！我們正走到一個新世界；一個善美的世界，這裡的人克服了貪婪、仇恨、野蠻。看吧！」

(原文：Hannah, can you hear me? Wherever you are, look up! Look up, Hannah! The clouds are lifting, the sun is breaking through! We are coming out of the darkness and into the light! We are coming into a new world; a kindlier world, where men will rise above their greed, their hate, and their brutality. Look up, Hannah!")

電影在Hannah重又輕鬆愉快地望向天空的時候結束。℉

班底與分析

• 差利·卓別靈飾演Hynkel(遵行法西斯主義的獨裁者，明顯是模仿阿道夫·希特勒)
  • 猶太理髮師(上文的「卓」)
• Paulette Goddard飾演Hannah
• Jack Oakie 飾演Napaloni
• Reginald Gardiner 飾演Schultz
• Henry Daniell飾演Garbitsch
• Billy Gilbert飾演Field Marshal Herring(一個不能勝任Hynkel顧問的人)。

片中人物的名字和當時政治的關係:

• Adenoid Hynkel=阿道夫·希特勒
• Garbitsch(與「garbage」音同，有諷其為廢物之意)，他是Hynkel的左右手，就如希特勒身邊的約瑟夫·戈培爾
• Field Marshal Herring=第三帝國元帥赫爾曼·戈林
• Benzino Napaloni=Il Duce，貝尼托·墨索里尼
  

戲中有不少是Hynkel與Napaloni有關Osterlich(奧地利)的爭論。原來，墨索里尼從他見到奧地利是一個緩衝區在義大利、德國之間開始，就反對德國接收之。國際社會(尤其是法國和英國，墨索裡尼的拍擋)沒有分擔義大利影響和支持德國對奧地利的合併之國際制裁。墨索裡尼不久便獨自於1936年服從於希特勒的意願，由Brenner Pass和奧地利的邊境撤回意軍，並移動至較接近於德國的地方，因為希特勒沒有申請對義大利的國際制裁。今日，因為義大利和德國於第二次世界大戰的同盟，這衝突已經快要被人遺忘了。

此片包含了卓別靈最有名的連續鏡頭。戲中Hynkel的「德文」演說，其實是一大串毫無意義的聲音，只不過是很像德文而已。當真是對希特勒演講風格的一個絕妙諷刺！在這之前，卓別靈要很小心地從新聞影片中學習其演講。1940年的《大獨裁者》於保持中立的時候被說成是「英裔美國人反法西斯主義電影傳教總會」。從記錄歷史的電影、收音機、電視，卓別靈以多個小時來收看這些有關希特勒的新聞片段，驚喊：「噢！你！你這個渾蛋！」德語的「炸小牛肉片」(schnitzel)、「泡菜」(sauerkraut)和「肝泥香腸」(liverwurst)可以在其中清楚聽到。在這些「語言」一起的，還有英文片語例如「cheese'n'crackers」和說的頻率頗密的「larger beer」。當Hynkel在政治集會中和燃起怒火時就會說假德語(儘管他在正常地說著英語)。Billy Gilbert在飾演Herring時也必須要即興說這個假德語，就是因為他為他不小心把Hynkel擊落樓梯而向之道歉，他想出了一個字―「banana」。卓別靈很明顯是被他弄得很吃驚，他將之放在其回應之中：「Der banana？」

卓別靈在飾演猶太理髮師時(即上文的「卓」)，跟著電台廣播的匈牙利第五舞曲之旋律來為一名顧客剃鬚，該段是一次過拍攝，不經剪接。但全片最著名的場面卻是一名對權力瘋狂的獨裁者和一個汽球造的地球於像宮殿般的辦公室一起跳了一場令人難以忘懷的芭蕾舞。此片段著手於理察·瓦格納的歌劇―羅恩格林，它於卓在Hynkel的國家發表「勝利演說」時也有發揮作用。之所以有這段「獨裁之舞」是因為於二十年代末，當卓別靈在好萊塢被拍到他在做一場較早版本的舞蹈，是和一個地球以及一個普魯士的軍人頭盔一起(這個連續鏡頭在紀錄片Unknown Chaplin中得見)。

整場電影以猶太理髮師被誤認為是獨裁者作結，他在Tomainia人接管Osterlich以後，就於大批觀眾的注視之下和國際廣播中作出了一個演說。(這個演說明顯地提及到德國於1938年3月12日侵略奧地利)此演說被卓別靈詮釋得像一個即興演出，但其說辭是經過極為認真的斟酌才能如此有深度。卓別靈的爭議性演說，是場十分明顯的政治演說，可能為美國最終重新登錄麥卡錫時代提供了能夠冗長列舉的借口(從有關卓別靈的論文可得更多的細節)。此演說在此片放映前也被美國共產主義運動指責為「史達林和希特勒簽訂的互不侵略條約」。

戲中有些猶太區商店的招牌是用世界語寫的，於希特勒之猶太政策中，使用這種語言是會被判罪的.^[1] 。

Making film

影片是由卓別林寫並且指揮的和主要被射擊了在卓別林演播室和其他地點在洛杉磯附近(例如月桂樹峽谷)。 想法的萌芽無容置疑地來自物理相似在卓別林的流浪者字元和Hitler (特殊髭)之間。 卓別林由猶太人升級的暴力和抑制由Nazis在晚中1930年代，巨大也刺激，其中被轉達了對他親自由他的歐洲猶太朋友和藝術家。

Several similarities between Hitler and Chaplin have been noted and may have been a pivotal factor in Chaplin's decision to make The Great Dictator. Chaplin and Hitler had superficially similar looks, most famously their mustaches, and this similarity is most commented upon. (Tommy Handley wrote a song named "Who is This Man Who Looks like Charlie Chaplin?"^[2]) Furthermore, the two men were born four days apart in April 1889, and both grew up in relative poverty. In addition to these similarities between the lives of Hitler and Chaplin, there may have been some direct rivalry between the two men at the very pinnacle of human fame and this may have played some role in generating the film.

As Hitler and his Nazi Party rose to prominence, Chaplin's popularity throughout the world became greater than ever; he was mobbed by fans on a 1931 trip to Berlin, which annoyed the Nazis, who published a book in 1934 titled "The Jews Are Looking at You," in which the comedian was described as "a disgusting Jewish acrobat." Ivor Montagu, a close friend of Chaplin, relates that he sent Chaplin a copy of the book and always believed this was the genesis of "Dictator."^[3]

Chaplin prepared the story throughout 1938 and 1939, and began filming in September 1939, one week after the beginning of World War II. By the time he finished filming almost 6 months later, France had fallen to the Nazis. The controversial final speech that ends the film was a late modification to the script, and has been thought to have been motivated by the dire developments in Europe that occurred over the film's long production. The 2001 BBC documentary on the making of the film, The Tramp and the Dictator claimed to have evidence (largely newly discovered footage of the film production shot by Chaplin's elder half-brother Sydney) that the ending was only changed due to technical difficulties.^[4]

The making of the film coincided with rising tensions throughout the world. Speculation grew that this and other anti-fascist films such as The Mortal Storm and Four Sons would remain unreleased given the United States' neutral relationship with Germany. The project continued largely because Chaplin was financially and artistically independent of other studios; also, failure to release the film would have bankrupted Chaplin, who had invested $1.5m of his own money in the project. The film eventually opened in New York City in September 1940, to a wider American audience in October and the United Kingdom in December. The film was released in France in April 1945, shortly after the liberation of Paris.

When interviewed about this film being on such a touchy subject, Charlie Chaplin had only this to say: "Half-way through making The Great Dictator I began receiving alarming messages from United Artists ... but I was determined to go ahead for Hitler must be laughed at." The documentary The Tramp and The Dictator provides audio of a 1983 interview with Chaplin associate Dan James, in which he reports that President Franklin D. Roosevelt sent his adviser Harry Hopkins to personally meet with Chaplin and encourage him to move ahead with the satirical film.

According to The Tramp and the Dictator, the film was not only sent to Hitler, but an eyewitness confirmed he did see it.^[4] According to the Internet Movie Database, Chaplin, after being told Hitler saw the movie, replied: "I'd give anything to know what he thought of it."^[5]

Reception

The film was well received at the time of its release, and was popular with the American public. Critical opinion was mixed, with many reviewers critical of Chaplin's final speech, and some felt the slapstick portrayal of storm troopers was inappropriate (this opinion magnified as the horrors of the Nazis were uncovered, and is readily apparent to modern audiences). But Jewish audiences were deeply moved by the portrayal of Jewish characters and their plight, which was still a taboo subject in Hollywood films of the time.

When the film was in production, the British government announced that it would prohibit its exhibition in the United Kingdom in keeping with its appeasement policy concerning Nazi Germany. However, by the time the film was released, the UK was at war with Germany and the film was now welcomed in part for its obvious propaganda value. For instance, it was shown in London during the Battle of Britain, and was reportedly a great morale booster. However, in 1941, London's Prince of Wales Theatre screened its UK premiere. The film had been banned in many parts of Europe, and the theatre's owner, Alfred Esdaile, was apparently fined for showing it ^[6]. It eventually became Chaplin's highest grossing film.

In his 1964 autobiography, Chaplin stated that he would not have been able to make such jokes about the Nazi regime had the extent of the Nazi horrors been known, particularly the death camps and the Holocaust. While Ernst Lubitsch's 1942 To Be or Not To Be dealt with similar themes (even including another mistaken-identity Hitler figure), after the scope of Nazi atrocities became apparent it took over twenty years before any other films dared to satirize the era. Mel Brooks' The Producers (1968) and the television series Hogan's Heroes each represented later comedic takes on the era.

The film was nominated for five Academy Awards, including Academy Award for Best Picture, Academy Award for Best Actor (Chaplin), Best Supporting Actor (Oakie), Academy Award for Best Original Score (Meredith Willson), and an Academy Award for Best Original Screenplay (Chaplin).

In 1997, The Great Dictator was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

The film was Chaplin's first true talking picture and helped shake off accusations of Luddism following his previous release (Modern Times) released in 1936 when the silent era had all but ended in the late 1920s.

After the success of the film, it was suggested that Chaplin might make a similar one about Stalin. He replied "It is hard to play a man who has no faults."

Score

The score was written and directed by Meredith Willson, later to become well-known as creator of the 1957 musical comedy The Music Man.^[7] Willson wrote:

I've seen [Chaplin] take a sound track and cut it all up and paste it back together and come up with some of the dangdest effects you ever heard—effects a composer would never think of. Don't kid yourself about that one. He would have been great at anything—music, law, ballet dancing, or painting—house, sign, or portrait. I got the screen credit for The Great Dictator music score, but the best parts of it were all Chaplin's ideas, like using the Lohengrin "Prelude" in the famous balloon-dance scene.^[8]

According to Willson, the scene in which Chaplin shaves a customer to Brahms' Hungarian Dance No. 5 had been filmed before he arrived, using a phonograph record for timing. Willson was to re-record it with the full studio orchestra, fitting the music to the action. They had planned to do it painstakingly, recording eight measures or less at a time, after running through the whole scene to get the overall idea. Chaplin decided to record the runthrough in case anything was usable, and 'by dumb luck we had managed to catch every movement, and that was the first and only 'take' made of the scene, the one used in the finished picture' ^[8].

Lawsuit

The film was the subject of a plagiarism lawsuit (Bercovici v. Chaplin) in 1947 against Chaplin. The case was settled with Chaplin paying Bercovici $95,000.^[9] In his autobiography, Chaplin insisted that he had been the sole writer of the movie's script. He came to a settlement, though, because of his "unpopularity in the States at that moment and being under such court pressure, [he] was terrified, not knowing what to expect next." (Chaplin, My Autobiography, 1964)

See also

• You Nazty Spy! and I'll Never Heil Again, a pair of Three Stooges shorts with a similar subject matter, released around the same time as The Great Dictator. It was heavily publicized at the time that the very slow-working Chaplin was preparing a Hitler satire, and the publicity may have inspired these films.
• Der Fuehrer's Face. A Donald Duck cartoon that spoofs the severity of the Nazi dictatorship and the effect it had on the people directly affected by it
• To Be or Not to Be, a dark comedy on living in Nazi Occupied Warsaw (also remade in 1983 by Mel Brooks).
• Herr Meets Hare, a 1945 Bugs Bunny cartoon satirizing Hitler and the Nazis
• In the third book of Alan Moore's crossover fiction The League of Extraordinary Gentlemen series, Adenoid Hynkel replaces Hitler.

參見

Additional references

1. Chaplin and American Culture: The Evolution of a Star Image. Charles J. Maland. Princeton, 1989.
2. National Film Theatre/British Film Institute Notes on The Great Dictator.
3. The Tramp and the Dictator, directed by Kevin Brownlow, Michael Kloft 2002, 88 mn.

外部連結

• 'Look up, Hannah' Speech at End of Movie in Text, Audio and Video from AmericanRhetoric.com
• 《大獨裁者》在網際網路電影資料庫（IMDb）

查理·卓別林
長篇電影: 蒂麗戀情哀史, 小孩, 巴黎一婦人, 淘金記, 馬戲團, 城市之光, 摩登時代, 大獨裁者, 凡爾杜先生, 舞台生涯, 紐約王, 香港女伯爵
短片: 新門房, 銀幕之後, 移民
Other: Edna Purviance, Eric Campbell, 卓別林的默劇世界 - Chaplin

Why are we here?
All text is available under the terms of the GNU Free Documentation License
This page is cache of Wikipedia. History