大独裁者


大独裁者 （正體）

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The Great Dictator
Image:The Great Dictator.jpg
导演 查理·卓别林
Wheeler Dryden
监制 查理·卓别林
编剧 查理·卓别林
主演 查理·卓别林
Paulette Goddard
Jack Oakie
音乐 Meredith Wilson
Charlie Chaplin
发行商 United Artists
上映日期 October 15, 1940 (U.S.)
片长 124 min.
语言 English
制片预算 $2,000,000
IMDb 信息（英语）

大独裁者 是由查理·卓别林自导自演. 于1940年首映，它激烈地讽刺了纳粹主义和阿道夫·希特勒。全戏高潮是在片末，他公然要求在政治上对抗法西斯主义。

本片特别之处就是在于其上映时代，那是美国人加入第二次世界大战之前，美国仍和纳粹德国保持良好关系。在对纳粹主义的恐慌还未完全爆发时，卓别林此作就已经震撼人心了，并对希特勒、法西斯主义、军国主义和纳粹主义予以谴责。他在片末说道：“机器人只有机械的思想和机械的心灵！”(machine men, with machine minds and machine hearts) [1]

这部戏是卓别林首部有声电影，也是他票房最好的其中一部戏。

目录

内容简介

这部电影由第一次世界大战为起始点。卓别林饰演一个没有名字的犹太理发师(为了表达方便，其后都会称之为“卓”)，他在战争期间英勇地试图救护一名叫Schultz(Reginald Gardiner)的官员。当时他们一起乘坐的飞机燃油耗尽，并与一棵树相撞，但卓只是失去了部分记忆。Schultz成功逃过一劫，而卓就在医院里住了二十年，对Tomainia发生的改变完全不在乎：Adenoid Hynkel（影射希特勒，卓别林的双重角色），现在就成为了Tomainia的残暴独裁者，并在其大臣Garbitsch（影射约瑟夫·戈培尔） (由Henry Daniell饰演)和Herring（影射赫尔曼·戈林） (由Billy Gilbert饰演)的协助下试图迫害全国的犹太人。

另一边厢，卓回到其犹太区的发廊，仍未察觉到当时政局的变化，并对军警在其发廊的窗上用白漆涂上“Jew”感到震惊。在和士兵连续不断的打斗中，卓重遇好友，又并对一名美丽的女犹太区移民Hannah (由Paulette Goddard饰演)产生了好感。

Schultz在卓住院的二十年间，在军中平步青云，他在士兵们快要将卓痛打一顿的时候，认出了卓就是其救命恩人，又对他其实是犹太人而感到吃惊。而当时卓也回复了当时的记忆，Schultz命令士兵们放过卓和Hannah。因为Garbitsch的怂恿， Hynkel 开始对征服世界一事着迷。(在其中一场最著名的镜头，是他与一个大气球做的地球共舞。)

因为Garbitsch的忠告，Hynkel 计划侵略邻国Osterlich（影射奥地利）和借贷以完成此行动。后来，因为一名犹太财主不肯借款给Hynkel，所以Hynkel又恢复他对犹太人的迫害，事态比上一次还要严重。

Schultz表达了他对大屠杀的反对，但却被Hynkel安排到集中营。他逃到犹太区和计划推翻Hynkel的政权。为了决定谁去实行这个计划，就把一个硬币藏在五个布丁里，谁吃到硬币就要去实行炸毁Hynkel住所的自杀式任务。然而，Hannah把每一个布丁都加了硬币，造就了卓别灵此作最搞笑的场面之一。最后，Schultz 和他的好友卓都被抓和遣送到集中营。

Hynkel侵略Osterlich的计划最初被Napaloni（影射墨索里尼与拿破仑•波拿巴）(由Jack Oakie饰演)―Bacteria的独裁者反对。在这两个独裁者发生了一些争执之后(包括经典笑点―食物大战)，一个交易终于都达成了，而且得到一个颇成功的侵略成果。当Hannah已经移居到Osterlich，她发现自己又在生活于Hynkel的统治之下。

Schultz和卓一起从集中营逃走，他们穿着Tomainia军人的制服。因为卓和Hynkel 太相似，卫兵以为他就是Hynkel。相反地，Hynkel正在进行他的猎鸭活动(其实是为战争而作的侦察行动)，但他被其卫兵误会他就是逃走的卓，结果他被自己的士兵拘捕了。

另一边厢，卓被误认为是Hynkel本人，并被带到Tomainia的首都去做一场胜利演说。Garbitsch在为群众引见“Hynkel”的时候，诽谤民主自由的思想和其他可能的背叛以及旧思想。

之后，卓却发表了一场发人深省的演说：取消Hynkel的反犹政策和欢迎民主新时代。(演说原文可见于:text of the speechWikiquote)

该片段成为了全片重头戏之一，其演说译本如下：

对不起，我并不想成为一个皇帝，这不是我应作的。我不想控制或是战胜任何人，如果是可以的话，我要帮助犹太人、异教徒、黑人、白人、所有人。人就是要互相帮助的。我们要生活在大家的快乐之中，而不是活在彼此的痛苦之间！我们也不要憎恨和瞧不起其他人。

这个世界是所有人的家，而且一个康宁的地球是富有的、是能为人们提供所需的。这样，生命就可以自由和美丽，但我们迷了路。贪婪把人的心灵毒害了，令世界被仇恨阻碍了，我们正往痛苦和杀戮之路走去。我们已经把自己禁锢在高速的进步里。机械给予我们的令我们留在无限需求中，我们的知识令我们常常对别人冷嘲热讽，我们的聪明是严酷不仁的。我们思虑太多而感觉太少了。我们需要的不只是机械，也要慈爱。我们需要的不只是伶俐，更要仁慈和慷慨。如果没有了这些元素，那生命就会变得凶暴然后失去所有。

飞机和收音机把我们的距离拉近了。这些发明的真正目标是为人类的福祉呼求―为连起跨国界的兄弟之情呼求―是为了把我们团结起来。甚至到现在我的声音正传送到世界各处人民的耳中―绝望的男人、女人、小孩子―被现存社会体制所折磨、禁锢的无辜受害者。所有听见的人，我要说：不要绝望。痛苦现在正随着我们，但贪婪消失―酷烈的人们害怕人类的进步，人们的仇恨就会过去，然后独裁者就会消逝，他们从人民所得的权力就会还给人民。

战士们！不要将你们的生命交给那些衣冠禽兽手中―那些会鄙视你―奴役你―用极权控制你―命令你怎样做、怎样想、怎样感觉的人！那些枪杀你―指定你吃啥―当你是畜生，当你是炮灰的人！不要将你们的生命交给这些变态的人手中―那些机器人只有机械的思想和机械的心灵！你不是机器！你不是畜生！你是人！你的心有爱和仁慈。

不要憎恨！没有被爱的人才会去憎恨―那些邪恶的未被爱者！战士们！不要为奴役而战！要为自由而战！路加福音第十七章中写：神的国度降临在人间―不是一个人或是一撮人，而是所有人！包括你！你，是一个有能力的人―有能力去创造机器的人。有创造快乐的能力！你，是一个有能力去令生命变得自由而美丽、去令生命成为一场美妙的冒险的人。

再者，让我们以民主之名，去使用这力量！让我们团结起来！让我们为一个新世界―一个体面的世界―一个能让人有机会工作的、给青年未来的、给老人安全的世界而战。透过这些承诺，那些衣冠禽兽掌握了力量，但他们却是在撒漫天大谎！他们并没有履行诺言；他们也永远不会。那些独裁者解放了自己，但他们就奴役人民！现在，让我们为履行这些诺言而战！让我们以斗争去解放这世界、去消除国际障碍、去消除贪婪、仇恨和偏执。让我们以斗争去令世界以合理、科学和进步去领导人们的快乐。

战士们！以民主之名，让我们都团结起来！

Hannah对近来的事情都感到沮丧，她听到了卓于收音机的演说，并对“Hynkel”立刻回应她的说话感到惊奇：“Hannah,你听到我的说话吗？无论你在哪里，都看看天空！Hannah你看吧！乌云消散了，阳光出现了！我们从黑暗之中走到光明了！我们正走到一个新世界；一个善美的世界，这里的人克服了贪婪、仇恨、野蛮。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!")

电影在Hannah重又轻松愉快地望向天空的时候结束。℉

班底与分析

  • 差利·卓别灵饰演Hynkel(遵行法西斯主义的独裁者，明显是模仿阿道夫·希特勒)
    • 犹太理发师(上文的“卓”)
  • Paulette Goddard饰演Hannah
  • Jack Oakie 饰演Napaloni
  • Reginald Gardiner 饰演Schultz
  • Henry Daniell饰演Garbitsch
  • Billy Gilbert饰演Field Marshal Herring(一个不能胜任Hynkel顾问的人)。

片中人物的名字和当时政治的关系:

戏中有不少是Hynkel与Napaloni有关Osterlich(奥地利)的争论。原来，墨索里尼从他见到奥地利是一个缓冲区在意大利、德国之间开始，就反对德国接收之。国际社会(尤其是法国和英国，墨索里尼的拍挡)没有分担意大利影响和支持德国对奥地利的合并之国际制裁。墨索里尼不久便独自于1936年服从于希特勒的意愿，由Brenner Pass和奥地利的边境撤回意军，并移动至较接近于德国的地方，因为希特勒没有申请对意大利的国际制裁。今日，因为意大利和德国于第二次世界大战的同盟，这冲突已经快要被人遗忘了。

此片包含了卓别灵最有名的连续镜头。戏中Hynkel的“德文”演说，其实是一大串毫无意义的声音，只不过是很像德文而已。当真是对希特勒演讲风格的一个绝妙讽刺！在这之前，卓别灵要很小心地从新闻影片中学习其演讲。1940年的《大独裁者》于保持中立的时候被说成是“英裔美国人反法西斯主义电影传教总会”。从记录历史的电影、收音机、电视，卓别灵以多个小时来收看这些有关希特勒的新闻片段，惊喊：“噢！你！你这个浑蛋！”德语的“炸小牛肉片”(schnitzel)、“泡菜”(sauerkraut)和“肝泥香肠”(liverwurst)可以在其中清楚听到。在这些“语言”一起的，还有英文词组例如“cheese'n'crackers”和说的频率颇密的“larger beer”。当Hynkel在政治集会中和燃起怒火时就会说假德语(尽管他在正常地说着英语)。Billy Gilbert在饰演Herring时也必须要即兴说这个假德语，就是因为他为他不小心把Hynkel击落楼梯而向之道歉，他想出了一个字―“banana”。卓别灵很明显是被他弄得很吃惊，他将之放在其回应之中：“Der banana？”

卓别灵在饰演犹太理发师时(即上文的“卓”)，跟着电台广播的匈牙利第五舞曲之旋律来为一名顾客剃须，该段是一次过拍摄，不经剪接。但全片最著名的场面却是一名对权力疯狂的独裁者和一个汽球造的地球于像宫殿般的办公室一起跳了一场令人难以忘怀的芭蕾舞。此片段着手于理查德·瓦格纳的歌剧―罗恩格林，它于卓在Hynkel的国家发表“胜利演说”时也有发挥作用。之所以有这段“独裁之舞”是因为于二十年代末，当卓别灵在好莱坞被拍到他在做一场较早版本的舞蹈，是和一个地球以及一个普鲁士的军人头盔一起(这个连续镜头在纪录片Unknown Chaplin中得见)。

整场电影以犹太理发师被误认为是独裁者作结，他在Tomainia人接管Osterlich以后，就于大批观众的注视之下和国际广播中作出了一个演说。(这个演说明显地提及到德国于1938年3月12日侵略奥地利)此演说被卓别灵诠释得像一个即兴演出，但其说辞是经过极为认真的斟酌才能如此有深度。卓别灵的争议性演说，是场十分明显的政治演说，可能为美国最终重新登录麦卡锡时代提供了能够冗长列举的借口(从有关卓别灵的论文可得更多的细节)。此演说在此片放映前也被美国共产主义运动指责为“斯大林和希特勒签订的互不侵略条约”。

戏中有些犹太区商店的招牌是用世界语写的，于希特勒之犹太政策中，使用这种语言是会被判罪的.[1] 。

Making film

影片是由卓别林写并且指挥的和主要被射击了在卓别林演播室和其他地点在洛杉矶附近(例如月桂树峡谷)。 想法的萌芽无容置疑地来自物理相似在卓别林的流浪者字符和Hitler (特殊髭)之间。 卓别林由犹太人升级的暴力和抑制由Nazis在晚中1930年代，巨大也刺激，其中被转达了对他亲自由他的欧洲犹太朋友和艺术家。

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.

Notes

  1. ^ - Hoffmann, Frank W.，William G. Bailey（1992）．Mind & Society Fads．Haworth Press．ISBN 1560241780． , p. 116: "Between world wars, Esperanto fared worse and, sadly, became embroiled in political power moves. Adolf Hitler wrote in Mein Kampf that the spread of Esperanto throughout Europe was a Jewish plot to break down national differences so that Jews could assume positions of authority.... After the Nazis' successful Blitzkrieg of Poland, the Warsaw Gestapo received orders to 'take care' of the Zamenhof family.... Zamenhof's son was shot... his two daughters were sent to the Treblinka death camp."
  2. ^ "Who Is This Man" lyrics
  3. ^ Review of the movie "The Tramp and the Dictator" by David Stratton, February 21, 2002, Variety
  4. ^ 4.0 4.1 The Tramp and the Dictator, official BBC web site
  5. ^ Trivia for The Great Dictator on IMDb
  6. ^ Prince of Wales Theatre, Theatre Programme, Mama Mia!, London (2007)
  7. ^ The Great Dictator．imdb．于2007年4月6日查阅．
  8. ^ 8.0 8.1 Meredith WIllson（1948）．And There I Stood WIth My Piccolo．Garden City, New York：Doubleday and Company, Inc.． 
  9. ^ Law Library - American Law and Legal Information．于2007年6月11日查阅．

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.

External links

维基语录上的相关摘录：
大独裁者
查理·卓别林

长篇电影: 蒂丽恋情哀史, 小孩, 巴黎一妇人, 淘金记, 马戏团, 城市之光, 摩登时代,
大独裁者, 凡尔杜先生, 舞台生涯, 纽约王, 香港女伯爵

短片: 新门房, 银幕之后, 移民

Other: Edna Purviance, Eric Campbell, 卓别林的默剧世界 - Chaplin


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