《雌雄大盜》
——美國電影史上劃時代的經(jīng)典

∷宋云峰

影史地位

20世紀(jì)60年代的美國社會喧鬧不安。國內(nèi)反越戰(zhàn)的情緒高漲，少數(shù)種族作為重要的政治力量在美國社會舞臺上快速崛起。面對內(nèi)憂外患，激烈的社會動蕩使得激進(jìn)的年青人們產(chǎn)生和傳統(tǒng)對抗的情緒，反抗主流神話成為他們運(yùn)動的目標(biāo)。與此同時，好萊塢黃金時代已經(jīng)成為過去式，其主題與風(fēng)格也與要求自由的時代格格不入，而一批年輕導(dǎo)演則開始了一種全新的嘗試——反映與舊的生活觀念相沖突的年輕一代和他們的生活方式，探討社會和政治問題，具有強(qiáng)烈的”反文化”色彩。他們繼承了好萊塢傳統(tǒng)的明星制及工業(yè)化的生產(chǎn)方式，但在體制內(nèi)卻進(jìn)行了大膽新奇的嘗試，賦予電影更具現(xiàn)實(shí)感的內(nèi)容，并在其中發(fā)展了各種電影類型新的表現(xiàn)手段。這就是美國電影史上的”新好萊塢電影”。

1967年，由阿瑟·潘恩（Arthur Penn）導(dǎo)演、沃倫·貝提（Warren Beatty）和費(fèi)·唐納薇（Faye Dunaway）主演、基于20世紀(jì)30年代真人真事改編的犯罪故事片《雌雄大盜》（又譯為《邦尼和克萊德》，Bonnie and Clyde）在美國上映。影片松散的生活化風(fēng)格與好萊塢格格不入，而肯定甚至是歌頌犯罪的主題和極度暴力的鏡頭則打破了《希斯法典》的禁忌。然而，影片卻受到當(dāng)時和后來年輕人的追捧，成為20世紀(jì)60年代的經(jīng)典，開啟了美國電影史上的新好萊塢時代。

雌雄大盜的福特座駕中搜出的十幾只槍和數(shù)千發(fā)子彈

雌雄大盜的追捕者和擊斃者哈默警探的真人照

Bonnie and Clydeis considered a landmark film, and is regarded as one of the first films of the New Hollywood era, since it broke many cinematic（電影的）taboos and was popular with the younger generation. Its success prompted（導(dǎo)致，引發(fā)）other filmmakers to be more open in presenting sex and violence in their films. The film’s ending also became iconic（標(biāo)志性的）as “one of the bloodiest death scenes in cinematic history.” It was among the first 100 films selected for preservation in the United States National Film Registry.

故事情節(jié)

20世紀(jì)30年代初的美國處于經(jīng)濟(jì)大蕭條時期，失業(yè)率急劇攀升（高達(dá)25%），許多人的生計甚至成了問題，一些人不得不鋌而走險。邦妮（Bonnie）看到克萊德(Clyde)正要偷她媽媽的車，二人由此相識、一拍即合，踏上了偷盜和搶劫的不歸之路。除了他們兩人，克萊德的哥哥巴克(Buck)和他的妻子布蘭徹(Blanche) 還有一個會修車的小個子莫斯（C.W. Moss）也陸續(xù)加入他們的幫伙。

克萊德與哥哥難兄難弟，感情甚篤，而邦妮和布蘭徹卻水火不相容。因此四人之間呈現(xiàn)微妙的關(guān)系：克萊德要維系和巴克之間的兄弟之情，另一方面又要時時安撫邦妮，最后這種緊張關(guān)系在巴克被擊斃以及布蘭徹被逮捕后結(jié)束。

他們不得不來到莫斯的家里蟄居。一天，在外出的路上看到莫斯父親的車拋錨，他們就下車幫他修理。這時一群鴿子飛上路邊的樹梢，于是邦妮與克萊德開始欣賞那剎那的美景。樹叢中的鴿子卻忽然驚飛而起，他們心想大事不妙?？巳R德急速跑向車中，但此時密集的子彈從樹叢中飛來。慢動作中，兩人被一陣亂槍打成了蜂窩狀。原來，為使自己的兒子莫斯減輕罪名，其父向追捕隊隊長哈默（Frank Hamer）告了密，并設(shè)下圈套伏擊了這對雌雄大盜。

In the middle of the Great Depression, Clyde Barrow and Bonnie Parker meet when Clyde tries to steal Bonnier’s mother’s car. Bonnie, who is bored by her job as a waitress, is intrigued（著迷）with Clyde, and decides to take up with him and become his partner in crime.

The duo’s（拍檔）crime spree（毫無節(jié)制的行為）shifts into high gear once they hook up with（與……合作）a dim-witted（愚蠢的）gas station attendant, C.W.Moss, then with Clyder’s older brother Buck and his wife,Blanche, a preacher’s daughter.

《雌雄大盜》劇照

邦尼真人

Bonnie and Clyde turn from pulling small-time heists（搶劫）to robbing banks. Their exploits（膽大妄為）also become more violent. When C.W. botches（做事失手，不謹(jǐn)慎）a bank robbery by parallel parking（平行停車）the getaway car, Clyde shoots the bank manager in the face after he jumps onto the slow-moving car’s running board（踏板）. The gang is pursued by law enforcement,including Texas Ranger Frank Hamer, who is captured and humiliated by the outlaws, then set free. A raid（突襲）later catches the outlaws off guard（使猝不及防）, mortally wounding Buck with a gruesome（可怕的）shot to his head and injuring Blanche. Bonnie, Clyde and C.W. barely escape with their lives. With Blanche sightless（失明）and in police custody, Hamer tricks her into revealing C.W.’s name, who was up until now still only an“unidenti fied suspect.”

Hamer locates Bonnie, Clyde and C.W. hiding at the house of C.W.’s father Ivan Moss, who thinks the couple have corrupted his son. He strikes a bargain with Hamer: in exchange for leniency（寬大處理）for the boy, and helps set a trap for the outlaws. When Bonnie and Clyde stop on the side of the road to help Mr. Moss fix a flat tire（爆胎）, the police in the bushes open fire and riddle（用子彈打成蜂窩狀）them violently. Hamer and his posse（一隊人馬）then come out of hiding, looking pensively（若有所思地）at the couple’s bodies.

特色影響

《雌雄大盜》一反20世紀(jì)30年代以情節(jié)敘事和道德教義為特點(diǎn)的黑幫電影模式，試圖運(yùn)用現(xiàn)代電影技巧對這類電影進(jìn)行反諷并對主人公的心理活動進(jìn)行細(xì)致的刻畫。影片顯然受到法國新浪潮電影運(yùn)動的影響，主要體現(xiàn)在對主要人物弱點(diǎn)（如克萊德的性無能）的揭示和跳接的剪輯風(fēng)格上。據(jù)說該片最初是想請法國新浪潮主將特呂弗（Francois Truffaut）執(zhí)導(dǎo)的，而且他對劇本也有所貢獻(xiàn)。

The film was intended as a romantic and comic version of the violent gangster films of the 1930s, updated with modern filmmaking techniques. Arthur Penn portrayed some of the violent scenes with a comic tone,then shifted disconcertingly（不和諧地） into horri fic and graphic（生動的，赤裸裸的）violence. The film was strongly in fluenced by the French New Wave directors,both in its rapid shifts of tone, and in its choppy（粗糲的，不平順的）editing, which is particularly noticeable in the film’s closing sequence. The film was originally offered to Francois Truffaut, the best-known director of the New Wave movement, who made contributions to the script. He passed on the project to makeFahrenheit 451（《華氏451度》，美國作家雷·布萊伯利所著的反烏托邦小說）.

華納兄弟電影公司當(dāng)時對這部電影極度缺乏信心，竟然答應(yīng)第一次監(jiān)制電影的沃倫·貝提擁有高達(dá)40%的票房分成。到1973年時，投資只有250萬美元的《雌雄大盜》全球票房已達(dá)7,000萬美元，成為該公司繼《窈窕淑女》（My Fair Lady, 1960）后票房最成功的影片。

Warner Bros.-Seven Arts had so little faith in the film that, in a then-unprecedented （史無前例的）move, they offered its first-time producer Warren Beatty 40% of the gross（收入總額）instead of a minimal fee. The movie went on to gross over $70 million worldwide by 1973.Bonnie and Clydewas their most commercially successful movie sinceMy Fair Lady.

影片歌頌犯罪的主題和前所未有的暴力鏡頭（以結(jié)尾尤甚）引起極大爭議，《紐約時報》評論家克羅瑟（Bosley Crowther）甚至發(fā)起了反對美國電影日益使用暴力鏡頭的運(yùn)動。

The film was controversial on its original release for its supposed glori fication（頌揚(yáng)） of murderers, and for its level of graphic violence, which was unprecedented at the time. Bosley Crowther ofThe New YorkTimeswas so appalled（震驚的）that he began to campaign against the increasing brutality（殘忍，野蠻）of American films.

但更多的影評人則給予影片以正面評價，看中它在當(dāng)時的社會文化環(huán)境下所起的歷史作用，其中以著名影評人易伯特（Roger Ebert）為代表。

Roger Ebert gaveBonnie and Clydea largely positive review, giving it four stars out of a possible four. He called the film “a milestone （里程碑）in the history of American movies, a work of truth and brilliance.” More than 30 years later, he added the film to his “Great Movies” list.

還有一些影評人則指出了該片受到的影響以及對后來影片的影響。

Some critics cite Joseph H. Lewis’sGun Crazy, a 1950 film noir（黑色電影）about a bank-robbing couple (also based loosely on the real Bonnie and Clyde), as a major in fluence on this film. Forty years after its premiere（首映）,Bonnie and Clydehas been cited as a major in fluence for such disparate（不同的） films asThe Wild Bunch（《野幫伙》）,The Godfather（《教父》）,The Departed（《無間道》）, andNatural Born Killers（《天生殺人狂》）.

總的來看，《雌雄大盜》借用了傳統(tǒng)犯罪片的模式，卻革新了原來的模式，打破了案發(fā)、反復(fù)追逐、大結(jié)局的三段式情節(jié)，轉(zhuǎn)而聚焦主人公的生活細(xì)節(jié)和內(nèi)心世界以及人性的弱點(diǎn)。影片以邦妮和克萊德這兩個反道德化的人物替代了傳統(tǒng)犯罪片中道德化的人物設(shè)定，通過冗長平緩、日常生活化的敘事方式展現(xiàn)了人物的生活、行為以及生存和心理狀態(tài)，流露出對這兩個人物的深切同情，將犯罪的原因歸咎于政治、經(jīng)濟(jì)、社會等多方面的要素。

歷史原貌

邦尼（1910年出生）和克萊德（1909年出生）是美國現(xiàn)代史上出名最早的不法之徒之一。他們相識于1930年，犯罪活躍期為1930年至1934年，正值美國經(jīng)濟(jì)大蕭條時期。他們在密蘇里州隱藏地“約普林”（Joplin）被追捕而落荒而逃，遺留下一些膠卷和詩稿（邦尼所做）。照片經(jīng)媒體曝光后，這對雌雄大盜立即成為全美家喻戶曉的人物，也成為全國通緝的要犯。

Bonnie Parker and Clyde Barrow were among the first celebrity criminals of the modern era. They had little choice in the matter: after they fled the Joplin hideout（藏身處）in April 1933 with nothing but the clothes they were wearing, the police discovered several rolls of undeveloped film（未沖選的膠片）and some scrawled doggerel（打油詩）poetry left behind. It was instant legend: the photos showed the couple in playful, snapshot-type poses, except they were wielding（揮舞） pistols, ri fles and BARs（勃朗寧自動步槍）. Before Joplin, the Barrows’ notoriety（惡名） had been con fined strictly to the Dallas area; afterwards, they became notorious across America.

這對雌雄大盜縱橫美國中部多州，以搶劫商店、加油站和銀行為生，并有命案在身，引起美國公眾的廣泛關(guān)注。被捕殺后，他們的傳奇故事仍然在民間流傳，魅力不減反增。美國研究邦尼和克萊德的歷史學(xué)家和作家米爾納（E.R. Milner）主要從歷史和文化兩個方面解讀雌雄大盜的永恒魅力，認(rèn)為他們代表了資本主義制度的受害者對現(xiàn)存的冷酷而不公平制度的反抗。

Through the decades, many cultural historians have analyzed Bonnie’s and Clyde’s enduring appeal to the public imagination. E.R.Milner, an historian, writer, and expert on Bonnie and Clyde and their era,put the duo’s enduring appeal to the public, both during the Depression and continuing on through the decades, into historical and cultural perspective.

To those people who, as Milner says, “consider themselves outsiders, or oppose the existing system,” Bonnie and Clyde represent the ultimate outsiders, revolting against an uncaring system. Milner explains in his bookThe Lives and Times of Bonnie and Clyde:

“Gaunt（憔悴的）, dazed（茫然的）men roamed the city streets seeking jobs... Breadlines and soup kitchens became jammed. (In rural areas) foreclosures（取消抵押品贖回權(quán)）forced more than 38 percent of farmers from their lands (while simultaneously) a catastrophic（災(zāi)難性的） drought struck the Great Plains... By the time Bonnie and Clyde became well known, many had felt that the capitalistic system had been abused by big business and government of ficials... Now here were Bonnie and Clyde striking back.”

真實(shí)生活中的邦尼和克萊德

邦尼與她的福特V8引擎B-400型敞篷車

1967年的影片《雌雄大盜》將他們的生平作了進(jìn)一步的簡化，使人物和故事更加緊湊并增加了浪漫色彩。其中有幾處與史實(shí)出入較大，例如他們多次入獄的經(jīng)歷、其他幫伙成員以及邦尼在一次車禍中幾乎被燒成殘廢等情節(jié)被略去。而C.W. Moss（莫斯）這個人物的塑造則融合了W.D. Jones（瓊斯）和亨利·麥斯文（Henry Methvin）兩個真實(shí)人物。

16歲的W.D. Jones在加入雌雄大盜后的兩周內(nèi)就犯了兩起謀殺罪，他是影片中C.W. Moss （莫斯）的原形之一。

The film considerably simpli fies the lives of Bonnie and Clyde, which included other gang members, repeated jailings, other murders and a horri fic auto accident that left Parker burned and a near-invalid. One of the film’s major characters, “C.W. Moss”, is a composite（合成物）of two members of the Barrow Gang: William Daniel:“W.D.” Jones and Henry Methvin.

電影中只字未提邦尼的婚姻。事實(shí)上，邦尼16歲就從高中輟學(xué)，與羅伊·桑頓（Roy Thornton）結(jié)婚。只是婚后兩人不和，自1929年之后幾乎斷絕了聯(lián)系，但兩人從未正式離婚。

In her second year of high school, Parker met Roy Thornton. They dropped out of school and were married on September 25, 1926, fourteen days before Parker’s 16th birthday. Their marriage, marked by his frequent absences and brushes with （與……相摩擦）the law, was shortlived. After January 1929, their paths never crossed again.But they were never divorced, and Parker was wearing Thornton’s wedding ring when she died. Thornton was in prison in 1934 when he learned of her death. His reaction was, I’m glad they went out like they did. It’s much better than being caught.”

影片與史實(shí)出入最大的地方是雌雄大盜將他們的追捕者哈默捉住并與之合影，以示羞辱。事實(shí)上，哈默當(dāng)時已是得克薩斯州赫赫有名的退休警探，在伏擊并射殺邦尼和克萊德之前從未與他們謀面。為此，哈默的家人在1968年訴訟影片詆毀哈默，并于1971年與電影公司達(dá)成庭外和解，獲得賠償。

The film strays furthest from fact in its portrayal of the Texas Ranger Frank Hamer as a vengeful（復(fù)仇的）bungler（笨拙的人） who had been captured, humiliated,and released by Bonnie and Clyde. Hamer was already a legendary Texas Ranger when he was coaxed out of semi-retirement to hunt down the duo; he had never seen them before he and his posse ambushed and killed them near Gibsland, Louisiana on May 23, 1934. In 1968,Hamer’s widow and son sued the movie producers for defamation（中傷，誹謗）of character over his portrayal.They were awarded an out-of-court settlement in 1971.

另外，最后邦尼與克萊德遭到伏擊并被打成篩子狀的情節(jié)也與史實(shí)不符。影片中，毫無警惕、未帶武器的克萊德從自己的車中下來，走向故意拋錨并尋求幫助的另一輛車。而真實(shí)場景是兩人當(dāng)時均在車內(nèi)并持有武器，而后座上則放著十幾支槍和幾千發(fā)子彈。

The film portrays an unarmed and unsuspecting Clyde walking away from the car to investigate the broken down truck when he was ambushed. It suggests that Bonnie, still in their car, may also have been unarmed. The real couple remained in the vehicle and had weapons at the ready in the front seat; the back seat contained a dozen guns and thousands of rounds of ammunition. Neither outlaw got out of the car alive.

邦尼和克萊德被伏擊斃命處的紀(jì)念石碑