[良知] Roman Polanski：我不是犯人！2009/10/02

久違了女神殿筆者投身軍旅期間謹以翻譯本文聲援人生就和他電影一樣充滿腥羶色戲劇張力的波蘭斯基！









In popular imagination, at least, the 1970s was the golden age of excess in Hollywood. This was the decade when the studios were taken over by a new generation of maverick, mostly male, artists and film-makers, whose creative brilliance was matched by their wild feats of self-indulgent hedonism when they were off duty. Thirty years on, as the media buzzes with the news about the arrest in Switzerland of 76-year-old director Roman Polanski, and the revelations about the incestuous relationship between Mamas and Papas star John Phillips and his daughter Mackenzie, that golden era of excess begins to look more than a little shabby.



至少在大眾的幻想中，七零年代乃好萊塢過剩的黃金年代。這是個片廠被一群初生之犢駕馭的年代，大部分為男性，藝術家和電影人，其洋溢才華與他們私下自溺享樂主義的彪炳戰功相吻合。三十年後，媒體隨七十六歲波蘭斯基瑞士蒙難案件起舞，以及關於「媽媽與爸爸合唱團」主唱約翰菲利浦和女兒亂倫關係之啟示，過剩的黃金年代開始褪去光環。



"the golden age of excess in Hollywood" 有更佳翻譯請不吝指教！



The Mamas & the Papas



Of course, there was a large amount of myth-making in the way Seventies Hollywood has been memorialised. The excess wasn't only in the Hollywood players' private lives – it was in the wildly far-fetched stories they and others told about it. If the cocaine and orgies had been as rife as some chrociclers believe, then the decade surely wouldn't have given us films like The Godfather, Chinatown, Five Easy Pieces, The Deerhunter, Cutter's Way, Apocalypse Now, Being There and the other masterpieces that were produced with such apparent ease. 



當然，七零年代好萊塢有許多事蹟是被神化出來的。此過剩不只好萊塢玩家私人生活，更是三人成虎的天花亂墜。如果古柯鹼和狂歡充斥如某些史學家所相信，那麼該年代絕對不會寫意地生產【教父】【唐人街】【浪蕩子】【越戰獵鹿人】【天有眼】【現代啟示錄】【無為而治】等其他族繁不及備載影史經典。



Nevertheless, books like producer Julia Phillips's You'll Never Eat Lunch In This Town Again, Peter Biskind's Easy Riders, Raging Bulls and former studio boss Robert Evans's The Kid Stays In The Picture provided enjoyably lurid accounts of the drug- and sex-fuelled decadence of the time.



然而，書本如製片茱莉亞菲利浦《你將不在這城鎮吃午餐》彼得畢斯肯《逍遙騎士，蠻牛》以及前片場大頭羅伯伊凡《留住畫中人》為當時酒池肉林提供了茶餘飯後血淋淋釋例。



Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll Generation Saved Hollywood



This was a pre-Aids era. Directors were young and vain enough to think that promiscuity carried few risks and that the drugs wouldn't frazzle their brains. There was a sense of droit de seigneur – the notion that the best film-makers were the equivalents of the old feudal lords who used to have the right to copulate with their vassals' brides on their wedding nights. 



這是個前愛滋年代。導演們年少虛榮到認為那雜交並非高度危險，毒品不會搞爛腦袋。「初夜權」的觀念盛行—那些優秀導演等同擁有權利在諸侯新婚夜搞他們的新娘的舊時封建君王。



Droit de seigneur













Roman Polanski & Nastassja Kinski 





Photo-shoots with starlets were just another example of the casting-couch syndrome that had prevailed in Hollywood since the earliest days of the studio system.



與頭角崢嶸小明星合照乃另外一個自早年好萊塢片廠制度便充斥的選角沙發症候群案例。



In Hollywood, the older man often played the role of Svengali as much as that of exploiter. As Marina Zenovich's excellent documentary Roman Polanski: Wanted and Desired (2008) shows, Polanski's relationship with the teenage Nastassja Kinski, who he met in the mid-1970s and photographed for a magazine, helped set Kinski on the road to stardom. There are many other examples of real-life couples whose story matches that of the characters in George Cukor's A Star is Born. The young starlet outstrips the star who preys on her. Her career blossoms. He drifts into obscurity.



在好萊塢老傢伙扮演誘拐眠者角色就像剝削者角色般猖獗。瑪莉娜傑出紀錄片【羅曼波蘭斯基：通緝與慾望】顯示，波蘭斯基和青少女娜塔莎金斯基的關係，兩人結識於七零中期並為雜誌拍照，開通金斯基向往明星之路。更多案例證明諸多現實生活情侶歷程好比喬治庫克【星海浮沉錄】。頭角崢嶸小明星超越覬覦男明星。她的演藝生涯開花結果。他香消玉殞，



Svengali 



You can hardly blame film-makers for behaving with such recklessness after Hollywood let them in during the 1970s. This year marks the 40th anniversary of the film that helped them break down the barriers, Easy Rider (1969.) Before Peter Fonda and Dennis Hopper burst onto the scene, the old Hollywood system had often seemed hermetically sealed to the outside world. The studios ran along strictly regimented lines. Actors were all under contract. Directors did more or less what they were told. 



你無法指責導演們精蟲灌腦的行徑，畢竟那是七零年代好萊塢所允許。今年是【逍遙騎士】四十週年紀念日，逍片協助他們打破建制。彼得芳達與丹尼斯霍伯勁爆螢幕前，古典好萊塢系統看似遠離塵囂。片廠經營受嚴格管控。演員受合約約束。導演多多少少是個魁儡。



Read F Scott Fitzgerald's Pat Hobby stories or his "Crazy Sunday", and skim through Kenneth Anger's Hollywood Babylon books, and you will realise that alcohol, sex and drugs existed in Hollywood long before the 1970s. The 1920s had seen the Fatty Arbuckle scandal. In 1921 Roscoe Conkling Arbuckle, the hard-living, boulder-shaped, heavy-boozing comedian who had become hugely popular in silent comedy, was charged with the murder of a young starlet called Virginia Rappe, who died in murky circumstances after a wild party in a hotel in San Francisco. The sensationalist media coverage of the scandal throws into stark relief the idea that muck-raking, celebrity journalism is a new phenomenon. 



閱讀史考特費滋傑羅《佩特哈比故事集》或《瘋狂星期天》，瀏覽肯尼斯安格《好萊塢巴比倫》，你將理解酒精，性愛與毒品早於七零年代就出現在好萊塢。二零年代即見識肥仔阿巴口醜聞。一九二一年阿巴口，刻苦耐勞，卵石體態，酗酒喜劇演員在默喜劇大受歡迎，被控謀殺一位叫薇吉妮亞哈普的頭角崢嶸小明星，該女死於三番市飯店二十四小時派對後泥淖。聳動媒體對該醜聞的刻板報導讓大家鬆了口氣，水果日報不是新現象。



F. Scott Fitzgerald

Kenneth Anger

Roscoe Arbuckle













William Friedkin 墨鏡造型酷似勞勃瑞福！



In Locarno this summer, director William Freidkin (director of The French Connection and The Exorcist) spoke eloquently about the "vast change" that took place in American cinema in the wake of Easy Rider. 



羅卡諾的夏天，【霹靂神探】【大法師】威廉佛雷金暢談【逍遙騎士】在美國影史上發啟之「快速變遷」。



"It [Easy Rider] was made for very little money by people who were complete unknowns and it was a great success. It was about the American drug culture. The studios in Hollywood were looking for other young film-makers to make other such films." 



「逍片由默默小卒以極低預算拍攝，空前成功。關於美國毒品文化。好萊塢片開始廠尋找其他年輕導演拍攝類似電影。」



Friedkin himself, Francis Ford Coppola, Peter Bogdanovich and Martin Scorsese were among the figures who gatecrashed their way into the new Hollywood. The films that they made were primarily influenced by the work of European film-makers. Audiences in their turn became more and more interested in the "new" Hollywood. Studio bosses may have felt incomprehension and even revulsion at the new Easy Rider subculture but that didn't stop them greenlighting films by young, iconoclastic directors who probably wouldn't have been allowed into their offices a few years before.



佛雷金本身，法蘭西斯柯波拉，彼得波丹諾維茲和馬汀史柯西斯是新好萊塢肖像。他們的作品源起地受歐洲導演影響。觀眾也對「新」好萊塢更有興趣。片廠老闆或許對【逍遙騎士】次文化感到無法掌握甚至反感，但並未阻止綠燈那些幾年前連辦公室都無法踏進的年輕，偶像破壞導演。



Jack Nicholson's story is emblematic of the sudden transformation in the fortunes of many young film-makers and actors. In 1968, Nicholson had been an out-of-work actor living in Harry Dean Stanton's basement and working on a very goofy script with Bob Rafelson for the Monkees vehicle Head. After he played lawyer George Hanson in Easy Rider, he was on his way to becoming an American icon. 



傑克尼克遜的奮鬥象徵許多年輕導演與演員的一夜致富。一九六八年尼克森是個住在哈利狄恩史丹頓地下室的失業演員，和鮑柏雷佛森為猴子電影【頭】著手笨拙劇本。飾演【逍遙騎士】律師喬治韓森後，他正成為美國偶像。



The Monkees





















Martin Scorsese & Isabella Rossellini





Whatever the similarities between the scandals that 1920s and 1970s Hollywood yielded, the two eras were fundamentally different. By the 1970s, the old studio system had collapsed. Moreover as William Friedkin puts it, film-makers were passionately interested in and influenced by the events of the late 1960s and early 1970s. 



姑且不論好萊塢二零與七零醜聞之相似程度，這兩個年代有根本上的不同。七零年代舊片廠制度已瓦解。如威廉佛雷金表示，導演們對六零晚期和七零早期事件熱血滿腔。



"America was going through a national nervous breakdown. It started with the assassination of John Kennedy and then the assassination of Martin Luther King, then Robert Kennedy, then the onset of the Vietnam War in which America stumbled very badly and has never really recovered," Friedkin suggested. "The 1960s ended with the Charles Manson murders – the murder of Sharon Tate and a bunch of people for no apparent reason at all by a bunch of drug-infested people who were aimless and sort of adrift from the American culture." 



「美國當時正經歷一場國家層級精神崩潰。始於刺殺甘迺迪，接著是金恩博士，甘迺迪他弟，美國永劫不復的越戰深淵。」佛雷金表示。「六零年代以查爾斯曼森終結—莎朗蒂與眾友人莫須有謀殺案，無目的偏離美國文化眾毒蟲犯下。」



Friedkin, Coppola, Scorsese and Co all emerged in this period, making movies that reflected the upheaval in the society around them. "We were reflecting what we could perceive, which was paranoia everywhere and irrational fear. Certainly, my films of the 1970s reflected just that." 



佛雷金，柯波拉，史柯西斯等同夥皆於這期間竄起，拍攝電影反映周圍社會動盪。「我們反映我們所感知，即無所不在妄想與非理性恐懼。無疑地，我七零年代的電影正好反映如此現象。」



What was happening in the early 1970s Hollywood of The Exorcist and The Godfather had been partially anticipated in the British film industry of the late 1960s. Swinging London had yielded a series of very bleak and unsettling films. Donald Cammell and Nic Roeg's Performance, which had been made in 1968 but not released until two years later, took the ingredients of an East End gangster film and of a 1960s rock-star movie and blended them together to make a phantasmagoric horror film. Whether it was Michelangelo Antonioni's Blowup (1966), Joseph Losey's Accident (1967) or Roman Polanski's febrile psychodramas Repulsion (1965) and Cul-de-sac (1966), the best British-made films of the era invariably had a very dark core. 



六零年代晚期的英國影業部份預期了【大法師】【教父】佔領之七零年代早期好萊塢。搖擺英倫產出一系列異常荒涼如坐針氈電影。唐諾卡莫和尼可羅格的【迷幻演出】六八年殺青兩年後才釋出，取材東倫敦黑幫片與六零搖滾明星片，調配成魔幻恐怖片。安東尼奧尼【春光乍洩】(安董魂!!!) 喬瑟夫羅西【心猿意馬】或波蘭斯基熱衰竭心理劇【反撥】與【死結】(丹妮芙姐妹花魂!!!)，以上該時期英國最優質電影個個俱備顆黑暗之心。



變身





 

Decade of decadence: Nicholson, Polanski and Hollywood in the Seventies



下週同一時間敬請期待 續篇！



















In France he's desired, and in America he's wanted.