∷宋云峰

影史地位

20世纪60年代的美国社会喧闹不安。国内反越战的情绪高涨，少数种族作为重要的政治力量在美国社会舞台上快速崛起。面对内忧外患，激烈的社会动荡使得激进的年青人们产生和传统对抗的情绪，反抗主流神话成为他们运动的目标。与此同时，好莱坞黄金时代已经成为过去式，其主题与风格也与要求自由的时代格格不入，而一批年轻导演则开始了一种全新的尝试——反映与旧的生活观念相冲突的年轻一代和他们的生活方式，探讨社会和政治问题，具有强烈的”反文化”色彩。他们继承了好莱坞传统的明星制及工业化的生产方式，但在体制内却进行了大胆新奇的尝试，赋予电影更具现实感的内容，并在其中发展了各种电影类型新的表现手段。这就是美国电影史上的”新好莱坞电影”。

1967年，由阿瑟·潘恩（Arthur Penn）导演、沃伦·贝提（Warren Beatty）和费·唐纳薇（Faye Dunaway）主演、基于20世纪30年代真人真事改编的犯罪故事片《雌雄大盗》（又译为《邦尼和克莱德》，Bonnie and Clyde）在美国上映。影片松散的生活化风格与好莱坞格格不入，而肯定甚至是歌颂犯罪的主题和极度暴力的镜头则打破了《希斯法典》的禁忌。然而，影片却受到当时和后来年轻人的追捧，成为20世纪60年代的经典，开启了美国电影史上的新好莱坞时代。

雌雄大盗的福特座驾中搜出的十几只枪和数千发子弹

雌雄大盗的追捕者和击毙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（电影的）taboos and was popular with the younger generation. Its success prompted（导致，引发）other filmmakers to be more open in presenting sex and violence in their films. The film’s ending also became iconic（标志性的）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.

故事情节

20世纪30年代初的美国处于经济大萧条时期，失业率急剧攀升（高达25%），许多人的生计甚至成了问题，一些人不得不铤而走险。邦妮（Bonnie）看到克莱德(Clyde)正要偷她妈妈的车，二人由此相识、一拍即合，踏上了偷盗和抢劫的不归之路。除了他们两人，克莱德的哥哥巴克(Buck)和他的妻子布兰彻(Blanche) 还有一个会修车的小个子莫斯（C.W. Moss）也陆续加入他们的帮伙。

克莱德与哥哥难兄难弟，感情甚笃，而邦妮和布兰彻却水火不相容。因此四人之间呈现微妙的关系：克莱德要维系和巴克之间的兄弟之情，另一方面又要时时安抚邦妮，最后这种紧张关系在巴克被击毙以及布兰彻被逮捕后结束。

他们不得不来到莫斯的家里蛰居。一天，在外出的路上看到莫斯父亲的车抛锚，他们就下车帮他修理。这时一群鸽子飞上路边的树梢，于是邦妮与克莱德开始欣赏那刹那的美景。树丛中的鸽子却忽然惊飞而起，他们心想大事不妙。克莱德急速跑向车中，但此时密集的子弹从树丛中飞来。慢动作中，两人被一阵乱枪打成了蜂窝状。原来，为使自己的儿子莫斯减轻罪名，其父向追捕队队长哈默（Frank Hamer）告了密，并设下圈套伏击了这对雌雄大盗。

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（着迷）with Clyde, and decides to take up with him and become his partner in crime.

The duo’s（拍档）crime spree（毫无节制的行为）shifts into high gear once they hook up with（与……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.

《雌雄大盗》剧照

邦尼真人

Bonnie and Clyde turn from pulling small-time heists（抢劫）to robbing banks. Their exploits（胆大妄为）also become more violent. When C.W. botches（做事失手，不谨慎）a bank robbery by parallel parking（平行停车）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（突袭）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（宽大处理）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（用子弹打成蜂窝状）them violently. Hamer and his posse（一队人马）then come out of hiding, looking pensively（若有所思地）at the couple’s bodies.

特色影响

《雌雄大盗》一反20世纪30年代以情节叙事和道德教义为特点的黑帮电影模式，试图运用现代电影技巧对这类电影进行反讽并对主人公的心理活动进行细致的刻画。影片显然受到法国新浪潮电影运动的影响，主要体现在对主要人物弱点（如克莱德的性无能）的揭示和跳接的剪辑风格上。据说该片最初是想请法国新浪潮主将特吕弗（Francois Truffaut）执导的，而且他对剧本也有所贡献。

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（不和谐地） into horri fic and graphic（生动的，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（粗粝的，不平顺的）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（《华氏451度》，美国作家雷·布莱伯利所著的反乌托邦小说）.

华纳兄弟电影公司当时对这部电影极度缺乏信心，竟然答应第一次监制电影的沃伦·贝提拥有高达40%的票房分成。到1973年时，投资只有250万美元的《雌雄大盗》全球票房已达7,000万美元，成为该公司继《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 （史无前例的）move, they offered its first-time producer Warren Beatty 40% of the gross（收入总额）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.

影片歌颂犯罪的主题和前所未有的暴力镜头（以结尾尤甚）引起极大争议，《纽约时报》评论家克罗瑟（Bosley Crowther）甚至发起了反对美国电影日益使用暴力镜头的运动。

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

但更多的影评人则给予影片以正面评价，看中它在当时的社会文化环境下所起的历史作用，其中以著名影评人易伯特（Roger Ebert）为代表。

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.

还有一些影评人则指出了该片受到的影响以及对后来影片的影响。

Some critics cite Joseph H. Lewis’sGun Crazy, a 1950 film noir（黑色电影）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（《野帮伙》）,The Godfather（《教父》）,The Departed（《无间道》）, andNatural Born Killers（《天生杀人狂》）.

总的来看，《雌雄大盗》借用了传统犯罪片的模式，却革新了原来的模式，打破了案发、反复追逐、大结局的三段式情节，转而聚焦主人公的生活细节和内心世界以及人性的弱点。影片以邦妮和克莱德这两个反道德化的人物替代了传统犯罪片中道德化的人物设定，通过冗长平缓、日常生活化的叙事方式展现了人物的生活、行为以及生存和心理状态，流露出对这两个人物的深切同情，将犯罪的原因归咎于政治、经济、社会等多方面的要素。

历史原貌

邦尼（1910年出生）和克莱德（1909年出生）是美国现代史上出名最早的不法之徒之一。他们相识于1930年，犯罪活跃期为1930年至1934年，正值美国经济大萧条时期。他们在密苏里州隐藏地“约普林”（Joplin）被追捕而落荒而逃，遗留下一些胶卷和诗稿（邦尼所做）。照片经媒体曝光后，这对雌雄大盗立即成为全美家喻户晓的人物，也成为全国通缉的要犯。

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（藏身处）in April 1933 with nothing but the clothes they were wearing, the police discovered several rolls of undeveloped film（未冲选的胶片）and some scrawled doggerel（打油诗）poetry left behind. It was instant legend: the photos showed the couple in playful, snapshot-type poses, except they were wielding（挥舞） pistols, ri fles and BARs（勃朗宁自动步枪）. Before Joplin, the Barrows’ notoriety（恶名） had been con fined strictly to the Dallas area; afterwards, they became notorious across America.

这对雌雄大盗纵横美国中部多州，以抢劫商店、加油站和银行为生，并有命案在身，引起美国公众的广泛关注。被捕杀后，他们的传奇故事仍然在民间流传，魅力不减反增。美国研究邦尼和克莱德的历史学家和作家米尔纳（E.R. Milner）主要从历史和文化两个方面解读雌雄大盗的永恒魅力，认为他们代表了资本主义制度的受害者对现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（取消抵押品赎回权）forced more than 38 percent of farmers from their lands (while simultaneously) a catastrophic（灾难性的） 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.”

真实生活中的邦尼和克莱德

邦尼与她的福特V8引擎B-400型敞篷车

1967年的影片《雌雄大盗》将他们的生平作了进一步的简化，使人物和故事更加紧凑并增加了浪漫色彩。其中有几处与史实出入较大，例如他们多次入狱的经历、其他帮伙成员以及邦尼在一次车祸中几乎被烧成残废等情节被略去。而C.W. Moss（莫斯）这个人物的塑造则融合了W.D. Jones（琼斯）和亨利·麦斯文（Henry Methvin）两个真实人物。

16岁的W.D. Jones在加入雌雄大盗后的两周内就犯了两起谋杀罪，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.

电影中只字未提邦尼的婚姻。事实上，邦尼16岁就从高中辍学，与罗伊·桑顿（Roy Thornton）结婚。只是婚后两人不和，自1929年之后几乎断绝了联系，但两人从未正式离婚。

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 （与……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.”

影片与史实出入最大的地方是雌雄大盗将他们的追捕者哈默捉住并与之合影，以示羞辱。事实上，哈默当时已是得克萨斯州赫赫有名的退休警探，在伏击并射杀邦尼和克莱德之前从未与他们谋面。为此，哈默的家人在1968年诉讼影片诋毁哈默，并于1971年与电影公司达成庭外和解，获得赔偿。

The film strays furthest from fact in its portrayal of the Texas Ranger Frank Hamer as a vengeful（复仇的）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（中伤，诽谤）of character over his portrayal.They were awarded an out-of-court settlement in 1971.

另外，最后邦尼与克莱德遭到伏击并被打成筛子状的情节也与史实不符。影片中，毫无警惕、未带武器的克莱德从自己的车中下来，走向故意抛锚并寻求帮助的另一辆车。而真实场景是两人当时均在车内并持有武器，而后座上则放着十几支枪和几千发子弹。

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.

邦尼和克莱德被伏击毙命处的纪念石碑