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1、 新概念英语第四册 Lesson21：William S. Hart and the WesternWilliam S. Hart and the early ”Western” film威廉.S. 哈特和早期限的西部影片How did William Hart”s childhood prepare him for his acting role in Western films?William S. hart was, perhaps, the greatest of all Western stars, fro unlike Gary Cooper and John Wayne he a
2、ppeared in nothing but Westerns. From 1914 to 1924 he was supreme and unchallenged. It was Hart who created the basic formula of the Western film, and devised the protagonist he played in every film he made, the good-had man, the accidental-noble outlaw, or the honest-but-framed cowboy, or the sheri
3、ff made suspect by vicious gossip; in short, the individual in conflict with himself and his frontier environment.Unlike most of his contemporaries in Hollywood, Hart actually knew something of the old West. He had lived in it as a child when it was already disappearing, and his hero was firmly root
4、ed in his memories and experiences, and in both the history and the mythology of the vanished frontier. And although no period or place in American history has been more absurdly romanticized, myth and reality did join hands in at least one arena, the conflict between the individual and encroaching
5、civilization.Men accustomed to struggling for survival against the elements and Indians were bewildered by politicians, bankers and businessmen, and unhorsed by fences, laws and alien taboos. Hart”s good-bad man was always an outsider, always one of the disinherited, and if he found it necessary to
6、shoot a sheriff or rob a bank along the way, his early audiences found it easy to understand and forgive, especially when it was Hart who, in the end, overcame the attacking Indians.Audiences in the second decade of the twentieth century found it pleasant to escape to a time when life, though hard,
7、was relatively simple. We still do; living in a world in which undeclared aggression, war, hypocrisy, chicanery, anarchy and impending immolation are part of our daily lives, we all want a code to live by.CARL FOREMAN Virtue and a Fast Gun from The ObserverNew words and expressions 生词和短语Supremeadj.p
8、rotagonistn. 主角outlawn. 逃犯，亡命之徒framedadj. 遭到陷害的viciousadj. 恶毒的mythologyn. 神话vanishedadj. 消逝了的absurdlyadv. 荒谬地arenan. 竞技场在encroachingadj. 慢慢渗入的Indiann. 印第安人bewilderv. 使手足无措alienadj. 外来的taboon. 戒律disinheritv. 剥夺.继承权undeclaredadj. 未经宣布的hypocrisyn. 伪善chicaneryn. 诈骗impendingadj. 迫近的，近在眉睫的immolationn. 杀戮c
9、oden. 准则参考译文威廉.S.哈特也许是美国西部电影明星中的佼佼者。他和加里.古柏、约翰.韦恩不同，他只在西部电影中扮演角色。在1914年至1924年期间，他，独霸影坛。正是他制造了西部电影的基调，即在他自己的拍摄的影片中他所塑造的仆人公形象：被认为是坏人的好人，出人意料的高尚的逃犯，诚恳却遭陷害的牛仔或因流言蜚语蒙受嫌疑的司法官。总之，仆人公是一个自相冲突，又与他的拓荒环境相冲突的人物。哈特与大局部同时代在好莱坞的演员不同，他的确了解西部早期拓荒生活的一些状况。作为一个孩子他曾在西部生活过，当时西部拓荒生活正在消逝。他塑造的英雄人物深深地扎根于他本人的记忆和经受之中，也扎根于有关已经消逝
10、的拓荒生活的历史和神话之中。虽然在美国历没有任何时期或地区像西部拓荒时期那样被荒唐地浪漫主义化了，但神话和事实至少在某一个舞台上共存，也就是存在于个人与慢慢闯入的文明这两者的冲突之中。习惯与大自然和印第安人作斗争以求生存的拓荒者被政客、银行家和商人搞得晕头转向，最终被圈地、尖律我外来的清规戒律所击败。哈特扮演的被误为坏人的好人总是一个局外人，总是一个被剥夺继承权的人。假如他认为在进展过程中有必要枪击一个司法官或抢劫一个银行，他的早期观众很简单承受，觉得应当原谅他，特殊是当哈特最终战胜了前来进攻的印第安人时，观众更能原谅他。生活在20世纪20年月的观众认为，逃到一个即使艰难但比拟简朴的时代中去是件开心的事，我们今日仍有这种感觉。如今，不宣而战的侵略、战斗、虚伪、诈骗、无政府状态以及马上临头的消灭成了我们日常生活的一局部，我们都盼望有一个赖以生存的行为准则。
