21 · 威廉·S．哈特和早期的“西部”影片
William S. Hart and the Early "Western" Film
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William S. Hart was, perhaps, the greatest of all Western stars, for unlike Gary Cooper and John Wayne he appeared 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-bad man, the accidental-noble outlaw, or the honest-but-framed cowboy, or the sheriff 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 rooted 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 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 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, 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.
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整篇课文
William S. Hart was, perhaps, the greatest of all Western stars, for unlike Gary Cooper and John Wayne he appeared 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-bad man, the accidental-noble outlaw, or the honest-but-framed cowboy, or the sheriff 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 rooted 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 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 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, 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.
威廉·S．哈特或许是所有西部片明星中最出色的一位，因为与加里·库珀、约翰·韦恩不同，他只演西部片。从一九一四年到一九二四年，他的地位无人能及，也无人挑战。西部片的基本模式正是由他确立的；他还塑造出自己每部影片都扮演的主人公：外表像坏人、内心却善良的人，身为亡命之徒却意外显出高尚品格的人，诚实却遭陷害的牛仔，或者被恶毒流言弄得嫌疑缠身的警长。总之，这是一个既与自身矛盾斗争，又与西部边疆环境发生冲突的人。
与同时代的大多数好莱坞演员不同，哈特确实了解旧西部。他小时候在那里生活过，当时旧西部已经开始消逝。他所塑造的英雄，深深扎根于自己的记忆和经历，也扎根于那片已不复存在的边疆的历史与传说。诚然，美国历史上没有哪段时期、哪片土地，被如此夸张地浪漫化；但至少在个人与不断扩张的文明发生冲突这一点上，传说与现实确实交汇了。
那些早已习惯在恶劣自然环境中、在与印第安人的冲突中挣扎求生的人，面对政客、银行家和商人却不知所措，又被围栏、法律和陌生的禁忌击落马下。哈特扮演的这种亦正亦邪的人，始终是局外人，是被剥夺了原有权利的人。如果他在途中觉得非射杀一名警长、抢劫一家银行不可，早期观众也很容易理解和原谅他；尤其当最后击退印第安人进攻的正是哈特时，更是如此。
20世纪10年代的观众喜欢借电影逃到一个生活虽艰苦、却相对简单的年代。我们现在仍然如此。我们生活的世界里，未宣告的侵略、战争、虚伪、欺诈、混乱，以及迫在眉睫的毁灭，都是日常的一部分；所以，我们都想找到一套可以遵循的生活准则。
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译文依据整理稿，由本站按中文表达重新校订；解析据吴应时整理资料及首轮审校稿；词伙与练习提示为本站学习设计。原PDF第84—87页，2022年2月第2版。