--- author: TVO Today date: '2026-04-12' guest: '' layout: post.njk source: https://www.youtube.com/watch?v=ZoPKjPFkBwg speaker: TVO Today tags: - war-films - hollywood-history - propaganda - cinematic-narrative - post-war-reflection title: 战争与好莱坞：电影如何塑造历史叙事 summary: 本期节目深入探讨了战争题材电影在好莱坞的历史地位及其深远影响。从早期对战争的浪漫化描绘，到二战期间作为宣传工具的强大作用，再到战后对战争残酷性及道德困境的深刻反思，电影始终是记录、塑造和质疑战争叙事的重要媒介。节目通过《西部片头号新闻》、《无语问苍天》、《巾帼英雄》、《赢得你的双翼》、《国王老鼠》、《奥林匹亚》、《化身博士》、《安妮·弗兰克日记》、《我们为何而战》系列、《黑人士兵》、《纽伦堡的审判》、《野战排》、《巴顿将军》等经典影片，揭示了电影在反映战争、唤起民族情感、引发社会讨论乃至促进和平思考方面所扮演的关键角色。 insight: '' draft: true series: '' category: culture-history area: society-thinking project: [] people: - George Stevens - Leni Riefenstahl - Frank Capra - Franklin Schaffner - Francis Ford Coppola - George C. Scott companies_orgs: - MGM - US Office of War Information - Army Air Forces - US Army - Academy Awards products_models: [] media_books: - Wings - All Quiet on the Western Front - Mrs. Miniver - Winning Your Wings - King Rat - Olympia - Shane - The Diary of Anne Frank - Why We Fight series - The Negro Soldier - Judgment at Nuremberg - Platoon - Patton status: evergreen --- ### 战争叙事的起源与早期探索 **旁白**: 从1974年到2013年，**《周六电影之夜》**（Saturday Night at the Movies），由深受喜爱的 **埃尔维·约斯特**（Elwy Yost）创作，揭开了电影魔力的一角。在本系列中，我们深入 **TVO** 珍贵的档案库，发掘那些常常是首次曝光的片段，揭示那些塑造了**银幕**的巨匠们鲜为人知的秘密。那么，我建议你们继续前进，开始你们的行动吧。 (飞机轰鸣声) (爆炸声) 战争。 这是电影中最**经久不衰的主题**之一。 几十年来，诸如 **《阿拉伯的劳伦斯》**、**《拯救大兵瑞恩》** 和 **《现代启示录》** 这样的电影， 捕捉了战争的**勇气**与**混乱**。 这些关于**英雄主义**、**牺牲**以及**善恶斗争**的故事，跨越世代，依然能引起共鸣。 它们之所以总是那么好，是因为它们将人们置于一种**极具挑战性的境地**，从而激发强烈的情感。 有太多人能与它们产生联系，因为有太多人曾卷入战争。 在1929年首届**奥斯卡金像奖**（Academy Awards）上， 一部关于一战飞行员的无声电影**《西部片头号新闻》**（Wings）， 凭借获得**最佳影片**，创造了历史。 仅仅一年后，**《无语问苍天》**（All Quiet on the Western Front） 剥去了战争的荣耀，将观众带入**战壕**，留下了令人难忘的结局。
Original English NARRATOR: From 1974 to 2013, Saturday Night at the Movies, created by the beloved Elwy Yost, pulled back the curtain on the magic of cinema. In this series, we delved into TVO's treasured archives to uncover often never-before-seen footage revealing the secrets of the silver screen from the legends who built it. So, I suggest you go ahead and make your move. (Airplanes whirring) (Exploding) War. One of cinema's most enduring themes. Over the decades, films like Lawrence of Arabia, Saving Private Ryan, and Apocalypse Now have captured the courage and chaos of war. These stories of heroism, sacrifice, and the fight between good and evil resonate across generations. They're always good because they put people into such a compromising position that it causes a great deal of emotions to come out. There's so many people that can relate to them because there's so many that have been involved in wars. At the inaugural Academy Awards in 1929, Wings, a silent movie about fighter pilots in World War I, made history as the first film ever to win Best Picture. Just a year later, All Quiet on the Western Front stripped back the glory of war and brought audiences into the trenches with an unforgettable ending.
**卢·艾尔斯**: 那个关于蝴蝶的创意，是摄影师 **卡尔·弗洛伊德**（Karl Freund）构思的。 在我看来，蝴蝶与其他生物最大的不同在于，它从一只卑微的毛毛虫的蛹中破茧而出。 从某种意义上说，你可以将此比作人类的灵魂。 从人类身体的蛹中挣脱出来。 (枪声) 这些电影证明了战争故事能够打动观众， 不仅是通过英雄事迹， 更是通过**人性**。
Original English LEW AYRES: That idea for the butterfly evolved by Karl Freund, who was the cameraman. To my thinking about the butterfly, which is different from most other creatures in that it emerges from the chrysalis of being just a humble caterpillar. In a sense, you could compare that to the soul of man. Moving from the chrysalis of the human body. (Gun firing) These films proved that war stories could move audiences, not just through heroics, but through humanity.
**旁白**: 什么让我着迷于战争、暴力，以及我们人类一路走来的历程？ 那就是我们为何仍觉得有必要诉诸于它？ 我参与导演的每一部电影， 我都希望，它是一份**充满激情的反战宣言**。 战争塑造了好莱坞一个多世纪的叙事，而**第二次世界大战**（World War II） 所启发的电影比任何其他冲突都要多。 它始于强大的叙事。 **威廉·惠勒**（William Wyler）为 **MGM** 执导的 **《巾帼英雄》**（Mrs. Miniver）， 讲述了一个普通英国家庭 在**闪电战**（Blitz）期间努力求生的故事。 原著作者 **简·斯特鲁瑟**（Jan Struther）写了许多关于明尼弗夫人的有趣小故事。 一个迷人的角色。 它们被汇编成一本小书，**MGM** 的某人受这本书的启发， 决定展现这个非常普通的英国家庭 在**全面战争**（total war）的异常环境下。 **罗斯福总统**（President Roosevelt）要求尽快公映， 以便尽可能多的人能够尽快看到它。 我想，这在某种程度上 有助于消除**美国**残存的**孤立主义**。 我不怪人们不想卷入战争， 不想让他们的儿子、丈夫和父亲卷入战争， 但当然， 那不是在欧洲发生的一场小冲突， 而是一场全球战争，无论如何都会**灾难性地影响美国**， 因为一旦自由国家在欧洲被击败， 美国也将是下一个。 据说**温斯顿·丘尔其**（Winston Churchill）将这部电影描述为 “价值100艘战舰的宣传”。
Original English What fascinates me with war, with violence, and with all the way that we've come as human beings, why we still find it necessary to resort to it and every movie that I have been involved in as director has, I hope, been a passionate anti-war statement. War has shaped Hollywood's storytelling for over a century and World War II has inspired more films than any other conflict. It began as powerful storytelling. William Wyler's Mrs. Miniver for MGM tells the story of an ordinary English family trying to survive the Blitz. Jan Struther, the author, wrote lots of funny little stories about Mrs. Miniver. A charming character. And they were collected into a tiny book and MGM, somebody was inspired buy this tiny book and to show this very normal English family in the abnormal circumstances of total war. President Roosevelt asked him to get it out in general release so that as many people could see it as soon as possible. I'd like to think that it had something to do with dispelling the last traces of isolationism in America. I don't blame people for not wanting to get into a war, not wanting their sons and husbands and fathers to get into a war, but, of course, it was not a skirmish over in Europe, it was a global war and it would have affected America disastrously anyhow as the freedom-loving countries had been overcome in Europe. America would have been next. Winston Churchill is alleged to have described the film as "propaganda worth 100 battleships."
### 二战的号角：好莱坞的宣传机器 **旁白**: 1941年12月日军偷袭**珍珠港**（Pearl Harbor）后，剧本也随之改变。 电影英雄们如今成为了**国家团结**和**道德正义**的象征。 **美国战争信息办公室**（US Office of War Information）于1942年成立， 并迅速启动了**电影局**（Bureau of Motion Pictures）， 以利用其自身那并非“秘密”的武器。 好莱坞！ **新闻播报员**: 这里制作了训练、战术和鼓舞士气的影片。 图文并茂地展示 我们为何而战。
Original English After the Japanese attack on Pearl Harbor in December 1941, the script changed. Movie heroes now became symbols of national unity and moral righteousness. The US Office of War Information was created in 1942 and quickly launched the Bureau of Motion Pictures to harness its own, not-so-secret, weapon. Hollywood! NEWSREEL REPORTER: Here are produced training, operational, and inspirational films. Films which graphically illustrate what we're fighting for.
**旁白**: 电影原本就是**善恶叙事**的大师，如今更是激起了爱国主义和团结。 **宣传**变成了大众娱乐。 事实上，**陆军航空队**（Army Air Forces）成立了 **第一电影制作单位**（First Motion Picture Unit）来制作训练和招募影片。 其第一部作品取得了巨大的成功， 吸引了超过15万 men 参军。 在全国影院上映的**《赢得你的双翼》**（Winning Your Wings）， 出现了观众熟悉的面孔。 “你好啊。” “是的。看起来我又回到电影里了，不是吗？” **詹姆斯·斯图尔特**（James Stewart）是第一位 参军的好莱坞明星， 但许多人紧随其后， 包括战斗工程师**梅尔·布鲁克斯**（Mel Brooks）。 “我做了什么？我没跟他们说一句话！” 他们只是把他们的火炮 和步枪对准我，白天黑夜地朝我射击， 我说：“这不行。” 备受赞誉的影星、 自学成才的工程师 和发明家**海蒂·拉玛**（Hedy Lamarr）共同发明了一种**频率跳变系统**，用于引导鱼雷， 防止它们被敌方干扰。 她的发明后来成为了**现代Wi-Fi**的基础。 对许多人来说，服役为他们回国后打开了新的机会。 “我22岁。” “我在海军待了三年，嗯， 大概就是这样了。” “我真的很幸运。” “战争一结束，我就能利用 **《退伍军人权利法案》**（GI Bill of Rights）了， 这让我有机会在出去自食其力之前 上表演学校。” “我就是在那里上的学，环球公司（Universal）有人看到了我，就把我送到了好莱坞。” “从我离开海军的那天算起，十八个月， 我签约十八个月后， 我就得到了我在电影里的第一个主角。” “**《退伍军人权利法案》**是这个政府或世界上任何一个政府做出的最伟大的举措之一。” “数百万人通过**《退伍军人权利法案》**接受了更好的教育。” “现在，也许出于错误的原因，就我的情况而言， 我说：‘去他*的！我不用工作四年了。 我要当个演员。我要告诉他们我是一名演员。’” “他们每月寄给我85美元， 我在82街租了个每周5美元的房间。” “我活得像个国王。” “是的，**罗德·斯泰格**（Rod Steiger），那位演员。” “你知道。”
Original English Already masters of good versus evil storytelling, movies now stirred patriotism and unity. Propaganda as popular entertainment. In fact, the Army Air Forces created the First Motion Picture Unit to produce training and recruitment films. Its first release proved so successful that over 150,000 men enlisted. Shown in theatres nationwide, Winning Your Wings featured a very familiar face. Well, hello. Gee. It looks like I'm back in the movies again, doesn't it? James Stewart was the first Hollywood name to sign up to serve, but many, many more followed, including combat engineer Mel Brooks. What had I done? I hadn't said a word to them! And they were just levelling their cannons and their rifles at me, shooting at me morning, noon, and night, I said, "This is no good." Acclaimed film star, self-taught engineer and inventor Hedy Lamarr co-invented a frequency-hopping system to guide torpedoes preventing them from being jammed by the enemy. Her invention later became the foundation of modern Wi-Fi. For many, service opened up new opportunities when they returned home. I was 22 years old. I had spent three years in the Navy, uh, and that was about it. I was really very lucky. As soon as the war was over, I was able to use the GI Bill of Rights, which gave me the privilege of going to an acting school before I had to go out and make a living for myself and it was while I was at that school that someone from Universal, saw me and sent me out to Hollywood. That was for eighteen months from the day I left the Navy and eighteen months from the day I was under contract that I got my first lead in movies. One of the best moves this government or any government in the world ever made was the GI Bill of Rights. Millions of men and women become better educated through the GI Bill of Rights. Now, maybe for the wrong reasons, in my case, I said, "What the hell! I don't have to work for four years. I'll be an actor. I'll tell them I'm an actor." They sent me $85 a month, I got my $5-a-week room up on 82nd Street. I'm living like a king. Yes, Rod Steiger, the actor. You know.
**埃尔维**: 你是如何从舞台表演 在高中制作的剧目 成长为**查尔顿·赫斯顿**（Charlton Heston）， 成为电影界一线演员的？ **罗德·斯泰格**: 嗯，我想那真的得益于 在战争结束后完好无损地回来。
Original English ELWY: How did you go from being on stage from being in high school productions to being Charlton Heston, to being one of the leading actors in film? Well, I suppose after I got, that really depended on coming back in one piece from the war after two years.
**旁白**: 在讲述美军和盟军战俘 在日本臭名昭著的监狱中求生的**《国王老鼠》**（King Rat）中， 年轻的**乔治·西格尔**（George Segal） 与许多真正的退伍军人同台飙戏， 他们将真实生活的创伤倾注于表演之中。 “我拍了很多电影。 很难得能让所有这些人 都在同一页上， 都对必须要做的事情达成一致， 这关乎剧本的质量，导演的质量， 以及他们都经历过战争。 以我们不知道的方式。” 有些人被永远改变了。
Original English In King Rat, the story of American and allied prisoners of war trying to survive inside a notorious Japanese prison, a young George Segal shared the screen with many actual veterans who poured their real-life trauma into their performances. I've done a lot of movies. It's been very rare to get all these people together all on the same page, all in agreement about what it had to be and that has to do with the quality of the script, the quality of the director, and that they'd all tasted war in one way or another. In ways that we just don't know about. A few were forever changed.
### 直面黑暗：战后的道德拷问 **旁白**: 战争开始前， 导演**乔治·史蒂文斯**（George Stevens） 以拍摄**轻松浪漫喜剧**闻名好莱坞， 如 **《费城故事》**（The More The Merrier） 和 **《费城故事》**（Swing Time） 中的 **弗雷德·阿斯泰尔**（Fred Astaire）和**金杰·罗杰斯**（Ginger Rogers）。 但**第二次世界大战**改变了他。 **安东尼奥·维拉尼**: 二战后他从未拍过喜剧。 他是最早进入**达豪集中营**（Dachau）的人之一， 我相信那段经历深刻地影响了他。 从那时起，乔治一直是一个 非常关心社会议题的人。 他总是对我说，“你知道，电影是很危险的。 摄影机是非常危险的武器。”
Original English Before the war, director George Stevens had built a reputation in Hollywood for light romantic comedies. Films like Swing Time with Fred Astaire and Ginger Rogers and The More The Merrier, But World War II transformed him. ANTONIO VELLANI: He never directed a comedy after the Second World War. He was one of the first people to enter Dachau, the concentration camp, and I believe that experience marked him and from then on, George being always a man very involved in social aspects of life. He always told me, he says, "You know, film is very dangerous. The camera is a very dangerous weapon."
**采访者**: 是因为宣传的潜力吗？ **安东尼奥·维拉尼**: 绝对是。 他也认为，在他看来， 作为使用这种能触及全世界 如此多人的媒介的人， 负有责任。 他认为那才是导演和电影制作人 最重要的东西。 而且，嗯，他告诉我 他决定，呃， 去，呃，参军 在战争爆发后， 看到了**莱妮·里芬斯塔尔**（Leni Riefenstahl）的电影。 ♪ 因为他看到了那些宣传片， 他憎恨纳粹， 他感受到那种哲学 是多么诱人， 它在这部电影中被描绘得多么诱人， 他说这些人必须被阻止。
Original English INTERVIEWER: Because of the propaganda potential? ANTONIO VELLANI: Absolutely. He saw, he also, in his point of view, he felt that the responsibility of the person who uses this medium that reaches so many people throughout the world and he felt that that was the most important thing in a director and a filmmaker. And, um, he told me that he decided to, uh, to, uh, enlist in the American Army when the war came out after seeing Leni Riefenstahl's films. ♪ Because he saw these propaganda pictures, he hated the Nazis, and he felt how seductive that particular philosophy can be and how seductively that it was portrayed in this film and he said these people have got to be stopped.
**旁白**: **莱妮·里芬斯塔尔**是20世纪 最富技术才华但也最具争议的电影制作人之一。 在**《奥林匹亚》**（Olympia）中， 她开创了至今仍用于体育报道的镜头。 慢动作跳水、 追踪镜头、 以及**水下拍摄**， 重新定义了体育影像。 然而，她的艺术视野 与美化**第三帝国**（Third Reich）的目的 密不可分。 **乔治·史蒂文斯**惊恐地认识到 **赛璐珞**（celluloid）是一种武器。 因为他是一名电影制作人， 他没有被艺术效果 或其他东西所诱惑， 他参军了。 对乔治·史蒂文斯来说，战争终结了 电影只是无害娱乐的观念。 战后，他的电影如 **《原野奇侠》**（Shane） 和 **《安妮·弗兰克日记》**（The Diary of Anne Frank） 承载了他所见证的沉重， 以及他坚信电影必须服务于真相， 而非幻觉。
Original English Leni Riefenstahl was one of the most technically brilliant and controversial filmmakers of the 20th century. In Olympia, she pioneered shots that are still used today in sports. Slow-motion diving, tracking shots, and underwater filming that redefined sports footage. However, her artistic vision was inseparable from its purpose, glorifying the Third Reich. Horrified, George Stevens recognized celluloid as a weapon. Since he was a filmmaker, he wasn't seduced by the art effects or all the other things, and he joined the army. For George Stevens, the war ended the notion that film was harmless entertainment. Post-war, his films like Shane and The Diary of Anne Frank carried the weight of what he had witnessed and his conviction that film must serve truth, not illusion.
**史蒂文斯的女儿**: 我父亲很难被简单定义， 但我认为他电影中有一条**人性的主线**， 是对**人类境况**的理解。 **印象派画家** **奥古斯特·雷诺阿**（Auguste Renoir）说： “没有什么是纯粹的黑暗。” 我想这真的适用于我父亲的电影， 他并不感兴趣于 典型的反派。 你知道，他想展现人性的**多面性**。 嗯，我记得我们当时在为 《安妮·弗兰克日记》选角。 在筹备期间，我们需要为那两位 穿着德军制服的德国士兵选角， 他们会上来用灯光照向书架， 而弗兰克一家就藏在后面。 我父亲二战时曾并肩作战， 并且参与了解放**达豪**的行动。 没有人比他更深刻地理解 **希特勒德国**的邪恶。 但选角导演带来了这些演员， 他们都像是身材魁梧的 **奥托·普雷明格**（Otto Preminger）式的德国人。 我记得父亲对选角导演说， 他说：“你知道楼下10号舞台 正在拍安妮特·弗兰克（Annette Funicello）的电影吗？” 他说：“给我找些**邻家男孩**来。” 因为他见过德国士兵，他不想让观众 能够轻易地将这些德国士兵 脸谱化， so they could say, well, if that's a certain kind of people who do this. 他真的想探索其背后更深层的人性。
Original English My dad was hard to pigeonhole, but I think there was just a thread of humanity through his films of understanding the human condition. Auguste Renoir, the impressionist, said, "No shadow is black." And I think that's really true of my father's films that he didn't, he did, wasn't interested in archetype villains. You know, he wanted to show the dimension in people. Uh, I remember when we were casting The Diary of Anne Frank. Working on it and we had to cast the two German green police in German uniforms who come up and shine their light through the bookshelf with the Frank family hiding behind it and my father fought in World War II and was there at the liberation of Dachau. Nobody had a better understanding of the evil of the Hitler Germany. But the casting director brought in these guys and they were all sort of beefy Otto Preminger Germans and I remember Dad saying to the casting director, he said, "You know you're making that Annette Funicello picture down on Stage 10?" He said, "Bring me some of the boys next door." Because he had seen German soldiers and he didn't want the audience to be able to distance themselves from these German soldiers, so they could say, well, if that's a certain kind of people who do this. He really wanted to explore the deeper humanity of it all.
**旁白**: 三年间， **美国第一电影制作单位**（US First Motion Picture Unit） 制作了300多部影片， 包括另一位好莱坞传奇人物 **弗兰克·卡普拉**（Frank Capra） 备受赞誉的 **《我们为何而战》**（Why We Fight）系列。 里芬斯塔尔用电影进行纳粹神话的构建， 卡普拉则用自己的宣传 进行了反击， 揭示了战争的利害关系， 并激发了美国的战斗决心。 “我们为什么要战斗？” “嗯，我必须参加—— 这是个必选的任务， 其他一切都放下了， 而且必须迅速完成。” “想到这些孩子，以某种方式， 去面对和挑战 德国和日本的纪律严明的军队， 简直是不可思议。” “你无法让他们做任何事。 他们没有纪律。” “理由， 他们必须相信。” “如果他们不相信那些理由， 我们就会陷入混乱。” “我们花30年才能培养出好士兵。” “他们要在30天内做到这一点。” “嗯，事实就是如此， 我们在30天内就培养出了士兵。”
Original English Over three years, the US First Motion Picture Unit produced over 300 films, including the famed Why We Fight series from another Hollywood legend, Frank Capra. Riefenstahl used film for Nazi myth-making, Capra struck back with his own propaganda revealing the stakes and stirring America's resolve to fight. Why are we fighting? Well, I had to get in and-- it was a must job, absolutely everything else was dropped and that had to be done fast. To think that these kids could, in some way, meet and challenge the disciplined armies of Germany and Japan was absolutely ridiculous. You couldn't get them to do anything. They were undisciplined. The reasons, they had to believe. If they didn't believe those reasons why, we'd be in a mass. It takes us 30 years to make good soldiers. They're gonna do that, they're gonna do that in 30 days. Well, that's just about what happened, we made soldiers in 30 days.
**埃尔维**: 很棒的士兵。 **旁白**: **《我们为何而战》**系列不仅仅是一系列军事简报。 它是一场宏大的国家叙事。 美国的成功 建立在**团结**之上， 但**种族隔离**威胁着它。 他们需要能够维系国家团结的故事。 1943年，**战争部**（War Department）有了一个想法 来团结一个分裂的军队。 “我打给国防部长的办公室， 他说：‘你必须放下一切，在这里拍一部关于**黑人士兵**的电影。’” “这些黑人在这里和那里， 以及军队里受到了多么糟糕的待遇， 而军队主要是为白人士兵服务的。” 这是第一部关于**美国黑人**的纪录片， 当我们把它展示给大约300位**黑人报纸编辑**时， 他们简直不敢相信， 他们惊呆了。 **《黑人士兵》**（The Negro Soldier） 是第一部**美国陆军**（US Army）的电影， 它以**尊严和自豪**展示了非裔美国人的服役和历史。 随着时间的推移，这改变了军队和公众的态度， 并为1948年**美国陆军**实现**非裔美国人**的**非种族隔离**等重大改革铺平了道路。
Original English ELWY: Great soldiers. Why We Fight became more than a series of military briefings. It was national storytelling on grand scale. America's success was based on unity, but segregation threatened it. They needed stories that could keep the nation together. In 1943, the War Department had an idea to unite a divided force. I was calling the Secretary of War's office and he says, "You've gotta drop everything and make a film here about the Negro soldier." How badly these Blacks have been treated here and there and the army and all this, which is primarily made for the white soldiers. The first documentary about the American Black, and when we showed it to about 300 of their editors, their papers, they just couldn't believe it, they were thunderstruck. The Negro Soldier was the first US Army film to show African American service and history with dignity and pride. Over time, this shifted attitudes among the military and the public and set the stage for major reforms including the desegregation of the US Army in 1948.
“卡普拉先生，我们知道你的电影等等， 但你怎么能在军队里拍出这样的电影？”
Original English "Mr. Capra, we know about your films and all that, but how can you possibly make a film like this in the army?"
**旁白**: 随着和平的回归， 战时电影制作人 面临着严峻的道德后果。 那些曾鼓舞国家的摄影机 如今开始揭露人类最黑暗的罪行。 **乔治·史蒂文斯**的电影 **《纳粹集中营与监狱营》**（Nazi Concentration and Prison Camps） 被用于**纽伦堡审判**（Nuremberg Trials）， 以揭示**大屠杀**（Holocaust）的全部恐怖。 史蒂文斯的经历强化了他的信念： 电影承载着**铭记的义务**。 这一理念在**斯坦利·克莱默**（Stanley Kramer）1961年的法庭剧 **《纽伦堡的审判》**（Judgment at Nuremberg）中得到了回响。 该片不仅探讨了**个人罪责**， 还探讨了那些促成暴行的普通人 和制度的**更广泛责任**。 “指责德国人民很容易。 谈论德国性格中的基本缺陷， 正是这些缺陷让希特勒得以掌权， 同时，还要不断忽视 促使俄国人 与他签订条约， **温斯顿·丘吉尔**称赞他， 美国实业家从他身上牟利的那种性格缺陷！” “我们去柏林参加 《纽伦堡的审判》的首映式， 当时**威利·勃兰特**（Willy Brandt）是市长， 他发表了激动人心的演讲， 说他们可能不会太喜欢这部电影 在柏林， 但如果他们想再次成为一个国际化城市， 他们应该看它，并根据其价值来评判。” “嗯，我们向大约3000名观众放映了这部电影， 还有一些国际记者 以及一些 老纳粹德国官员，你知道的？” “之后我们在海滨长廊为大约1500人举办了自助晚宴，只有200人出现了。” “评论褒贬不一， 从为了揭开旧伤疤的极端攻击 到直言不讳的赞扬。” “但无论我们在德国开了多少场， 或者在多少城市放映， 这部电影在德国的票房收入微乎其微， 而且**时机太早**了。” “嗯，这种情况偶尔会发生。” “太早了。就是这样。” “‘太早了’总是让我想起 **《野战排》**（Platoon） 作为一部关于越南的电影的成功。” “当我有** Lieutenant Calley** 在**美莱村**（My Lai）的故事 以及他的军事法庭审判时， 我从来无法卖给任何人。” “他们不买账。”
Original English As peace returned, wartime filmmakers faced its grim moral aftermath. The same cameras that had rallied nations now turned to expose humanity's darkest crimes. George Stevens' film Nazi Concentration and Prison Camps was used at the Nuremberg Trials to reveal the full horror of the Holocaust. Stevens' experience reinforced his belief that film carried the obligation to remember. An idea echoed in Stanley Kramer's 1961 courtroom drama Judgment at Nuremberg. Which probed not just individual guilt, but the broader responsibility of ordinary people and institutions that enabled such atrocities. It is easy to condemn the German people. To speak of the basic flaw in the German character that allowed Hitler to rise to power and at the same time, constantly ignore the basic flaw of character that made the Russians sign pacts with him, Winston Churchill praise him, American industrialists profit by him! We went to Berlin for the film premiere of Judgment at Nuremberg and Willy Brandt was then mayor and he made an impassioned speech that they might not like this film so much in Berlin, but if they want to ever be a cosmopolitan city again, they should look at it and judge it on its merit. Well, we screened the film for an audience of about 3,000 and a sprinkling of international press and some of the old German officials who were Nazis, you know? We had a buffet dinner in the esplanade afterwards for about 1,500 people and only 200 appeared. The reviews were very mixed from very extreme attacks for opening up the old wounds to outright praise. But we never did a nickel's worth of business in Germany with the film no matter how much we opened or in how many cities, and it was too soon. Now, that happens once in a while. The too soon. It just is. It's too soon always reminds me of the success of Platoon as a film about Vietnam. When I had Lieutenant Calley's story at My Lai and his court martial and I never could sell it to anybody. They wouldn't buy it.
**埃尔维**: 没错！ 你比整个游戏都领先。 **旁白**: 他们不买账。 这并非是否领先的问题，只是**时机**而已。 对一些人来说太早， 对另一些人来说是毫无必要的清算， 但二十年后， 导演**奥利弗·斯通**（Oliver Stone）的 **《野战排》**（Platoon）， 一部讲述美国在越南失败的故事， 则恰逢其时。 “当我制作**《野战排》**时， 是和**约翰·达利**（John Daly）一起， 在**《萨尔瓦多》**（Salvador）之后。 我永远忘不了 我把两份剧本都给了达利， 他那个周末把它们都读完了，然后给我打电话说： ‘你想先拍哪一部？’” “我几乎忘了 **《野战排》**。” “那曾是一件令人心碎的事。 它本该在1976年拍成，可到了1984年。” “对**《野战排》**， 我有一种不祥的预感。” “一种光环，就像，如果我说 《野战排》，它就永远不会成真， 所以我当时并不相信它会发生。” “我先拍了**《萨尔瓦多》**，然后 才拍了**《野战排》**。” “《野战排》在全球取得了即时成功。” “当然，讽刺的是， 如果我先拍了 《野战排》 而《萨尔瓦多》上映， 它会受到更多的关注， 人们会更关注它。” “那是糟糕的时机。” “我又错了。” (笑声)
Original English ELWY: That's right! That's right! You were ahead of the whole game there. They wouldn't buy it. Well, it isn't a question of being ahead, it's just a matter of timing. Too soon for some, unnecessary reckoning for others, but two decades later, director Oliver Stone's Platoon, a story of America's failure in Vietnam was perfectly timed. When I made Platoon, it was with John Daly, after Salvador. I'll never forget the day I gave both scripts to Daly and he read them both over that weekend and he called me and he said, "Which one do you want to make first?" And I had forgotten about Platoon. It had been a heartbreaking thing. It hadn't been made in 1976 and here it was, 1984. To Platoon, I had a feeling of doom. An aura of, like, if I say, Platoon, it's never going to happen, so I didn't believe that it was going to happen. I did Salvador first and then I did Platoon. Platoon was an instant success around the world. The irony, of course, is that if I had done Platoon first and Salvador had come out, would have had much more attention would have been paid to it. It was bad timing. I was wrong again. (Laughing)
### 《巴顿将军》：史诗般的战争英雄传 **旁白**: 在80年代， **《野战排》**打破了人们的期望， 动摇了美国英雄主义的面具。 但回到1970年，在反越战抗议的顶峰时期， 美国仍然渴望 老派的英勇。 好莱坞欣然满足了这一需求， 推出了一部宏大的二战史诗。 由**富兰克林·沙夫纳**（Franklin Schaffner）执导， **《巴顿将军》**（Patton）讲述了 **乔治·S·巴顿**（George S. Patton）将军的 辉煌、冲突和极度膨胀的自我。 **罗默少将**（LIEUTENANT GENERAL ROHMER）: 对军队来说，越南战争是一场彻底的灾难， 而另一场战争则为军队 以及美国本身赢得了极高的声誉。 所以，也许有一个这样的故事来激励大家是件好事。 **《巴顿将军》**这部电影，从头到尾， 它就是一部战争故事，讲述战争，如何去打， 如何去赢，如何去做。 能够精确地调动军队、卡车、坦克 和飞机，并将其构架起来， 围绕着，你知道， 摄像机应该放在哪里以及如何拍摄， 而且，你知道，在那里， 有时是在恶劣的环境中， 却始终挺立。 当你执导的时候，你是对的， 你必须像个队长或军人一样。 最难捕捉的东西， 尽管我们靠拍电影为生。 在电影里最难捕捉的就是**运动**。 这是一场长达六个月的拍摄，我们在五个国家拍摄， 在87个地点。 天哪！ 我们为这部电影旅行了55,000英里。 我的天。 嗯，这是一项艰巨的任务。
Original English In the '80s, Platoon shattered expectations and the American facade of heroism. But back in 1970, at the peak of anti-Vietnam protests, America still craved old-school valour. Hollywood happily obliged with a bold World War II epic. Directed by Franklin Schaffner, Patton tells the story of General George S. Patton's triumphs, clashes, and outsized ego. LIEUTENANT GENERAL ROHMER: One was a total disaster for the military, the Vietnam, the other war had great kudos for the military and for America itself. So, it probably was a good tonic to have going. The thing with Patton was right down the line, it was a war story, dealt with war, how to fight it, how to win it, how to do it. Bringing in an army and trucks and tanks and airplanes all on cue and being able to structure that around, you know, where to put the camera and how to do it and, you know, and out there in sometimes miserable conditions and standing tall all the time. When you're directing, you're right, you have to be kind of a captain or a military man. Hardest thing to capture on film, although, we make our livings working in motion pictures. The hardest thing to capture on film is motion. It was a six-month shoot and we shot in five countries on 87 location sites. Good grief! We travelled 55,000 miles for that picture. Good God. Um, it was a monumental task.
**富兰克林·沙夫纳**: 电影开头有一场**游行**。 在摩洛哥，我们在摩洛哥拍摄。 并且我们在摩洛哥的 一些罗马遗址旁拍摄了另一段， 巴顿在那里背诵他的诗 “隔着镜子看黑暗”。 “仿佛隔着镜子， 幽暗地看着。” “我看到了古老的纷争。” 除了 一小段发生在**克里特岛**（Crete） 和发生在**英国克努茨福德**（Knutsford）村的一段场景外， 几乎所有其他部分 都是在**西班牙**拍摄的， 无论是南部还是北部。 富兰克林·沙夫纳是一位经验丰富的导演， 拥有电视行业的背景，并且执导了 《人猿星球》 （Planet of the Apes）。然而， 编剧，尽管很快将成为电影界的传奇， 却鲜为人知。 “你可以拦住很多人说， ‘我敢打赌你不知道 《巴顿将军》的编剧是谁。’”
Original English FRANKLIN SCHAFFNER: There's a parade in that picture at the very beginning. In Morocco and we shot in Morocco and we shot another sequence in Morocco by some Roman ruins where Patton recites that poem of his "Through a Glass Darkly." As if through a glass and darkly. The age-old strife I see. Almost everything else with the exception of a small sequence taking place in Crete and a sequence taking place in the village of Knutsford in England. Everything else was done in Spain, either southern or northern. Franklin Schaffner was a seasoned director with TV roots and the success of Planet of the Apes under his belt. However, the scriptwriter, though soon to be a cinematic legend, was little known. You could stop a lot of people and say, "I'll bet you don't know who wrote the screenplay for Patton."
**埃尔维**: 是的，说得好！ 他们不会知道是谁。 **斯蒂芬·杨**: 不，不。 他是**弗朗西斯·福特·科波拉**（Francis Ford Coppola）。 科波拉写了一个草稿， 那是一个非凡的草稿，在捕捉 这个人的精神方面。 这种输入，这种精神，是如此非凡， 以至于重写它提供了 各种机会。 对沙夫纳来说，每一个细节都必须正确。 所以，他找来了他《人猿星球》的作曲家。 ♪ 吧，吧，吧，吧，吧，吧，bop， 吧，bop ♪ **杰瑞·戈德史密斯**（JERRY GOLDSMITH）: 对我来说，《巴顿将军》 比看起来更亲切， 因为我在处理一个角色，所以我—— **埃尔维**: 真是个角色。 **杰瑞·戈德史密斯**: 是的，我的工作就是走进那个角色。 杰瑞·戈德史密斯的杰作音乐， 放大了**乔治·C·斯科特**（George C. Scott）的表演 以及真**乔治·巴顿**将军的传奇。 **罗默少将**: 巴顿是一位强硬、好战的、 混蛋将军， 他就是这样成长起来的， 也是他直到死前都保持着这种行为方式。 “血与胆”是他 最喜欢的称呼， 但他是一位，一位真正的， 这么说吧， **“开足马力”的领导者**。 他总是冲在最前面。 巴顿，一位**轮回论**信徒， 坚信自己是古代战士转世。 毫无疑问，他就是这样相信的。 他对历史有着惊人的了解， 以及与非现实相关的事件， 以及能够把自己 放回一千年前的情境中， 说，“我曾身处其中。” “2000年前，士兵们赤身裸体地躺在太阳下。” “我曾身处其中。” **艾森豪威尔**（Eisenhower）不是个 色彩斑斓的人， 但色彩是**乔治·巴顿**。 直到他打了那记耳光， 我才觉得这对他很有帮助。 电影中的描绘在我看来 处理得非常到位。 “我们这里有个黄种杂种在这里哭， 在我们那些在战场上受伤的勇士们面前。” (抽泣声) “闭嘴！”
Original English Yes, that's good! And they won't know who it is. No, no. And it's Francis Ford Coppola. Coppola did a draft, which was a remarkable draft in terms of capturing the spirit of the man. That input, that spirit, was so extraordinary that the reworking of it provided all sorts of opportunities. For Schaffner, every detail had to be right. So, he enlisted his composer from Planet of the Apes. ♪ Ba, ba, ba, ba, ba, ba, bop, ba, bop ♪ JERRY GOLDSMITH: Patton was a, it was more intimate for me than apparently it was because I was dealing with a character, so I-- ELWY: Such a character. Yeah, and my job was to get inside that character. Jerry Goldsmith's masterful music amplified George C. Scott's performance and the legend of the real General Patton. LIEUTENANT GENERAL ROHMER: Patton was a tough, fighting, SOB general, and that's the way he was brought up and that's the way he conducted himself until he died. "Blood and guts" was fundamentally the way that he would like to be called, but he was a, a really, put it this way, kickass leader. He was out in front. Patton, a believer in reincarnation, was convinced he was the reborn spirit of ancient warriors. There's no question that that's what he believed. He had a phenomenal knowledge of history and of things that related to the unreal and the whole business of being able to put yourself back into a situation 1,000 years ago and say, "I was there." Soldiers lay naked in the sun. 2,000 years ago. I was here. Eisenhower wasn't a colourful man, but the colour was George Patton. Up to the point of slapping, I thought it served him well. How it was portrayed in the film appeared to me to be very well done. We have a yellow bastard sitting here crying in front of these brave men who have been wounded in battle. (Sniffing) Shut up!
**罗默少将**: **《纽约时报》**（New York Times）等媒体注意到了此事， 人们开始写社论， 谴责这位打士兵的美国将军。 嗯，他们对他穷追猛打。 **艾森豪威尔**和**马歇尔**（Marshall）必须决定如何处置他。 必须对他进行一些纪律处分，他们也这么做了。 但后来，我想，是艾森豪威尔 救了他， 让他担任了这个虚构的 **FUSAG** 部队（美军北方集团军）的领导。 那是为了让德国人相信 主力部队会从那里进攻， 他们任命他为 这次行动的虚构领导者。 为了增加真实感， 电影穿插了真实战时拍摄的片段， 拍摄对象是那位真正的将军， 而拍摄者是后来以 截然不同的电影风格而闻名的人。
Original English The press became aware of this and the media, the New York Times and all the people that were involved started to write their editorials decrying this terrible American general who would slap a soldier. Um, they went after him very heavily. Eisenhower and Marshall had to decide what to do with this man. Had to show some discipline for him, which they did. But then, it was, I think, Eisenhower who saved his bacon, as they would put it, and got him into this position of heading up this fictional FUSAG force. It was designed to get the Germans to believe that that's where the main force was coming and they appointed him as the, the fictional leader of this operation. To add authenticity, the film weaves in genuine wartime footage shot alongside the real general, by a name behind the camera later known for a very different style of film.
**旁白**: 战争拍摄起来相当困难，你知道吗？ 是那些人， 你从没听过的那个镜头， 我想他们说的是那个击中你的镜头。 那是一种潜行、抓取东西的兴奋感， 晚上回想起来， 你觉得自己亲眼见证了 历史， 并且你拍摄的内容可能会流传多年。 这对我个人来说就像是 在**《巴顿将军》**这部电影里， 他们用了大约 四段新闻片镜头， 那些都是我拍的。 在电影中某个地方用上了。 创造**《巴顿将军》**需要一个伟大的天才团队， 但扮演这位传奇将军的**乔治·C·斯科特**， 却感受到了这部主演角色的巨大压力。 对他来说，在他主演的其他电影之后， 那些都是杰出的角色，但**他就是这部电影**。 一切都压在他的肩上， 所以你可以想象，即使以他的能力 和地位， 他心里也他*的害怕，你知道， 承担这个责任， 而且我记得第一天， 他没有来上班。 呃，导演不得不去和他谈话，他们，你知道， 他就是害怕出去， 承担全部责任， 并把这一切都扛在肩上。 嗯，当然，一旦他开始，你知道， 他就把这事儿搞定了。 我的意思是，从来没有一部电影的开场 能像那样。 从他第一次走进观众视野的标志性开场场景 作为巴顿将军， 他迷住了银幕。 ♪ 吧！吧！吧！吧！吧！吧！吧！ 吧！吧！吧！吧！吧！ ♪ ♪ (小号演奏) ♪ 那是在马德里一个又小又冷又湿 像仓库一样的地方拍摄的， 他们在这儿拍了这部电影。
Original English War is pretty difficult to photograph, you know? It's the people that, it's the shot you never hear is the one, I suppose they say that gets you. It was just the excitement of creeping and getting something and the feeling at night that you'd had. You had been witness to something in history and that maybe you photographed that would live through the years. And that's, that personally is like in Patton, the picture, they had like four newsreel shots and they were shots I had made. Somewhere it was used within the body of the film. It took a team of great talent to create Patton, yet George C. Scott, portraying the legendary general, felt the immense pressure of the title role. For him, coming off of the other films that he was doing, which were magnificent roles, but this is where he was the film. Everything rested on his shoulders, so you can imagine that even as big as he was in his, in his abilities and his stature, he was kind of scared shitless about, you know, having this responsibility and I think it, the first day, he did not show up for work and, uh, the director had to go and talk and they were, you know, he just had real fear of getting out there and being the total responsibility and carrying this whole thing on his shoulders. Well, of course, once he started, you know, he had this thing nailed. I mean, there's never going to be an entrance into a picture like that. From the iconic opening scene when he first marched into view as General Patton, he captivated the screen. ♪ Ba! Ba! Ba! Ba! Ba! Ba! Ba! Ba! Ba! Ba! Ba! Ba! ♪ ♪ (Trumpets playing) ♪ It was done at a little, cold, damp, almost warehouse-looking place in Madrid where they shot this film.
**米基·鲁尼**（MICKEY ROONEY）: 巨大的美国国旗覆盖着它。 他佩戴着所有权威的徽章。 “都散了吧！” “我希望你们记住， 从来没有哪个混蛋是为国捐躯而赢得战争的。”
Original English MICKEY ROONEY: This tremendous American flag covering it up. He's got all his badges of authority on. "At ease!" I want you to remember that no bastard ever won a war by dying for his country.
**斯蒂芬·杨**: 富兰克林·沙夫纳从下方拍摄， 并且推轨镜头，近景，第一遍。 “搞定了！ 搞定了。” 他大概拍了四次， 每次都搞定了。 我坐在那里，你看看， 在银幕上，配着国旗， 它如此直观，一切都那么恰当。 然而，它又如此简单，不是吗？ 实际上我排第三。 发生的事情是，这部电影， 它超长了大约一个半小时。 他们当然不会剪掉乔治·斯科特 的戏份，因为他显然是这部电影的灵魂， 所以他们删掉的一切 都不是与他有关的， 或者与他角色相关的， 那些就变成了我，就是这样， 而且那才是公平的。 巴顿和他的上级指挥官 **奥马尔·布拉德利**（Omar Bradley）互相尊重， 但他们不是朋友。 **乔治·C·斯科特**和**卡尔·马尔登**（Karl Malden） 彼此同样尊重，尽管他们的表演风格截然不同。
Original English STEPHEN YOUNG: Franklin Schaffner had the camera angle below and dolly down below and close-up, take one. Boom! Nailed it! Nailed it. He must have done it about four times and nailed it each time and I'm sitting there and this, when you consider what it looks like on screen with the flag, it was so in your face and it had everything going for it. And yet, it was so simple, wasn't it? And I actually had third billing. What happened is the film, it was running about an hour and 40 minutes too long, they're certainly not going to cut George Scott out of it because he was what made that film, obviously, so all of the things that they trimmed out are stuff that wasn't with him or relevant to his character, and that became me, and that's, and that is fair game. Patton and Omar Bradley, his superior officer, respected each other, but they were not friends. George C. Scott and Karl Malden had equal respect for each other, though very different acting styles.
**斯蒂芬·杨**: 他从未上过表演学校。 他从未学过表演。 他只是成了一名演员， 他还有一个**摄影师般的记忆力**， 所以无论情况如何， 他都会说：“这就是我，” 他有一个非常外向 且个性张扬的特点，当他生气时 或者当他做了什么事时，它就会显露出来， 一种内在的力量，但那是真实的。 但卡尔·马尔登是一位非常老派的专业人士。 他是一位**方法派演员**。 我认为他那种工作方式 让乔治·斯科特有点抓狂。 **乔治·C·斯科特**对这位将军的演绎如此令人难忘， 很难想象其他人能胜任这个角色。 然而，他并非唯一被考虑的演员。 “我记得有一次，我拒绝了 《巴顿将军》这部电影， 因为我说：‘我是个和平主义者，我不相信这个。’” “那天我感觉非常好，我的事业也进展顺利， 我有点得意，对吧？” “好吧，那是我做过的最大、最愚蠢的事情。” “好吧，如果我演得像乔治·C·斯科特那样演《巴顿将军》的一半， 我就能进入**《教父》**（The Godfather）了。” **巴顿将军**之所以不朽， 不仅因为他的**胜利** 和**不拘小节的形象**， 部分原因还在于电影 为他带来的**名气**。 “因为现在它是一部经典电影， 我认为这就是 让《巴顿将军》在美国二战历史 和公众意识中名列前茅的东西。” “我不认为它是在**美化**， 我认为它只是如实地展现了。” **《巴顿将军》**赢得了七项**奥斯卡奖**， 包括乔治·C·斯科特获得的**最佳男主角奖**， **富兰克林·沙夫纳**获得的**最佳导演奖**， 以及备受瞩目的**最佳影片奖**。 只有13部电影赢得过七项奥斯卡奖， 而其中近一半是战争片。 尽管好莱坞自身的**神话创作** 可能会边缘化那些并肩作战的盟友。
Original English He never went to acting school. He never took acting. He just became an actor and he also was a photographic mind, so it didn't matter what the situation or what, he would say this is me, and he had a very overt and big personality when he became angry or when anything that he did, it just, it exuded this, a kind of inner strength, but it was honest. But Karl Malden was a very much a pro from the old school. He was a method actor. I think he kind of drove George Scott a little crazy with that kind of way that he worked in a scene. George C. Scott's portrayal of the general is so memorable, it's hard to imagine anyone else in the part. Yet he was not the only actor considered for the role. I remember once, I turned down Patton as a movie because I said, "I'm a pacifist, I don't believe in that." I was feeling so good that day and my career was going well, I was cocky, right? Well, it was the biggest, stupidest thing I ever did. Well, if I had done Patton half as well as George C. Scott, I would have walked into The Godfather. General Patton is immortalized, not only because of his triumphs and larger-than-life presence, but also, in part, due to the notoriety he gained from the film. Because it's now a classic film, I think that that is the one thing that has taken Patton to forefront of the American history of Second World War and the public awareness of him. I don't think it was glamorizing, I think it was just showing it as it was. Patton won seven Academy Awards, including Best Actor for George C. Scott, Best Director for Franklin Schaffner, and the coveted Best Picture. Only thirteen films have won seven Oscars and almost half of those were war films. Though Hollywood's own myth-making can sideline the allies who fought alongside them.
**詹姆斯·斯图尔特**: “美国人在说他们做了一切方面很伟大。” “到你完成训练时， 美国将在空中拥有压倒性的优势。” “我碰巧有一份1964年的《生活》杂志（LIFE Magazine）。 里面完全没有提到**加拿大**参与了这件事。” “都是美国赢得了战争， 但他们就是这样运作的。” “我——那好吧，我不在乎。” “但这就是现实，就他们如何看待自己而言。”
Original English The Americans are very great when it comes to, to saying that they did everything. JAMES STEWART: And by the time you finish your training, America will have overwhelming superiority in the air. I have a copy of LIFE Magazine in 1964, by the way, and there's not one reference to Canada being part of this thing. Totally the United States won the war, but that's the way they operate. I-- that's fine, I couldn't care less. But it's the reality in terms of the way they see themselves.
### 越南及之后：战争的模糊界限 **旁白**: **《巴顿将军》**作为好莱坞伟大的战争史诗之一，经久不衰。 它是颂扬**第二次世界大战**传统的组成部分， 那是一个美国英雄主义似乎毋庸置疑的时代。 但那种清晰感随着后来的战争而消退。 **越南**、**伊拉克**，以及当前的危机， 美国人的良心不再纯洁。 英雄、恶棍和受害者之间的界限变得模糊。 **斯蒂芬·杨**: 这让人难以置信，不是吗？ 看到这些事情并没有真正教会我们什么。 如果有一场战争必须得打， 那就必须得打。 但我们从中能学到什么呢？从派遣 无辜的人杀死其他无辜的人？ 因为两个头头说， “好吧，你知道， 我们去做吧。” 电影可以反映它们所处的时代， 软化过去， 甚至改写它。 但它们最擅长的，是让我们直面 战争的损失、 残忍和痛苦。 敦促我们走向和平， 以免我们忘记。
Original English NARRATOR: Patton endures as one of Hollywood's great war epics. Part of a tradition that celebrates World War II, a time when America's heroism seemed unquestionable. But that clarity faded with later wars. Vietnam, Iraq, and current crises, with America's conscience no longer clean. The lines between hero, villain, and victim are blurred. STEPHEN YOUNG: It boggled one's mind, doesn't it, to see that these things don't really teach us anything. If there was a war that had to be fought, that had to be fought. But what do we learn which we should learn from sending innocent people killing other innocent people? Because two schmucks at the head said, "Okay, you know, let's go for it." Films can mirror their moment, soften the past, or even rewrite it. But, at their best, they confront us with war's loss, cruelty, and pain. Urging us towards peace, lest we forget.