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(单词翻译:双击或拖选)
AUDIE CORNISH, HOST:
Fifty years ago today, the Supreme1 Court's Loving decision legalized interracial marriage. Right about that time, shooting wrapped up on a movie dealing2 with that very topic. "Guess Who's Coming To Dinner" would become a huge hit. But NPR critic Bob Mondello says Hollywood's prejudices were long standing3 and did not disappear overnight.
BOB MONDELLO, BYLINE4: There had been interracial romances onscreen even in the silent era, but they were almost always pictured as either comically foolish or flat out doomed5. D.W. Griffith ended his silent tragedy "Broken Blossoms Or The Yellow Man And The Girl" with the deaths of both his title characters, a Chinese immigrant and a London prizefighter's daughter. The silent drama "The Bronze Bride" about a white fur trapper who marries a Native American woman also ended with tears. And in "Show Boat" in 1936, things end happily for nearly everyone but Julie, the wife of the show boat's white leading man. She is of mixed race but has been passing as white.
(SOUNDBITE OF FILM, "SHOW BOAT")
HELEN MORGAN: (As Julie, singing) Can't help loving that man of mine.
HATTIE MCDANIEL: (As Queenie) How come y'all know that song?
IRENE DUNNE: (As Magnolia) Why? Do you know it, Queenie?
MCDANIEL: (As Queenie) For sure I does, but I didn't ever hear anybody but colored folks sing that song - sounds funny for Ms. Julie to know it.
DUNNE: (As Magnolia) Julie sings it all the time.
MCDANIEL: (As Queenie) Can you sing the whole thing?
MORGAN: (As Julie) Course I can. What's so funny about that? (Singing) Oh, listen, sister. I love my Mr. Man.
MONDELLO: For loving her Mr. Man, Julie will end up drunk and alone. And in that, she had lots of company on screen. Hollywood had adopted a motion picture production code in 1930 which explicitly6 prohibited the depiction7 of, quote, "sex relationships between the white and black races," end quote. The code was meant to curb8 what bluenoses of that era considered immorality9. And with interracial marriage then illegal in 30 states, depicting10 it would arguably have been condoning11 an illegal act.
Though "Show Boat" had been a hit on Broadway, movie theaters might well have refused to play it even with the production code seal of approval. But the filmmakers had a trick to get around objections. Audiences, they noted12, were not actually seeing a black-white couple on screen. The biracial character was played by Helen Morgan, a white actress. And the same thing happened when "Show Boat" was remade in the 1950s.
(SOUNDBITE OF FILM, "SHOW BOAT")
ANNETTE WARREN: (Singing) That man of mine.
MONDELLO: This time Ava Gardner not only wasn't black. She's not even singing. Though she could have. She recorded this track they didn't use.
(SOUNDBITE OF FILM, "SHOW BOAT")
AVA GARDNER: (As Julie, singing) Tell me he's lazy. Tell me he's...
MONDELLO: Colorblind and in several senses tone-deaf, this qualified13 as Hollywood artificiality at its peak. The same casting trick was used in the drama "Pinky" about another character who was passing as white.
(SOUNDBITE OF FILM, "PINKY")
ETHEL WATERS: (As Dicey Johnson) You know I never told you pretend you is what you ain't.
JEANNE CRAIN: (As Pinky Johnson) I didn't mean to, Granny. It just happened.
MONDELLO: Passing was relatively14 easy for actress Jeanne Crain. She was white and got an Oscar nomination15 as best actress for pretending not to be.
(SOUNDBITE OF FILM, "PINKY")
CRAIN: (As Pinky Johnson) Don't try to tell me it doesn't matter. I couldn't stand that.
WILLIAM LUNDIGAN: (As Dr. Thomas Adams) Of course it matters. It makes problems, important problems. But let's try and face them like rational people.
CRAIN: (As Pinky Johnson) Rational - what's rational about prejudice?
MONDELLO: Foreign films weren't as timid. In the 1930s, Josephine Baker16 starred in the French-made "Princesse Tam-Tam" playing a Tunisian woman who's the muse17 of a white novelist. In the U.S., though, that sort of film only played in theaters catering18 strictly19 to black patrons until about 1956 when Hollywood dropped the code stipulation20 about race. That allowed a blonde Inger Stevens to have this incendiary conversation with "Harry21 Belafonte" in "The World, The Flesh And The Devil," a science fiction film in which a nuclear war had left the two of them virtually alone in the world.
(SOUNDBITE OF FILM, "THE WORLD, THE FLESH AND THE DEVIL")
INGER STEVENS: (As Sarah Crandall) You know me well enough to be honest with me.
HARRY BELAFONTE: (As Ralph Burton) Don't push me. I'll be so honest it'll burn you.
STEVENS: (As Sarah Crandall) I know what you are, if that's what you're trying to remind me.
BELAFONTE: (As Ralph Burton) That's it all right. If you're squeamish about words, I'm colored. And if you face facts, I'm a Negro. If you're a polite Southerner, I'm a Negra. And I'm a nigger if you're not.
STEVENS: (As Sarah Crandall) I'm none of those things, Ralph.
BELAFONTE: (As Ralph Burton) A little while ago, you said you were free, white and 21. That didn't mean anything to you, just an expression you've heard for a thousand times. Well, to me, it was an arrow in my guts22.
STEVENS: (As Sarah Crandall) Ralph, what do I say? Help me. I know you. You're a fine, decent man. What else is there to know?
BELAFONTE: (As Ralph Burton) That world that we came from, you wouldn't know that. You wouldn't even know me. Why should the world fall down to prove I'm what I am and that there's nothing wrong with what I am?
MONDELLO: Good question, and others were asking it, too, in the British film "A Taste Of Honey," in the drama with Hollywood's first interracial kiss, "Island In The Sun," and in the era-defining "Guess Who's Coming To Dinner," which arrived six months to the day after interracial marriage was legalized by the Loving decision. Lawyers had only had to make their closing argument to nine justices. Spencer Tracy's summation23 went out to more than 40 million moviegoers when he said this to Sidney Poitier and Katharine Houghton.
(SOUNDBITE OF FILM, "GUESS WHO'S COMING TO DINNER")
SPENCER TRACY: (As Matt Drayton) Anybody could make a case and a hell of a good case against your getting married. The arguments are so obvious that nobody has to make them. But you're two wonderful people who happen to fall in love and happen to have a pigmentation problem. But I think that now, no matter what kind of a case some bastard24 could make against your getting married, there would be only one thing worse, and that would be if, knowing what you two are, knowing what you two have and knowing what you two feel, you didn't get married.
MONDELLO: And that broke the logjam, right - not really. Hollywood spent the rest of the 20th century debating how to follow "Guess Who's Coming To Dinner" and mostly deciding not to. Bromances with black-white pairings were fine - say, the "Lethal25 Weapon" franchise26. Attract stars of sufficient wattage, and you could dare the audience to resist Kevin Costner at the height of his fame and Whitney Houston at the height of hers in "The Bodyguard27." And there were occasional problem dramas that tackled the issue head-on as an issue - Spike28 Lee's "Jungle Fever," for instance.
(SOUNDBITE OF FILM, "JUNGLE FEVER")
WESLEY SNIPES: (As Flipper29 Purify) She's white.
SPIKE LEE: (As Cyrus) White. Man, you...
ANNABELLA SCIORRA: (As Angie Tucci) Yeah, well, he's black.
DEBI MAZAR: (As Denise) If your father ever found out, I don't know. Hey, look; this is the '90s. There's nothing wrong with it, you know?
MONDELLO: But for many in Hollywood, the risk of alienating30 some part of the audience has not seemed a risk worth taking on a multimillion-dollar budget. So Will Smith and Denzel Washington have spent most of their careers appearing opposite African-American love interests, and Brad Pitt and Tom Cruise have not. Never mind that multiracial casting has been a boon31 of the box office for, say, "The Fast And The Furious" films. There are of course outliers. Jordan Peele's satirical horror flick32 "Get Out" is a witty33 look at social stereotyping34.
(SOUNDBITE OF FILM, "GET OUT")
DANIEL KALUUYA: (As Chris Washington) Do they know I'm black?
ALLISON WILLIAMS: (As Rose Armitage) Should they?
KALUUYA: (As Chris Washington) You might want to, you know...
WILLIAMS: (As Rose Armitage) Mom and Dad, my black boyfriend will be coming up with weekend. I just don't want you to be shocked that he's a black man.
MONDELLO: With a first-time director and no-name stars, "Get Out" has taken in almost a quarter of a billion dollars at the box office. Also this year in "Everything, Everything," an African-American girl in a bubble and a white neighbor fall in love. The supporting cast of "Beauty And The Beast" turned out to have two interracial couples once the magic spell was broken. And in the upcoming comedy The Big Sick, Kumail Nanjiani will tell the true story of how he met his wife.
(SOUNDBITE OF FILM, "THE BIG SICK")
KUMAIL NANJIANI: (As Kumail) I've been dating this girl. She's white.
ADEEL AKHTAR: (As Naveed) A white girl?
NANJIANI: (As Kumail) OK, you can't look like you and yell white girl. It's OK. We hate terrorists.
MONDELLO: These films make sense. The Pew Research Center recently reported that in 2015, the most recent year for which figures are available, 17 percent of all U.S. newlyweds had a spouse35 of a different race or ethnicity. That compares with 3 percent in 1967, the year of the Loving decision and of "Guess Who's Coming To Dinner." The nation has changed, and Hollywood will, too. At the moment, though, it's still playing catch up. I'm Bob Mondello.
(SOUNDBITE OF JACKIE WILSON SONG, "YOUR LOVE KEEPS LIFTING ME HIGHER AND HIGHER")
1 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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2 dealing | |
n.经商方法,待人态度 | |
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3 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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4 byline | |
n.署名;v.署名 | |
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5 doomed | |
命定的 | |
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6 explicitly | |
ad.明确地,显然地 | |
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7 depiction | |
n.描述 | |
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8 curb | |
n.场外证券市场,场外交易;vt.制止,抑制 | |
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9 immorality | |
n. 不道德, 无道义 | |
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10 depicting | |
描绘,描画( depict的现在分词 ); 描述 | |
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11 condoning | |
v.容忍,宽恕,原谅( condone的现在分词 ) | |
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12 noted | |
adj.著名的,知名的 | |
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13 qualified | |
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14 relatively | |
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15 nomination | |
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16 baker | |
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17 muse | |
n.缪斯(希腊神话中的女神),创作灵感 | |
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18 catering | |
n. 给养 | |
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19 strictly | |
adv.严厉地,严格地;严密地 | |
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20 stipulation | |
n.契约,规定,条文;条款说明 | |
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21 harry | |
vt.掠夺,蹂躏,使苦恼 | |
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22 guts | |
v.狼吞虎咽,贪婪地吃,飞碟游戏(比赛双方每组5人,相距15码,互相掷接飞碟);毁坏(建筑物等)的内部( gut的第三人称单数 );取出…的内脏n.勇气( gut的名词复数 );内脏;消化道的下段;肠 | |
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23 summation | |
n.总和;最后辩论 | |
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24 bastard | |
n.坏蛋,混蛋;私生子 | |
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25 lethal | |
adj.致死的;毁灭性的 | |
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26 franchise | |
n.特许,特权,专营权,特许权 | |
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27 bodyguard | |
n.护卫,保镖 | |
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28 spike | |
n.长钉,钉鞋;v.以大钉钉牢,使...失效 | |
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29 flipper | |
n. 鳍状肢,潜水用橡皮制鳍状肢 | |
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30 alienating | |
v.使疏远( alienate的现在分词 );使不友好;转让;让渡(财产等) | |
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31 boon | |
n.恩赐,恩物,恩惠 | |
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32 flick | |
n.快速的轻打,轻打声,弹开;v.轻弹,轻轻拂去,忽然摇动 | |
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33 witty | |
adj.机智的,风趣的 | |
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34 stereotyping | |
v.把…模式化,使成陈规( stereotype的现在分词 ) | |
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35 spouse | |
n.配偶(指夫或妻) | |
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