Marilyn Monroe
网飞新片《金发梦露》再一次对玛丽莲梦露进行了贬损式的描绘，被他人定义了一生的玛丽莲梦露何时才能摘下性感女神面具？
男性凝视下的性感女神
Think about Marilyn Monroe, and certain images instantly come to mind: the red lips, slightly parted; the sleepy, siren eyes; the platinum blonde hair; and that voice, breathy, like she just woke up. Her friend, the writer Truman Capote, described her as a "platinum sex-explosion".Marilyn conjures up sex and – simultaneously – misery, thanks to the way her troubled personal life has been pored over from the moment she became a movie star.
一提到玛丽莲·梦露，人们的脑海中就会立刻浮现出一些画面：微张的红唇，睡意朦胧的迷人眼神，铂金色的头发，还有略带喘息的声音，仿佛刚刚醒来一样。她在让人联想到“性感”的同时，也让人联想到“痛苦”。这是因为，从她成为电影明星的那一刻起，她那困境重重的私人生活就被媒体翻了个底朝天。
With the latest biopic of the movie star, Andrew Dominik's adaptation of Joyce Carol Oates' 2000 novel Blonde, her legacy has once again been debased.
导演安德鲁·多米尼克根据作家乔伊斯·卡罗尔·奥茨于2000年所作的小说《金发梦露》，改编出了一部最新的玛丽莲传记电影。在影片中，她留给后人的形象再次遭到贬损。
Andrew Dominik's Blonde is "torture porn with a lick of Hollywood gloss"
安德鲁·多米尼克的《金发梦露》是“带有一点好莱坞色彩的折磨色情”
Almost every moment shown is agonising, and Ana de Armas (who plays Marilyn) weeps almost constantly throughout the film's two hour and 45 minutes runtime.
影片中每个瞬间几乎都令人痛苦，安娜·德·阿玛斯(饰演玛丽莲)在影片的两小时四十五分钟里几乎在不停地流泪。
Oates' Pulitzer Prize-winning book is a fictionalisation of Marilyn's life, narrated from the point of view of a deeply traumatised and lonely woman, in love with movies and the idea of love, but desperately crippled with daddy issues that infect every single relationship she develops.
奥茨的这本普利策获奖书籍《金发梦露》虚构化了玛丽莲的个人生活，讲述了一个深受创伤和孤独并沉迷于电影和对爱情幻想的女人，如何因为恋父情结破坏了每一段关系，最终陷入绝望。
In Blonde, Dominik turns Marilyn's story into a body horror. As Dr Lucy Bolton, a reader in film studies at Queen Mary University of London, says, the actress was often "cut up into segments in her films," with shots that focused on her breasts, her crotch, her mouth. "It's objectification, it's fetishisation. It's classic Laura Mulvey stuff," she says, referring to the pioneering academic's "male gaze" theory.
在电影《金发梦露》中，导演多米尼克将玛丽莲的故事变成了一场肉体恐怖[1]。正如伦敦玛丽女王大学电影研究的读者露西·博尔顿博士所说，这位女演员经常“在电影中被分解成几个身体部位”，因为镜头集中在她的胸部、胯部和嘴巴上。“这种行为是物化，是恋物癖。这是典型的劳拉·穆尔维风格，”她解释并提及了劳拉这位先驱学者的“男性凝视[2]”理论。
“请不要把我变成一个笑话”
Marilyn Monroe's life was one of extreme lows and extraordinary highs. Born Norma Jean Baker to a single, mentally ill mother who was unfit to take care of her, she was put in an orphanage and foster homes until she was emancipated by marriage. She became an actress after she was already a successful pin-up model. Marilyn's mystery is not that of her ascent, but of the extreme contradictions of her life.
玛丽莲·梦露的一生一直徘徊于顶峰与低谷两个极端之间。她原名为诺玛·简·贝克，由一位患有精神缺陷的单身母亲生下，但因母亲不具抚养能力而被送进孤儿院和寄养家庭，直到结婚她才脱离儿时环境。在以性感模特的身份获得成功后，她成为了一名演员。梦露的神秘之处不在于她的成功，而在于她人生中种种异乎寻常的矛盾。
"Please don't make me into a joke," Marilyn said, to an unnamed interviewer near the end of her life. But Hollywood's cruel joke has been to turn her into a trainwreck, reducing her legacy to a series of messy love affairs, daddy issues and addiction.
“请不要把我变成一个笑话。”玛丽莲在生命即将结束时对一位不知名的采访者说。但好莱坞的残酷玩笑已经使她陷入了混乱的局面，使她的故事沦为一系列混乱的风流韵事、恋父情结和成瘾癖好。
A whole host of made-for-TV biopics like 1993's Marilyn and Bobby: Her Final Affair have portrayed Marilyn in demeaning terms .
一大批为电视制作的传记片，如1993年的《玛丽莲与鲍比:最后一段恋情》用贬低的语言描绘了玛丽莲.
According to Bolton, our enduring fascination with Marilyn Monroe is rooted in how easily she can be moulded to fit different stories: "She stands for different narratives: the victim narrative, and the absolute essence of feminine, sexual glamour and irresistibility, in her own lifetime and in retrospect.
博尔顿博士认为，我们对玛丽莲·梦露持久迷恋的根源在于她很容易被塑造成适合不同故事的形象：“她从好几种不同的叙事角度被拆解：受害者身份叙事，绝对的女性特质，以及女性不可抗拒的魅力，始终贯穿她的一生和世人对她的回忆之中。
In the many films and limited series that have dramatised her life, most focus on her rags-to-riches story, and skip quickly to her demise, her difficult persona on set and her troubles with men of note. By focusing on the tragedies of her life and exaggerating the abuses she suffered, these biopics continue to disempower her, decades after her death.
将梦露的生活戏剧化的电影和限定剧数不胜数，而其中的大部分都聚焦于她从麻雀变凤凰的故事，并迅速跳转到她的离世、她在片场中的艰难伪装，以及她与数位名流的感情纠葛。这些传记片关注她生活中的悲剧，夸大她所遭受的虐待，令她在去世几十年后仍被不断消解。
被塑造 然后被贬损
But why the endless drive to tear her down, to reduce her to a sad cautionary tale? "There is something in the most puritanical part of our nature that says, these Hollywood people, they have so much and they deserve it so little," the writer and film critic Farran Smith Nehme tells BBC Culture – and so because Marilyn was the biggest star of them all, it's as if she deserves these, in Nehme's words, "relentlessly downbeat" interpretations of her life.
为什么无休止的诋毁，让她的一生沦为了一个令人嗟叹的故事？作家兼评论家弗朗·史密斯·内姆在接受BBC Culture采访时表示：“我们很自然地认为，那些好莱坞的明星，拥有的东西远比他们应得的多得多。”而正因梦露是他们之中最耀眼的存在，用内姆的话来说，她的人生就该受到如此无休止的负面评议。
1996's Norma Jean and Marilyn took the step of having two different actresses, Ashley Judd and Mira Sorvino, play her simultaneously
1996年的《双面玛丽莲》让两位不同的女演员，阿什利·贾德和米拉·索维诺，同时扮演她
Yhara Zayd points out: "Marilyn Monroe is an invention. Created by Norma Jean Baker but also created by Hollywood, and created by us, the audience." The transformation of the waif Norma Jean Baker into Marilyn Monroe the movie star is akin to a superhero being gifted their power. In the 2001 Blonde, her reinvention comes out of nowhere, as she is christened by a studio exec played by Wallace Shawn with a simple "Marilyn Monroe — it's sexy!".
伊哈拉·扎伊德指出：“玛丽莲梦露这个形象本身就是被塑造出来的。由诺玛·简·贝克、好莱坞以及作为观众的我们一手打造。”从流浪儿诺玛·简·贝克到电影明星玛丽莲梦露的转变就像一个超级英雄被赋予了力量。在2001年的电影《金发女郎》中，玛丽莲仅仅因为电影公司主管华莱士·肖恩的一句“玛丽莲梦露——这太性感了！”，就获得了一个全新的名字，并以一个出人意料的全新形象示人。
美貌易逝 才华留香
Is there really nothing else worth saying about Marilyn and her cinematic legacy?
关于玛丽莲和她的电影遗产，真的没有什么其他内容值得谈论了吗？
Very few of the films that purport to tell us "what really happened" actually focus on the thing that made Marilyn so successful: her work. Transitioning from pin-up model to actress, she didn't quite find her footing until she met the influential agent Johnny Hyde.
在那些自称要告诉我们“究竟发生了什么”的电影中，很少有真正聚焦于玛丽莲如此成功的关键：她的作品。从性感模特过渡到演员的过程中，玛丽莲直到遇到了有影响力的经纪人约翰尼·海德，才站稳了脚跟。
Michelle Williams in My Week with Marilyn (2011) showcases Marilyn's charm and sensuality
米歇尔·威廉姆斯在《我与梦露的一周》(2011)中展示了玛丽莲的魅力和性感
In 1952, one of her most enduring performances, that of endearing gold-digger Lorelei Lee in Gentlemen Prefer Blondes would cement her in the dumb blonde persona that Marilyn found so frustrating. Her image might have made her famous, but her talent made her endure. Her determination to be taken seriously led her to New York, to the Actor's Studio and to Method Acting. Even at the height of her popularity, though, her efforts were mocked. The biopics choose to disempower her further by forgetting about the middle part of the story.
1952年，她饰演的最成功的角色之一，也就是《绅士爱美人》中讨人喜欢的拜金女罗丽拉·李，将她局限在一个愚蠢的金发女郎形象，这令玛丽莲感到沮丧。让她出名的可能是容貌形象，但让她经久不衰的是她的才华。她下定决心要找到能被认真对待的舞台，于是她来到了纽约，在演员工作室开始学习体验派表演。然而，即使在她最受欢迎的时候，她的努力也遭到了嘲笑。甚至传记片通过隐瞒她经历的这部分来进一步削弱她。
There is hope, though. Nehme believes there's a generational shift that is inspiring a reappraisal of Marilyn Monroe. Her image may be universally familiar now, but discovering Marilyn's performances is always a revelation. Her feline femininity in Niagara, her coy clumsiness in The Prince and the Showgirl, and her knowing delivery of all-timer quips in Gentlemen Prefer Blondes. While it might not capture Marilyn's star power, the best thing that Blonde can do for her is inspire more people to watch her actual work.
幸好希望仍存。内姆认为，当一代青年人长大，曾经的一代变老，这种代际转换正在促使人们重新评价玛丽莲·梦露。她现在的形象可能已经广为人知，但探索玛丽莲的表演总像是在解一个谜。她在《飞瀑怒潮》中富有女性气质，在《游龙戏凤》中腼腆笨拙，而在《绅士爱美人》中却又能妙语连珠。虽然《金发梦露》可能无法完全涵盖玛丽莲的明星魅力，但它能为玛丽莲做的最好的事情，就是激励更多的人观看她真正留下的那些经典之作。
词汇译注
[1]肉体恐怖（Body horror）又称为生物性恐怖，组织器官恐怖。是恐怖作品中的一种类型。主要来源于人类对自身形体的破坏或肉体衰退、生理上的变异所产生的恐惧。这类型的作品经常会有肉体上的疾病、腐烂、衰败、寄生、破碎、改造、突变等题材的描述。其他还包括不合常理的怪异动作，或借由肢体结构的错置组合、突破人体部位所产生的怪物。
[2]男性凝视（male gaze），是一种社会文化现象。女性是被看的第二性，男性则通过各种媒介和渠道享受窥视愉悦，成为观看和凝视的第一性。许多理论家在探讨“凝视”问题时都指出，通常人们把“男性凝视”加以“自然化”，使之成为占主导地位的观看行为。
原文链接：
https://www.bbc.com/culture/article/20220922-why-marilyn-monroe-is-the-worlds-most-misunderstood-icon
编译|翟芸 侯倩 殷奕蕊 朱思远 陈宇嘉
排版|殷奕蕊
