十大美国黑帮电影 编辑本段回目录
在《教父》（The Godfather ）公映40周年之际，让我们来看一看其他被称为传奇的黑帮电影。
Paul Muni in the original 'Scarface' United Artists
《疤面煞星》原作中的保罗·穆尼 联美公司
This month marks 40 years since The Godfather's theatrical opening. To honor the occasion, here's look at the picture's peers among the great canon of American gangster films.
本月标志着《教父》公映40周年，为了纪念这一盛事，下面我们来欣赏下其他美国黑帮电影佳作中的照片。
We kept the list domestic for the sole purpose of keeping it to a manageable length; for the same reason, we've tried to focus on films that are primarily gangster films, as opposed to movies like Reservoir Dogs that are heist movies or other genres with organized crime in the background. Below, we'll take a look at The Godfather within that canon: the film itself, the films that inspired it, and the films it inspired in turn.
我们的排行只限于美国本国的电影，这样做只有一个原因，就是让其长度易于操作，不至太长。出于同样的原因，我们把目光集中在纯黑帮电影上，而不是像《落水狗》（Reservoir Dogs ）那样的抢劫电影，或是其他有组织犯罪背景的电影种类。下面，我们将欣赏处于这一范畴内的电影，包括《教父》本身，启发《教父》的电影和受《教父》启发的电影。
The Public Enemy (1931)
《人民公敌》1931
It’s tough to pick a favorite among the many great pre-Code Warner Brothers gangster movies, which featured definitive crime picture figures like James Cagney, Edward G. Robinson, and Humphrey Bogart. But we’re gonna go with William A. Wellman’s 1931 classic, with stars Cagney and Edward Woods as childhood buddies who became Prohibition-era underworld figures. The direction is stylish, the stars are spot-on, and the supporting cast (Jean Harlow, Joan Blondell, grapefruit recipient Mae Clark) is aces; no less a gangster movie authority than Martin Scorsese says this is favorite.
华纳兄弟（ Warner Brothers ）在《电影制作守则》（这里的Code是指下文提到的Motion Picture Production Code。译者注。）出台之前，制作了很多优秀的黑帮电影，很难从中挑出一部最喜欢的，电影中有权威性的罪犯化身人物，如詹姆斯·卡格尼（James Cagney），爱德华·G·罗宾逊（ Edward G. Robinson）和汉弗莱·博加特（ Humphrey Bogart）。但是我们将要欣赏下威廉·A·韦尔曼（William A. Wellma）1931年的经典作品，其中卡格尼和爱德华·伍兹（Edward Woods ）是童年好友，长大之后成了禁令时代的黑帮人物。导演很有风格，明星表演很到位，就连配角（吉恩·哈洛Jean Harlow，琼·布朗德尔Joan Blondell和柚子容器梅·克拉克 Mae Clark）都是顶尖的，正如黑帮电影权威马丁·斯克西斯（ Martin Scorsese ）说这是他最喜欢的电影。
Scarface (1932)
《疤面煞星》1932
The gangster film has always tiptoed a fine line between glamorizing and condemning a life of crime, and that line was never more carefully navigated than during the era of the Motion Picture Production Code, which specified that any on-screen criminal action must be punished, and that criminals could not elicit sympathy from an audience. Scarface producer Howard Hughes and directors Howard Hawks and Richard Rosson went to the mat with censors over their 1932 film Scarface, loosely based on the rise of Al Capone; though it ended with Capone avatar Tony Camonte (Paul Muni) being punished with a hail of police bullets, that conclusion followed 90 minutes of wickedly enjoyable bad behavior. Hughes shot a more explicitly punishing conclusion, but the film still caused trouble; he ended up going around the censors and releasing, in its original form, what became one of the most iconic gangster pictures ever made.
黑帮电影一直在美化和谴责犯罪生活之间小心翼翼地走钢丝，而这条钢丝，在《电影制作准则》（ Motion Picture Production Code）时代被操控得最为严重，准则规定，任何在银幕上出现的罪犯都要受到惩罚，罪犯不能引起观众的同情。电影《疤面煞星》的制作人霍华德·休斯（Howard Hughes ）和导演霍华德·霍克斯（Howard Hawks ）和理查德·罗森（Richard Rosson ）和审片员们进行了一场激战，他们1932年的电影《疤面煞星》模糊地以阿尔·卡彭（Al Capone，黑帮教父——芝加哥王，1925-1931年掌权黑手党。译者注。）为原型，尽管电影结尾卡彭的化身托尼·卡蒙特（Tony Camonte ）（保罗·穆尼Paul Muni饰）最终死于警察的枪林弹雨之下，但是这个结尾之前，是90分钟的邪恶过瘾的不良行为。休斯拍摄了一个惩罚更明确的结尾，但是这部电影还是招来了麻烦，后来他和审片员们百般周旋，电影以其最初的形式上映了，这成为了有史以来最具标志性的黑帮电影之一。
Point Blank (1967)
《步步惊魂》1967
By the late 1960s, the American gangster movie had gone the way of the dinosaur, repurposed into caper pictures (like The Killing and The Asphalt Jungle) and redefined by overseas filmmakers (particularly the gangster-loving gents of the French New Wave). John Boorman’s riveting 1967 Lee Marvin vehicle was one of the seminal “existential” gangster films, reflecting its standard genre story into the fun house mirrors of contemporary experimental filmmaking techniques and circular storytelling.
到20世纪60年代末，美国的黑帮电影重蹈了恐龙的覆辙，转化成了跳跃画面的形式（就像《谋杀》（）The Killing 和《夜阑人未静》（The Asphalt Jungle）一样），并且被海外的电影制作者（特别是法国新浪潮运动里的那些热爱黑帮电影的绅士们）。约翰·布尔曼（John Boorman）1967年的魅力作品《李·马文》（Lee Marvin ）车是开创性的“存在”黑帮电影之一，把它的标准类型故事反射到了当代实验电影制作技术和循环讲述的游乐园的镜子上。
The Godfather (Parts I and II) (1992 and 1974)
《教父》第一、二部（1992,1974）
Gangster films had been box office losers for years when Paramount bought the rights to Mario Puzo’s bestseller (the studio itself had lost a bundle a few years earlier on The Brotherhood). Francis Ford Coppola’s 1972 masterpiece changed that for good; it was not only a rare instance of an honest-to-God work of art becoming a certified box office smash, it was a bellwether film (like The Birth of A Nation or Citizen Kane) that functioned not just as a narrative, but as a culmination of what cinema was at that moment — where it had come from, and what it could be. Like the other great films of the “New Hollywood,” it took the new freedoms and complexities allowed by the crumbling of the Motion Picture Code and put them to work in a classic American story, one that was set in our past but spoke to our present, and our future.
多年来，黑帮电影的票房成绩一直不佳，直到派拉蒙影业公司（Paramount）买下马里奥·普佐（Mario Puzo）的畅销作品的版权（该公司几年之前在《兄弟会》（The Brotherhood）上损失了一笔钱）。弗朗西斯·福特·科波拉（Francis Ford Coppola）1972年的杰作永远地改变了这一情况，它不仅仅是一个真正的艺术作品的实例成为出色票房的保证，它还是一部开山之作（就像是《一个国家的诞生》（The Birth of A Nation ）和《公民凯恩》（ Citizen Kane）），它不仅是当时电影本质的一个叙述，更是其高潮--电影从哪儿来，它将会是怎样。正如《新好莱坞》的其他伟大电影一样，它利用了《电影制作守则》废除之后的新自由和复杂性，让它们在一个典型的美国故事中运行，这个故事发生在过去，但是预示着我们的现在和将来。
The Outfit (1973)
《全副武装》1973
The year after The Godfather, co-star Robert Duvall fronted this slightly obscure but thoroughly entertaining thriller, based on the novel by Donald E. Westlake (who also provided the source material for Point Blank). Duvall and Joe Don “Mitchell” Baker play thieves taking on “the outfit,” Chicago’s organized crime syndicate, for taking out Duvall’s brother. Like Point Blank, it sounds like a typical revenge thriller, but director John Flynn executes the story with high style and a snub-nosed toughness.
《教父》公映的第二年，联合主演罗伯特·杜瓦尔（Robert Duvall ）又拍了这部有点晦涩但是十分有趣的犯罪电影，电影基于唐纳德·E·维斯雷克（Donald E. Westlake ）的小说（维斯雷克还为《步步惊魂》提供了源材料）杜瓦尔和乔·唐“米切尔”·贝克（Joe Don “Mitchell” Baker ）扮演全副武装的贼，他们是芝加哥组织犯罪集团的成员，为了要救出杜瓦尔的弟弟。和《步步惊魂》一样，它听起来很像一部典型的复仇电影，但是导演约翰·弗林（ John Flynn ）以新风格和塌鼻子般的韧性展现了这个故事。
Once Upon a Time in America (1984)
《美国往事》1984
Sergio Leone had longed to make a film adaptation of Harry Grey’s novel The Hoods since the 1960s, initially intending it to be his follow-up project to The Good, the Bad, and the Ugly, which he intended to be his final Western. It wasn’t; he made Once Upon a Time in the West and Duck, You Sucker! in the interim (and also co-directed, without credit, two other Italian Westerns). By the time the Italian-American co-production was finally released in 1984, it had been over a decade since his last official directorial credit, and audiences were eager to see if Leone would redefine the gangster film the way he had the Western. What he came up with was a daunting epic, its original cut running four hours, trimmed by 40 minutes for its European release, but hacked down to a mere 139 minutes for its initial, reviled American screenings. Luckily, home video brought the European version back into play; seen now, in that form, Leone’s sprawling look at the lives, friendships, and betrayals of a Jewish gang is hard, smart, and unforgettable.
从20世纪60年代以来，赛尔乔·莱昂内（Sergio Leone ）就期待能把哈里·格雷（Harry Grey）的小说《胡德一家》（The Hoods ）改编成电影，他原本打算拍完《黄金三镖客》（The Good, the Bad, and the Ugly）之后，就拍摄这部电影，把它作为他最后一部西部片。但它不是，在这期间，他又拍摄了《西部往事》（Once Upon a Time in the West ），《革命怪客》（Duck, You Sucker!）（他还与别人共同执导了两部意大利西部片，没有什么名气）。到1984年，这部意大利-美国合作的电影终于上映的时候，距他最后一次正式执导已经有10多年了，观众很期待想看，莱昂内是不是会像重塑西部片一样，重新定义黑帮片。他呈现的是一部令人畏缩的史诗片，初作长达4小时，欧洲上映的时候，剪掉了40分钟，（在美国）首映时砍成了一部只有139分钟的电影，简直侮辱了美国的大荧幕。幸运的是，美国的家庭影院又把欧洲的版本引进来播放；以那种形式现在看来，莱昂内的对于生命，友谊及犹太团伙的背叛的散漫展示，是非常正确、巧妙且难忘的。
The Untouchables (1987)
《铁面无私》（也有翻成《义胆雄心》的）1987
His contemporaries Francis Ford Coppola and Martin Scorsese are usually seen as the go-to guys for gangster tales among New Hollywood’s so-called “film brats,” but Brian DePalma has taken on the mob on several occasions. The most iconic is his 1983 remake of Hawks and Rosson’s Scarface, which has emblazoned T-shirts and hip-hop lyrics for decades. It’s an entertaining film, but one that’s occasionally crippled by its own excesses. His 1993 reteaming with Pacino and producer Martin Bregman, Carlito’s Way, is an enjoyable B-movie, slick and zippy, but his best gangster picture is probably his 1987 take on the classic television series The Untouchables. David Mamet’s screenplay is mostly concerned with Elliot Ness (Kevin Costner) and his team of agents, but the occasional set pieces with the object of their pursuit, Al Capone (played to the hilt by Robert DeNiro), are chillingly effective.
在新好莱坞所谓的“电影新手”中，布莱恩·德·帕尔马（ Brian DePalma）同时代的导演，弗朗西斯·福特·科波拉和马丁·斯科西斯通常被称为黑帮故事的核心人物，布莱恩也有好几次加入这一群，最具代表性的是他1983年翻拍的霍克斯和罗森的《疤面煞星》，它十几年来t恤衫上和嘻哈音乐歌词中都有传颂，这是一部很有趣的电影，但是有的地方却过犹不及了。1993年他和帕西诺及制片人马丁·布雷格曼（ Martin Bregman）再度合作拍摄了《情枭的黎明》（Carlito’s Way），这是一部有趣的B类电影，老套而活泼。但是他1987年拍的经典电视剧《铁面无私》，可能是他最出色的黑帮片了。大卫·马麦特（David Mamet）的剧本主要关注埃利奥特·内斯（ Elliot Ness ）（凯文·科斯特纳Kevin Costner）和他的代理团队，但是关于他们追击的对象，阿尔·卡彭（由罗伯特·德尼罗Robert DeNiro演绎到极致）的几个固定场景，还是印象深刻的。
Goodfellas (1990)
《好家伙》（又名《盗亦有道》）1990
No American filmmaker is more readily identified with the gangster movie than Martin Scorsese, and for good reason; his breakthrough film Mean Streets concerned the working stiffs of organized crime, and he’s returned to mob stories throughout his career. The best of them, however, is Goodfellas, his 1990 film adaptation of Nicholas Pileggi’s nonfiction book. The film is remembered for its iconic set pieces — the tracking shot into the “Copa,” the “Sunday, May 11, 1980″ sequence, the discoveries of the bodies after the Lufthansa heist. In those sections, and throughout the picture, Scorsese calls upon all of his considerable gifts as a technical filmmaker — zip pans, trick zooms, fast dolleys, unbroken takes, slow motion, fast cutting, inventive compositions, circular storytelling — to cast his spell. It pulses with atmosphere, from the non-stop music to the period décor to the culinary details.
美国导演中，没有人比马丁·斯科西斯更乐于被和黑帮电影视为一体的，当然因为好的原因。他的突破性电影《穷街陋巷》（Mean Streets ）展现了组织犯罪的运行困难，他的整个电影生涯都回归了暴徒故事。然而，其中最优秀的是《好家伙》，这是他1990年改编自尼古拉斯·派勒吉（Nicholas Pileggi）写实小说的一部电影。这部电影因其几个标志性的固定模式而被铭记--深入“Copa”的推拉镜头，“周日，5月11日，1980”的序列，汉莎航空公司遭劫之后尸体的发现。在这些部分，以及整部电影中，斯科西斯展现了他作为一个技术性电影摄制者的巨大天赋--快速摇摄，拍摄特技，快速移动摄影，完整拍摄，慢动作，快速剪辑，创造性的合成，循环的讲述模式--完成了他的杰作。电影中，从不间断的音乐到完整的布景，再到烹饪细节，都搏动着一种气氛。
Miller’s Crossing (1990)
《黑帮龙虎斗》1990
September 1990 was a rough month to put out your gangster movie. With Godfather III on the way in December, there was an absolute glut of crime pictures in the fall: Goodfellas, King of New York, State of Grace, and Miller’s Crossing all hit theaters within the same two week period. Goodfellas got most of the attention; the Coen Brother’s Miller’s Crossing got the leftovers. (The other two films wouldn’t find their audiences until home video.) The style of the two films defied expectations; the younger Coens, whose first two films were notable for their whip-fast, hyper-stylized photography, went with a more classical, noir-influenced touch, while the elder Scorsese used the kind of gimmicky camerawork and fast pace one might’ve expected from the Coens. However it happened, the swap worked; Miller’s Crossing remains one of their most memorable and mature pieces of work.
你很难在1990年9月推出你的黑帮电影，因为12月份《教父3》即将上映，秋季绝对有一批黑帮片，《好家伙》《黑道皇帝》（ King of New York）《魔鬼警长地狱镇》（State of Grace）《黑帮龙虎斗》都在同两个星期内上映。《好家伙》得到最多关注，科恩兄弟的《黑帮龙虎斗》仅分得了一些残羹（另外两部电影只在家庭影院时获得一些观众）。这两部电影的风格都很出乎预料；年轻的科恩兄弟，他们的前两部电影因其快速移动、高度格式化的摄影而闻名，他们这次采用了一个更古典、更受黑色影响的方法，而年长的斯科西斯则采用了那种巧妙的摄影技巧和快节奏的元素，这些都是人们期待在科恩兄弟的影片中看到的。无论是怎么发生的，这种互换奏效了。《黑帮龙虎斗》成为科恩兄弟最难忘、最成熟的作品之一。
New Jack City (1991)
《纽约黑街》1991
Filmmakers had tried, throughout the 1970s, to mate the gangster and “blaxpoitation” subgenres, with little success — though films like Black Caesar and Black Godfather are fun to watch, they’re not terribly good cinema. Mario van Peebles’s 1991 film New Jack City suffers from some of the same melodramatic tendencies (and giggle-worthy fashion callbacks), but it succeeds, and sticks in the memory, because of the remarkable lead performance of Wesley Snipes as unrepentant hustler Nino Brown. Sure, Snipes became a punch line in later years, but this is a fierce, gripping turn, intoxicating not only in his moments of evil, but in the vulnerability of his interactions with childhood friend and soured business partner Gee Money (Allen Payne) late in the picture.
整个20世纪70年代，电影制作者们都试图将黑帮和“对黑人兴趣的利用（“blaxpoitation“）凑成一对，但是收效甚微--尽管《黑凯撒》（Black Caesar ）和《黑教父》（Black Godfather ）这类电影看起来很好玩，但是它们并不是顶好的电影。马里奥·范·皮布尔斯（Mario van Peebles）1991年拍摄的电影《纽约黑街》也遭受了同样的剧情片倾向之苦（还有引起傻笑的时尚召回），但是它成功了，留存在记忆之中，因为韦斯利·斯奈普斯（Wesley Snipes ）出色地扮演了主角尼诺·布朗（Nino Brown）--一个不知悔改的流氓。当然之后几年斯奈普斯成为炙手可热的人物，但是这是一个剧烈、惹眼的转变，不仅使他沉醉在自己的邪恶行为中，也让他无力再与童年好友交往，影片后面部分，他的生意伙伴吉·马力（Gee Money ）（艾伦·佩恩Allen Payne饰）也不再与其交好。
