柏林艳史 (1948)

Jean Arthur stars as Congresswoman Phoebe Frost in Wilders satire of American sexual mores. She arrives in bombed-out postwar Berlin in 1947 as part of a congressional delegation assigned to investigate the moral behavior of the American occupying troops. As part of her mission, she delivers a cake baked by his fiancee to Capt. John Pringle (John Lund), who immediately trades it on the black market for a mattress, which he takes to the apartment of his current girlfriend, Erika von Schluetow (Marlene Dietrich), an alluring German nightclub singer. While touring the city, researching the G.I.s appetite for blond German women and alcohol, Phoebe, mistaken for a German, is picked up by some of the soldiers and taken to a club which features the singing of Erika. When she sees a familiar cake being served, she becomes suspicious and orders John to watch the womans apartment to identify her American lover. After seeing some newsreel footage of Erika with Hitler, Phoebe asks John to show her the womans file, but he distracts her from further investigation by coming on to the congresswoman, who responds with surprising passion. A comedy edged with cruelty, it features one of Dietrichs quintessential performances. 一面是政治余温（「如果你给一个饿肚子的人面包，那就是民主；但你没把包装纸撕掉，这可就是帝国主义了。」），一面是浪漫小调（「谁要闻香水？我想闻的是爱荷华农田玉米的清香。」），而怀尔德的台词将这两类元素无缝衔接在一部作品之中。战后柏林的压抑与沉重被轻松谐趣的三角恋所化解，正如黑市酒吧中起舞歌唱的人们。「外表斯文内里Open」的美国女议员略显木讷，营造出的人设反差在女王黛德丽的气场下失色不少（结合《控方证人》背景，同样在其中饰演酒吧歌女的《柏林艳史》可算是黛德丽的个人前传了）。一面是痴情单纯的美国女议员，一面是风情万种的德国红歌女，这其中也许是怀尔德对当时欧美文化特色的一次速写。档案室追吻段落趣味性满分，和结尾的酒吧戏遥相呼应，让人想起《大人与小孩》中的月台的呼应戏码。控方证人前传？军队、一座座废墟、勃兰登堡门黑市和地下酒吧构成了二战后的柏林，年轻女性们为了生活物资和美国大兵约会，像极了金基德收件人不详里为了治疗眼睛委身于美国大兵的韩国女孩。黛德丽所饰演的德国女人风情万种，对立面则是代表着胜利、自由、民主的美国议员，与其说是议员，倒更像是苏联女政委。用光非常巧妙，可以看到黑暗里女政委的泪光，和酒吧里士兵们掏出的手枪。怀式金句： “给穷人发面包是民主，但如果带有包装就是资本主义了”。比利怀德的喜剧是我心头爱，他的作品布满智慧，编织很精妙，笑点灵动有趣，尤其台词值得玩味。该片琪恩·亚瑟，玛琳·黛德丽等主演， 战后柏林，美国军人与柏林女人，讽刺的恰到好处，黛德丽依旧风情万种。神片，无论1948年还是2020年很risque和non-PC的水平，当然最后靠反面仙人跳情节拉回来一部分三观... 从男主人公柏林废墟里面开着那辆叫kidney killer的吉普（走肾？呵呵...其实应该是烈酒），到男女主的用美国革命先烈来调情的段子(Paul