【雅思精读】奥黛丽·赫本：不仅仅只是偶像

　　【雅思精读】奥黛丽·赫本：不仅仅只是偶像，*注：本文选自11月26日《英国卫报》，下面和上名校小编一起来详细的了解一下吧！更多外刊阅读，请持续关注环球教育美文推荐栏目，如需专业的雅思培训辅导，戳客服即可在线咨询！

　　Audrey review – a poor Breakfast at Tiffany's with too many waffles

　　《奥黛丽》评论：蒂凡尼的早餐太难吃了，华夫饼太多了

　　Some heartfelt moments aside, this documentary is an exasperating, Hello-stylehagiography that pays too little attention to Hepburn’s film work

　　除了那些感人瞬间，这部纪录片真的很让人恼火，这只是一部娱乐八卦，都没怎么关注赫本的作品

　　1. There are some heartfelt moments in this documentary portrait of Audrey Hepburn, with touching contributions from her son Sean Hepburn Ferrer, and granddaughter Emma Ferrer – as well as spirited comments from critic Molly Haskell as well as Peter Bogdanovich, who directed Hepburn in his ill-fated 1981 movie They All Laughed. But by and large, it’s anexasperating, simpering, Hello-magazine-interview of a film, blandly celebrating her “iconic” presence in the horribly overrated Breakfast at Tiffany’s, in which she was absurdly unrelaxed and self-conscious.

　　这部纪录片里面确实有一些关于奥黛丽·赫本的动人瞬间。在纪录片中，赫本的儿子肖恩·赫本费雷尔和孙女艾玛费雷尔都有出镜，导演彼得·博格达诺维奇也对赫本发表了评论。彼得·博格达诺维奇是赫本主演的电影《哄堂大笑》的导演。但总的来说，这部纪录片真的很叫人恼火。这不过就是一部明星八卦罢了，纪录片只提到了她在《蒂凡尼的早餐》中的“标志性”出演，而在这部电影中，她显得扭扭捏捏，很不放松。

　　2. The film gives due weight to the unaffected loveliness and charm of her first leading role, in Roman Holiday. But amid the waffle, her very good performances in Stanley Donen’s Two For the Road and Richard Lester’s Robin and Marian are just ignored. The film also avoids mentioning Alfred Hitchcock’s grudge against Hepburn for using her pregnancy (with Sean) for getting out of her contract to star in his planned but then abandoned movie No Bail for the Judge: Hepburn was aghast to realise her character would be attacked by a rapist.

　　这部纪录片恰如其分地强调了《罗马假日》中，她所扮演的角色是如何地纯真而富有魅力。在这些毫无意义的废话中，她在斯坦利·多南执导的《罗马丽人行》和理查德·莱斯特的《罗宾汉与玛莉安》中的精彩表现都被忽略了。这部纪录片也没有提及希区柯克对赫本的不满，因为赫本用自己怀孕为借口，推掉了希区柯克的电影《追凶记》。得知在电影中，自己将会出演的角色将会被强奸，赫本很是惊讶。

　　3. Audrey is candid enough about Hepburn’s parents, and their ugly pre-war politicalinfatuations with Nazism, and it lays out Hepburn’s great pain and loneliness when she finally came from the Netherlands to London after the war to be a dancer, and then – when that wasn’t working out – to act on stage and in the movies. It is also clear about the unhappiness of her own marriages. In the final portion of her life, Hepburn threw herself into her work for Unicef and became a very class act, speaking passionately in English, French and Dutch about the need to help disadvantaged children – although I was sorry that the film spent quite so much time on this worthy but sometimes not very interesting period, when there was more to say about her work on screen.

　　纪录片《奥黛丽·赫本》丝毫没有隐藏任何关于赫本父母的信息。战前，他们是纳粹主义的拥护者，这给赫本带来了巨大的伤痛和孤独。战后，她从荷兰来到伦敦，学习跳舞。之后，由于跳舞没有出路，她开始出演电影。这部纪录片也谈及了赫本不幸福的婚姻。在晚年的时候，赫本全身心投入联合国儿童基金会的工作，享誉世界，她会英语，法语和荷兰语，也曾热烈呼吁人们关注弱势儿童。这部电影用很大一部分来讲述这部分很有价值，但却不那么有趣的故事，真是遗憾，毕竟，她的电影作品还有很多值得深挖的地方。

　　4. In the end, Hepburn withdrew behind the mask of quasi-royal elevation: you can see visual echoes of Jackie Onassis, Grace Kelly and Diana Spencer in her. My own theory is that her public image and sense of herself was irreversibly shaped by Roman Holiday, and that her UNICEF work was shaped by her appearance in The Nun’s Story. But the film has some nice images of Hepburn, at all events.

　　在最后，《赫本》落入俗套，赞颂赫本公主般的高贵：在赫本身上，我们能看到杰姬·奥纳西斯、格蕾丝·凯利和戴安娜·斯宾塞的影子。在我看来，赫本的公众形象很大一部分都受到《罗马假日》的影响，而她的联合国儿童基金会亲善大使形象则被《修女传》塑造。但是，无论如何，这部纪录片还是还原了赫本的美好形象。