歌厅1972

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Economic instability and social unrest following World War I gave way to a culture of escapism and decadence in Weimar Berlin. Though previously Berlin had not made much of a name for itself on the global stage, the Golden Twenties turned Berlin into the third largest city in the world, with a population of over 4 million. The 20s were a time of rich culture and sophisticated developments in art, architecture, music, fashion, and particularly film and live entertainment. Popular personas of the time included Marlene Dietrich and Lotte Lenya. The city became a haven for many writers and artists, thrill seekers who were drawn to the magnetic, taboo atmosphere— particularly of Berlin’s nightlife.

Many artists interacted and blended with the underground culture, nightlife and cabarets. Described in Voluptuous Panic: the Erotic World of Weimar Berlin as the “International sex-tourist Mecca of the Twenties and early Thirties,” Berlin was known for its sexual perversity and moral degeneracy. The nightlife scenes were famous for their erotic performances and abundance of cocaine and alcohol. As a result, many right-wing individuals viewed the culture of the time as socially disruptive and profane. One American writer of the time, Ben Hecht, described Berlin as the “prime breeding ground for evil.”

Despite the culture of decadence in the newly cosmopolitan Berlin, most of the population still faced poverty and unemployment in the aftermath of WWI. Prostitution rose as a means of survival for both women and men. In the 20s, this was normalized to a point where the German army granted approval to it soldiers to attend certain brothels, and even rationed coupon books for sexual services at establishments that had been inspected and cleared of sexually transmitted infections like syphilis and gonorrhea. Drug trafficking and the black market played a huge role in Berlin’s underground economy. Cocaine, heroin, and tranquilizers were easily accessible at the time.

Nightlife venues were abundant and diverse. They included girlculture venues, homosexual venues, lesbian venues, nudist venues, sex museums, transvestite venues, underworld venues, and Weimar Nazi venues.

Berlin Cabarets

Berlin Cabarets of the 1920’s were of a different variety than the ones that would later arise in the early 1930’s in response to the Depression, growing Nazi influence and social unrest. The twenties featured kick-lines of beautiful women who were shining with exuberance and personality: “Their faces were made up with an optimism that nipped all resistance to economic development in the bud, and the little cries of pleasure, issued in a precisely calculated rhythm, gave ever renewed praise to the splendors of existence in just such circumstances story ... exploiting with unflagging zeal the very boom they themselves were representing.” (Anton Kaes, Martin Jay, and Edward Dimendberg, The Weimar Republic Source Book)

After the Great Depression struck, the tone of Cabarets shifted significantly. Despite their well rehearsed smiles, performers began to represent deterioration and frenzy as opposed to blasé luxury: “Their smiles are those of a mark; their confidence a leftover from better days; their precision a mockery of the difficulties in which the very powers they call to mind now find themselves. Though they might continue to snake and wave as if nothing happened--the crisis to which so many factories have fallen victim has also silently liquidated this machinery of girls.” (ibid.) The dancers became more brash and provocative. Large theatres were censored by Nazis for content (both immoral and libelous), whereas nightclub stages and small cabarets maintained their erotic and subversive atmosphere and slid under the radar for a slightly longer period of time. (Lisa Appignanesi, The Cabaret)

Queer Culture

Berlin has a long and substantial history of queer culture. It was considered, from 1920s until the rise of the Nazi party, to be the gay capital of the European continent. Berlin’s status as a site of prominent cultural production was at odds with formal law; homosexuality was illegal in Germany from 1871 all the way until 1994 under the Strafgesetzbuch, or German penal code. The provision Paragraph 175 outlawed homosexual acts between men (as well as prostitution, bestiality, and underage sexual abuse). It was made more draconian during Hitler’s rein.

The burgeoning gay scene was the result of relatively tolerant policing policy that began in the late 19th century. Leopold von Meerscheidt-Hullessem, Berlin’s police commissioner in the 1880s, identified that the law was functionally unenforceable. The only way to convict someone was if they confessed, if it was a reported act of nonconsensual sexual violence, or if there was a witness who could testify in court. Rather than prioritize convictions, the police shifted their strategy to surveilling suspected individuals. The police tolerated a variety of gay public spaces—bars, cafés, and even gender non-conforming balls. Because Berliners were not penalized for frequenting these spaces a large and fairly open community emerged, one that did not exist in other European cities.

Gay culture in 1920s and early 1930s Berlin is most often, and fairly, associated with cabaret culture. A number of cabaret queens, both from Germany and abroad, were gay. One example is Claire Waldoff. Waldoff was not from Berlin, but moved there before World War I and earned a reputation as a review singer. She recorded the song “There’s Only One Berlin” in 1932, and it was banned by the Nazi Party in 1933 for its political content. However, it was so well known at the time that most people who lived in the city that year would have been familiar with it. Waldoff was a well-known lesbian; she lived with her partner, and owned a gay-lesbian salon. Although she socialized with many straight club owners and cabaret performers as well, her relationship with another woman was known and accepted.

The liberal attitudes in Berlin were partially the result of advocacy pioneered by Magnus Hirschfeld. Hirschfeld was a German physician who advocated for gay and transgender rights decades before the timeline of Cabaret, and his work and revolutionized German thought about homosexuality. The Wissenschaftlich-humanitäres Komitee, or WhK (“The Scientific-Humanitarian Committee”) was founded by Hirschfeld in 1897. The mission of the WhK was to advocate for the decriminalization and social recognition of gay and transgender people. At its height, the WhK had roughly 500 members and branches in 25 cities across three countries. Hirschfeld went on to found the Institut für Sexualwissenschaft (“Institute for Sexology”) in 1918 under the more liberal Weimar Republic. The institute advocated for widely available contraception, the treatment of sexually transmitted diseases, women’s emancipation, and sex education. Hirschfeld coined the term “transsexualism”—while terminology has since evolved, it was an important beginning to the discussion of gender nonconformity and medical gender transition—and some of the institute staff were themselves transgender. The institute offered endocrinological and surgical services, including the first modern sexual reassignment surgeries. Hirschfeld also strongly advocated against the arrest of crossdressers, especially those involved in sex work. Documentation of much of Hirschfeld’s would be destroyed in Nazi book burnings, which included the Institute archives.

Outside of cabarets, there was also a sizeable gay literary culture. The 1920s and early 1930s, there were at least 25 different gay German periodicals. These publications were sold alongside other standard papers. They provided community news, listed events, and even listed personal advertisements.

0. Sally 的第一个歌舞桥段 Sally 在影片第 10 分钟首次单独表演时演唱的是 Mein Herr。这时她还不是太熟识 Brian。但是这首歌的歌词表达的却是影片结尾时 Sally 的心理。 歌词：//www.stlyrics.com/lyrics/cabaret/meinherr.htm 节选： Bye-Bye, Mein Lieber Herr. 再见了，我亲爱的先生。 Farewell, mein Lieber Herr. 再会吧，我亲爱的先生。 It was a fine affair, 这是段美好的感情， But now it's over. 但已经结束。 And though I used to care, 虽然我曾在意， I need the open air. 但我需要开放的空间。 You're better off without me, 没有我你会更好过， Mein Herr. 我的先生。 Don't dab your eye, mein Herr, 不要擦拭你的泪水我的先生， Or wonder why, Mein Herr. 也不要问为什么我的先生， I've always said that I was a rover. 我总说我是个流浪者， You mustn't knit your brow, 你不该皱眉头， You should have known by now 你该知道了 You'd every cause to doubt me, 你不必怀疑我， Mein, Herr. 我的先生。 The continent of Europe is so wide, 欧洲的大陆多么广阔， Mein Herr. 我的先生。 Not only up and down, but side to side, 向四面八方， Mein Herr. 我的先生。 I couldn't ever cross it if I tried, 我不能跨越它， Mein Herr. 我的先生。 1. Sally 的父亲 Sally 向 Brian 介绍她父亲的时候，说他「跑遍全球去处理重大国家事件」，接着叹了一口气。Brian 于是说：「那你肯定很少见到他了」。这时 Sally 马上停下来并且惊讶地望着 Brian：「你在说什么？我们经常见面的。他没法忍受和我分开，一有时间就带我去度假。」后来在伯爵的饭桌上介绍自己父亲时也说：「我们有最好的（most marvelous）关系，他随时都可以离开工作冲到我这里来。」 然而，从 Sally 准备和他父亲见面的那幕我们可以看见，她不仅洗去了手上的指甲油（a nun's hand），整个妆容也和平时完全不一样，同时表现出了极度的期待。一切都表明她和父亲极少见面，正是这种见面的珍贵才导致了父亲失约后 Sally 的崩溃。 Sally 在指责他父亲时说：「刚好只有十个词」。她指的应该是发电报时，以十个词为一个单位计费，而她父亲每次都在一个计费单位内发来电报，一个词也不多说。 2. Sally 的介绍词 Cabaret 的主持人在介绍 Sally 的时候用语是：so beautiful, so talented... 后来 Sally 因为父亲失约哭泣时，Brian 安慰她时也说："You're a perfectly marvelous girl, and beautiful, and talented." 而 marvelous 也是 Sally 很爱用的一个词。 最开始 Sally 介绍自己时说 "I am a most strange and extraordinary person"。Brian 求婚后，Sally 也形容 Brian 为 "You are a most strange and extraordinary person"。在参加了 Fritz 的婚礼后，他们趴在草丛中，Sally 同样如此形容即将诞生的婴儿 “It'll be a most strange and extraordinary baby, won't it?" 但是 Brian 没有回答，心事重重地望着远处。 3. 蕾迪普蒂 Lya De Putti Sally 说自己最喜欢的演员是蕾迪普蒂，她的发型也和蕾迪普蒂很相似。

Lya De Putti

4. Landauer 小姐的第一堂英语课 在第一堂英语课中，Fritz 在 Landauer 小姐面前偷偷藏起了自己有补丁的袖子，就和他隐藏自己的犹太身份一样。 Landauer 小姐说 "phlegm" 这个单词时发音是 "plegm"。被 Brian 纠正以后她困惑地问：「既然 g 不发音为什么还在那里？」Brian 也无法回答。这是由于德语的单词拼写和读写非常一致，而英语则有很多无法解释的现象。甚至还有人专门造了一个词说明这点： Ghoti是一个为表现英语拼写的不规则性而被人为创造出来的单词。这个单词与“fish”（英语发音：/ˈfɪʃ/，意为“鱼”）一词发音相同，被认为是fish的另一种拼写形式。“ghoti”一词包括三个音位： “gh”，发/f/音，与“tough”（英语发音：/tʌf/）、“enough”（英语发音：/ɪˈnʌf/）等词中的“gh”相同； “o”，发/ɪ/音，与“women”（英语发音：/ˈwɪmɪn/）中的“o”相同； “ti”，发/ʃ/音，与“mention”（英语发音：/ˈmɛnʃən/）、“action”（英语发音：/ˈækʃən/）等词中的“ti”相同。 大部分英语使用者见到这一单词会认为其发音与“goaty”（英语发音：/ˈɡoʊtɪ/）相同，因此这一单词常被人用于说明英语发音和拼写之间的不规则关系，也常被用作支持英语拼写改革的证据。 //zh.wikipedia.org/wiki/Ghoti 5. Landauer 小姐向 Sally 的咨询 Landauer 小姐因为 Sally 有很多性经验向她咨询性和爱情有关的问题。在 Landauer 小姐困惑这到底是爱还是被 Fritz 的身体迷惑了时，Sally 不假思索地回答：「只要你们开心，这又有什么关系呢？」Landauer 小姐说 Fritz 向自己求婚，但是有太多现实障碍无法跨越后，Sally 又回答：「既然这样，你最好把整件事忘掉吧。」这和 Sally 后来对 Brian 的做法是一致的。 6. 和伯爵的关系 Sally 第一次见到伯爵时找他要烟，说出了第一次见到 Brian 时一模一样的话：「伟大的颓废」。这也符合 Sally 最开始那首歌中所唱的 "Man by man"。 镜头切到伯爵的豪车后，Sally 和主持人开始唱一首歌颂金钱的歌，Money, Money。随后三人结伴出行，主持人和两个女郎在唱 Two Ladies，讲述的是一位男人和两位女人的生活。初看时也许会以为歌中对应的关系为 Sally 与两位男性。但事实上两个女郎隐喻的是 Brian 与 Sally。 7. 纳粹 片中有多个歌舞桥段直接与纳粹有关，最开始酒店老板被纳粹殴打时反复切换的画面是一个没有人声的，主持人不断拍打女郎的舞蹈。之后在 Landauer 的宠物犬遇害时又出现了模仿纳粹姿势的无名舞蹈。还有一段主持人与猩猩舞蹈的桥段，最后主持人说：「如果你们能通过我的眼睛看到她，她看起来一点也不像犹太人。」接着是 Fritz 推开隐喻牢笼的大门去坦白犹太身份的镜头。 Brian 与伯爵在露天餐厅吃饭时，一位希特勒青年团的团员唱起 Tomorrow Belongs to Me 这首歌，引起很多人共鸣。这时 Brian 问伯爵：「你现在还认为可以控制他们（纳粹）吗？」之后伯爵把 Brian 送回公寓，并且向司机发了脾气，接着以自己「要去阿根廷」为借口取消了去非洲的计划。这是由于纳粹反对同性恋，伯爵察觉到风向不得不和 Brian 断绝关系。Brian 对纳粹的厌恶一定程度上也与此有关。 最后一段歌舞桥段 Finale 与开头的桥段 Willkommen 几乎完全一致。讽刺的是，围绕着 cabaret 发生过这么多事情以后，主持人仍然说着相同的台词：「我们这里没有烦恼。」在影片开始时，歌厅里仅仅出现了一个纳粹党员就被老板赶出，但是在结尾时，通过墙壁的反射，可以看到座位上已经有很多纳粹入座。

本文首次发表于《环球银幕》2012 年 11 月刊，有改动。

歌舞片给人的印象通常是这样的：讲一小段故事 - 唱一首歌 - 再讲一小段故事 - 另一个人唱一首歌 - 终于出大事了 - 没关系，在一首压轴歌曲里，解决掉所有矛盾 - 剧终。

“我喜欢看歌舞片”，听上去总像是一个很奇怪的表达，它不像“我喜欢喜剧片”“喜欢悬疑”“喜欢追剧”那样来得自然。因为歌舞片不像是真正的电影，结局都太明确，叙事会被歌舞弱化，中间跟突然插播十段音乐广告似的，用三四分钟重复一句话的信息量；歌舞片的出现是用来逃开现实世界的，所以永远指向爱情或事业丰收：世界很美好，天天奋斗很开心，再大的困难也不怕——如果不是对赏心悦目的歌舞本身有什么特别的研究和钟爱，对于大多数人来说，何苦呢，放轻松还不如看演唱会。

去看歌舞片，要么是观众接受过这种艺术形式的传统熏陶，知道这是怎么一回事，要么各方面都拍得非常出色，让人产生了“感觉好美好啊，好让人憧憬啊”之类的愉悦感，要么是跟风看看经典，基本上，没有太多复杂的理由。

这上面说的，全是偏见，在歌舞片的世界里出现了《歌厅》之后。

1973 年，《教父》获得当年的奥斯卡最佳影片奖，此后成为传奇。但它不是当晚真正的赢家，最佳导演奖（弗朗西斯·科波拉）未被提名、最佳剪辑奖意外落空，计划拥有的荣誉几乎全部被《歌厅》获得。《歌厅》获得了 8 项重要奖项，最佳影片输给《教父》——是场意外，当时人们甚至对此感到分外惊讶。

《歌厅》厉害的地方在于它的创新能力。

它不是那样的歌舞片。它不歌颂美好，每一首歌却都透着对现实的深刻讽喻，让人不寒而栗。故事发生在 20 世纪 30 年代的柏林，两个场景：歌厅里，一切只与享乐和酒色有关；歌厅外，纳粹的势力暗自涌动。两者看上去毫无交集，其实却是各自的写照。犹太人、有钱人、穷光蛋、同性恋、双性恋、德国人、英国人、纳粹……形形色色的角色，复杂的关系和线索，便是这部“战前浮世绘”。

作为影史留名的电影，《歌厅》一直不那么有名，不像《音乐之声》《雨中曲》那么“必看”，但它更像是一个接头暗号：如果你认《歌厅》，那么你就见过真正的好电影是什么样子的。谁也无法否认，《歌厅》与《教父》有着相当的深度。跟《歌厅》的大导演鲍勃·福斯比起来，1937 年的弗朗西斯·科波拉只是个青涩的小后生。讲起爱和人性这样的主题，鲍勃·福斯的《歌厅》更能让人学一手。

电影首先讲的是爱的禁忌。

追逐名利的歌厅女可以和踏实教书的剑桥男在一起吗？美国歌厅女郎莎利·鲍尔斯和英国教师布莱恩·罗伯斯同住柏林的一家公寓，莎利奉行享乐主义，在《歌厅》一曲中表达了“即便因酗酒和嗑药致死也在所不惜”生活信念；布莱恩却肯每天靠教人英语赚 3 马克为生，最让他最快乐的不过是呆在剑桥一间小屋子里专心读书。两人深爱，并打算奉子成婚，女方深知自己无法离开酒色金钱的本性，后来又打掉孩子，决定分手。

异性恋可以和双性恋在一起吗？莎莉跟布莱恩上床之后，又看上了富豪男爵麦克斯，三个人居然走到了一起，产生了一种奇怪又自然的关系：她和布莱恩睡觉的时候，他在一旁坐着；她和麦克斯跳舞的时候，他在一旁看着。这是两个双性恋和一个异性恋发生的三角恋故事。那是 1973 年的电影。

穷光蛋可以和有钱人在一起吗？布莱恩的学生弗里兹·温德尔爱上了一起来学英语的富贵人家千金娜塔丽娅·兰道尔，弗里兹多次求爱无果，他开始怀疑自己的出身问题，怕是因为自己太穷了吧？后来他才知道对方也爱着他，一直不答应和他结婚只有一点，女方是犹太人，怕连累对方。弗里兹最后为了爱情，公开了自己苦心隐瞒了多年的犹太人身份，两人终成眷属。

比爱的禁忌更复杂的，是关于人性的阴暗处。任性又美好的爱情之外，电影记录着可怕而真实的另一面。纳粹把人类的主题交给了恐惧，对爱情的幻想或成泡影，人们将告别可以忘掉烦恼的享乐生活，必须直面死亡。

纳粹是怎样开始的？如果说《白丝带》讲述了纳粹的童年，《歌厅》讲述的就是纳粹的青春——在影片中，人们把犹太人和银行家勾结的谣言登在报纸上，无知的民众纷纷听信，毫不怀疑。里面有一首歌叫《明天将属于我》（Tomorrow Belongs to Me），前段在描写世间各种美妙的场景，如“菩提树的枝桠上长满了绿叶”，“摇篮里的婴儿闭上了双眼”，随后话锋一转：“但是在某个角落，荣誉在等待我们，明天属于我们。”民众们显然被歌声的优美所打动，却意识不到背后隐含的危机，都跟着唱了起来。不问世事的歌厅便是盲目群众的典型代表，在享乐的背景下，纳粹有机可乘。影片开头，镜头对准了观众席上人们欣喜的表情，似乎没有意识到危机的来临。影片末尾，在舞台金属布景的反射下，我们却看到了观众席上多了身穿纳粹军装的士兵——邪恶终于入侵，这座城市依然浑然不觉。

歌厅虽然代表了浅薄和浮华，但是影片借歌厅的歌舞表演所表达却是赤裸裸的现实。有几场戏（其中的歌舞片段）很值得反复看，尤其是《如果你能看见她》（If You Could See Her），它用滑稽的方式将人与大猩猩的爱情比喻为犹太人与其它种族之间的爱情，在影片中暗示犹太人已经面临的残酷处境。舞台站着一个小丑般打扮的男人，他开口演唱，解释自己为什么喜欢一位姑娘——“如果你像我一样了解她，你会改变自己的看法”；一段演唱过后，身边站着的一位背过身去、罩着披风的“女性”转过身来，原来是一只人扮演的大猩猩，底下的观众哄然大笑；但是演出继续，“小丑男人”对着这位大猩猩表现出倾慕之情，继续重复它的唱段：“如果你能像我那样看她，你就不会觉得奇怪；如果你能像我那样了解她，你也会像我一样爱上她”……这时的歌厅之外，犹太人即将遭难。《歌厅》里每一处歌舞表演都是《歌厅》本身要讲述的故事的后台和注解，它与情节本身隔离，大多由歌厅女郎莎莉·鲍尔斯（丽莎·明奈利饰）和一个完全不参与整个故事情节的歌厅小丑（乔尔·格雷饰）完成，但它让真相更加直白。

《歌厅》的 30 年后，《芝加哥》获得奥斯卡最佳影片奖。二者非常相似，首先都不是欢天喜地联欢晚会那一卦的歌舞片，是现实题材，《芝加哥》也极具讽刺意味，讽刺的是法制、媒体和大众，这是两个囚犯为了获得曝光如何争名逐利的故事；《芝加哥》就是《歌厅》的导演鲍勃·福斯 1975 年在百老汇创作的音乐剧；两部的曲作者都是约翰·肯德尔，风格也些许类似。如果无法理解歌舞片，《歌厅》和《芝加哥》会告诉你这种电影类型是如何讲故事的。

这部电影的主演丽莎·明奈利的母亲是朱迪·加兰，父亲是文森特·明奈利。母亲朱迪·加兰主演过著名的《绿野仙踪》，父亲曾因执导《琪琪》（也叫《金粉世界》）获奖。她的表演一流，并且比她父母都幸运，因为就歌舞电影来说，《歌厅》更是一座里程碑。

本片歌舞运用极佳，串联主线却又游离于故事之外，歌舞在片中的作用也有很多种：连接甚至是概括剧情；暗示政治背景；表达人物心声；用歌舞夸张地表现了当时纸醉金迷浮夸迷幻的社会；对小小的舞台和下面观众的描写刻画出了政治突变波涛汹涌时代下芸芸众生的躁动和恐惧。

女主角刻画很好，是剧变的时代背景下一个微不足道的小人物，现实窘迫却心怀梦想，愿意出卖身体来接近那些看似能帮助自己完成梦想的人。对自己身体满不在乎却拥有一双纯真动人的大眼睛。和别人说父亲和自己很亲近，却无法掩盖父亲爽约甚至不愿意在给自己的电报上多花钱的事实，因此而倍受打击，内心里其实是一个渴望父爱的孩子。放弃了自己爱的男孩和腹中的孩子，因为她知道男孩没有爱上她，她对梦想的憧憬胜于自己对男孩的爱，于是她回到舞台上，振臂高歌。无论梦想是否能实现，她都愿意去追寻，甚至是死在梦里。“生活就像是歌厅，也只是个歌厅，而我喜欢的，就是歌厅”。她代表了当时女性思想开始解放，认识自我，追逐梦想；也代表了那个时代千千万万的追梦人，愿意前仆后继地去追寻那个遥不可及但美丽无比的梦，却像那个妓女埃尔西一样无法逃脱其宿命般的结局。

纳粹青年表演那一段格外令人印象深刻，歌曲激昂高亢，观众的情绪很快被调动起来，由旁观变为参与其中，反对者反而显得弱小格格不入，直观的体现了纳粹具有的力量。民众的愚昧和易操煽动，人心脆弱可以轻而易举地操控在此暴露无遗。

上联：众人点评十分到位

下联：补充论述样样俱全

横批：十分精彩

（必须写够140字才让我发出去，我只能简单说两句，那就是：

在那个特殊的时代背景下，爱情看似无处不在，但其实十分可贵。

人们为了追求自己想要的人生，必须做出各式各样的选择，而这样的选择也引发了电影中主人公们之间的矛盾与冲突，从而更进一步点缀了那个纷繁复杂的社会。）