梦露私底性格大曝光

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  Marilyn Monroe is still remembered nearly 50 years after her death, but Leo McKinstry has argued that she was actually talentless and lazy.Laurence Olivier described Monroe as 'the stupidest, most self-indulgent tart I have ever come across'. The great director Otto Preminger said working with Marilyn was ‘like directing Lassie’. Olivier was even more scathing: ‘She is the stupidest, most self-indulgent tart I have ever come across.’    梦露辞世五十年芳韵仍不减，有名人称其懒惰无脑，多位合作过的大导演如劳伦斯·奥利佛和奥托·普雷明格批评她自私任性，像个小孩，而且非常愚蠢，与对梦露通常受到的美艳盛赞可谓大相径庭。
    She was the ultimate screen goddess, the biggest sex symbol ever to come out of Hollywood. And almost 50 years after her death, Marilyn Monroe remains an unrivalled cultural icon, an object of desire for millions of men and an inspiration for successive generations of women.
    梦露，不朽的银幕女神，好莱坞头号性感美人。去世50年后，仍是无与伦比的文化符号，万千男性的梦想，世代女性的向往。
    At the time, Monroe was still in her somewhat incongruous marriage to bespectacled playwright Arthur Miller, the couple having been dubbed by the press ‘the Egghead and the Hourglass’.Monroe turned for support during the film’s production to a young assistant on the set, Colin Clark.
    时值与丈夫亚瑟·米勒婚姻触礁，她投怀科林·克拉克。
    I am one of the few straight men who does not worship at her altar. For I am exasperated rather than mesmerised by her breathy, childish voice and hysterically fluttering eyelashes. Her mix of phoney innocence and pushy voluptuousness holds little appeal for me. At times, with her fake blonde hair and exaggerated wiggle of her hips, she seems more like a grisly drag queen than a real woman.
    但科林表示：“我没拜在梦露的石榴裙下。我不喜欢她那连呼带喘的娃娃音和眨眼睛放电，也对她的装无辜和沉湎享乐没兴趣。那时她戴着金色假发，屁股扭得很夸张，像是男扮女装。”

    Yes, she is a role model, but largely for tiresome narcissists and exhibitionists. Nor do I think she was much of an actress. Despite a career lasting 14 years, she made no truly great films, gave no captivating performances. There was little depth to her. She almost always played the same shallow role, the ditsy helpless blonde craving masculine attention and protection.
    “她那无聊的自恋和爱出风头的确称得上典型角色。但我不认为她算个演员，她14年来没拍出一部真正的好电影，也没有迷人的演出，她毫无深度，几乎总是扮演傻乎乎又无助的金发女郎来寻求男性关注和保护的肤浅角色。”
    With typical sentimentality, Monroe claimed in her politics to be ‘on the side of the workers’. Yet she did not show much appetite for hard work herself. Her irresponsible attitude caused directors, producers and colleagues endless frustration.
    梦露宣称她“支持工人的政治立场”，但却没兴趣努力工作。她那不负责任的态度给导演、制片和同事带来了无尽麻烦。

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Instead of overcoming obstacles, Monroe spent much of her life wallowing in them. In the process, she became one of the catalysts of the modern cult of victimhood, where individuals use a narrative of personal suffering to avoid taking responsibility for their own lives.

    她并不克服生活中的困难，反而长期沉湎其中，成了现代受害者至上的催化剂之一---就是通过叙述个人不幸来逃避为生活负责。

    But what is most offensive about Marilyn’s victimhood is that it was so phoney. This was a woman who, in the mid-1950s, was adored by millions. The idea that she was oppressed by the Hollywood studio system is just another piece of myth-making.

   但她最让人反感的是她的虚假。她集二十世纪中期万千宠爱于一身，关于她受到好莱坞片场制度压迫的观点是无中生有。

    In fact, in 1955, 20th Century Fox offered her a fabulous contract that required her to make only four films over the next seven years, while her own company, Marilyn Monroe Productions, was to be given a share of the profits for each film.

    1955年二十世纪福克斯给她开出丰厚合约，七年内只出演四部电影，她自己的公司可以从中分红。

    In addition, she was allowed to work for other studios and could reject any director she didn’t like. Moreover, for all their frustrations, directors often showed great tolerance towards her. In the production of Niagara, her first big film, Henry Hathaway spent hours coaxing and comforting her as she prepared her scenes.

    此外，她可以自行接拍其他电影，还可以选择喜欢的导演。但她让大家都失望了，导演们也一忍再忍。

    Far from being the innocent victim of legend, Monroe was capricious, wilful and self-centred. She moaned about being a star, but was ferociously ambitious in her pursuit of fame.

    她不仅不是传说中的无辜受害者，而且善变、任性、自私，她诉苦明星身份，又野心勃勃追求出名。

    She claimed to be ‘just a small girl in a big world trying to find someone to love’, yet she proceeded to alienate her husbands, including Arthur Miller and the baseball hero Joe DiMaggio, with her promiscuity, exhibitionism and neuroses. She didn’t respect any boundaries.

    她说自己是“在茫茫人海寻找爱人的女孩”，但滥交，爱出风头，神经质，先后与几任丈夫疏远。更是无视规矩，举止无端。

    Monroe also wailed about being a sex symbol, but did all she could to encourage such an image, with her endless pouting and figure-hugging fashions.

    她抱怨自己是性感明星，但总穿紧身裙撅着嘴，尽其所能打造性感形象。

    Monroe once justified her quixotic behaviour with the line: ‘It is better to be absolutely ridiculous than absolutely boring.’ In my view, she ended up being both.

    她曾替自己过火的行为辩护：“就算愚蠢至极也比无聊至极好。”但笔者认为她两个至极都占了。