Name: 如何成為傳奇！藍波 (Humphrey Bogart) 的傳奇養成之路 (How Humphrey Bogart Became A Legend)
Uploaded: 2026-02-02T17:07:10.000Z
Duration: 8 min 20 s

情態助動詞 B1

It would have been impossible to guess at this moment in 1939 that Humphrey Bogart, here playing Dr.

在 1939 年的此刻，誰也想不到飾演 Dr.

程度副詞

X in this really awful horror movie, would eventually become the most iconic actor in the history of the cinema.

X 的 Humphrey Bogart，在這部超爛的恐怖片裡，後來會成為影史上最經典的演員。

By this point, Bogart had already made something like 40 films, most as a contract player for Warner Bros.

這時候 Bogart 已經演了大概 40 部電影，大部分都是華納兄弟的簽約演員。

Warner cast him almost exclusively as villains, usually gangsters, in the gangster pictures that flourished in the 1930s.

華納幾乎都讓他演反派，通常是黑幫份子，在那種 1930 年代盛行的黑幫電影裡。

Bogart was a constant presence in that decade, but a minor one.

Bogart 在那個十年裡一直都有出現，但都不是什麼重要角色。

但到了 1940 年代，一切都變了。

It started with this movie, High Sierra, and

這一切都從這部電影《The Roaring Twenties》開始，還有

a leading role that Bogart's contemporary George Raft turned down because he was t of being typecast as a gangster.

一個由 Bogart 的同期演員 George Raft 拒絕的領銜角色，因為他擔心自己會被定型為黑幫份子。

The character was Mad Dog Roy Earl, a thief who's just been let out of jail and agrees to do one last job.

這個角色是 Mad Dog Roy Earl，一個剛出獄的小偷，他同意做最後一票。

High Sierra is a kind of coda on the fading gangster era.

《High Sierra》可以說是對逐漸消逝的黑幫時代的一種總結。

And maybe because he played so many of these characters, Bogart lends the perfect world weariness to a story that seems fated to end in tragedy.

也許是因為他演過太多這類角色，Bogart 為這個似乎註定悲劇收場的故事，注入了完美的滄桑感。

Or at least you get the sense that he wants to believe there's something sympathetic in himself.

或者至少你會感覺到，他想相信自己身上有值得同情的地方。

And even after all he's done, High Sierra was a hit.

即使在他做了這麼多事之後，《High Sierra》依然大受歡迎。

And it began a new phase in Bogart's career.

這也開啟了 Bogart 演藝生涯的新階段。

Sorry I got up on my hind legs, boys, but

you fellas trying to rope me made me nervous.

你們這些想把我牽扯進來的傢伙，讓我感到緊張。

Miles getting bumped off upset me and then you birds cracking foxy.

Miles 被撞飛讓我有點難過，然後你們這些鳥竟然還在嘲笑 Foxy。

But it's alright now, now that I know what it's all about.

不過現在沒事了，我知道是怎麼一回事了。

The same year he helped Hollywood say goodbye to the 30s gangster picture.

同一年，他幫助好萊塢告別了 30 年代的黑幫電影。

Bogart introduced the world to film noir with the Maltese Falcon.

Bogart 透過《馬爾他之鷹》將黑色電影介紹給全世界。

This was the first of Bogart's truly iconic roles.

這是 Bogart 真正經典角色的開端。

Sam Spade in John Huston's directorial debut.

John Huston 首次執導的電影中的 Sam Spade。

And it was another part turned down by George Raft.

The only chance I've got of catching them and tying them up and bringing them in is by staying as far away as possible from you and the police, because you'd only gum up the works.

我唯一能抓住他們、綁起來並把他們帶進來的機會，就是離你們和警察越遠越好，因為你們只會把事情搞砸。

The character of the hard boiled, wise, cracking PI is archetypal.

那種硬漢、聰明、能言善道的私家偵探，是個經典形象。

Now it's thrilling to watch Bogart create it for the movies.

現在看 Bogart 在電影裡塑造這個角色，真是太精彩了。

With the help of Houston's script from the Hammett novel and his inspired direction.

靠著 Houston 改編自 Hammett 小說的劇本，還有他靈感的執導。

Bogey is the tough guy again, this time on the other side of the law.

Bogey 又演硬漢了，這次是站在法律的另一邊。

But in Sam Spade, he finds another layer of vulnerability, especially in the astonishing final minutes.

但在 Sam Spade 這個角色裡，他展現了另一層的脆弱，尤其是在令人驚豔的最後幾分鐘。

You'll never understand me but I'll try once and then give it up.

你永遠不會懂我，但我會試一次，然後就放棄。

See, Bogart's genius wasn't in his range.

你看，Bogart 的天賦不在於他的戲路廣。

作為一個演員，他的戲路其實沒那麼寬。

And as a star of the golden era, he wasn't allowed it anyway.

而且作為黃金時代的巨星，他本來就不被允許有太多戲路。

But what Bogart lacked in variety, he made up for in depth.

但 Bogart 在戲路上的不足，卻在演技深度上補足了。

He took the type he was so well known for, the cynical, the bruised, the world weary but still hopeful man and mined it.

他將自己最為人熟知的角色類型，也就是那個憤世嫉俗、飽經創傷、厭倦世界卻仍懷抱希望的男人，深入地詮釋。

A year after the Maltese Falcon in 1942, he starred in Casablanca.

在1942年《馬爾他之鷹》上映一年後，他主演了《卡薩布蘭卡》。

And no one could have pulled off Rick Blaine.

而且沒有人能像他一樣演活 Rick Blaine 這個角色。

就像 Bogart 一樣，Rick 這個角色也很棘手。

The first half hour of the movie calls for him to be cold, bitter and generally unlikable.

電影開頭的半小時，要求他表現得冷酷、刻薄，而且總的來說不討人喜歡。

Traits that ought to distance us from the character.

這些特質本該讓我們疏遠這個角色。

但不知何故，Bogie 卻能吸引我們。

That's because he brings a naturalism to the part that enlivens the otherwise cliche elements of the story.

這是因為他為這個角色帶來了一種自然主義，讓故事中原本陳腔濫調的元素變得生動起來。

他的憤世嫉俗不只是憤世嫉俗。

Only the topmost layer, concealing pain underneath.

And how does Bogart let us into this pain?

那 Bogart 是怎麼讓我們感受到這份痛苦的呢？

Through his eyes, without any action at all.

透過他的眼神，什麼動作都不用。

He's totally transparent to the viewer so that even the slightest twitch in his face feels like an earthquake.

他對觀眾來說完全透明，所以他臉上最細微的抽動都感覺像是一場地震。

With Casablanca, Bogart added romantic lead to his repertoire and he built on it in to have and have not, the first of four films with his future wife, Lauren Bacall.

靠著《卡薩布蘭卡》，Bogart 拓展了他的戲路，成為浪漫男主角，之後在《逃亡的女人》中更上一層樓，這是他與他未來的妻子 Lauren Bacall 合作的四部電影中的第一部。

Bogart wasn't the tall, handsome leading man like Cary Grant.

Bogart 不是像 Cary Grant 那樣高大帥氣的男主角。

His face was lined with years of hard drinking.

他的臉上刻滿了多年酗酒的痕跡。

Yet there's something attractive about a man whose coolness betrays an inner reservoir of feeling.

但一個冷靜外表下藏著豐富情感的男人，總有種迷人的魅力。

In the Big Sleep, he brings this romantic chemistry to another classic.

在《長眠》這部經典中，他再次展現了這種浪漫的化學反應。

Perhaps I'm asking too much, although it doesn't seem too much to me somehow.

或許我要求太多了，雖然我總覺得這沒什麼大不了的。

And it's a testament to Bogart's charisma and director Howard Hawks that a story which is famously incomprehensible is still compulsively watchable.

這證明瞭 Bogart 的魅力以及導演 Howard Hawks 的功力，即使故事出了名地令人費解，卻依然讓人慾罷不能。

He won't monkey around with Fred C. Dobbs.

In the Treasure of the Sierra Madre, Bogart finds another gear.

在《碧血黃金》中，Bogart 展現了更深一層的演技。

He plays a man prospecting for gold with two others.

他飾演一個和另外兩個人一起尋找黃金的礦工。

They strike it rich, but greed and paranoia tear them apart.

他們挖到寶藏，但貪婪和猜忌讓他們反目成仇。

I want to tell them you tied me to a tree and made your getaway, taking all the goods, yours, mine and His.

我想告訴他們，你把我綁在樹上，然後帶著所有財物，包括你的、我的和他的，獨自逃跑了。

So they'll be looking for you and not me.

這樣他們就會去找你，而不是我。

Well, this is a new kind of role for Bogart.

嗯，這對 Bogart 來說是個全新的角色。

It's also a further exploration of the character he's been developing in Casablanca and his Bacall films.

這也是他在《卡薩布蘭卡》和與 Bacall 合作的電影中，他所塑造的角色的一個進一步發展。

The vulnerability he conceals under his tough guy shell emerges as love or compassion in Sierra Madre.

他藏在硬漢外殼下的脆弱，在《碧血黃金》中轉化為愛或同情。

What's inside him eventually curdles and develops into madness and rage.

他內心的東西最終變質，發展成了瘋狂和憤怒。

你討厭她那種高高在上的態度。

It's wonderful to feel her throat crush under your arm.

感覺她的喉嚨在你手臂下碎裂，真是太棒了。

Things get even more disturbing in Nicholas Ray's In a Lonely Place where Bogart plays a washed up, boom boozy screenwriter who's wrongly accused of murder.

在尼可拉斯·雷的《孤獨的 وهذا》裡，情況變得更加令人不安，飾演一位過氣、酗酒的編劇的 Bogart 被錯誤地指控謀殺。

You can see how the moral backbone of characters like Rick Blaine, Sam Spade and Philip Marlowe kept them afloat, how hope provided stability.

你可以看到像 Rick Blaine、Sam Spade 和 Philip Marlowe 這樣的角色，他們道德上的支柱如何讓他們得以生存，希望如何提供了穩定。

Lose that and the cynicism starts to look a lot like sociopathy.

失去這些，犬儒主義就看起來很像反社會人格。

Self doubt becomes self hatred and that becomes a danger to others.

自我懷疑變成自我憎恨，而那就會對他人造成危險。

Bogart knew, perhaps from experience, how easy it is to fall on either side of the coin.

Bogart 或許是從經驗中知道，要落入硬幣的哪一面都多麼容易。