西力传 Zelig (1983)【完整台词】
西力传 Zelig (1983) 全部台词 (当前第1页,一共 7 页)
(CROWD CHEERING AND WHISTLING)
He was the phenomenon of the '20s.
When you think, at the time, he was
as well-known as Lindbergh,
it's really quite astonishing.
(CROWD CHEERING)
His story reflected
the nature of our civilization,
the character of our times,
yet it was also one man's story.
And all the themes of our culture
were there.
Heroism, will, things like that.
But when you look back on it,
it was very strange.
Well, it is ironic to see
how quickly he has faded from memory,
considering what
an astounding record he made.
He was, of course, very amusing, but at
the same time touched a nerve in people,
perhaps in a way in which
they would prefer not to be touched.
It certainly is a very bizarre story.
(CHARLESTON PLAYING)
NARRATOR: The year is 1928.
America, enjoying a decade
of unequalled prosperity, has gone wild.
The Jazz Age, it is called.
The rhythms are syncopated,
the morals are looser,
the liquor is cheaper,
when you can get it.
It is a time of diverse heroes
and madcap stunts,
of speakeasies and flamboyant parties.
One typical party occurs
at the Long Island estate
of Mr. and Mrs. Henry Porter Sutton,
socialites, patrons of the arts.
Politicians and poets rub elbows
with the cream of high society.
Present at the party is Scott Fitzgerald,
who is to cast perspective on the '20s
for all future generations.
He writes in his notebook about a curious
little man named Leon Selwyn or Zelman,
who seemed clearly to be an aristocrat,
and extolled the very rich
as he chatted with socialites.
He spoke adoringly of Coolidge
and the Republican party,
all in an upper-class Boston accent.
"An hour later," writes Fitzgerald,
"I was stunned to see the same man
speaking with the kitchen help."
"Now, he claimed to be a Democrat
and his accent seemed to be coarse,
"as if he were one of the crowd."
It is the first small notice
taken of Leonard Zelig.
Florida, one year later.
An odd incident occurs
at the New York Yankees' training camp.
Journalists, anxious as always
to immortalize the exploits
of the great home-run hitters,
notice a strange new player waiting
his turn at bat after Babe Ruth.
He is listed on the roster as Lou Zelig,
but no one on the team has heard of him.
Security guards are called,
and he is escorted from the premises.
It appears as a small item
in the next day's newspaper.
(CHICAGO THAT TODDLIN' TOWN PLAYING)
Chicago, Illinois, that same year.
There is a private party
at a speakeasy on the South Side.
People from the most respectable
walks of life dance and drink bathtub gin.
Present that evening
was Calvin Turner, a waiter.
A lotta customers,
a lotta gangsters came in the place.
'Cause they always good tippers
and take good care of us,
and of course we try to take
care of our customers.
But on this particular night, I looked over
and here's a strange guy comin' in.
I'd never seen him before,
so I asked one of the others, I say,
"John, you know this guy?
You ever seen him?"
So he looks.
"No, I ain't never seen him before."
"I don't know who he is,
but I know he's a tough-looking hombre."
So I looked over, and next thing,
the guy had disappeared.
I don't know where he went to, but about
this time, the music usually gets started.
And the band started... (SCATTING)
Playin', and I looked,
and here's a colored guy,
a colored boy playin' trumpet.
Man, he was playin' back.
I looked at the guy
and said "Well, my goodness.
"He looks just like that gangster,
but the gangster was white
"and this guy is black."
So I don't know what's...
What's happening.
NARRATOR:
New York City. It is several months later.
Police are investigating the disappearance
of a clerk named Leonard Zelig.
Both his landlady and his employer
have reported him missing.
They tell police he was
an odd little man who kept to himself.
Only two clues are found
in Zelig's Greenwich Village flat.
One, a photograph of Zelig
with Eugene O'Neill,
and one of him as Pagliacci.
Acting on a tip, they trace
his whereabouts to Chinatown,
where, in the rear of a Chinese
establishment, a strange-looking Oriental
who fits the description
of Leonard Zelig is discovered.
Suspicious, the detectives
try to pull off his disguise,
but it is not a disguise,
and a fight breaks out.
He is removed by force,
and taken to Manhattan Hospital.
In the ambulance, he rants and curses
in what sounds like authentic Chinese.
He is restrained with a straitjacket.
When he emerges from the car
20 minutes later,
incredibly, he is no longer Chinese,
but Caucasian.
Bewildered interns place him
in the emergency room for observation.
At 7:00 a.m., Dr. Eudora Fletcher,
a psychiatrist, makes her usual rounds.
When I first heard about this
emergency case that had been brought in,
I didn't think anything peculiar.
And when I first laid eyes on him,
it was a bit strange,
because I mistook him for a doctor.
He had a very professional
demeanor about him.
NARRATOR: As a young psychiatrist,
Eudora Fletcher is fascinated
by Leonard Zelig.
She convinces the conservative staff
at the hospital to allow her
to pursue a study of the new admission.
- FLETCHER: What do you do?
- ZELIG: Oh, me? I'm a psychiatrist.
- FLETCHER: Oh, yes?
- ZELIG: Yes, yes, I work
mostly with delusional paranoids.
- FLETCHER: Tell me about it.
- ZELIG: Oh, there's not much to tell. I...
I work mostly on the Continent,
and I've written quite
a few psychoanalytic papers.
I've studied a great deal.
I worked with Freud in Vienna.
Yes, we broke over
the concept of penis envy.
Freud felt that it
should be limited to women.
FLETCHER: It's not that
he was making any sense at all.
It was just a conglomeration
of psychological double-talk
that he had apparently heard, or perhaps
was familiar with through reading.
The funny thing was
that his delivery was quite fluid,
and might have been really
quite convincing
to someone who did not know any better.
NARRATOR: Who was this Leonard Zelig
that seemed to create
such diverse impressions everywhere?
All that was known of him was that
he was the son of a Yiddish actor
named Morris Zelig,
whose performance as Puck
in the Orthodox version of A Midsummer
Night's Dream, was coolly received.
The elder Zelig's second marriage is
marked by constant violent quarrelling,
so much so, that although
the family lives over a bowling alley,
it is the bowling alley
that complains of noise.
As a boy, Leonard is
frequently bullied by anti-Semites.
His parents, who never take his part
and blame him for everything,
side with the anti-Semites.
They punish him often
by locking him in a dark closet.
When they are really angry,
they get into the closet with him.
On his deathbed,
Morris Zelig tells his son
that life is a meaningless
nightmare of suffering,
and the only advice
he gives him is to save string.
Though brother Jack
has a nervous breakdown,
and sister Ruth becomes
a shoplifter and alcoholic,
Leonard Zelig appears
to have adjusted to life.
Somehow, he seems to have coped.
And then, suddenly,
increasingly strange behavior.
Fascinated by the Zelig phenomenon,
Dr. Fletcher arranges
a series of experiments
and invites the skeptical staff
to observe.
With the doctors watching,
Zelig becomes a perfect psychiatrist.
When two Frenchmen are brought in,
Zelig assumes their characters
and speaks reasonable French.
In the company of a Chinese person,
he begins to develop oriental features.
By now, word has gotten out to the press,
and a public thirsting for thrills
and novelty is immediately captivated.
The clamor is so great that Dr. Allan
Sindell is forced to issue a statement.
We're just beginning
to realize the dimensions
of what could be the scientific
medical phenomenon of the age,
and possibly of all time.
NARRATOR:
Fresh stories roll off the press every day
about Zelig and his puzzling condition.
Although the doctors claim
to have the situation in hand,
no two can agree on a diagnosis.
I'm convinced
that it's glandular in nature
and although there's no evidence now
of any misfunction,
I'm sure that further tests
will show a problem in the secretions.
I'm certain it's something
he picked up from eating Mexican food.
This manifestation
is neurological in origin.
Now, this patient
is suffering from a brain tumor,
and I should not be surprised if,
within several weeks, he died.
Now, we have not as yet
been able to locate the tumor,
but we're still looking.
NARRATOR:
Ironically, within two weeks' time,
it is Dr. Birsky himself
who dies of a brain tumor.
Leonard Zelig is fine.
Throughout the weeks
of testing and speculation,
Eudora Fletcher begins to feel
that the patient might be suffering
not from a physiological disorder,
but from a psychological one.
It is Zelig's unstable make-up,
she suggests,
that accounts for his metamorphoses.
The governing board of doctors
is hostile to her notion.
They conclude that Zelig's malady can be
traced to poor alignment of the vertebrae.
Tests prove them wrong, and cause
a temporary problem for the patient.
Now, the press and public
hang on every bit of news,
thoroughly absorbed
in the real-life drama.
MAN: (ON RADIO) The continuing saga
of the strange creature
at Manhattan Hospital goes on.
This morning, doctors report,
experiments were conducted
He was the phenomenon of the '20s.
When you think, at the time, he was
as well-known as Lindbergh,
it's really quite astonishing.
(CROWD CHEERING)
His story reflected
the nature of our civilization,
the character of our times,
yet it was also one man's story.
And all the themes of our culture
were there.
Heroism, will, things like that.
But when you look back on it,
it was very strange.
Well, it is ironic to see
how quickly he has faded from memory,
considering what
an astounding record he made.
He was, of course, very amusing, but at
the same time touched a nerve in people,
perhaps in a way in which
they would prefer not to be touched.
It certainly is a very bizarre story.
(CHARLESTON PLAYING)
NARRATOR: The year is 1928.
America, enjoying a decade
of unequalled prosperity, has gone wild.
The Jazz Age, it is called.
The rhythms are syncopated,
the morals are looser,
the liquor is cheaper,
when you can get it.
It is a time of diverse heroes
and madcap stunts,
of speakeasies and flamboyant parties.
One typical party occurs
at the Long Island estate
of Mr. and Mrs. Henry Porter Sutton,
socialites, patrons of the arts.
Politicians and poets rub elbows
with the cream of high society.
Present at the party is Scott Fitzgerald,
who is to cast perspective on the '20s
for all future generations.
He writes in his notebook about a curious
little man named Leon Selwyn or Zelman,
who seemed clearly to be an aristocrat,
and extolled the very rich
as he chatted with socialites.
He spoke adoringly of Coolidge
and the Republican party,
all in an upper-class Boston accent.
"An hour later," writes Fitzgerald,
"I was stunned to see the same man
speaking with the kitchen help."
"Now, he claimed to be a Democrat
and his accent seemed to be coarse,
"as if he were one of the crowd."
It is the first small notice
taken of Leonard Zelig.
Florida, one year later.
An odd incident occurs
at the New York Yankees' training camp.
Journalists, anxious as always
to immortalize the exploits
of the great home-run hitters,
notice a strange new player waiting
his turn at bat after Babe Ruth.
He is listed on the roster as Lou Zelig,
but no one on the team has heard of him.
Security guards are called,
and he is escorted from the premises.
It appears as a small item
in the next day's newspaper.
(CHICAGO THAT TODDLIN' TOWN PLAYING)
Chicago, Illinois, that same year.
There is a private party
at a speakeasy on the South Side.
People from the most respectable
walks of life dance and drink bathtub gin.
Present that evening
was Calvin Turner, a waiter.
A lotta customers,
a lotta gangsters came in the place.
'Cause they always good tippers
and take good care of us,
and of course we try to take
care of our customers.
But on this particular night, I looked over
and here's a strange guy comin' in.
I'd never seen him before,
so I asked one of the others, I say,
"John, you know this guy?
You ever seen him?"
So he looks.
"No, I ain't never seen him before."
"I don't know who he is,
but I know he's a tough-looking hombre."
So I looked over, and next thing,
the guy had disappeared.
I don't know where he went to, but about
this time, the music usually gets started.
And the band started... (SCATTING)
Playin', and I looked,
and here's a colored guy,
a colored boy playin' trumpet.
Man, he was playin' back.
I looked at the guy
and said "Well, my goodness.
"He looks just like that gangster,
but the gangster was white
"and this guy is black."
So I don't know what's...
What's happening.
NARRATOR:
New York City. It is several months later.
Police are investigating the disappearance
of a clerk named Leonard Zelig.
Both his landlady and his employer
have reported him missing.
They tell police he was
an odd little man who kept to himself.
Only two clues are found
in Zelig's Greenwich Village flat.
One, a photograph of Zelig
with Eugene O'Neill,
and one of him as Pagliacci.
Acting on a tip, they trace
his whereabouts to Chinatown,
where, in the rear of a Chinese
establishment, a strange-looking Oriental
who fits the description
of Leonard Zelig is discovered.
Suspicious, the detectives
try to pull off his disguise,
but it is not a disguise,
and a fight breaks out.
He is removed by force,
and taken to Manhattan Hospital.
In the ambulance, he rants and curses
in what sounds like authentic Chinese.
He is restrained with a straitjacket.
When he emerges from the car
20 minutes later,
incredibly, he is no longer Chinese,
but Caucasian.
Bewildered interns place him
in the emergency room for observation.
At 7:00 a.m., Dr. Eudora Fletcher,
a psychiatrist, makes her usual rounds.
When I first heard about this
emergency case that had been brought in,
I didn't think anything peculiar.
And when I first laid eyes on him,
it was a bit strange,
because I mistook him for a doctor.
He had a very professional
demeanor about him.
NARRATOR: As a young psychiatrist,
Eudora Fletcher is fascinated
by Leonard Zelig.
She convinces the conservative staff
at the hospital to allow her
to pursue a study of the new admission.
- FLETCHER: What do you do?
- ZELIG: Oh, me? I'm a psychiatrist.
- FLETCHER: Oh, yes?
- ZELIG: Yes, yes, I work
mostly with delusional paranoids.
- FLETCHER: Tell me about it.
- ZELIG: Oh, there's not much to tell. I...
I work mostly on the Continent,
and I've written quite
a few psychoanalytic papers.
I've studied a great deal.
I worked with Freud in Vienna.
Yes, we broke over
the concept of penis envy.
Freud felt that it
should be limited to women.
FLETCHER: It's not that
he was making any sense at all.
It was just a conglomeration
of psychological double-talk
that he had apparently heard, or perhaps
was familiar with through reading.
The funny thing was
that his delivery was quite fluid,
and might have been really
quite convincing
to someone who did not know any better.
NARRATOR: Who was this Leonard Zelig
that seemed to create
such diverse impressions everywhere?
All that was known of him was that
he was the son of a Yiddish actor
named Morris Zelig,
whose performance as Puck
in the Orthodox version of A Midsummer
Night's Dream, was coolly received.
The elder Zelig's second marriage is
marked by constant violent quarrelling,
so much so, that although
the family lives over a bowling alley,
it is the bowling alley
that complains of noise.
As a boy, Leonard is
frequently bullied by anti-Semites.
His parents, who never take his part
and blame him for everything,
side with the anti-Semites.
They punish him often
by locking him in a dark closet.
When they are really angry,
they get into the closet with him.
On his deathbed,
Morris Zelig tells his son
that life is a meaningless
nightmare of suffering,
and the only advice
he gives him is to save string.
Though brother Jack
has a nervous breakdown,
and sister Ruth becomes
a shoplifter and alcoholic,
Leonard Zelig appears
to have adjusted to life.
Somehow, he seems to have coped.
And then, suddenly,
increasingly strange behavior.
Fascinated by the Zelig phenomenon,
Dr. Fletcher arranges
a series of experiments
and invites the skeptical staff
to observe.
With the doctors watching,
Zelig becomes a perfect psychiatrist.
When two Frenchmen are brought in,
Zelig assumes their characters
and speaks reasonable French.
In the company of a Chinese person,
he begins to develop oriental features.
By now, word has gotten out to the press,
and a public thirsting for thrills
and novelty is immediately captivated.
The clamor is so great that Dr. Allan
Sindell is forced to issue a statement.
We're just beginning
to realize the dimensions
of what could be the scientific
medical phenomenon of the age,
and possibly of all time.
NARRATOR:
Fresh stories roll off the press every day
about Zelig and his puzzling condition.
Although the doctors claim
to have the situation in hand,
no two can agree on a diagnosis.
I'm convinced
that it's glandular in nature
and although there's no evidence now
of any misfunction,
I'm sure that further tests
will show a problem in the secretions.
I'm certain it's something
he picked up from eating Mexican food.
This manifestation
is neurological in origin.
Now, this patient
is suffering from a brain tumor,
and I should not be surprised if,
within several weeks, he died.
Now, we have not as yet
been able to locate the tumor,
but we're still looking.
NARRATOR:
Ironically, within two weeks' time,
it is Dr. Birsky himself
who dies of a brain tumor.
Leonard Zelig is fine.
Throughout the weeks
of testing and speculation,
Eudora Fletcher begins to feel
that the patient might be suffering
not from a physiological disorder,
but from a psychological one.
It is Zelig's unstable make-up,
she suggests,
that accounts for his metamorphoses.
The governing board of doctors
is hostile to her notion.
They conclude that Zelig's malady can be
traced to poor alignment of the vertebrae.
Tests prove them wrong, and cause
a temporary problem for the patient.
Now, the press and public
hang on every bit of news,
thoroughly absorbed
in the real-life drama.
MAN: (ON RADIO) The continuing saga
of the strange creature
at Manhattan Hospital goes on.
This morning, doctors report,
experiments were conducted
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