Mary Pickford
Narrator : It was the golden age of silent film and the most famous actress, the most adored woman in the world was America's Sweetheart, Mary Pickford.
旁白：那是无声电影的黄金时代，世界上最著名的女演员、最受崇拜的女人是美国甜心玛丽·碧克馥。
Eileen Whitfield, Biographer : Mary Pickford was the first modern celebrity, the first celebrity to be created through moving images.
艾琳·惠特菲尔德（Eileen Whitfield），传记作家：玛丽·碧克馥（Mary Pickford）是第一个现代名人，第一个通过移动图像创造的名人。
Tino Balio, Film Historian : She invented acting for film.
蒂诺·巴利奥（Tino Balio），电影史学家：她发明了电影表演。
Eileen Whitfield : She was the first person to get out there and show everyone how to do it.
艾琳·惠特菲尔德：她是第一个走出去并向大家展示如何做到这一点的人。
Narrator : In a fairytale romance, she married Hollywood's leading man Douglas Fairbanks.
旁白：在一段童话般的爱情故事中，她嫁给了好莱坞男主角道格拉斯·费尔班克斯。
Together they invented the myth of Hollywood come true.
他们共同创造了好莱坞的神话成真。
With Charlie Chaplin, she and Fairbanks began United Artists and changed movie history.
她与查理·卓别林 (Charlie Chaplin) 一起创立了联合艺术家公司 (United Artists)，改变了电影历史。
Tino Balio : She was a woman in a man's world and she played the game of business and beat the moguls at their own game.
蒂诺·巴利奥：她是一个生活在男人世界里的女人，她玩的是商业游戏，并在大亨们自己的游戏中击败了他们。
Scott Eyman, Biographer : She set the parameters for movie stardom.
斯科特·艾曼，传记作家：她为电影明星设定了参数。
And she also was the first to pay the price for movie stardom.
而她也是第一个为电影明星付出代价的人。
And it's a terrible price.
这是一个可怕的价格。
Narrator : In a handful of years she lost it all.
旁白：几年之内她就失去了一切。
The fans forgot her, forgot the glow of her image, and the magical presence of the world's first superstar.
粉丝们忘记了她，忘记了她光彩照人的形象，忘记了世界上第一位超级巨星的神奇存在。
She began as plain Gladys Smith.
她一开始只是普通的格拉迪斯·史密斯。
At fifteen she dreamed of stardom, of glamour, of a career on the Broadway stage.
十五岁时，她梦想成为明星、魅力、登上百老汇舞台。
Jeanine Basinger, Film Historian : She wanted to better herself.
珍妮·贝辛格（Jeanine Basinger），电影史学家：她想让自己变得更好。
So her sights were set on working for the great and famous impresario, David Belasco.
因此，她的目标是为伟大而著名的指挥家大卫·贝拉斯科工作。
Robert Cushman, Film Historian : She began to haunt David Belasco's office.
罗伯特·库什曼，电影史学家：她开始出没于大卫·贝拉斯科的办公室。
She would go everyday, wait all day, only to be told to come back tomorrow.
她每天都会去，等一整天，结果却被告知明天再来。
Narrator : One day in the summer of 1907, she decided not to wait quietly.
旁白：1907年夏天的一天，她决定不再静静等待。
Robert Cushman : She stormed the office, and started yelling at the top of her lungs, "My life depends on seeing Mr. Belasco."
罗伯特·库什曼：她冲进办公室，开始大声喊叫，“我的生命取决于见到贝拉斯科先生。”
Narrator : Her outburst finally won her an audition.
旁白：她的爆发最终为她赢得了试镜机会。
"So you want to be an actress, little girl?" Belasco asked.
“小姑娘，你想当演员吗？”贝拉斯科问道。
"No sir," she replied.
“不，先生，”她回答道。
"I have been an actress.
“我曾经是一名演员。
I want to be a good actress now." Gladys's encounter with the most important man on Broadway was all she hoped for.
我现在想成为一名好演员。”格拉迪斯所希望的就是与百老汇最重要的男人的相遇。
It was a meeting that would change the rest of her life.
这是一次改变她余生的会面。
Gladys grew up in Toronto, Canada in a family with no father and no money.
格拉迪斯在加拿大多伦多的一个没有父亲、没有钱的家庭长大。
Her father died when she was just five.
她的父亲在她五岁时就去世了。
Her mother Charlotte struggled to raise her children, Gladys the eldest, Lottie and Jack.
她的母亲夏洛特（Charlotte）努力抚养她的孩子：大女儿格拉迪斯（Gladys）、洛蒂（Lottie）和杰克（Jack）。
Scott Eyman : Basically Charlotte was looking at destitution.
斯科特·艾曼：基本上夏洛特正在考虑贫困。
And Gladys remembered her mother in the middle of the night sewing in order to put food on the table.
格拉迪斯还记得她的母亲在半夜做针线活，以便把食物放在桌子上。
Narrator : Desperate, Charlotte considered giving Gladys up for adoption to their family doctor.
旁白：绝望中，夏洛特考虑将格拉迪斯交给家庭医生收养。
Gladys was excited - she would share her newfound riches, like a pony and cart with Lottie and Jack.
格拉迪斯很兴奋 - 她会与洛蒂和杰克分享她新发现的财富，比如小马和马车。
Charlotte gently explained that she would no longer be part of the family.
夏洛特温柔地解释说，她将不再是这个家庭的一员。
Eileen Whitfield : So she asked her mother, she said "Don't you love me anymore?" And Charlotte said, "I will never stop loving you, but I cannot give you the things this man can give you." And Gladys said, "Then I don't want the pony.
艾琳·惠特菲尔德：所以她问她妈妈，她说“你不再爱我了吗？”夏洛特说：“我永远不会停止爱你，但我无法给你这个男人能给你的东西。”格拉迪斯说：“那我就不想要那匹小马了。
I don't want a cart.
我不想要购物车。
I want you."
我想要你。”
Narrator : From that day, on Gladys and Charlotte were bound by a fierce determination that nothing would ever break up their family.
旁白：从那天起，格拉迪斯和夏洛特就下定了一个坚定的决心：任何事情都不会拆散他们的家庭。
But they needed a way to survive.
但他们需要一种生存之道。
Charlotte learned that the local theater wanted children for their next production.
夏洛特得知当地剧院想要孩子们参加他们的下一场演出。
The pay was $8.00 a week.
工资是每周 8.00 美元。
Jeanine Basinger : Charlotte naturally hesitated, because first of all Gladys was a child.
珍妮·贝辛格：夏洛特自然会犹豫，因为首先格拉迪斯还是个孩子。
And secondly, in those days there was this puritanical attitude toward the stage, theater people, actresses.
其次，在那些日子里，人们对舞台、剧院人员、女演员抱有一种清教徒的态度。
It wasn't socially respectable.
这在社会上不受尊重。
It was almost considered a slight step above prostitution.
这几乎被认为比卖淫略高出一步。
Narrator : Charlotte had no choice.
旁白：夏洛特别无选择。
They needed the money.
他们需要钱。
In January 1900, seven year-old Gladys made her stage debut.
1900年1月，七岁的格拉迪斯首次登上舞台。
She played "Big Girl" in a Victorian melodrama called The Silver King .
她在维多利亚时期的情节剧《银之王》中扮演“大女孩”。
Eileen Whitfield : There's a scene where some other schoolchildren in the play want to play with Sissy Denver, and Big Girl won't hear of it, she says, "Don't go near her, girls.
艾琳·惠特菲尔德：剧中有一个场景，剧中其他一些小学生想和茜茜·丹佛一起玩，而大女孩不会听到这个场景，她说，“不要靠近她，女孩们。
Her father killed a man." Well, just for that moment, Gladys Smith felt this attention and what it feels like to have an audience in the palm of your hand.
她父亲杀了一个人。”好吧，就在那一刻，格拉迪斯·史密斯感受到了这种关注，以及观众掌握在手中的感觉。
And she loved it.
她喜欢它。
Narrator : Soon the whole family were actors.
旁白：很快全家人都成了演员。
They played bit parts in shabby, third rate touring companies.
他们在破旧的三流旅游公司里扮演小角色。
It was an exhausting life of endless trains, stale food and rough audiences.
没完没了的火车、不新鲜的食物和粗暴的观众是一种令人筋疲力尽的生活。
There was no time for school, or friends, or fun.
没有时间上学，没有时间交朋友，也没有时间玩耍。
At first they traveled together, but many companies would only hire Gladys.
起初他们一起旅行，但很多公司只雇用格拉迪斯。
Alone on the road, she learned to negotiate with producers and boarding house owners.
独自一人在路上，她学会了与制片人和寄宿屋业主谈判。
At twelve, Gladys was the family breadwinner.
十二岁时，格拉迪斯就成为了家里的经济支柱。
She began to have the nightmare that would haunt her for the rest of her life.
她开始做噩梦，这将伴随她一生。
She went out on stage and there was no audience.
她走上舞台，没有观众。
Eileen Whitfield : Gladys would have been fearing every day that there might not be an audience; there might not be a play tomorrow.
艾琳·惠特菲尔德：格拉迪斯每天都会担心可能没有观众；明天可能没有戏了。
Because there was never enough money, and because of the horrible instability of that family, it must have been quite terrifying.
因为钱总是不够用，再加上那个家庭的不稳定，想必是相当可怕的。
The responsibility that Gladys was carrying for herself and for her brother and sister was tremendous.
格拉迪斯为自己和她的兄弟姐妹承担着巨大的责任。
Narrator : In the summer of 1907, after seven years on the road, she finished a play in New York and set out on her pursuit of impresario David Belasco.
旁白：1907年夏天，在漂泊了七年之后，她在纽约完成了一部戏剧，并开始了对乐队指挥大卫·贝拉斯科的追求。
He was immediately impressed.
他立即印象深刻。
Scott Eyman : Gladys already had that kind of glow that critics call "star quality." The eye went to her.
斯科特·艾曼：格拉迪斯已经具备了评论家所说的“明星气质”。目光转向她。
Whether she was, uh, appearing on stage or just walking into the room, everybody would say, "Oh, what a beautiful child!"
无论她是呃,出现在舞台上还是刚走进房间,每个人都会说:“噢,多么漂亮的孩子啊!”
Narrator : Belasco offered her a part in his next production.
旁白：贝拉斯科邀请她在他的下一部作品中出演一个角色。
But he insisted she change her name to something more glamorous.
但他坚持让她把名字改成更迷人的名字。
They went through the names of her family.
他们查了她家人的名字。
Gladys Smith emerged from the meeting a triumphant "Mary Pickford." Mary Pickford made her Broadway debut at the Belasco Theater.
格拉迪斯·史密斯从会议中脱颖而出，成为胜利的“玛丽·碧克馥”。玛丽·碧克馥在贝拉斯科剧院首次亮相百老汇。
She was thrilled by the beauty of the space, and the affluent audiences.
她对这个美丽的空间和丰富的观众感到兴奋。
Pickford didn't have star billing but she was certain that it was just a matter of time.
皮克福德并没有成为明星，但她确信这只是时间问题。
But even on Broadway theater work was seasonal.
但即使在百老汇，戏剧工作也是季节性的。
When the play closed in March 1909, Mary faced months without work.
1909 年 3 月该剧结束后，玛丽面临着几个月没有工作的情况。
Charlotte knew there were jobs in a new form of entertainment that was sweeping the country: the movies.
夏洛特知道，在一种席卷全国的新娱乐形式中可以找到工作：电影。
For workers and new immigrants movies seemed like magic and they only cost a nickel to watch.
对于工人和新移民来说，电影就像魔法一样，只需花费五分钱即可观看。
Respectable society viewed them with suspicion.
受人尊敬的社会以怀疑的眼光看待他们。
Jeanine Basinger : If, uh, theater was the bottom, movies were the bottom of the bottom.
珍妮·贝辛格：如果说，呃，戏剧是最底层的话，那么电影就是最底层的底层。
Movies were possibly the gutter.
电影可能是阴沟。
Narrator : As a Belasco actor, Mary thought they were far beneath her dignity.
旁白：作为贝拉斯科演员，玛丽认为他们远远有损她的尊严。
Robert Cushman : But it was Charlotte's orders, and so she dutifully went down to the Biograph Studios, and the director, D.W.
罗伯特·库什曼：但这是夏洛特的命令，所以她尽职尽责地去了传记工作室，导演 D.W.
Griffith walked out into the lobby.
格里菲斯走进大厅。
Narrator : D.W.
旁白：D.W.
Griffith was an innovator, trying to shape moving pictures into a new art form.
格里菲斯是一位创新者，试图将电影塑造成一种新的艺术形式。
At the same time, he had to keep the studio profitable by churning out three films a week.
与此同时，他必须每周制作三部电影来保持工作室盈利。
Scott Eyman : She was slumming by going down there, pure and simple.
斯科特·艾曼：她去那里就陷入了贫民窟，纯粹而简单。
So she wasn't about to be deferential.
所以，她并没有打算表现出恭敬的态度。
As it happened, Griffith was impressed.
事情的发生让格里菲斯印象深刻。
Eileen Whitfield : He was thinking, how beautiful her eyes were, and how they had languorous possibilities.
艾琳·惠特菲尔德：他在想，她的眼睛多么美丽，多么有慵懒的可能性。
What Mary Pickford remembered him saying was, "You're too little and you're too fat." Finally, within one conversation he had hired her.
玛丽·碧克馥记得他说的是：“你太小了，而且太胖了。”最终，在一次谈话中，他雇用了她。
Narrator : The next day she appeared as an extra in a short comedy.
旁白：第二天，她在一部喜剧短片中作为临时演员出现。
Soon she was playing major roles.
很快她就扮演了重要角色。
"The thing that most attracted me was the intelligence that shone in her face." Griffith later said.
“最吸引我的是她脸上闪烁着的智慧。”格里菲斯后来说。
"She has a most remarkable talent for self-appraisal." And, as he would learn, for business: Sixteen-year-old Mary swiftly negotiated double the going rate of $5 a day.
“她有一种非凡的自我评价天赋。”而且，正如他后来了解到的，对于生意：16 岁的玛丽很快就将每日 5 美元的现行价格提高了一倍。
Most films at the time ran 10 to 15 minutes and were shot in one to two days.
当时大多数电影时长为 10 至 15 分钟，拍摄时间为 1 至 2 天。
They told simple stories in wide shots so the actors could be seen head to toe.
他们用广角镜头讲述简单的故事，这样演员们就能从头到脚看到。
For Mary and the Biograph crew filming was long and hard but it was also fun -- a continual scramble of improvisation and accident.
对于《玛丽和传记》剧组来说，拍摄过程漫长而艰难，但也很有趣——即兴创作和意外的不断争夺。
Jeanine Basinger : The great thing for Mary working with Griffith was watching him use camera movement, think about the editing process, the telling of the story.
珍妮·贝辛格（Jeanine Basinger）：玛丽与格里菲斯合作的最棒的事情是看着他使用镜头移动，思考剪辑过程和故事的讲述。
Here is a time when movies are being invented and she was in on the ground floor, but at the highest possible level.
这是电影被发明的时代，她住在底层，但处于尽可能高的楼层。
And she learned.
她学会了。
Narrator : She studied her performances carefully and realized that the camera demanded a new style of acting.
旁白：她仔细研究了自己的表演，意识到镜头需要一种新的表演风格。
Scott Eyman : In Mary's era the prevailing acting method was the Delsarte method, specific emotions were indicated by fairly specific gestures.
斯科特·艾曼：在玛丽那个时代，流行的表演方法是德尔萨特方法，特定的情感通过相当特定的手势来表达。
Anger would be you know the narrowing of the eyes; make them burn.
愤怒就是你知道的眯起眼睛；让他们燃烧。
Distress would be (gesturing.)
苦恼会是（做手势。）
Tino Balio : She invented acting for film.
蒂诺·巴利奥：她发明了电影表演。
She understood that you have a close, intimate relationship with the camera, and more subtle, more naturalistic gestures would be very effective.
她明白你与相机有着密切、亲密的关系，更微妙、更自然的手势会非常有效。
She stands out because she has more vibrancy, she has more immediacy, and she actually conveys more emotion in the process.
她之所以脱颖而出，是因为她更有活力，更直接，而且在这个过程中她实际上传达了更多的情感。
Narrator : In her first year at Biograph, Pickford appeared in more than sixty films.
旁白：在 Biograph 的第一年，皮克福德出演了 60 多部电影。
She played mothers, deserted wives, prostitutes, and virgins.
她扮演母亲、被遗弃的妻子、妓女和处女。
She realized that she was basically a comic or light actress.
她意识到自己基本上是一个喜剧或轻演员。
"It was a shock" she said, "but in stature, temperament and general appearance, I was not fitted for great emotional roles." She began to fight with Griffith to interpret parts the way she wanted.
“这很令人震惊，”她说，“但从身材、气质和整体外表来看，我不适合扮演伟大的情感角色。”她开始与格里菲斯斗争，以她想要的方式解释零件。
Jeanine Basinger : Griffith and Pickford were not a comfortable mix.
珍妮·贝辛格：格里菲斯和皮克福德的组合并不舒服。
He wanted a kind of ethereal, beautiful, romanticized version of a Victorian woman: vulnerable, just not who Mary Pickford was.
他想要一种空灵、美丽、浪漫的维多利亚时代女性：脆弱，但不是玛丽·碧克馥。
Mary Pickford was resilient; she was tough; she fought back.
玛丽·碧克馥 (Mary Pickford) 性格坚韧。她很坚强；她反击了。
Narrator : When they started filming Wilful Peggy in July 1910, she complained that she was tired of insipid heroines.
旁白：1910年7月开始拍摄《任性的佩吉》时，她抱怨自己厌倦了平淡无奇的女主角。
Griffith told her to play the part the way she wanted.
格里菲斯告诉她按照自己想要的方式扮演这个角色。
Wilful Peggy is peasant girl forced to marry an older nobleman.
任性的佩吉是被迫嫁给一位年长贵族的农家女孩。
Kathryn Fuller-Seeley, Film Historian : From the very beginning audiences could tell that she was something different.
凯瑟琳·富勒-西利 (Kathryn Fuller-Seeley)，电影史学家：从一开始观众就可以看出她与众不同。
She just lights up the screen.
她只是点亮屏幕。
Narrator : Embarrassed and awkward, Peggy is desperate to escape her new surroundings.
旁白：佩吉感到尴尬和尴尬，迫切想逃离她的新环境。
Her husband's nephew suggests that she change to men's clothing and visit a local tavern.
她丈夫的侄子建议她换上男装，去当地的一家小酒馆。
Eileen Whitfield : What the audience responded to was a woman who was absolutely ready to burst out of society's conventions; was a woman who wanted to take control of her own life; was a woman who wanted to be a woman and a wife but also do all the things that a man can do.
艾琳·惠特菲尔德：观众的反应是一个完全准备好冲破社会惯例的女人；是一个想要掌控自己生活的女人；是一个想成为女人、妻子的女人，但也想做男人能做的所有事情。
Narrator : Her fresh interpretation of women as strong and resourceful struck a chord with audiences.
旁白：她对女性坚强、足智多谋的新鲜诠释引起了观众的共鸣。
She was soon Biograph's most popular actress.
她很快就成为传记最受欢迎的女演员。
The movies were not prestigious but they paid her well.
这些电影并不出名，但给她带来了丰厚的报酬。
At 19, she was earning an impressive $150 a week.
19 岁时，她每周的收入高达 150 美元，令人印象深刻。
She moved her family into a prosperous, New York neighborhood.
她举家搬到了纽约一个繁荣的社区。
"Oh was I happy!" she remembered.
“哦，我很高兴！”她记得。
"When I stood in front of the camera, it was just like heaven." Mary also loved the work because of one of Biograph's leading men: 25 year-old, Owen Moore.
“当我站在镜头前时，就像天堂一样。”玛丽也因为《传记》的男主角之一而喜欢这部作品：25 岁的欧文·摩尔。
She had been infatuated with him since they played their first scene together.
自从他们一起演第一场戏以来，她就迷上了他。
Eileen Whitfield : When they touched each other, the cameraman Billy Bitzer said they both suddenly stepped back as though they were kind of shocked.
艾琳·惠特菲尔德：摄影师比利·比泽尔说，当他们互相碰触时，他们都突然后退了一步，好像都感到有点震惊。
They really each fell for the other one very, very deeply.
他们真的非常非常深深地爱上了对方。
Narrator : Charlotte did not approve.
旁白：夏洛特不同意。
Owen had a reputation as a drinker and lady's man.
欧文以酒鬼和女人的好男人而闻名。
Mary Pickford, Archival Film : I think she was wrong in her approach and I felt sorry that he was forbidden in the house and that Mother disapproved of him.
玛丽·碧克馥，档案电影：我认为她的做法是错误的，我对他被禁止进入家里以及母亲不赞成他感到遗憾。
And I think that if she had encouraged him to come to the house and I could see more of him outside the studio, I might not have done the thing that I did do.
我认为，如果她鼓励他来家里，并且我可以在工作室外面更多地看到他，我可能不会做我所做的事情。
Narrator : For the first time in her life, Mary defied her mother.
旁白：玛丽有生以来第一次反抗她的母亲。
Robert Cushman : In early 1911, they eloped to a courthouse in New Jersey.
罗伯特·库什曼：1911 年初，他们私奔到新泽西州的一家法院。
No one knew about it for months and months after that.
在那之后的几个月里，没有人知道这件事。
Mary still lived with her mother and family, and hid her wedding ring on a string under her clothes.
玛丽仍然与她的母亲和家人住在一起，并将她的结婚戒指藏在衣服下面的绳子上。
Narrator : Finally she confessed to Charlotte.
旁白：她终于向夏洛特表白了。
Scott Eyman : Charlotte was furious, and Mary was defensive, and Owen was in the background.
斯科特·艾曼：夏洛特很愤怒，玛丽很防守，而欧文则在幕后。
If you're a second-string actor and you're married to a first-string actress, it's very difficult for the ego.
如果你是二线演员，而你嫁给了一线女演员，这对自我来说是非常困难的。
So he drank more.
于是他就喝多了。
And the more he drank, uh, the worse the acting jobs got; and the worse the acting jobs got the more obvious the disparity between his career and her career.
他喝得越多，呃，演艺工作就越糟糕；而且演艺事业越差，他的事业和她的事业之间的差距就越明显。
Narrator : The movie business was developing at break neck speed.
旁白：电影业正以惊人的速度发展。
New techniques were tried and discarded.
新技术被尝试并被放弃。
Companies opened and closed.
公司开业和关闭。
Everyone was trying to get rich.
每个人都在努力致富。
A Hungarian theater owner in New York came up with an idea most producers considered crazy.
纽约的一位匈牙利剧院老板提出了一个大多数制片人都认为疯狂的想法。
Adolph Zukor would increase his audiences by showing longer films with complex stories and stars from the stage.
阿道夫·祖克（Adolph Zukor）通过放映具有复杂故事和舞台明星的较长电影来增加观众数量。
He started the Famous Players Film Company.
他创办了名演员电影公司。
One of the first actors he wanted under contract was Pickford.
他想要签约的第一批演员之一是皮克福德。
Charlotte and Mary drove a hard bargain: $500 a week.
夏洛特和玛丽讨价还价：每周 500 美元。
At only 21, she was earning every week close to what most Americans earned in a year.
年仅 21 岁的她每周的收入接近大多数美国人一年的收入。
Scott Eyman : Personally, he was the kind of man she could deal with.
斯科特·艾曼：就我个人而言，他是那种她可以对付的男人。
He was tough.
他很坚强。
He was pleasant.
他很令人愉快。
A deal was a deal.
协议就是协议。
They understood each other as equivalents.
他们彼此理解为平等的。
They respected each other.
他们互相尊重。
Eileen Whitfield : To Mary he was a tender, a tender man.
艾琳·惠特菲尔德：对玛丽来说，他是一个温柔的人。
He used to call her Sweetheart Honey, and she called him Papa, Papa Zukor.
他以前叫她甜心宝贝，她则叫他爸爸、祖克爸爸。
Narrator : The next year Pickford starred in an 80-minute feature, Tess of the Storm Country.
旁白：第二年，皮克福德主演了一部 80 分钟的故事片《风暴之国的苔丝》。
Tess is a heroic young spitfire who battles the injustices of a cold-hearted landlord.
苔丝是一位英勇的年轻喷火者，她与冷酷的房东的不公正行为作斗争。
Jeanine Basinger : A lot of the audience was a working class or immigrant audience.
珍妮·贝辛格：很多观众是工人阶级或移民观众。
So she made a direct connection to her audience by playing a role they could understand and identify with.
因此，她通过扮演观众能够理解和认同的角色，与观众建立了直接的联系。
Scott Eyman : Mary's orientation was always proudly working class.
斯科特·艾曼：玛丽的定位始终是工人阶级。
She preferred playing working class people or lower middle class people, because those are the people she knew.
她更喜欢扮演工人阶级或中下层阶级的人，因为这些人是她认识的人。
Narrator : Tess saves the reputation of the landlord's daughter by taking in her illegitimate baby.
旁白：苔丝收留了房东女儿的私生子，挽救了她的名誉。
Desperately poor, she cares for the infant as best she can even stealing milk for it from the landlord's kitchen.
极度贫困的她尽最大努力照顾婴儿，甚至从房东的厨房里偷牛奶给婴儿吃。
The end is pure melodrama.
结局是纯粹的情节剧。
The baby becomes ill; as it is dying, Tess takes it to be baptized.
宝宝生病了；当它快要死的时候，苔丝带它去受洗。
She shocks the congregation by "sprinkling" the baby herself.
她亲自给婴儿“洒水”，震惊了会众。
Kevin Brownlow, Film Historian : She puts so much into this picture.
凯文·布朗洛（Kevin Brownlow），电影史学家：她在这张照片上投入了很多。
It was probably the most violent performance she ever gave.
这可能是她有史以来最暴力的表演。
And she bursts out of the screen.
然后她就冲出了屏幕。
There is nobody else you are looking at when she is there.
当她在那里时，你看不到其他人。
Narrator : Tess catapulted Pickford to a level of stardom that no one had ever seen.
旁白：苔丝将皮克福德提升到了前所未有的明星地位。
The film played on four continents.
这部电影在四大洲上映。
Fan mail poured in from every corner of the world.
粉丝的来信从世界各个角落涌来。
Eileen Whitfield : People simply did not know what to do with their emotions that they had about Mary Pickford.
艾琳·惠特菲尔德：人们根本不知道如何处理他们对玛丽·碧克馥的情感。
Kathryn Fuller-Seeley : She's not only the girl every boy wants to marry, but she's the girl every American girl wants to be like.
凯瑟琳·富勒-西利：她不仅是每个男孩都想娶的女孩，而且是每个美国女孩都想成为的女孩。
She's the daughter every parent wants to have.
她是每个父母都想拥有的女儿。
Narrator : Mary, Charlotte, and Zukor had never imagined such phenomenal success.
旁白：玛丽、夏洛特和祖克从未想象过会取得如此惊人的成功。
They went to work building her image as a pure, innocent young woman.
他们努力塑造她作为一个纯洁、天真的年轻女性的形象。
She didn't drink or smoke in public.
她没有在公共场合喝酒或吸烟。
She was rarely accompanied by her husband, Owen.
她很少有丈夫欧文陪伴。
Instead, Charlotte chaperoned her nearly everywhere she went.
相反，无论她走到哪里，夏洛特几乎都陪伴着她。
Kathryn Fuller-Seeley : Zukor is posing Mary Pickford in diamonds and furs, with her hair up.
凯瑟琳·富勒-西利：祖克摆出玛丽·碧克馥的造型，她穿着钻石和皮草，头发盘起来。
She's being shot by all these glamour photographers.
所有这些魅力摄影师都在拍摄她。
Zukor helps build her star persona as the all-American girl.
祖克帮助她塑造了全美女孩的明星形象。
Narrator : Pickford was making the movies respectable.
旁白：皮克福德正在让电影变得受人尊敬。
Advertisers saw she was gold and sent her lucrative offers.
广告商看到她是黄金，并向她发出了利润丰厚的报价。
The campaign for Pompeian beauty products made her the touchstone of fashionable taste.
庞贝美容产品的宣传活动使她成为时尚品味的试金石。
"I still wonder whether it wasn't all a dream," she later recalled, "a dream from which I never quite woke up." In the summer of 1915 her movie Rags opened to adoring audiences.
“我仍然想知道这是否完全是一场梦，”她后来回忆道，“一场我从未完全醒来的梦。” 1915 年夏天，她的电影《Rags》向喜爱她的观众开放。
Kevin Brownlow : Charlotte and Mary went down Broadway and outside the theater were people waiting to get in.
凯文·布朗洛：夏洛特和玛丽沿着百老汇走下去，剧院外面有人等着进去。
And then she went back another week and she saw another picture by Mr. Zukor's company, and there was nobody outside.
然后她又回去了一个星期，看到了祖克先生公司的另一张照片，外面没有人。
And Charlotte and Mary had long talks about: Why was it that her pictures got such crowds, and other people's didn't?
夏洛特和玛丽进行了长时间的讨论：为什么她的照片受到如此多的关注，而其他人的照片却没有？
So very sweetly she brought the question up with Mr. Zukor.
她非常甜蜜地向祖克先生提出了这个问题。
Narrator : Zukor's distribution company was Paramount Pictures.
旁白：祖克的发行公司是派拉蒙影业。
Robert Cushman : She requested Zukor to open up his books and she reviewed all the receipts of all the Paramount pictures.
罗伯特·库什曼：她要求祖克打开他的书，并审查了所有派拉蒙影片的所有收据。
And she concluded that the other films were really being sold on the coattails of her films.
她得出的结论是，其他电影确实是在她的电影的带动下出售的。
The studio would say to the exhibitor, "You can have this Mary Pickford but you have to take these other five Paramount pictures too." And this rankled her.
工作室会对放映商说：“你可以拥有这张玛丽·碧克馥，但你也必须拍摄其他五张派拉蒙照片。”这让她很恼火。
Narrator : Pickford saw that her films powered Zukor's company but she didn't share in the profits.
旁白：皮克福德看到她的电影为祖克的公司提供了动力，但她没有分享利润。
Years of negotiating had made Mary and Charlotte skilled businesswomen.
多年的谈判使玛丽和夏洛特成为熟练的女商人。
In 1916 it was time to renew her contract.
1916 年，是时候续签她的合同了。
Scott Eyman : Mary would sit there and be sorrowful about what she had to ask for, and it was a shame that it had to come to this.
斯科特·艾曼：玛丽会坐在那里，为她必须提出的要求感到悲伤，而事情发展到这一步真是太遗憾了。
And Charlotte would do the grunt work.
夏洛特会做那些繁重的工作。
And Charlotte would be the muscle.
夏洛特将成为肌肉。
But Mary was perfectly capable of playing the muscle too.
但玛丽也完全有能力发挥肌肉。
Narrator : The deal made national news.
旁白：这笔交易成了全国新闻。
When she first signed with Zukor, Mary earned $25,000 a year.
当玛丽第一次与 Zukor 签约时，她的年收入为 25,000 美元。
With this deal, just three years later, she was paid $500,000.
通过这笔交易，仅仅三年后，她就获得了 50 万美元的报酬。
She got her own production unit where she shared creative control with Zukor.
她拥有自己的制作单位，与 Zukor 分享创意控制权。
He set up a separate company to distribute her films and they shared the profits.
他成立了一家单独的公司来发行她的电影，他们分享利润。
She took a few perks as well: a secretary, a press agent and $40,000 for the time spent negotiating.
她还享受一些额外待遇：一名秘书、一名新闻代理以及 4 万美元的谈判时间。
Jeanine Basinger : Adolph Zukor met his match.
珍妮·贝辛格：阿道夫·祖克遇到了对手。
And he freely admitted it, and always paid tribute to her, saying, had she not been a movie star, she would have been the head of the United States Steel Corporation.
而他也坦然承认，并一直向她致敬，说如果她不是电影明星，她早就是美国钢铁公司的老总了。
Narrator : In 1917 Pickford was 24.
旁白：1917 年，皮克福德 24 岁。
She was one of just two international superstars.
她是仅有的两名国际超级巨星之一。
Charlie Chaplin was "the Little Tramp, she was "America's Sweetheart." From California, to England and Japan, more than 12 million people watched her films every day of the year.
查理·卓别林是“小流浪汉”，她是“美国甜心”。从加利福尼亚到英国和日本，一年中每天都有超过 1200 万人观看她的电影。
Jeanine Basinger : Everyone felt that they knew and owned and loved their little Mary.
珍妮·贝辛格：每个人都觉得他们了解、拥有并爱着他们的小玛丽。
Stardom is partly about acting, partly about looks, but mostly about audience identification, about the audience somehow believing in this actor/actress as the person they are playing; that that is who they are.
明星地位部分取决于表演，部分取决于外表，但主要取决于观众的认同，关于观众以某种方式相信这个演员/女演员是他们所扮演的人；他们就是这样的人。
Narrator : She told a fan magazine, "People consider me their personal friend.
旁白：她告诉一本粉丝杂志，“人们认为我是他们的私人朋友。
They not only want me to be, but expect me to be, in real life exactly what I am in the pictures."
他们不仅希望我成为，而且期望我在现实生活中成为照片中的样子。”
Jeanine Basinger : The concept of stardom didn't really yet exist in the way we know it today.
珍妮·贝辛格（Jeanine Basinger）：我们今天所知道的明星概念还不存在。
No one yet knew what it was, including her.
还没有人知道那是什么，包括她。
Narrator : Success and Zukor drove her to take on a staggering workload: at least five full-length pictures a year.
旁白：成功和祖克让她承担了惊人的工作量：每年至少拍五部长片。
Scott Eyman : It was hard for her to relax because as far back basically as she could remember, from the time she was 6 or 7, she had had this oppressive responsibility loaded on, that it all rested on her shoulders.
斯科特·艾曼：她很难放松，因为从她记事起，从她六七岁起，她就背负着沉重的责任，这一切都压在她的肩上。
Narrator : To add to the pressure, she had to hide the fact that her personal life was miserable.
旁白：为了增加压力，她不得不隐瞒自己的个人生活很悲惨的事实。
Robert Cushman : Owen Moore was a violent, abusive, alcoholic husband who only had criticism and derision in his words toward Mary.
罗伯特·库什曼：欧文·摩尔是一个暴力、虐待、酗酒的丈夫，他对玛丽的言语中只有批评和嘲笑。
She would stay apart for, say a week or two or a month, and then they would try to get back together.
她会分开一段时间，比如一两周或一个月，然后他们会尝试复合。
And back and forth and back and forth.
来来回回。
Narrator : In January 1917 after a bitter fight with Owen she was alone in her hotel room.
旁白：1917 年 1 月，在与欧文激烈争吵后，她独自一人待在酒店房间里。
At 25, she was suffocating in her marriage and exhausted by the unending marathon of work.
25岁时，她在婚姻中感到窒息，并因无休止的马拉松式工作而疲惫不堪。
She leaned out the window, transfixed by the pavement below.
她探出窗外，被下面的人行道惊呆了。
She pulled herself back and called the one person she could trust, her mother.
她把自己拉了回来，给她唯一可以信任的人打电话，她的母亲。
Charlotte decided Mary should no longer see Owen.
夏洛特决定玛丽不应该再见到欧文。
Within days they set off to make her next film in Los Angeles.
几天之内，他们就出发去洛杉矶拍摄她的下一部电影。
But Mary could no longer escape her feelings through work.
但玛丽再也无法通过工作来逃避自己的感情。
She was in love with another man.
她爱上了另一个男人。
Douglas Fairbanks was a talented, flamboyant Broadway actor.
道格拉斯·费尔班克斯是一位才华横溢、华丽的百老汇演员。
They had met two years before at a party.
他们是两年前在一次聚会上认识的。
A group went for a walk in the woods.
一群人去树林里散步。
As she tried to cross a stream, Mary paused.
当玛丽试图穿过一条小溪时，她停了下来。
Douglas saw her hesitation.
道格拉斯看出了她的犹豫。
Eileen Whitfield : Douglas Fairbanks and Mary Pickford clicked immediately.
艾琳·惠特菲尔德：道格拉斯·费尔班克斯和玛丽·碧克馥一拍即合。
I think the major reason is that he wasn't afraid of her.
我想最主要的原因是他不怕她。
He had a very healthy ego.
他有一个非常健康的自我。
Scott Eyman : He was funny.
斯科特·艾曼：他很有趣。
He was vibrant.
他充满活力。
He lit up the room when he came in.
他一进来就照亮了房间。
He didn't drink.
他没有喝酒。
All these things put him in direct, stark contrast to Owen Moore.
所有这些都使他与欧文·摩尔形成了直接、鲜明的对比。
Narrator : Douglas was fast rising to stardom making breezy comedies and swashbuckling adventures.
旁白：道格拉斯因制作轻松的喜剧和虚张声势的冒险而迅速成为明星。
His strength and athleticism delighted audiences, and Mary.
他的力量和运动能力让观众和玛丽都很高兴。
Scott Eyman : She'd never been around an exuberant, larger-than-life man.
斯科特·艾曼：她身边从来没有遇到过一个精力充沛、有传奇色彩的男人。
Mary's sense of the world was as something to hide from.
玛丽对世界的感觉就像是某种需要躲避的东西。
Douglas' sense of the world was as a, as a wonderful oyster, and it was all his, and it was all there for the taking.
道格拉斯对世界的感觉就像一只美妙的牡蛎，这一切都是他的，一切都在那里等待着。
Narrator : But both of them were married, and he had a young son.
旁白：但他们都已结婚，并且有一个年幼的儿子。
Robert Cushman : Not only was divorce totally unacceptable by most of society at that time.
罗伯特·库什曼：离婚不仅是当时社会大多数人完全无法接受的。
They both had these careers that were completely dependent on public support.
他们的职业生涯都完全依赖于公众的支持。
So the agony was "If we get a divorce, we'll probably lose our careers."
所以痛苦是“如果我们离婚，我们可能会失去我们的事业。”
Narrator : One night Douglas asked Mary to go for a drive in New York's Central Park.
旁白：一天晚上，道格拉斯邀请玛丽开车去纽约中央公园兜风。
His mother had just died.
他的母亲刚刚去世。
As he drove he talked about her death and began to cry.
当他开车时，他谈到了她的死，并开始哭泣。
A few minutes later, Mary noticed that the clock in the car had stopped.
几分钟后，玛丽注意到车里的时钟停了。
They took it to mean that somehow his mother sanctioned their feelings.
他们认为这意味着他的母亲以某种方式认可了他们的感情。
From then on they used the phrase "by the clock" as a private reference to their love.
从那时起，他们就用“按时钟”这个短语来私下提及他们的爱情。
In 1917 the government called on Hollywood to play a new role: selling Liberty bonds for World War I.
1917 年，政府呼吁好莱坞扮演新角色：为第一次世界大战出售自由债券。
Along with Fairbanks' best friend Charlie Chaplin, the three stars whipped up crowds in Washington and New York.
与费尔班克斯最好的朋友查理·卓别林一起，这三位明星在华盛顿和纽约引起了观众的关注。
In front of thousands Pickford shouted, "I'm only five feet tall but every inch of me is a fighting American!" To their delight, the rallies gave Pickford and Fairbanks an excuse to be together in public.
皮克福德在数千人面前高喊：“我只有五英尺高，但我的每一寸都是一个战斗的美国人！”令他们高兴的是，这些集会给了皮克福德和费尔班克斯一个在公共场合聚在一起的借口。
Under her new contract with Zukor, Pickford began to take creative control of her films.
根据与祖克的新合同，皮克福德开始对她的电影进行创意控制。
She selected a popular, but gloomy story The Poor Little Rich Girl and added a streak of energetic comedy to the screenplay.
她选择了一个流行但阴郁的故事《可怜的小富家女》，并在剧本中加入了一丝充满活力的喜剧色彩。
It was the first time she played a child - an eleven year old, all the way through a film.
这是她第一次在电影中扮演一个十一岁的孩子。
Jeanine Basinger : People believed in her as a feisty little all-American girl who could handle anything that came her way; not just handle it but also triumph over it; and not just handle it and also triumph over it, but to have a good sense of humor about it.
珍妮·贝辛格（Jeanine Basinger）：人们相信她是一个精力充沛的美国小女孩，可以处理她遇到的任何事情；不仅要应对它，还要战胜它；不仅要处理它并战胜它，还要对它有良好的幽默感。
Narrator : Poor Little Rich Girl made more money than any other film she had made.
旁白：可怜的小富家女赚的钱比她拍的任何其他电影都多。
Six months later she played another 11 year-old, in Rebecca of Sunnybrook Farm.
六个月后，她在《桑尼布鲁克农场的丽贝卡》中扮演另一个 11 岁的孩子。
She enjoyed the part, she told a friend; they allowed her to live a childhood she had never had.
她告诉一位朋友，她很喜欢这个角色。他们让她过上了从未有过的童年。
Her fans loved them too and the Little Girl role quickly became her most popular on screen persona.
她的粉丝也很喜欢他们，小女孩的角色很快成为她最受欢迎的银幕角色。
But Pickford was too ambitious to limit herself to a single screen type.
但皮克福德雄心勃勃，无法将自己限制在单一屏幕类型上。
She wanted to play parts that Zukor would not approve.
她想扮演祖科尔不同意的角色。
In Stella Maris she decided to play the two leads: the predictable wealthy young beauty, Stella Maris and a new character, an ugly servant, Unity Blake, who struggles for love in a harsh and violent world.
在《Stella Maris》中，她决定扮演两位主角：可预见的富有的年轻美女斯特拉·马里斯和一个新角色，一个丑陋的仆人尤尼蒂·布莱克，他在严酷和暴力的世界中为爱而奋斗。
Robert Cushman : She knew that Adolph Zukor would never want her to do it.
罗伯特·库什曼：她知道阿道夫·祖克永远不会希望她这么做。
So basically while he was on an extended trip out of town, she sneaked it into production.
所以基本上，当他长途出城时，她就偷偷地将它投入了制作。
And he happened to come back on a day that she was on the set as the Unity Blake character.
他回来的那天正好是她在片场扮演尤尼蒂·布莱克（Unity Blake）的角色。
Eileen Whitfield : There's Mary Pickford looking like she's just climbed out of a gutter and is looking for a grave.
艾琳·惠特菲尔德：玛丽·碧克馥看上去就像刚从阴沟里爬出来，正在寻找坟墓。
And he said, "What is this, Sweetheart Honey?"
他说：“亲爱的，这是什么？”
Robert Cushman : Zukor couldn't believe it, and he just thought, it's going to be a disaster.
罗伯特·库什曼：祖克简直不敢相信，他只是想，这将是一场灾难。
Trying to mollify him, she said, "Well, don't worry, Mr. Zukor.
她试图安抚他，说道：“好吧，别担心，祖科尔先生。
I die before the end."
我在结局之前就死了。”
Eileen Whitfield : And she said, "Don't worry," I play another part where I look very nice.
艾琳·惠特菲尔德：她说，“别担心，”我扮演另一个角色，我看起来很漂亮。
And the audience will like me a lot.
观众也会非常喜欢我的。
And meanwhile, all he's thinking is, "You die in this movie?
与此同时，他满脑子想的都是：“你死在这部电影里了？
Mary Pickford dies in this movie?"
玛丽·碧克馥在这部电影中死了？”
Narrator : Zukor's fears were unfounded.
旁白：祖克的担心是没有根据的。
Audiences and critics raved about the film.
观众和评论家对这部电影赞不绝口。
Zukor conceded that her performance was "the most remarkable" of her career.
祖科尔承认她的表现是她职业生涯中“最出色的”。
By the end of World War I, most films were shot in California.
到第一次世界大战结束时，大多数电影都是在加利福尼亚州拍摄的。
The American movie business was a cutthroat, hundred million dollar industry.
美国电影业是一个竞争激烈、价值数亿美元的产业。
On one side was Zukor's Paramount Pictures, now the world's largest production and distribution company.
一方面是祖克的派拉蒙影业公司，现在是世界上最大的制作和发行公司。
On the other was First National Exhibitors, a group of theater owners.
另一方是First National Exhibitors，一群剧院老板。
Kevin Brownlow : Adolph Zukor had a terrible reputation in the industry.
Kevin Brownlow：Adolph Zukor 在业界享有盛誉。
He sent out men who were known as the "wrecking crew." They would destroy the business of a theater in the town he wanted, and he'd buy it.
他派出了被称为“失事人员”的人员。他们会毁掉他想要的镇上一家剧院的生意，而他会买下它。
Tino Balio : First National were outraged by Adolph Zukor's tactics.
蒂诺·巴利奥：第一国民队对阿道夫·祖克的策略感到愤怒。
And to prove to Adolph Zukor the seriousness of their intent, they went after his biggest asset, Mary Pickford.
为了向阿道夫·祖克证明他们意图的严肃性，他们追捕了他最大的资产玛丽·碧克馥。
Narrator : In 1918, as Pickford's contract with Zukor was coming to an end, First National went on the attack.
旁白：1918年，随着皮克福德与祖克的合同即将到期，第一国民发起进攻。
They offered her an extraordinary $675,000 for three pictures, 50% of the profits and artistic control of her films.
他们为她开出了三部电影 675,000 美元的高价，包括她电影 50% 的利润和艺术控制权。
Zukor refused to match it.
祖科尔拒绝匹配。
Eileen Whitfield : She told Adolph Zukor over the phone that she was going to go with First National.
艾琳·惠特菲尔德 (Eileen Whitfield)：她在电话中告诉阿道夫·祖克 (Adolph Zukor)，她将与第一国家党 (First National) 一起去。
Both of them were practically in tears.
两人几乎都泪流满面。
And she finally said, "I can't talk anymore." And he said, "I can't either." It was a horrible moment for them.
最后她说：“我不能再说话了。”他说：“我也不能。”这对他们来说是一个可怕的时刻。
However they both recovered quite quickly.
不过他们俩都恢复得很快。
Narrator : Pickford had just started her contract with First National when she was alarmed by rumors that Zukor was fighting back.
旁白：皮克福德刚刚开始与第一国民公司签订合同，当时她就因祖克反击的传言而感到震惊。
His company was going to merge with First National.
他的公司将与第一国民公司合并。
Mary Pickford : I learned from my mother that the big men of the industry, including Mr. Zukor, were getting together to control the salaries, not alone of the actors but the writers and the directors and they were going to dictate to us what we were to do.
玛丽·碧克馥：我从母亲那里得知，包括祖克先生在内的业界大人物正在联合起来控制工资，不仅是演员，还有编剧和导演，他们将向我们发号施令。
So I spoke to Douglas and he saw Chaplin and D.W.
所以我和道格拉斯交谈，他看到了卓别林和 D.W.
Griffith.
格里菲斯.
Narrator : In January 1919 the four biggest names in the movies responded to Zukor's threat.
旁白：1919 年 1 月，电影界的四大巨头对祖克的威胁做出了回应。
They announced the formation of their own distribution company, United Artists.
他们宣布成立自己的发行公司 United Artists。
Tino Balio : Forming United Artists was part of a natural trajectory in Mary Pickford's career.
蒂诺·巴利奥：组建联合艺术家是玛丽·碧克馥职业生涯中自然轨迹的一部分。
She and Douglas Fairbanks had their own companies.
她和道格拉斯·费尔班克斯拥有自己的公司。
So it was imperative for them to find a way to distribute their films and that way they could still have control over the making of their pictures.
因此，他们必须找到一种方法来发行他们的电影，这样他们仍然可以控制他们的电影制作。
Narrator : No one thought actors could run a business.
旁白：没有人认为演员可以经营一家企业。
One observer remarked, "The lunatics have taken over the asylum."
一位观察员评论道：“疯子已经占领了疯人院。”
Scott Eyman : The leading role was taken by Pickford and Fairbanks.
斯科特·艾曼：主演是皮克福德和费尔班克斯。
Douglas was a very good businessman.
道格拉斯是一位非常优秀的商人。
And of course Charlotte and Mary were, shall we say, formidable.
当然，我们可以说，夏洛特和玛丽是令人敬畏的。
Chaplin always saw United Artists as a convenience operation for the films of Charlie Chaplin.
卓别林一直将联艺视为查理·卓别林电影的便利运营机构。
He had not that much interest in it as a company.
作为一家公司，他对此并没有多大兴趣。
Narrator : Chaplin was astonished at Pickford's business skills.
旁白：卓别林对匹克福德的商业技巧感到惊讶。
"She knew all the nomenclature, the amortizations, the deferred stocks," he recalled.
“她知道所有的术语、摊销、递延股票，”他回忆道。
"She understood all the articles of incorporation." But even with all Pickford's skills it was a huge risk.
“她理解所有的公司章程。”但即使皮克福德技术精湛，这也是一个巨大的风险。
Each partner put up $100,000 for the new company.
每位合伙人为新公司出资 10 万美元。
Kevin Brownlow : When you have a distribution company, it's rather like a bakery turning out wedding cakes only.
Kevin Brownlow：当你拥有一家分销公司时，它就像一家只生产婚礼蛋糕的面包店。
You've got to turn out bread and scones and things, in order to make the money to keep the outfit going.
你必须生产面包、烤饼之类的东西，才能赚到钱来维持公司的运转。
And they were these four fabulous filmmakers.
他们就是这四位出色的电影制片人。
But they couldn't sustain United Artists unless they were all working flat out.
但除非他们全力以赴地工作，否则他们无法维持联美公司的运转。
Tino Balio : They were always searching for films, good films to distribute.
蒂诺·巴利奥：他们一直在寻找电影，寻找可以发行的好电影。
They discovered that other stars did not have the courage that they had to form their own independent companies and to go through UA.
他们发现其他明星没有勇气成立自己的独立公司并通过UA。
Narrator : City by city they fought Zukor's stranglehold on the country's theaters.
旁白：他们逐个城市地与祖科尔对国家剧院的控制进行斗争。
They testified against him in a federal investigation.
他们在联邦调查中作证指控他。
Slowly they attracted some of the best talent in Hollywood: producers like Sam Goldwyn and stars like Gloria Swanson, and Buster Keaton.
慢慢地，他们吸引了好莱坞一些最优秀的人才：萨姆·戈德温等制片人以及格洛丽亚·斯旺森和巴斯特·基顿等明星。
United Artists became a prestige company, a source of great pride for Pickford.
联艺公司成为了一家享有盛誉的公司，这让皮克福德感到非常自豪。
Scott Eyman : Douglas and Mary saw United Artists as something that extended beyond their individual careers.
斯科特·艾曼：道格拉斯和玛丽认为联美公司超越了他们个人的职业生涯。
And they were in fact correct, because after World War II, the studio system began to collapse of its own weight.
事实上他们是正确的，因为二战后，制片厂系统开始因其自身重量而崩溃。
And then the industry largely became what United Artists set out to be in 1920.
然后这个行业基本上就变成了联美公司在 1920 年所设定的目标。
Narrator : Mary and Douglas were now public business partners.
旁白：玛丽和道格拉斯现在是公共商业伙伴。
They were still lovers in secret.
他们仍然是秘密恋人。
He was determined to marry her, but she remained terrified that divorce would ruin their careers.
他决心娶她，但她仍然害怕离婚会毁掉他们的事业。
Fairbanks got his divorce easily.
费尔班克斯轻松离婚。
He begged and cajoled Mary to marry him.
他恳求并哄骗玛丽嫁给他。
Then he gave her an ultimatum.
然后他给了她最后通牒。
Marry or never see him again.
要么结婚，要么再也见不到他。
As always, Mary turned to her mother for advice.
与往常一样，玛丽向母亲寻求建议。
Charlotte encouraged her to follow her heart.
夏洛特鼓励她追随自己的内心。
In March 1920, Mary went to Nevada and divorced Owen.
1920年3月，玛丽前往内华达州与欧文离婚。
Three weeks later she and Douglas married in a small, private ceremony.
三周后，她和道格拉斯在一个小型的私人仪式上结婚。
They waited to see how their fans would react.
他们等着看粉丝的反应。
Scott Eyman : The public basically shrugged their shoulders and said, "What marriage?
斯科特·艾曼：公众基本上耸耸肩说：“什么婚姻？
What divorce?" What could be more perfect than America's favorite man marrying America's favorite woman?
什么离婚？”还有什么比美国最受欢迎的男人娶美国最受欢迎的女人更完美的事情呢？
Of course, this is America.
当然，这是美国。
Narrator : The couple sailed to Europe for their honeymoon.
旁白：这对夫妇乘船前往欧洲度蜜月。
In England a sea of people greeted them with cheers and roses.
在英格兰，人们用欢呼声和玫瑰花迎接他们。
At one point Douglas had to carry a terrified Mary to safety.
有一次，道格拉斯不得不把惊恐万状的玛丽带到安全的地方。
In France they were mobbed everywhere they went.
在法国，他们所到之处都遭到围攻。
After the honeymoon they returned to Hollywood.
蜜月结束后，他们返回好莱坞。
Douglas gave Mary a wedding present, an 18-acre estate high in Beverly Hills.
道格拉斯送给玛丽一份结婚礼物，是比佛利山高处占地 18 英亩的庄园。
The press dubbed it Pickfair.
媒体将其称为“Pickfair”。
Everyone who was anyone wanted an invitation the King of Spain, the Prince of Sweden, Albert Einstein, Amelia Earhart.
每个有名望的人都想收到西班牙国王、瑞典王子、阿尔伯特·爱因斯坦、阿米莉亚·埃尔哈特的邀请。
The uncrowned king and queen of Hollywood, Mary and Douglas gave the upstart movie business a glittering sheen of sophistication and romance.
好莱坞的无冕之王和王后玛丽和道格拉斯给新兴的电影业带来了精致和浪漫的光彩。
They set up their own production studio where they worked side by side.
他们建立了自己的制作工作室，并肩工作。
Now in complete control of her work, Pickford chose her directors, writers, cameramen.
现在，皮克福德完全掌控了自己的工作，她选择了导演、编剧和摄影师。
She approved budgets and distribution, casting and costumes.
她批准了预算、发行、选角和服装。
Robert Cushman : She treated her people very well.
罗伯特·库什曼：她对待她的人民很好。
She hired only the best, the best cinematographer, the best art director, the best writers.
她只聘请最好的、最好的摄影师、最好的艺术总监、最好的编剧。
She was willing to pay top dollar, but you'd better be the best and you'd better do your best.
她愿意支付高价，但你最好是最好的，你最好尽力而为。
Kevin Brownlow : They all adored what they were doing and she knew that if you wanted quality, the only way to get it was to spend time.
凯文·布朗洛：他们都很喜欢自己所做的事情，她知道如果你想要高质量，获得它的唯一方法就是花时间。
She supported them up to the hilt, and was very critical of herself.
她全力支持他们，并对自己非常挑剔。
When she saw the rushes, she would say, "I'm no good in this.
当她看到灯心草时，她会说：“我不擅长这个。
We've got to retake it." And she became known as Retake Mary Pickford.
我们必须重新夺回它。”她被称为“重夺玛丽·碧克馥”。
Narrator : She cut back on the number of films she made each year.
旁白：她每年都减少拍摄的电影数量。
She did not want to saturate the market.
她不想让市场饱和。
And she wanted each film to set new standards.
她希望每部电影都能树立新的标准。
In 1921 she made Little Lord Fauntleroy.
1921年，她制作了《小方特勒罗伊勋爵》。
Kevin Brownlow : Mary Pickford plays two roles.
凯文·布朗洛：玛丽·碧克馥扮演两个角色。
She's Little Lord Fauntleroy with the curls, and she's the mother.
她是卷发小方特勒罗伊勋爵，她是孩子的母亲。
The mother is asleep, and Little Lord Fauntleroy comes in and kisses her and how is it possible that Mary Pickford kisses herself?
母亲睡着了，小勋爵方特勒罗伊进来亲吻了她，玛丽·碧克馥怎么可能亲吻自己呢？
Nobody would have thought how difficult it was.
没有人会想到这有多困难。
Steel girders had to be placed down to keep the camera still enough.
必须放下钢梁才能保持相机足够静止。
And the mat, special mats had to be prepared, because it was done in the camera.
还有垫子，必须准备特殊的垫子，因为它是在相机中完成的。
You wound the shot back and you re-exposed it, and you had to block out the previous figure.
你将镜头拉回并重新曝光，并且你必须遮挡之前的人物。
You can see technicians tackling the impossible.
您可以看到技术人员解决不可能的事情。
I still don't know how they did it.
我还是不知道他们是怎么做到的。
Narrator : The next year Mary turned 30.
旁白：第二年玛丽就30岁了。
For her fans she was forever Little Mary of Poor Little Rich Girl and Little Lord Fauntleroy.
对于她的粉丝来说，她永远是可怜的小富家女和小方特勒罗伊勋爵中的小玛丽。
But she felt trapped by the role.
但她觉得自己被这个角色困住了。
"This dramatic rut keeps me eternally playing the curly-headed girl.
“这种戏剧性的惯例让我永远扮演着卷发女孩。
And I hate curls, I loathe them," she said to a journalist.
我讨厌卷发，我讨厌它们，”她对记者说。
To help her break free from this image she wanted to find a strong director with his own aesthetic.
为了帮助她摆脱这种形象，她想找到一位有自己审美观的强势导演。
"Most directors" she said, "defer too much to my opinion.
“大多数导演”她说，“都过于听从我的意见。
I wish they wouldn't." She made a daring choice.
我希望他们不会。”她做出了一个大胆的选择。
She invited Ernst Lubitsch, the German director known for his dark, sophisticated comedies, to work with her.
她邀请了以黑暗、精致的喜剧而闻名的德国导演恩斯特·刘别谦与她合作。
As their first project, they chose one of the bleakest tragedies in literature, the story of Faust.
作为他们的第一个项目，他们选择了文学中最悲惨的悲剧之一——浮士德的故事。
Eileen Whitfield : Mary Pickford would have been playing a role in which she, as Lubitsch said in a German accent, "strangles the baby." Now, Charlotte heard this and said, "Are you telling me that you are going to make a movie in which my daughter Mary Pickford strangles a baby?" That project hit the dust awfully fast.
艾琳·惠特菲尔德：玛丽·碧克馥扮演的角色，正如刘别谦用德国口音所说的那样，“掐死了婴儿”。现在，夏洛特听到了这句话，说道：“你是在告诉我，你要拍一部我女儿玛丽·碧克馥勒死婴儿的电影吗？”这个项目很快就落空了。
Scott Eyman : Charlotte guarded Mary's image, vigilantly.
斯科特·艾曼：夏洛特警惕地维护着玛丽的形象。
And Charlotte was afraid of destroying the franchise.
夏洛特害怕毁掉球队。
She was worried that Mary would alienate her core audience and wouldn't necessarily attract a different audience.
她担心玛丽会疏远她的核心受众，并且不一定会吸引不同的受众。
Charlotte might have been right.
夏洛特也许是对的。
Purely from a creative point of view, Mary needed a picture like that the way she needed oxygen.
纯粹从创意的角度来看，玛丽需要这样的照片，就像她需要氧气一样。
And she wasn't getting the oxygen.
而且她没有得到氧气。
Narrator : They finally settled on Rosita, the story of a Spanish street singer and the king who tries to seduce her.
旁白：他们最终选定了《罗西塔》，讲述了一位西班牙街头歌手和试图引诱她的国王的故事。
Production was difficult.
生产很困难。
As Pickford discovered, she and Lubitsch had fundamentally different world-views.
正如皮克福德发现的那样，她和刘别谦有着根本不同的世界观。
Jeanine Basinger : He was European; she was American.
珍妮·贝辛格：他是欧洲人；她是美国人。
Lubitsch is very slyly sophisticated, with a highly sexually charged universe.
刘别谦非常狡猾老练，有着高度性感的宇宙。
He's all about sex.
他只关心性。
Mary Pickford, although she could play a sensuous looking, older woman, was not about sex.
玛丽·碧克馥虽然可以扮演一位看起来性感的年长女性，但她与性无关。
Narrator : Critics raved about "a Mary Pickford different and greater than at any time in her career." But her long time fans stayed away.
旁白：评论家盛赞“玛丽·碧克馥与她职业生涯中的任何时期都不同且更伟大”。但她的长期粉丝却远离了她。
Eileen Whitfield : It all seems too sophisticated.
艾琳·惠特菲尔德：这一切似乎都太复杂了。
It's not the Mary Pickford that they love; it isn't them.
他们爱的不是玛丽·碧克馥，而是玛丽·碧克馥。不是他们。
The film did not do well in small towns.
这部电影在小城镇的表现并不好。
Narrator : Pickford was unnerved by the audience reaction, by the financial pressures of United Artists, by growing old.
旁白：皮克福德对观众的反应、联美公司的财务压力和年老而感到不安。
Uncertain what to do next, she turned to her fans.
不确定下一步该做什么，她转向她的粉丝。
Robert Cushman : She asked Photoplay to send out a question to the general readership, "What characters do you want to see Mary Pickford play?" And the resounding majority was famous little girl stories like Heidi, or Little Red Riding Hood.
罗伯特·库什曼：她要求 Photoplay 向广大读者提出一个问题：“你希望看到玛丽·碧克馥扮演哪些角色？”其中绝大多数是著名的小女孩故事，例如海蒂或小红帽。
So she did Annie Rooney, did a very credible job of playing a 12-year-old, but the writing was on the wall.
所以她扮演了安妮·鲁尼，非常可信地扮演了一个12岁的孩子，但这是不祥之兆。
She knew this could not go on.
她知道这样的情况不能再继续下去了。
Narrator : Off screen Mary and Douglas remained Hollywood's royalty.
旁白：在银幕之外，玛丽和道格拉斯仍然是好莱坞的皇室成员。
But the demands of the role put huge strains on their marriage.
但这个角色的要求给他们的婚姻带来了巨大的压力。
Scott Eyman : She's got so many balls in the air.
斯科特·艾曼：她有很多事情要做。
She's helping to run a major motion picture corporation, United Artists.
她正在帮助经营一家大型电影公司联美公司。
She's running her own motion picture production company, the Mary Pickford Company.
她经营着自己的电影制作公司——玛丽·碧克馥公司。
And she's attempting to maintain a marriage with a very vital, very active, very dominant movie star in his own right, with very, very strong ego needs of his own.
她正试图与一位非常有活力、非常活跃、非常有统治力的电影明星维持婚姻，他自己也有非常非常强烈的自我需求。
Malcolm Boyd, Personal Friend : Their whole life was on.
马尔科姆·博伊德，私人朋友：他们的一生都在继续。
But, she couldn't be "on" all the time.
但是，她不可能一直“在线”。
She'd be working all day, and then Douglas would have forty people coming for dinner.
她会工作一整天，然后道格拉斯会有四十个人来吃晚饭。
They were very different at that level.
他们在那个层面上是非常不同的。
Mary didn't really like to be around people very much.
玛丽不太喜欢和人在一起。
It seems that Doug always enjoyed it.
看来道格一直很喜欢它。
Narrator : Her family was a constant source of tension between them.
旁白：她的家人一直是他们之间关系紧张的根源。
Her brother Jack had a serious drinking problem.
她的兄弟杰克有严重的酗酒问题。
So did sister Lottie.
洛蒂姐姐也是如此。
Charlotte drank heavily as well, but she managed to hide it from Mary.
夏洛特也喝了不少酒，但她设法向玛丽隐瞒了。
Scott Eyman : Douglas was offended by their raffishness and he was very offended by their alcoholism.
斯科特·艾曼：道格拉斯对他们的粗俗感到冒犯，对他们的酗酒感到非常恼火。
Fairbanks was a teetotaler.
费尔班克斯是一个滴酒不沾的人。
He did not drink.
他没有喝酒。
He couldn't stand to be around them.
他无法忍受和他们在一起。
Narrator : In the fall of 1927, for the first time in nearly 3 decades, Mary stopped working.
旁白：1927 年秋天，近 3 年来，玛丽第一次停止了工作。
Charlotte was dying of cancer.
夏洛特死于癌症。
Robert Cushman : Charlotte was her confidante; she was her advisor; she was her best friend; she was her mother; and it was just inconceivable to her that she wasn't going to be there.
罗伯特·库什曼：夏洛特是她的红颜知己；她是她的顾问；她是她最好的朋友；她是她的母亲；她无法想象自己不会去那里。
Narrator : Charlotte died in March 1928.
旁白：夏洛特于 1928 年 3 月去世。
Robert Cushman : It was one of the most cataclysmic emotional disasters of Mary Pickford's life.
罗伯特·库什曼：这是玛丽·碧克馥一生中最灾难性的情感灾难之一。
She practically had a nervous breakdown.
她几乎精神崩溃了。
Even though it was known that Charlotte was dying of cancer, she was not in any way emotionally prepared for it.
尽管人们知道夏洛特即将死于癌症，但她在情感上并没有做好任何准备。
Narrator : "She was almost my very life," Mary said.
旁白：“她几乎就是我的生命，”玛丽说。
Without Charlotte, she felt she barely knew how to live.
没有夏洛特，她觉得自己几乎不知道如何生活。
Exactly three months after her mother's death, she emerged in public to discard her Little Girl image forever.
母亲去世三个月后，她公开露面，永远抛弃了“小女孩”的形象。
She was 35 years old.
她35岁了。
Eileen Whitfield : She didn't do it while Charlotte was alive, because Charlotte loved her hair.
艾琳·惠特菲尔德：夏洛特活着的时候她没有这样做，因为夏洛特喜欢她的头发。
But as soon as Charlotte died she cut it.
但夏洛特一死，她就把它剪掉了。
And Douglas Fairbanks had also loved her long hair.
道格拉斯·费尔班克斯也很喜欢她的长发。
He began to cry when he saw what she had done.
当他看到她所做的事情时，他开始哭泣。
Narrator : An avalanche of criticism overwhelmed her.
旁白：铺天盖地的批评淹没了她。
"You would have thought I murdered someone and perhaps I had," Mary said, "but only to give her successor a chance to live." But it wasn't enough.
“你可能会认为我谋杀了某人，也许我确实这么做了，”玛丽说，“但只是为了给她的继任者一个活下去的机会。”但这还不够。
The world, and her audiences, were leaving her behind.
世界和她的观众都把她抛在了后面。
It was the jazz age, a time of speakeasies, sensuality, and provocative, young stars like Joan Crawford and Greta Garbo.
那是爵士乐时代，一个充满地下酒吧、性感和挑衅的年轻明星（如琼·克劳馥和葛丽泰·嘉宝）的时代。
And then came another huge challenge: sound.
然后另一个巨大的挑战来了：声音。
Male Voice, Archival Film : Sound waves are picked up by the microphone and converted into electrical impulses.
男声，档案电影：声波被麦克风拾取并转换成电脉冲。
Scott Eyman : It was a big change.
斯科特·艾曼：这是一个很大的变化。
What you lost with sound pictures was the cocoon.
有声图像失去的是茧。
You had an orchestra on the set and they would play your favorite music while you were acting.
你在片场有一个管弦乐队，他们会在你表演的时候演奏你最喜欢的音乐。
And the director would be speaking to you very gently underneath the music.
导演会在音乐声中非常温柔地跟你说话。
It was like acting in a dream state.
这就像在梦境中表演一样。
Jeanine Basinger : There was a camaraderie there and a casualness that of course could not happen once sound came.
珍妮·贝辛格（Jeanine Basinger）：那里有一种友情和一种随意，一旦声音响起，当然就不可能发生这种情况。
They had to move indoors, onto sets.
他们必须搬到室内，进入片场。
Everyone had to be very quiet.
每个人都必须非常安静。
Narrator : Pickford loved silent film.
旁白：皮克福德喜欢无声电影。
But the producer in her realized that sound was the future.
但她的制作人意识到声音才是未来。
Mary Pickford, Archival Film : We just naturally seem to have a lot to say to one and other don't we?
玛丽·碧克馥，档案电影：我们似乎很自然地有很多话要对彼此说，不是吗？
I always did think you were interesting.
我一直觉得你很有趣。
Narrator : She launched into talkies, the first major star to dare make the transition.
旁白：她开始涉足有声电影领域，是第一个敢于转型的大明星。
Robert Cushman : Everyone in the world wanted to hear what Mary Pickford's voice sounded like.
罗伯特·库什曼：世界上每个人都想听听玛丽·碧克馥的声音。
It made more money than any Mary Pickford picture ever.
它比任何玛丽·碧克馥的电影赚的钱都多。
Mary Pickford-Archival Film : Darling...
玛丽·碧克馥-档案电影：亲爱的...
Narrator : But the awkwardness of early sound production showed.
旁白：但是早期声音制作的尴尬就显现出来了。
And her choice of story was a mistake.
她选择的故事是一个错误。
Mary Pickford-Archival Film : Oh you don't know my daddy.
玛丽·碧克馥-档案电影：哦，你不认识我爸爸。
He's so terribly stubborn, if you go against him he'd do most anything.
他太固执了，如果你反对他，他几乎会做出任何事情。
Jeanine Basinger : When you see Mary Pickford in Coquette, you confront the problems of persona breakdown.
珍妮·贝辛格：当你在《风骚》中看到玛丽·碧克馥时，你会面临角色崩溃的问题。
First of all, she's talking.
首先，她正在说话。
Mary Pickford, Archival Film : I know you will Michael.
玛丽·碧克馥，档案电影：我知道你会的，迈克尔。
Jeanine Basinger : Right away that's like, "Wait, Mary doesn't speak."
珍妮·贝辛格：马上就好像，“等等，玛丽没有说话。”
Mary Pickford, Archival Film : I'll keep house and I'll cook and I'll scrub and I'll take care of you.
玛丽·碧克馥，档案电影：我会持家，我会做饭，我会擦洗，我会照顾你。
Jeanine Basinger : Then secondly, you have the bobbed hair, the flirtatious personality.
珍妮·贝辛格：其次，你剪着短发，性格轻浮。
And this is not who people thought Mary Pickford was.
这并不是人们想象中的玛丽·碧克馥。
Actor, Archival Film : Why you old fool, you ought to be begging me to marry her!
档案电影演员：为什么你这个老傻瓜，你应该求我娶她！
Jeanine Basinger : She could adapt to sound; but she was a theatre actress.
珍妮·贝辛格：她可以适应声音；她可以适应声音。但她是一名戏剧演员。
The issue was she was aging, she was now an older woman and times were changing.
问题是她正在衰老，她现在是一位年长的女性，时代在变化。
Robert Cushman : It got mixed reviews.
罗伯特·库什曼：评论褒贬不一。
However, she was given the first Academy Award for an actress in a sound film.
然而，她获得了第一个奥斯卡有声电影女演员奖。
People in the industry respected her so much, and realized that probably the end of her career was not that far off, and for everything she's done, she deserves this.
业内人士非常尊重她，并意识到她职业生涯的结束可能已经不远了，对于她所做的一切，她应得的。
Narrator : Fairbanks too was facing the end of his career.
旁白：费尔班克斯也面临着职业生涯的终结。
He was 46.
他46岁。
He hated the constraint of sound.
他讨厌声音的束缚。
And he was finding it harder to do the extraordinary stunts that were his trademark.
他发现表演他标志性的非凡特技变得越来越困难。
To boost their careers the couple decided to try something new: they would make a film together.
为了发展他们的事业，这对夫妇决定尝试一些新的东西：他们将一起拍一部电影。
Douglas Fairbanks, Archival Film : "Oh come Kate, come.
道格拉斯·费尔班克斯，档案电影：“哦，来吧，凯特，来吧。
You must not look so sour."
你的表情一定不能这么酸。”
Mary Pickford, Archival Film : "It is my fashion when I see a crab."
玛丽·碧克馥，档案电影：“当我看到螃蟹时，这就是我的时尚。”
Kevin Brownlow : Fairbanks seemed to arrive later and later each day, which outraged Mary Pickford, who was a real Puritan as far as punctuality was concerned.
凯文·布朗洛：费尔班克斯似乎每天都到得越来越晚，这激怒了玛丽·碧克馥，就准时性而言，她是一个真正的清教徒。
And it was costing so much money.
而且花了这么多钱。
Narrator : When Fairbanks did arrive he often didn't know his lines.
旁白：当费尔班克斯到达时，他经常不知道自己的台词。
He argued with her in front of the crew.
他当着工作人员的面与她争吵。
For Pickford the experience was devastating.
对于皮克福德来说，这次经历是毁灭性的。
"My confidence was completely shattered," she confessed, "and I was never again at ease before the camera or microphone."
“我的信心彻底崩溃了，”她承认，“我在镜头或麦克风面前再也没有放松过。”
Eileen Whitfield : Everyone knew that her career was going on the down curve.
艾琳·惠特菲尔德：每个人都知道她的职业生涯正在走下坡路。
And just as she was the first great star to be created by film, she was the first great "has been" to be created by film.
正如她是第一个由电影创造的伟大明星一样，她也是第一个由电影创造的伟大“曾经”。
And everyone watched it.
每个人都看着它。
There was no privacy there.
那里没有隐私。
Narrator : Fairbanks fled, from Mary and his career.
旁白：费尔班克斯逃离了玛丽和他的事业。
"When a man finds himself sliding downhill," he said, "he should do everything to reach bottom in a hurry and pass out of the picture."
“当一个人发现自己滑下坡时，”他说，“他应该尽一切努力尽快到达谷底，然后从画面中消失。”
Newsreel reporter, Archival Film : Mr. Fairbanks, how long have you been away?
新闻片记者、档案电影：费尔班克斯先生，您离开多久了？
Douglas Fairbanks, Archival Film : About six months.
道格拉斯·费尔班克斯，档案电影：大约六个月。
Newsreel reporter, Archival Film : Have you quit acting entirely?
新闻片记者、档案电影：你完全退出演艺圈了吗？
Douglas Fairbanks, Archival Film : I think so.
道格拉斯·费尔班克斯，档案电影：我想是的。
Narrator : In an effort to save their marriage, Mary decided to join him on a long world tour.
旁白：为了挽救他们的婚姻，玛丽决定和他一起进行一次漫长的世界巡演。
Fairbanks still thrived on the constant change and attention.
费尔班克斯仍然因不断的变化和关注而蓬勃发展。
Pickford had come to see the emptiness of the flattery and the fans, and she had begun to drink.
皮克福德看到了阿谀奉承和粉丝们的空虚，她开始喝酒。
Mary Pickford, Archival Film : We're delighted to be home.
玛丽·碧克馥，档案电影：我们很高兴回到家。
I haven't seen such a lovely sight in four months and 24,000 miles.
我已经四个月、行驶了 24,000 英里，没有见过如此美丽的景象了。
Douglas Fairbanks, Archival Film : Six months.
道格拉斯·费尔班克斯，档案电影：六个月。
Mary Pickford, Archival Film : Pardon.
玛丽·碧克馥，档案电影：赦免。
Six months, I stand corrected.
六个月后，我接受了纠正。
Oh, Douglas, I'll wager you forgot to stop the milk in Beverly Hills before we left.
哦，道格拉斯，我敢打赌，在我们离开之前，你忘了在比佛利山庄停止牛奶。
Douglas Fairbanks, Archival Film Why mention milk after 24,000 miles of light wines and beer?
道格拉斯·费尔班克斯 (Douglas Fairbanks)，档案电影 为什么在喝了 24,000 英里的淡葡萄酒和啤酒之后还要提到牛奶？
Mary Pickford, Archival Film : What do you want me to say after that?
玛丽·碧克馥，档案电影：之后你想让我说什么？
Douglas Fairbanks, Archival Film : Nothing.
道格拉斯·费尔班克斯，档案电影：什么都没有。
Well say good-bye.
好吧，说再见。
We are now going home.
我们现在要回家了。
Eileen Whitfield : He was getting depressed.
艾琳·惠特菲尔德：他变得抑郁了。
And he began to sort of blindly look for something else the way she was kind of blindly stumbling around in the dark, looking for the next thing.
他开始盲目地寻找其他东西，就像她在黑暗中盲目地跌跌撞撞，寻找下一个东西一样。
And he found the next thing in Lady Sylvia Ashley.
他在西尔维娅·阿什利夫人身上找到了下一个目标。
Narrator : Lady Sylvia Ashley was an ambitious English socialite.
旁白：西尔维娅·阿什利女士是一位雄心勃勃的英国社交名流。
It didn't take long for Mary to find out about the affair.
没过多久，玛丽就发现了这件事。
Still Fairbanks couldn't leave her and she couldn't cut him off.
费尔班克斯仍然无法离开她，她也无法切断他的联系。
Mary Pickford, Archival Film : Mama, there's a bee in your bonnet.
玛丽·碧克馥，档案电影：妈妈，你的帽子里有一只蜜蜂。
Actress, Archival Film : Don't be impertinent!
档案电影女演员：别无礼！
Narrator : Pickford did the only thing she knew how.
旁白：皮克福德做了她唯一知道的事。
She went back to work.
她回去工作了。
Secrets was an earnest portrait of a marriage threatened by the husband's infidelity.
《秘密》是对受到丈夫不忠威胁的婚姻的真实写照。
Leslie Howard, Archival Film : What's the use?
莱斯利霍华德，档案电影：有什么用？
You wouldn't understand.
你不会明白的。
Narrator : Some scenes played like an awkward love letter to Douglas.
旁白：有些场景就像一封写给道格拉斯的尴尬情书。
Mary Pickford, Archival Film : You want to tell me, don't you John, that you never once stopped loving me, even when you were most unfaithful.
玛丽·碧克馥，档案电影：约翰，你想告诉我，你从来没有停止过爱我，即使是在你最不忠的时候。
Narrator : Secrets was her last movie for United Artists.
旁白：《秘密》是她为联艺拍摄的最后一部电影。
When it lost money, her nightmare of the empty theater seemed to be coming to life.
当它赔钱时，她那座空荡荡的剧院的噩梦似乎就要变成现实了。
She realized her starring days were over.
她意识到她的明星日子已经结束了。
"I've worked all my life," she said.
“我一生都在工作，”她说。
"Work has become my life.
“工作已经成为我的生活。
I can think of nothing to fill the void." One after another the losses mounted.
我想不出有什么可以填补这个空白。”损失接连不断。
Jack died from years of drink and drugs.
杰克死于多年的酗酒和吸毒。
And then Lottie, from a heart attack.
然后洛蒂心脏病发作。
Her life with Douglas was over as well.
她和道格拉斯的生活也结束了。
She filed for divorce.
她提出离婚。
Douglas tried to woo her back.
道格拉斯试图吸引她回来。
But too much damage had been done.
但已经造成了太多的损害。
The divorce became final in January 1936.
1936 年 1 月，最终离婚。
Robert Cushman : She was the love of his life.
罗伯特·库什曼：她是他一生的挚爱。
He was the love of her life.
他是她一生的挚爱。
And I think that they both felt they had made a terrible mistake.
我认为他们都觉得自己犯了一个可怕的错误。
And I think they both lived to deeply regret that.
我认为他们都对此深感遗憾。
Eileen Whitfield : She had the horrible experience of having everything fall apart at the same time.
艾琳·惠特菲尔德：她有过所有事情同时崩溃的可怕经历。
Losing loved ones.
失去亲人。
Losing her career.
失去了她的事业。
Losing her husband.
失去丈夫。
Losing her celebrity.
失去她的名气。
Scott Eyman : She's regarded in the movie magazines, in the newspapers as almost a fading antique.
斯科特·艾曼：在电影杂志和报纸上，她几乎被视为褪色的古董。
What do you do?
你做什么工作？
How do you cope with that?
你如何应对？
She didn't have an education.
她没有受过教育。
She didn't have a philosophical bent.
她没有哲学倾向。
So she began to anesthetize the panic with alcohol.
于是她开始用酒精来麻醉恐慌。
Eileen Whitfield : Mary Pickford kind of disappeared inside that bottle and never came out again.
艾琳·惠特菲尔德：玛丽·碧克馥消失在那个瓶子里，再也没有出来。
Narrator : She began to rely more and more on a new friend, Buddy Rogers, her co-star in her last silent film, My Best Girl .
旁白：她开始越来越依赖新朋友巴迪·罗杰斯，他是她最后一部无声电影《我最好的女孩》中的搭档。
He had fallen in love with her during the filming.
他在拍摄期间就爱上了她。
She was flattered.
她受宠若惊。
Rogers was now focusing mostly on his band music.
罗杰斯现在主要专注于他的乐队音乐。
Scott Eyman : He was a nice, nice guy.
斯科特·艾曼：他是一个非常非常好的人。
Would have been a great greeter at a casino, a hotel.
会是赌场、酒店的一个很好的迎宾员。
Was always happy.
一直都很开心。
Nobody's as happy to see any body as Buddy was to see everybody.
没有人像巴迪看到每个人那样高兴地看到任何一个人。
Narrator : A year after her divorce from Fairbanks, Mary and Buddy were married.
旁白：与费尔班克斯离婚一年后，玛丽和巴迪结婚了。
Eileen Whitfield : She'd call him Douglas constantly, and in front of other people.
艾琳·惠特菲尔德：她经常在其他人面前叫他道格拉斯。
And he would just try and laugh it off.
他只会尝试一笑置之。
But it had to hurt.
但它一定会受伤。
I think for Buddy Rogers, Douglas Fairbanks was always hanging over Pickfair, mid-leap.
我认为对于巴迪·罗杰斯来说，道格拉斯·费尔班克斯总是悬在皮克菲尔上方，处于跳跃之中。
Narrator : In December 1939, Fairbanks had a heart attack.
旁白：1939 年 12 月，费尔班克斯心脏病发作。
Eileen Whitfield : When Douglas Fairbanks was just hanging on to life, he had one of his brothers tell Mary Pickford that he had a message for her.
艾琳·惠特菲尔德：当道格拉斯·范朋克勉强度日的时候，他让他的一个兄弟告诉玛丽·碧克馥，他有话要告诉她。
It was "by the clock." It was always a phrase between them that meant, "My heart belongs to you."
这是“按时钟”。他们之间总是有一句话，意思是“我的心属于你”。
Narrator : Mary could not bring herself to attend the funeral.
旁白：玛丽无法参加葬礼。
Narrator : She lived on in Hollywood attending openings, hosting charity events at Pickfair, and trying to find new work.
旁白：她继续住在好莱坞，参加开幕式，在 Pickfair 举办慈善活动，并试图寻找新工作。
Scott Eyman : She tried radio.
斯科特·艾曼：她尝试过广播。
She tried theater.
她尝试过戏剧。
She tried producing.
她尝试制作。
It was all unsuccessful.
一切都没有成功。
Her luck vanished, partially because, I think, her instrument, her values, her sense of herself as a performer, were corroded by alcohol and fear.
她的运气消失了，部分原因是，我认为，她的乐器、她的价值观、她作为表演者的自我意识都被酒精和恐惧腐蚀了。
Narrator : She remained involved with the running of United Artists.
旁白：她仍然参与联美公司的运营。
But by the 1950s there were too many problems and the partners she cared about were gone.
但到了 20 世纪 50 年代，问题太多了，她关心的合作伙伴都消失了。
In 1956 she reluctantly sold her shares.
1956年，她不情愿地卖掉了自己的股份。
As the years passed, the public slowly forgot about Mary Pickford.
随着时间的流逝，公众慢慢忘记了玛丽·碧克馥。
In the 1960s she began to withdraw from the world.
20世纪60年代，她开始退出这个世界。
Scott Eyman : She simply refused to come out from behind the walls of Pickfair.
斯科特·艾曼：她只是拒绝从匹克菲尔的高墙后面出来。
She wanted to be alone.
她想一个人呆着。
People would occasionally go in, but often they wouldn't actually see her.
人们偶尔会进去，但通常都看不到她。
They would see Buddy, and Buddy would talk about her.
他们会见到巴迪，巴迪会谈论她。
Particularly grotesque occasions, Buddy would play a tape of her welcoming the person to Pickfair.
特别是在怪诞的场合，巴迪会播放她欢迎某人来到匹克菲尔的磁带。
And then he'd switch the tape off and say, "Well, she's a lot better than that, and she's still my best girl."
然后他会关掉磁带并说：“嗯，她比那要好得多，而且她仍然是我最好的女孩。”
Announcer, Archival Film : To more than three generations of moviegoers, this is the face, the face of the most popular woman in the world.
播音员，档案电影：对于三代以上的电影观众来说，这就是这张脸，世界上最受欢迎的女人的脸。
Narrator : In 1976 Pickford was awarded an Honorary Academy Award.
旁白：1976年，皮克福德被授予奥斯卡荣誉奖。
Academy Award Announcer, Archival Film : She created a unique and personal film literature.
奥斯卡金像奖播音员，档案电影：她创造了独特的个人电影文学。
Narrator : She was too weak to attend the ceremony, so a crew came to Pickfair.
旁白：她太虚弱了，无法参加仪式，所以工作人员来到了皮克菲尔。
Presenter, Archival Film : Mary, I present this to you with great pride and with the love and admiration of the whole Academy.
档案影片主持人：玛丽，我怀着极大的自豪以及整个学院的爱和钦佩向您呈现这部电影。
Mary Pickford, Archival Film : That's wonderful.
玛丽·碧克馥，档案电影：那太棒了。
Narrator : Her appearance horrified viewers.
旁白：她的出现吓坏了观众。
Mary Pickford, Archival Film : I shall treasure it always.
玛丽·碧克馥，档案电影：我将永远珍藏它。
Scott Eyman : People's image of her was essentially that of the Mary Pickford of the twenties.
斯科特·艾曼：人们对她的印象基本上就是二十年代的玛丽·碧克馥。
So the audience at large just it was my God, you know, what happened?
所以广大观众就是我的上帝，你知道，发生了什么事吗？
What happened?
发生了什么？
Well, life happened.
好吧，生活发生了。
Mary Pickford, Archival Film : "We were pioneers in a brand new medium of art.
玛丽·碧克馥，档案电影：“我们是全新艺术媒介的先驱。
I was terribly ambitious you see, my pictures were my whole life, outside my family.
你看，我雄心勃勃，除了家庭之外，我的照片就是我的全部生活。
Let no one tell you that they don't miss their career.
不要让任何人告诉你他们不会怀念自己的职业生涯。
I miss it terribly.
我非常想念它。
My pictures were my whole life."
我的照片就是我的全部生活。”
Narrator : In May 1979, Mary Pickford died at 87 years old.
旁白：1979年5月，玛丽·碧克馥去世，享年87岁。
Soon after the turn of twentieth century, Mary Pickford became "America's Sweetheart."
二十世纪初，玛丽·碧克馥成为“美国甜心”。
From 1870 to 1999, key events to help understand the life and impact of Mary Pickford.
从 1870 年到 1999 年，重要事件有助于了解玛丽·碧克馥的生活和影响。
Browse photographs of Mary Pickford in the public eye.
浏览玛丽·碧克馥在公众视野中的照片。
Mary Pickford was America's sweetheart, and millions of fans around the world called her "our Mary."
玛丽·碧克馥是美国的甜心，世界各地数以百万计的粉丝称她为“我们的玛丽”。
His daring stunts fascinated audiences.
他大胆的特技让观众着迷。
In the 1920s, Douglas Fairbanks was the King of Hollywood.
20 年代，道格拉斯·费尔班克斯 (Douglas Fairbanks) 是好莱坞之王。
Griffith's failure as an actor and playwright would turn out to be a blessing for the film industry when Griffith shifted his attention to film directing,
当格里菲斯将注意力转向电影导演时，格里菲斯作为演员和剧作家的失败对电影业来说是一件幸事，
Zukor's ambition would propel him to the leadership of one of Hollywood's most powerful companies, Paramount Pictures.
祖克的雄心壮志将促使他成为好莱坞最强大的公司之一派拉蒙影业的领导层。
With a film career spanning over fifty years, Chaplin was an innovative artist and one of the most powerful stars in Hollywood history.
卓别林拥有五十多年的电影生涯，是一位富有创新精神的艺术家，也是好莱坞历史上最有影响力的明星之一。
When Mary PIckford's marriage to Douglas Fairbanks fell apart, she increasingly turned to her friend and former co-star Buddy Rogers for support.
当玛丽·皮克福德与道格拉斯·费尔班克斯的婚姻破裂后，她越来越多地向她的朋友兼前搭档巴迪·罗杰斯寻求支持。
The first film screening in America took place in April 1896 at a New York City music hall, Koster and Bial's.
1896 年 4 月，美国第一场电影放映在纽约市的 Koster and Bial's 音乐厅举行。
Mary Pickford reached unprecedented heights of fame — and fell from stardom into semi-obscurity.
玛丽·碧克馥 (Mary Pickford) 的名气达到了前所未有的高度，但又从明星跌入半默默无闻的境地。
The actors became "stars," and publishers issued fan magazines to satisfy public curiosity about stars' likes, dislikes, hobbies, and idiosyncrasies.
演员成为“明星”，出版商发行粉丝杂志来满足公众对明星的好恶、爱好和特质的好奇。