SYSK夏季电影特辑：剥削电影的运作机制

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This is an I Heart podcast.

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你可曾听过离奇到只能是真的的故事？《屋顶大盗》这部令人瞠目结舌的新片由查宁·塔图姆饰演杰弗里·曼彻斯特，讲述他因从屋顶闯入40多家麦当劳并秘密寄居玩具反斗城六个月而臭名昭著的故事。影片融合幽默、悬疑与温情，这场猫鼠游戏将让你欲罢不能直至结局。10月10日，《屋顶大盗》独家影院上映，切勿错过。嘿，各位。

Have you ever heard a story so unbelievable it just had to be true? Well, Roofman is the jaw dropping new film about Jeffrey Manchester played by Channing Tatum, a man who became infamous for breaking into over 40 McDonald's through the roof, then secretly living inside a Toys R Us for six months. With humor, suspense, heart, Roofman is a cat and mouse story will keep you hooked until the very end. Don't miss Roofman, only in theaters, October 10. Hey, everyone.

我是查克。如果你发现订阅列表突然多了10集新节目，那是因为我们尝试在这个夏天将内容整合成播放列表看看效果。这次我们聚焦电影专题——准确说是2011年4月那期关于剥削电影运作机制的节目（虽然不算新了），制作过程非常有趣。

Chuck here. If you're wondering why you have suddenly 10 new episodes in your feed, is because we thought we might group things together and try a little playlist here for the summer and see how it went. And in this case, we're covering some of our movies or movies in general, and I am setting up our semi recent episode from oh, I guess it's not that recent. It's from April 2011 on exploitation films and how they work. It was a really fun one to do.

如果你热爱电影艺术，特别是剥削电影类型，这期节目绝对会让你大呼过瘾。敬请欣赏。

And if you love cinema and you love movies and if you love exploitation movies especially, you're gonna love this episode. So please enjoy.

欢迎收听howstuffworks.com出品的《你应该知道的事》。

Welcome to Stuff You Should Know from howstuffworks.com.

稍等一下伙计。哦对，我知道流程了。来吧，开始我们的节目吧。

Hang on there, fella. Oh, yes. I know what we're doing. Go ahead. Get get us going here.

好吧，查克，前几天晚上你可能注意到了，我知道你确实注意到了，因为我看着你看着这个，这有点诡异，但其实也不是。你和我上电视了。没错。在科学频道上。

Well, Chuck, the other night, you may have noticed, I know you did because I watched you watch this, which is kinda creepy, but not really. You and I were on TV. Yeah. On the Science Channel.

是的。我们拍了那些小短片，而且我们其实对这些成片感到骄傲，这对我们来说可不多见，尤其当

Yeah. We did the little shorts, and, we're actually proud of how these turned out, which is a rarity for us when

有摄像机在场的时候。确实如此。所以，我们还有更多短片即将在科学频道播出。它们会在周六和周日播放，直到大概五月份左右。对吧？

it's when there's a camera. It is. So, we have, more shorts coming up on Science Channel. They're running Saturdays and Sundays until, I think, the May or something. Right?

对。现在它们都在十点到十点半之间播出，据说

Yes. And now they they're all running between ten and 10:30 now, supposedly

好的。

Okay.

在节目期间。我想周六播的是《奇珍异宝》。那是一档超棒又古怪的节目。

During, the shows. I think on Saturdays is Oddities Whoo. Which is an awesome and weird show.

确实。

It is.

然后到了周日，就只有《萤火虫》了，你知道的，大家都爱《萤火虫》。

And then Sundays, it's just Firefly, is, you know, everyone loves Firefly.

是啊。实际上，我觉得能在《萤火虫》播出期间被播放是一种荣幸。

Yeah. I mean, I actually consider it an honor to be played during Firefly.

没错，我也是。尽管

Yeah. Me too. Even though

《萤火虫》的演员们根本不知道这回事，因为这是预先录制的。

the cast of Firefly has no idea that this is going on, cause it's prerecorded.

完全正确，乔希。所以今天是什么日子？周四，显然。对。这周末的周六和周日晚上。

Exactly, Josh. So this, what's today? Thursday, obviously. Yeah. Saturday and Sunday night this weekend Yeah.

在科学频道。嗯。那就是科学频道。它是探索网络的一部分。

On the Science Channel. Mhmm. That is the Science Channel. It's part of the Discovery Networks.

嗯。

Mhmm.

在十点到十点半之间，设置好你的小DVR，然后观看。它们会在广告时段播放。

Between ten and 10:30, set your little DVR, and then look. They run, during the commercial breaks.

或者如果你没有DVR这么高级的设备，你也可以实时观看。

Or if you're not so fancy that you have a DVR, you can actually watch it as it happens.

没错。我们现在能在网上播放其中一些内容了。是的，不是电视上播的那些，但有三个很有趣的。如果你知道如何导航到howstuffworks.com的视频页面的话。嗯哼。

That's right. And we are able to run a few of these online now. Yes. Not the ones that are on TV, but there are three, funny ones. If you know how to navigate to the video page of howstuffworks.com Mhmm.

就这么做。或者你可以直接在谷歌输入how stuff works video，它会直接带你到视频页面。

Do that. Or you can just type in how stuff works video into Google, and it'll take you straight to the video page.

你也可以搜索：stuff you should know冒号大型强子对撞机，stuff you should know冒号人体农场，以及stuff you should know冒号镜像神经元

You could also search, stuff you should know colon large hadron collider, stuff you should know colon body farms, and stuff you should know colon mirror neurons

对。

Right.

在搜索引擎上，这样应该能直接带你到那里。

On the search engine, and it should take you right there.

没错。

That's right.

如果不行，你就告诉我们，我们会去跟那些搜索引擎沟通。

And if it doesn't, you tell us, and we will talk to those search engines.

如果你直接进入视频页面，可以搜索'你应该知道的事'视频，它会显示这个以及我们做过的其他几个有趣的小视频。

And if you just get to the video page, you can search, stuff you should know in search videos, and it'll bring up that and a couple of other little funny things we've done.

对。就这样。我们这期节目又延长了大概十分钟。

Yeah. So That's it. We just tacked like ten minutes onto this episode.

我知道。我们很感谢你的支持。谁？我的？不是。

I know. We we appreciate your support. Who? Mine? No.

哦。是所有想看这些视频的人。

Oh. Everyone that that wants to watch these.

同意。好了好了。准备好了吗？嗯哼。

Agreed. Okay. Okay. So you ready? Uh-huh.

好的。嘿，欢迎收听播客。我是乔什·克拉克，这位是查尔斯·W·查克·布莱恩特。

Okay. Hey, and welcome to the podcast. I'm Josh Clark. There's Charles W. Chuck Bryant.

这里是《你应该知道的事》播客节目，坦白说，今天是个特别版。我有点兴奋，查克，甚至有点飘飘然。

This is Stuff You Should Know, the podcast, and kind of a special edition, frankly. I am a little excited, Chuck. I'm a little giddy.

闭嘴吧你。

Shut your mouth.

没错。好吧。当然。行。这是我们首期完全以电影为主题的播客。

That's Yeah. Okay. Sure. Alright. This is this is our first ever movie centric podcast.

对吧？绝对是电影主题。我们平时当然也常提电影，但这次完全是——

Right? Movie centric for sure, yeah. We've mentioned movies of course all the time, but this one is like

这期全是关于电影的。某种程度上是应听众强烈要求。大家想听我们聊电影，做一期纯电影播客，所以我们决定聚焦剥削电影。

This is all about movies. Yeah. So this is by by popular request to an extent. People wanna see like They they wanna hear us talk about movies and just do a movie podcast, so we decided to focus on exploitation films.

正是如此。

That's right.

这大概也是我们首次在播客中声明：如果您是八年级或更低年级的教师，想将此作为教学工具使用，建议您选择收听前一集或后一集内容。是的，我们通常不会刻意排斥听众，现在也并非有意为之。这只是剥削电影自然衍生的副产品。

This is also probably the first podcast that we're gonna say, if you are a teacher of children in eighth grade or younger, and you're using this as a teaching tool, you might wanna go to the one before this or the one after. Yeah. We don't generally try to alienate audiences, we're not attempting to now. It's just a natural byproduct of the exploitation film.

谈论剥削电影就免不了涉及一些耸人听闻的主题。

Can't talk about exploitation films without talking about some lurid subject matter.

说到剥削（exploitation）就绕不开阴谋（ployt）。

You can't say exploitation without ployt.

没错。他们不是在剥削，只是人们太善良了。对吧，善良剥削（Niceploitation）。

Yeah. They weren't exploiting, just people being nice. Right. Niceploitation.

所以查克，我前几天看了部韩国电影叫《看见恶魔》，导演好像是拍过《蔷花，红莲》的那位。

So Chuck, I went and saw a movie the other day called I Saw the Devil. It's a Korean movie. It's by the guy who did A Tale of Two Sisters, I think.

哦，你是说比《老男孩》更暴力？

Oh, you said more violent than Old Boy?

对，《老男孩》的主角之一。我看过《老男孩》，我看过

Yeah. Old Boy is one of the main characters. And I've seen Old Boy. I've seen

我也是。

Me too.

他拍的另一部是什么，那部吸血鬼电影？对，《蝙蝠》。

What's the other one he did, the vampire movie? Yeah. Thirst?

我我没看过那部。

I I didn't see that think.

那部还不错，算可以。但这部是我这辈子看过最暴力的片子，视觉冲击最强的暴力电影。我能看完的唯一原因是不断提醒自己这只是部电影。

It was pretty good. It was okay. This one is It's the most violent thing I've ever seen in my life. It's the most graphically violent movie I've ever seen in my life. The only reason I was able to complete is because I'm like, this is a movie.

懂吧。真的太夸张了，血淋淋的。很明显是部剥削电影。

Know. Right. But I walked out of it like it's so over the top, it's so gory. Right. It's clearly an exploitation film.

是啊，活得好好的。

Yeah. Alive and well.

对，但问题是，

Yeah. But the problem is,

其实仔细想想，约翰·休斯的电影从技术上讲就是剥削电影。《早餐俱乐部》严格来说就是一部剥削电影。

is like, really if you start to look around, John Hughes films technically are exploitation films. The Breakfast Club is technically an exploitation film.

没错。当时确实有股青少年剥削电影的浪潮。嗯。我们稍后会讨论这个，不过你说得对。

Yeah. There was a big wave of teen exploitation films. Mhmm. And we'll get to that, but yeah, you're right.

剥削电影更宽泛的定义是：任何极度夸张、超越现实，或聚焦人性恐惧、性欲，并以戏剧化方式呈现的作品。这是理解剥削电影的一种视角。

So one of the broader definitions of exploitation films is basically anything that's really like over the top, that is beyond reality, or that maybe focuses on people's fears, their sexuality, and basically just kind of serves it up in a larger than life manner. That's one way of looking at exploitation films.

对，本质上它们大多是在利用人性中比较阴暗面的东西。

Yeah, you're basically, they're exploiting some of the seedier aspects of humanity most times.

确实。比如谋杀或性，那种变态的性，诸如此类。

Sure. Like murder or sex, like weird sex, that kind of thing.

没错，正是这样。

Yeah, exactly.

性，毒品。

Sex, drugs.

怪异的性爱。青少年反抗父母。没错。就是那种

Weird sex. Teenagers rebelling against parents. Sure. That kind

类型的东西。就像《怪诞科学》那样。你参加过沙发从烟囱飞出来掉进池塘的派对吗？我是说，那派对还挺棒的。不过我觉得现实中应该没发生过这种事，对吧？

of thing. Like weird science. Have you ever been to a party where a couch shot out of the chimney and into the pond? I mean, it's a pretty nice party. I don't think it's ever really happened, you know?

是啊。

Yeah.

所以这就是剥削电影的广义定义。但以我们目前对这个题材的研究深度，你我差不多有资格在社区大学教个基础级别的电影课了。

So that's the vast definition of exploitation. But you and I are kind of qualified to teach a cinema class at like maybe a low level community college at this point, after the amount of research we've done in this.

确实。

Sure.

而我们发现学术界对剥削电影及其看似可互换的术语'磨坊影院'有着更明确的定义，对吧？

And we found that academically there's a much more distinct definition for exploitation and it's seemingly interchangeable term grindhouse, right?

对，具体是...有没有一个确切的定义定义？

Yeah, what's the Is there a definition, definition?

这更像是一个时间范围。

It's more like a time frame.

好的。

Okay.

所以从大约1919年，他们真正开始制作电影的时候，到1960年，1959年，海斯法案废除为止。那算是剥削电影时期。之后，就变成了磨坊影院时期。

So from like 1919, when they really first started making movies, to I think 1960, 1959, when the Hays Act went away. Well That was exploitation. And then after that, it became Grindhouse.

明白，懂了。

Okay. Gotcha.

这是我的理解。好，那我们开始吧。

It's my understanding. Okay. So let's do this.

没错。有个老笑话，在那部精彩的纪录片《美国磨坊影院》里提到过，它记录了那个电影制作时代。对，笑话是说剥削电影在电影摄影机发明五分钟后就开始出现了。

Alright. Well, that's the old joke was that in in the awesome documentary American Grindhouse, which documents this this era of filmmaking. Yeah. The old joke, one of the guys says, is that exploitation films began five minutes after the camera was invented. The motion picture camera.

因为导演可能对他的女友说，嘿，你介意在镜头前脱衣服吗？就是这样。

Because the guy was like the director was like to his girlfriend, hey, would you mind taking your clothes off for the camera? Exactly.

是的。这某种程度上揭示了人性——当你发明了电影摄影机，最早的活动影像往往充满猎奇。爱迪生的影片里，展示的是斩首、暴力片段和男人打架的场景。

Yeah. So it says something about the human condition that you invent the film camera and the first moving images were often lurid. Edison's film, it showed clips of decapitations and violence and guys fighting

没错。

Yeah.

还有作为影片测试的裸体女性。这充分说明了人们的本性。就像，既然我们懂得如何记录事物，那就先记录性与暴力吧。对吧。首当其冲。

And naked women as film tests. So it's just that says a lot about people. Like, now we know how to capture things, so let's capture sex and violence. Right. First.

对。尽管这确实某种程度上迎合了大众口味，或至少是大众的好奇心，但它并不符合当时的主流标准，那些公认的规范，对吧？

Right. And although that really kinda jibed with public taste or at least public fascination, it didn't jibe with the prevailing standards, the agreed upon standards, right?

没错。你提到1919年，但第一部剥削电影其实诞生于1913年。

Right. I think you said 1919, but the first exploitation film was 1913.

哦，

Oh,

明白了。《灵魂交易》嗯。或者《当纽约沉睡时》。对。正如你所说，剥削题材常常利用人们的恐惧心理。

okay. Traffic in Souls Mhmm. Or While New York Sleeps. Right. And that, like you said, exploitation often plays into fears.

这恰好利用了当时人们对白人奴隶贸易的恐惧心理

That played into the fear at the time of the white slave trade

没错。

Right.

制作预算57美元却收获45万美元票房，那可是1913年，简直是天文数字。

Budget of $57 and gross $450,000, which 1913, that's a lot of dough.

确实是笔巨款。

That is a ton of dough.

环球影业当时就意识到：嘿，我好像发现了财富密码。

And that was Universal Pictures, they went, hey, I'm kinda onto something here.

是的。电影上映后，邮政总局局长兼长老会元老威尔·海斯出台了《海斯法典》。大萧条时期他年收入才100美元，难以置信对吧？他实质上主张电影制作需要引入道德准则。

Right. After that was released, the Hays Code, Will Hays was the postmaster general and Presbyterian elder, and he was making a $100 a year during the depression. That's unbelievable. Right? He basically said, like, we need to apply some moral standards to filmmaking.

斩首镜头、裸露胸部、白人奴隶买卖...这些内容必须净化处理。

There's decapitation, there's naked breasts, there's white slavery. Like, we need to need to pure this up.

没错。其实当时还没有裸体镜头。早期的实验电影虽有尝试，但真正的裸体内容我们稍后再谈。总之，海斯法典试图规范电影内容，就像禁酒令未能真正禁酒一样，它反而催生了剥削电影的兴起。

Right. Well, actually there wasn't nudity yet. Like those early test films there were, but nudity, we'll get to that later. Okay. But yes, that's what Hays tried to do, and like prohibition didn't exactly quell drinking, the Hays Code actually sort of gave rise to the exploitation movement.

是啊。这就像禁酒令，就像大麻禁令，任何形式的禁令都是如此。只要你说'不能做这个'，禁止人们得到想要的东西，黑市就会应运而生——这是最简单的经济学原理。

Yeah. It's just like prohibition, just like marijuana prohibition, just like, well, any drug prohibition. Anytime you say, you can't do this, you can't have something that you want, somebody else is going to operate in a black market. A black market's going to spring up simple economics. Yeah.

这正是当时发生的情况，剥削电影由此诞生。当人们无法从守规矩的好莱坞获得某些内容时，有人就会用自家的工作室——就像福特T型车那样简陋——来拍摄电影。比如筹钱拍摄婴儿出生的特写镜头，然后搬上银幕。

And that's exactly what happened, and that's where exploitation cinema came up. It's like, you can't get this from Hollywood, because Hollywood has to play by the rules, but my production studio is my model t, and let's go make this movie. Give me some money, I'm going to film a child being born close-up and put it in the movies.

对。你可以整天拍这种电影，但若无法放映又有什么意义？当然他们本就不是为了什么高尚目的，但总得赚钱。纪录片里提到的《四十大盗》就是这类电影人和放映商，他们像巡回马戏团一样到处进行地下放映。

Yes. And you can do that. You can make your movies all day long, but if they're never exhibited, then what good are you doing? Or not like they were trying to do some good, but you're not making any scratch. So, The 40 Thieves they talk about in documentary were these filmmakers and exhibitors basically that traveled around like carnies, setting up these sort of guerilla film screenings.

嗯。选在偏僻不易被抓的地方。这是首次将电影带离主流渠道，有时甚至不在正规影院放映。

Mhmm. And some places sort of out of the way where they can't get caught. And that was for the first time, know, they were taking films outside of the mainstream. Yeah. Different, sometimes they weren't even theaters.

他们在退伍军人协会礼堂之类的地方放映。如果你想看《婴儿的诞生》这类电影——显然当时很受欢迎。

They show them in like VFW halls. If you wanna go see Birth of a Baby films, apparently they were popular.

没错，那是最早形成的剥削电影类型之一。

Yeah, that was a whole genre, early genre of exploitation.

嗯，早期很多电影都围绕着如何佩戴避孕套和性卫生教育片展开。

Well, and so was early on a lot of the film centered around like how to wear a condom and sex hygiene films.

没错，因为当时外界缺乏这类信息，所以剥削电影的制作者们，无论是否真诚，都把自己的作品包装成公共服务——人们需要了解这些知识。对吧。然后他们借此拍电影。但同时人们也以这个借口去观看，比如‘我需要了解这个’，而实际上他们想的是‘我要看这辈子见过最疯狂的东西’。

Yeah, because there was no information about that out there, and so exploitation filmmakers, whether disingenuously or genuinely, were presenting their stuff like this a public service. People need to know this. Right. And and making movies about it. But it also And people were going on that excuse as well, like, well, I need to I need to know about this, but at the same time, it's like, I wanna see the craziest thing I'll ever see in my life.

正是如此。你知道的，在银幕上呈现的那种。

Exactly. You know, on screen.

或者他们经常辩称这些是警示故事。如果是关于毒品或暴力的内容，他们会说‘嘿，这可能会发生在你身上，所以你应该接受教育’。但他们真正想做的是推销自己的电影

Or they argued a lot of times that they were cautionary tales. If they were about drugs or violence, they would say, hey, this could happen to you, so you should educate yourself. But what they really wanna do is get their movie

顺便赚点钱。完全正确。

And make some money. Exactly.

1948年的派拉蒙法案影响重大。最高法院裁定电影公司不能再拥有自己的影院。当时，比如派拉蒙电影制作公司在好莱坞就有自己的派拉蒙剧院。

Paramount decision of 1948, this is pretty big. The supreme court voted that movie studios could no longer own their own movie theaters. At the time, you know, there would be like the Paramount Theater in Hollywood from the Paramount Film Production Company.

对。

Right.

他们会放映自己的电影。

They would show their movies.

没错。

Right.

最高法院叫停了这种做法。突然间，剥削电影变得稍微合法了些，因为海斯法典基本失效了。

Supreme Court said no more. And all of a sudden, exploitation films became a little bit more legit because the Hays Code kinda fell apart.

是啊。

Yeah.

这是在二战之后，所以

And this is post World War Two, so

人们当时刚经历过大量死亡。

People had seen a lot of death recently.

嗯，大量死亡之后

Well, a lot of death and then

又长大了一点。

Grown up a little more.

他们认为女性在暗示性角色中对士气有好处，二战后在性方面有了一些松动。

They thought ladies in suggestive roles were good for morale and there was a little bit of loosening on the sex thing, a little bit post World War II.

够了。这导致了剥削电影的另一个子类型——裸体主义营地电影。是的。它们被伪装成纪录片。嗯哼。

Enough. Led to another subgenre of exploitation film, the nudist colony film. Yeah. Which were pawned off as documentaries. Uh-huh.

很多，嗯，大部分这些都被伪装成纪录片，这使它们合法化，但实际上可能是在某个裸体营地拍摄的，很可能不是。

A lot, well most of these were pawned off as documentaries which legitimized them, but really it was maybe it actually was filmed at a news camp, probably not.

对。

Right.

大多数情况下，只是演员们裸体射箭或裸体长距离散步。

Mostly there were actors and actresses just engaged in archery naked or long walks naked.

孩子，仍然不能有性行为。那仍然是禁忌。

Kid, there could be no sex still. That was still No. Taboo.

但那就像是一群赤裸的俊男美女。对吧。在一个裸体主义者的聚居地，这很有趣，因为你并非裸体主义者，所以来了解一下

But it was just like naked, pretty people. Right. At a nudist colony, which is interesting because you're not a nudist, so come learn about

正是如此。没错。之后，在历史进程中，我们经历了像青少年叛逆这样的阶段，正如你所说，五十年代的《无因的反叛》和《黑板丛林》这类电影突然专门针对青少年群体，这是前所未有的。接着汽车影院应运而生，让青少年能在父母不会出现的场所看电影。

them. Exactly. Yeah. After that, through the history, we had things like the teen, like you said, the teen rebellion of the fifties with Rebel Without a Cause and Blackboard Jungle and movies like that all of a sudden were targeted specifically at teens, which was new. And then drive in theaters were built so teenagers could see movies where their parents weren't gonna be.

显然最初成年人并不常去汽车影院。

Apparently the adults didn't go to drive ins a lot at first.

哦，是啊。

Oh yeah.

全是年轻人。

It was all kids.

我之前不知道这个。

I didn't know that.

所以他们放映剥削电影，后来又有沙滩电影，这些被宣传为轻松搞笑的弗兰基·阿瓦隆风格作品。但有时它们明显带有古怪且露骨的性暗示。

So they showed exploitation films and then later the beach films which were marketed as a, it's silly, it's Frankie Avalon. But they were decidedly weird and overtly sexual sometimes.

然后，查克，如果你注意到的话，我们正按时间顺序推进。每一部分都建立在前一部分的基础上。

And then, Chuck, if you'll notice, we're kind of progressing along in this chronological order. And each thing is kind of being built on the last. It was

这完全是一个逐步推进的过程。

very much a step process.

对。显然，这种形式正是剥削电影制作在1960年前遵循的模式。它主要围绕毒品、暴力和性展开，很多时候以纪录片形式呈现，甚至可能没有剧情。

Right. And apparently, that that was kind of the the form that exploitation film making followed until 1960. It was just It was centered around drugs, violence, sex, and in a lot of ways they were presented as documentaries. They might not have a plot. Right.

基本上就是一个人拍了部打破所有规则的电影，然后一群人跟风拍类似的作品。

Basically it was one person would make some film and it would just break all the rules and then a bunch of other people would make similar films.

没错。

Right.

事情就是这样发展的。到了六十年代，一切开始朝不同方向爆发式发展。裸体电影作为剥削电影的长期分支，在拉斯·梅耶手里达到了巅峰对吧？

And the same That was the way it went. And then, in the nineteen sixties, things just started to go every which way, all sorts of directions, right? So nudity films were a long standing thread of exploitation films. Yeah. And then they probably reached their pinnacle with Russ Myers, right?

人们称他为'裸体电影之王'。

King of the Nudies is what he's called.

是的，他是第一个...他之所以重要，是因为作为首位导演，他拍摄的含有裸体镜头的电影真正具有戏剧性叙事、完整剧情和人物塑造，不再被归类为纪录片。随后鲁菲兄弟登场，他们首次大规模地将暴力元素推向市场——虽然不是史上首次，但确实是首次以如此规模呈现。

Yeah, he was the first guy to He's significant because he was the first director to have films featuring nudity that actually were dramatic narratives and had plots and characters and they weren't classified as documentaries anymore. And then the Ruffies came along and they offered up violence for the Not the first time, but big time for the first time.

没错。

Right.

这与六十年代的时代背景密切相关，肯尼迪遇刺后，美国社会暴力事件正持续升级。

And that has a lot to do with the fact that it was the sixties and Kennedy was shot and The United States was just becoming increasingly violent.

美国失去了它的纯真。是的。而六十年代另一个重大转折是《海斯法典》正式废除，被MPAA取代。好莱坞长期禁止制作剥削电影的戒律开始松动、减弱。于是电影公司突然发现：哦，这边也能赚钱，那咱们就开始拍剥削电影吧。

America lost its innocence. Yeah. And the other thing that really happened in the nineteen sixties was the Hays Code officially went away. It was replaced by the MPAA, and the the, I guess, long standing, prohibition on Hollywood producing exploitation films was, it was lessened, decreased. And so studios were like, oh, we can make money over here too, well let's start making exploitation films.

对。这就是磨坊电影的起源。根据我的电影教授定义，磨坊电影就是有大制片厂资金支持的剥削电影。

Right. And this is where Grindhouse is born. So my cinema professor definition of Grindhouse is big budget studio backed exploitation films.

明白了。

Okay.

懂了吧？对，这就是我的观点。

Okay? Yeah. That's mine. I

喜欢。

like it.

这稍后会成为一个测验问题。

That's gonna be a quiz question later.

对，我赞同这个说法。其实，稍等一下，我们得提一下赫歇尔·戈登·刘易斯。他是位导演，曾有位联合导演。我记不起另一个人的名字了，你知道吗？呃——

Yeah, I'll go with that. Actually, back up one second, we gotta mention Herschel Gordon Lewis. He was a director who had a co director. I can't remember the other guy's name, do you? Uh-uh.

总之，他是联合导演，属于那种剥削电影的导演，当时因为放映渠道有限感到很沮丧，市场竞争相当激烈。是的。于是他想，什么是人们愿意花钱看、影院允许放映但制片厂不愿触碰的禁忌题材？答案就是血腥场面。哦对。

Anyway, he co was director and he was one of these exploitation guys that was getting frustrated because there weren't a lot of places to show your movies so it was a pretty crowded marketplace. Yeah. So he said, what's the one taboo that people will pay to see that you're allowed to show in theaters but that studios won't make? And it was gore. Oh yeah.

他是第一个在电影里展示极度恶心血腥场景的人

He was the first guy to start showing really disgusting bloody scenes in his movie

《血宴》？

Blood Feast?

《血宴》。没错。这片实际上比《惊魂记》晚三年，而《惊魂记》也确实为血腥元素进入主流视野做了很多铺垫。那部片里也有点血腥镜头，不过

Blood Feast. Yeah. Which actually was three years after Psycho and Psycho also did a lot for the mainstream ushering in of Sure. Little bit of gore in that but

珍妮特·李遇害后有个鲜血喷溅的镜头。

Well there's like a shot of blood following Janet Leigh's murder.

那是

That's

没错。要知道，这对好莱坞来说算是相当直白的画面了。对吧。你会觉得，哎呀，六十年代的人真傻。

right. You know, which is I imagine is pretty graphic for Hollywood. Right. And that's what you think of. You're like, oh those stupid sixties.

但那时候，你知道，他们太天真了。是啊。那种内容在当时很有争议性。其实也不尽然，只要稍微跳出好莱坞的圈子，你就会看到《血宴》这类作品。

But that's, you know, they were so naive. Yeah. Like that was controversial. Not really though, like if you step just slightly outside of Hollywood, you ran into things like Blood Feast.

对。或者《魔屋》之类的。

Right. Or, you know. Last House on the Left.

是的。那应该是1972年的片子。

Yes. Well that's 1972 I think.

没错，韦斯·克雷文的作品。这很重要，因为突然间，毒品开始...其实是三件事。政治主题开始涌现。对。性解放，年轻一代的思潮。

Yeah, West Craven. So that was important because all of a sudden, a, drugs started, well three things. Political themes started popping up. Right. Sexual freedom, the youth generation.

毒品首次在电影中出现。吸毒现象，其实并非首次，因为我们还会谈到《疯狂收割者》。

Drugs started popping up in movies for the first time. Drug use, well not for the first time because we'll talk about Reaper Madness.

是啊。

Yeah.

但青少年首次被描绘成暴力受害者。《左边最后一栋房子》被认为是第一部青少年砍杀电影。

But teenagers were depicted as victims of violence for the first time. Last House on the Left kind of regarded as the first teen slasher film.

没错。韦斯·克雷文的作品。它几乎算得上是一部真实杀人电影，当时几乎被这么看待。

Yeah. West Craven. It was almost a snuff film. Was almost regarded like that.

相当硬核。

It's pretty hardcore.

不过确实，《血宴》无疑为《左边最后一栋房子》的出现铺平了道路，但更直接地说，它可能为《十三号星期五》或《榆树街噩梦》这类砍杀剥削电影奠定了基础。

But yeah, it definitely Blood Feast definitely allowed, Last House on the Left to come around, but it also probably more directly, formed the foundation for, slasher exploitation like Friday the thirteenth or Nightmare on Elm Street.

完全同意。

Absolutely.

《血染情人节》是另一部重要作品。那些疯狂的家伙。嗯哼。

My Bloody Valentine's another big one. The crazies. Uh-huh.

是啊。疯狂的——哦对，那是原版对吧？现在好像有翻拍版了。对，没错。

Yeah. The crazy Oh, yeah, that was an original, right? There's a remake now, I think. Yeah. Yeah.

翻拍片。这样我们就来到了七十年代。政治色彩浓厚的电影将种族议题融入其中，突然间黑人剥削电影（Blaxploitation）运动开始兴起。

Remakes. So that brings us, we're in the seventies. Politically charged movies brought race into the mix. And all of a sudden we had black exploitation or blaxploitation movement starting. Yeah.

本质上是在利用民权运动。但黑人剥削电影的酷之处在于，这是非裔美国人首次以英雄形象出现。

Exploiting the civil rights movement basically. Yeah. But the cool thing about black exploitation films is for the first time you had African Americans as heroes.

没错。而且不是传统意义上的英雄，甚至不是反英雄。而是那种...他们不会骑着白马或戴着白帽子进城。

Yeah. And not heroes in a typical sense, not even anti heroes. Yeah. But heroes that were like, they didn't ride into town on on a white horse or wearing a white hat.

正是。

Right.

必要时他们会明目张胆地戴着黑帽子，比如参与犯罪。需要时他们会杀人。他们基本上就像民权时代后美国黑人的面孔——我们受够了。

They very clearly wore black hats if need be, like they would engage in crime. They would murder people if need They were were basically like the face of black America coming out of the civil rights era, like we're ticked off.

没错。你知道吗？我们要反抗白人至上。

Yeah. You know? And we're gonna stick it to the white man.

反抗权威。

Stick it to the man.

而且我们要通过这些电影来实现。

And we're gonna do it in these movies.

查克，我知道你要提哪部电影。就当是它吧。好吧。

Chuck, I know the movie you're about to mention. Let's this is it. Alright.

你一直盯着我看，你是我兄弟。你是我最铁的哥们。能接住这茬吗，宝贝？

You keep the face on me, and you my man. You my favorite man. Can you take it, baby?

是的，那部电影具有里程碑意义，原因有很多。其一，它斩获了四百万美元票房。嗯。这让大制片厂意识到，嘿，知道吗？黑人英雄也有市场。

So yes, that was a landmark film for a lot of reasons. One, because it grossed $4,000,000. Mhmm. And it made the major studio say, hey, you know what? The black hero is marketable.

是啊。不过你还没说片名呢。

Yeah. Well, you haven't said the title yet.

哦，我没有吗？不。好吧。

Oh, I didn't? No. Okay.

而且你还得说对才行。

And you gotta say it right too.

梅尔文·范·皮布尔斯导演的电影《斯威特拜克之歌》。

Melvin Van Peebles film Sweet Sweetback's Badass Song.

不错。那部作品很出色。那是1971年的片子。梅尔文·范·皮布尔斯，他的姓氏可能听着耳熟，他是马里奥·范·皮布尔斯的父亲，给年轻听众们科普一下。

Nice. That was well done. That was 1971. Melvin Van Peebles, whose last name may sound familiar, he's the father of Mario Van Peebles for you younger cats listening to this one.

其实是我们这个年纪的‘小猫’，说年轻小猫是因为他有点像是

Cats our age actually, younger cats because he's kinda like

好吧，所以‘小猫’我们这个年纪

Okay, so cats our That's age

有点过气了。

little washed up.

是的，那是马里奥·范·皮布尔斯的老爸，你知道的，《新杰克城》。

Yeah, that's Mario Van Peebles' dad, you know, New Jack City.

没错，正是如此。

Yeah, exactly.

所以梅尔文·范·皮布尔斯拍了这部电影。他担任制片，筹集资金，撰写剧本，执导并主演了它。

So Melvin Van Peebles made this movie. He produced it, raised the money for it. He wrote it. He directed it. He starred in it.

嗯。这标志着黑人剥削电影亚类型的开端，这是美国电影史上最重要的类型之一。毫无疑问。绝对是史上最重要的。

Mhmm. And it was the beginning of the blaxploitation subgenre, which is one of the most important genres of any American cinema. Absolutely. Ever. Absolutely.

考虑到这个亚类型的重要性，《时代》杂志影评人理查德·科利斯的这句话可谓一针见血。他评价道，《甜蜜的背》毫无疑问、无可争议地成为黑人导演最具影响力的电影。所以这确实是件大事，对吧？

And so considering how important that subgenre is, this quote from Time Magazine's film critic Richard Corliss should really hit home. Sweet sweet back is quote, without question or competition, the most influential movie by a black filmmaker. So this is a really big deal, right?

是啊，简单说下剧情，讲的是一个黑人男性作为舞男的故事，他...

Yeah, and it was just quickly on the plot, was about a black man who was a gigolo who had Which is

用你们年轻人的话说，就是男妓。

a male prostitute for you younger cats.

他和警察达成了某种协议，他说，你们想抓我多少次都行，抓完立刻放人。完成你们的指标，大家相安无事。结果有一天，就在抓捕过程中，警察袭击了一名黑豹党成员。嗯。

And he had a deal worked out with the cops where he said, you know, you can arrest me as much as you want. Release me right afterward. Fill your quota. It's all good. And then one day, while the arrest is going down, the cops attack a black panther Mhmm.

然后甜心甜心杀手干掉了一名警察。嗯。之后他就彻底失控，开始对白人展开疯狂报复。

And sweet sweetback kills one of the cops Mhmm. And then just says, he just goes on a rampage against a white man after that.

没错。所以这部电影包含了卖淫、大量裸露与性爱场景、暴力犯罪等元素，全都包裹在黑人权力的主题下。最后更劲爆的是，里面还有场争议性的儿童性爱戏，由梅尔文·范·皮布尔斯六岁左右的儿子马里奥·范·皮布尔斯出演。

Yep. So you've prostitution, tons and tons of nudity and sex, lots of violence, and other crimes, all wrapped up into a black power theme. That's right. And then to top it all off, you have what is arguably a child sex scene starring Mario Van Peebles, Melvin Van Peebles' son, at I think age six.

对，他还是个孩子。

Yeah, he's a kid.

甜心甜心杀手的首次性经历就是和年长者发生的。

Having sex as Sweet Sweetback is his first sexual encounter with an older person.

没错。

Right.

在邪教播客里提到过，如果他成为邪教领袖，肯定会娶个年轻新娘，记得吗？

And in the cult podcast, if he became a cult leader, he would have taken a younger bride, remember?

哦对，没错。

Oh yeah, that's right.

所以如果你对那部电影感兴趣，又听不够《Sweet Sweetback's Badass》这首歌，你还可以看看《Badass！》，这是马里奥·范·皮布尔斯关于他父亲如何制作那部电影的传记片。

So if you're interested in that movie and you can't get enough of Sweet Sweetback's Badass song, you could also check out Badass exclamation point, which is Mario Van Peebles biopic about his father making that movie.

没错，我还没看过那部，但当时很想看，结果就错过了。

That's right, and I have not seen that, but I wanted to at the time and it just slipped through the cracks.

反正有网飞呢，宝贝。说得对。

There's always Netflix, baby. That's right.

而《Sweet Sweetback》的意义在于，就像我说的，它向电影公司证明了‘我们可以营销这个’。于是他们拍了些更主流的电影，比如《超级苍蝇》嗯。这些片子更稳妥些。《黑街神探》。《黑街神探》这类电影普通观众也爱看。

And what happened with Sweet Sweetback was that, like I said, that told the studios, hey, we can market this. And so they got a little more mainstream with movies like Superfly Mhmm. Which were a little safer. Shaft. Shaft, movies that wide audiences would enjoy as well.

是啊。那些不会吓到白人的片子。没错。比如《黑街神探》主角是好人。他不吃白人那套，但他对抗的警察其实和他是一边的。

Yeah. The ones that didn't scare the man. Exactly. Like Shaft's a good guy. He doesn't take any guff from the man, but the people he's not taking guff from are the cops who he's really on the same side as.

没错。所以查克，黑人剥削电影影响巨大。从《社会威胁》到《黑吸血鬼》等等，都源自《Sweet Sweetback》。

That's right. So Chuck, blaxploitation, obviously huge. It affected everything from, know, menace to society to blackula. Yeah. All of that came from Sweet Sweetback.

我们提到过这部接下来电影的导演拉斯·迈耶斯。这可能是他的开创性作品。让我们听听这段预告片剪辑。

And we mentioned the guy who directed this next movie, Russ Myers. This is probably a seminal work. Let's listen to this clip from the trailer.

女士们先生们，准备好与瓦图西猫共赴狂野之旅。但小心，最甜美的小猫有着最锋利的爪子。为了您的安全，请看《更快的性感小猫》。杀。杀。

Ladies and gentlemen, go go for a wild ride with the Wattusi cats. But beware, the sweetest kittens have the sharpest claws. For your own safety, see faster pussy cats. Kill. Kill.

狂野的女人。狂野的车轮。与最快的性感小猫赛跑，她们会把你逼至绝境。女超人，系好安全带，扣紧搭扣，全速前进。

Wild women. Wild wheels. Race the fastest pussycats, and they'll beat you to death. Superwoman, belted, buckled, and boated.

你在这小子身上浪费自己，然后为虚无放弃一切。为虚无？这与钱无关。她有的是钱。杰克和吉尔，他们让黑手党看起来像童子军。

You're wasting yourself on this kid, then hanging it up for nothing. For nothing? It's got nothing to do with the money. She has the money. Jack and Jill, they make the mafia look like brownies.

他们需要个大的，有什么要求吗？

They need a big one, anything?

他们让黑手党看起来像童子军。

They make the mafia look like brownies.

没错。这确实相当

That's right. That says quite a

简单介绍一下。这部片子叫《飞车党猫女郎，杀杀杀》。1965年，拉斯·迈耶的作品，基本上是部女性剥削电影，裸体电影。要知道拉斯·迈耶可是裸体电影之王。

bit about them. So this, that was Faster Pussycat, Kill Kill. In 1965, Russ Myers, basically women exploitation film, nudie film. So remember Russ Myers was king of the nudies.

裸体电影之王。

King of the nudies.

他拍了26部电影，但这部至少是他最知名的作品，即便不算是他的代表作。

He made 26 movies, but this is probably, at the very least, his best known, if not like his masterpiece.

没错。他还培养了一大批人，我是说，并非他不专业，他很专业。但主流人士眼中的专业电影人，很多都是从拉斯·迈耶的电影阵营里出来的。

Yeah. And he hatched a slew of, I mean, not that he wasn't legit, he was But what mainstream people would call legit filmmakers were, came up through the Russ Meyer film camp, basically.

是啊，挺酷的。

Yeah. So it's pretty cool.

对。拉斯·迈耶还有个鲜为人知的事，这篇文章里提到的另一部电影——顺便说下，网站上有篇叫《10部值得注意的剥削电影》的文章，就是以这个为基础的。

Yeah. Russ Meyer also, a little known fact, another movie that's mentioned in this article, there's an article on the site by the way called 10 Noteworthy Exploitation Films that this is based on.

没错，是你写的。

Yeah. Written by you.

是的。我强烈推荐去读一读，因为它包含了很多我们这次不会涉及的内容。

Yeah. Which I surely recommend going to read because it has a lot of stuff we're not gonna cover in this one.

没错。

Yeah.

或者至少看看额外的电影。但拉斯·梅耶尔执导了一部名为《玩偶谷之外2》的电影。对。它是正牌电影《玩偶谷之外》的私生子版本。这部充满性感镜头的电影剧本正是由罗杰·艾伯特执笔。

Or at least extra movies. But Russ Meyer directed a movie called Beyond the Valley of the Dolls two. Right. Which was the bastard son of the legitimate film, Beyond the Valley of the Dolls. Is a jigglefest written by none other than Roger Ebert.

正是如此。

That's right.

罗杰·艾伯特唯一撰写过的电影。

The only movie Roger Ebert ever wrote.

是啊。他确实有过一段非常短暂的职业生涯，但相当辉煌，真的。

Yeah. He had a Yeah. Was a very brief career, that's an illustrious one, really.

没错。所以如果你要讨论《飞车杀机》的剧情，杀，杀。我这么说是因为标题里有三个感叹号。

Yeah. So if you're gonna talk about the plot of Faster Pussycat, kill, kill. And I say that because there's three exclamation points.

更快的波斯猫

Faster Pussycat

还有一个逗号。

And a comma.

感叹号，杀戮

Exclamation point, kill

哦不，是三个感叹号吗？

Oh no, is it three exclamation points?

是的。好吧。我以为

Yeah. Okay. I thought

是一个逗号，然后两个。好吧。不管怎样，对于电影标题来说，标点符号太多了。对吧。而且讲的是三个双性恋舞厅舞者的故事。

it was a comma, then two. Alright. Either way, that's a lot of punctuation for a film title. Right. And it was about three bisexual go go dancers.

他们开始了一系列犯罪活动

They go on a crime spree

嗯。

Mhmm.

在沙漠里。然后他们做了什么？他们最终杀了一个男人，或者不，他们杀了那个男人并留下了一个

Out in the desert. And what do they do? They end up killing a man and a or no, they kill the man and Keep a

女孩。他们基本上赋予了她力量。是的。

the girl. They basically empower her Yeah.

说，跟我们一起来吧。

Say, come on with us.

通过谋杀她的男朋友，她最终和他一起走上了犯罪的道路。

By murdering her boyfriend, and she ends up on a crime spree with him.

他们最终基本上去了一个孤立的房子，里面有一个坐轮椅的老人和他的儿子们。

And they basically end up going to an isolated house with a wheelchair bound old man and his sons.

他是个色鬼。他们都是色鬼。他们是的。想要这些

Who's a Letch. They're all Letches. They Yeah. Want these

但他们不知道这些女人有多强悍。不，是铁娘子。

But they don't know that these women are tough. No. Tough ladies.

而据传这些男人的儿子们在这房子里藏了大量现金。所以这就像一场胆量对决，看谁能笑到最后，懂吗？

And the sons men and apparently, allegedly have a large amount of cash stashed in this house. So it's kind of like a standoff of gall to see who will come out on top, you know?

呵，你清楚谁会胜出。

Well, and you know who comes out on top.

是啊。

Yeah.

这部电影有个显著特点，就是充斥着对性别的二元对立刻画。一方面他在剥削这些女性，还特意找怀孕头三个月的女性，因为她们身材更丰腴。

And this film was noteworthy for one big reason was that there was a lot of dualism toward gender. So on one hand, he's exploiting these women and apparently got women in their first trimester of pregnancy so they were more voluptuous.

对，不是这部而是他其他作品。哦对了，他会雇佣——我记不清那位女星名字了——《粉红豹杀手》的主演也参演过罗斯·梅耶的其他电影。明白。他确保女演员处于怀孕初期第三个月，以突出天然丰满曲线。

Yeah, not in this film but in his other films. Oh, okay. He would hire, I can't remember the lady's name, the star of Faster Pussycat Kill Kill was in other Russ Myers films. Gotcha. And he made sure that she was like well into her third, first trimester to enhance her natural bustiness.

没错。

That's right.

她的胸部，如果你愿意这么说。但剧本如我所说，具有双重性——当他这样做时，同时也赋予了女性力量，因为他电影中的女性从不向任何男人低头。不，她们是冠军。她们是真正意义上的首批女英雄。

Her bosom, if you will. But the script, like I said, it was dualism because while he did that, it also empowered women because the women in his films bowed to no man. No. They were the champs. They were heroines really for the first time.

她们被明显物化了，但如果你细读剧本并真正观察她们的角色，确实，她们是强大的女性。

They were objectified very clearly, but at the same time if you follow the script and really look at their characters, then yeah, they're powerful women.

这某种程度上引发了一系列女性剥削电影、性剥削电影以及女子监狱题材电影的浪潮。

And this kinda kicked off a big slew of women exploitation films, sexploitation films, the women in prison movies.

是的，《姐妹刀锋》？

Yes, Switchblade Sisters?

在当时影响巨大。女性首次成为主角，首次成为主动进攻者。当然，嗯... 她们在做这些事时经常是全裸的。

Very big at the time. Women were lead actors for the first time. They were aggressors for the first time. Still nude Mhmm. Often while they were doing this stuff.

还衍生出了电视剧《事实人生》。

Spawned the television show The Facts of Life.

但有趣的是，他们发现这类电影同时吸引男女观众——男性去看的原因显而易见。

But the interesting thing is they found that these movies appealed to men and women because men would go see it for obvious reasons.

是啊。

Yeah.

女性会去看这类电影，因为它赋予力量，她们也不介意看裸体女性，因为女性比男性更成熟。确实如此。七十年代的作品也有些低俗，这在某种程度上符合剥削片的模式。

Women would go see it because it was empowering and they didn't mind looking at the naked ladies because women are much more grown up. Sure. Than men are. Yeah. But Josh, the seventies also got a little schlocky which in a sense was true to the exploitation model.

没错。它们确实做得太过火了。不再有政治宣言，不再有推动女性性别平等的议题。嗯。

Yeah. They really went over the top. No more political statements. No more advancing of women's gender Mhmm.

或者

Or

非裔美国人。那时电影变得非常低俗和离谱。

African Americans. It just got really schlocky and outrageous at that point.

嗯，从60年代开始，到70年代真正盛行，之后剥削电影早期展示过现场分娩、裸体营地等内容，这些都是面向成年人的。

Well, what happened, starting in the '6 really took hold in the seventies and then from that point on, was exploitation cinema early on showing a live birth, nudist camps. These were all geared toward adults.

是啊。

Yeah.

在六十年代，尤其是七十年代大规模发展时期，观众几乎清一色变成了青少年。

In the sixties and then later on big time in the seventies, the audience became almost exclusively teenagers.

没错。

Right.

比如那些汽车影院里的青少年，或者随便哪儿的青少年，谁在乎呢？但观众就是青少年，演员也开始由青少年担任。所以影片更偏向展现青少年面临的问题，比如欺凌，就像接下来这个片段里的孩子，对吧？我得说，这是我最喜欢的怀旧电影之一。

Like those drive in teenagers or teenagers anywhere, who cares? But the audience was teenagers and the cast started to become teenagers. So it had a little more of a bent on what teenagers were having to deal with, like bullying, like the kid in in this next clip, right? Which is, I have to say, one of my favorite movies from way way back.

现在播放《毒魔复仇》。是的。

Here we go with Toxic Avenger. Yeah.

认识一下小梅尔文。他是个体重只有90磅的瘦弱男孩。所有人都讨厌梅尔文。没错。我要把这拖把塞进你喉咙里。

Meet little Melvin. He's a ninety pound weakling. Everyone hated Melvin. Yeah. I'm gonna take this mop and shove it down your throat.

他们戏弄他。

They teased him.

我要和你一起做。好的。

I'm gonna do it with you. Okay.

他们嘲弄他，折磨他，直到他遭遇了一场可怕的事故，跌入核废料池中，将小梅尔文变成了一个拥有超人体型和力量的畸形怪物。梅尔文就此化身为毒魔复仇者。

They taunted him. They tormented him until he had a horrifying accident and fell into a vat of nuclear waste, transforming little Melvin into a hideously deformed creature of superhuman size and strength. Melvin became the toxic avenger.

所以乔什，《毒魔复仇》这部电影的独特之处在于其制作公司Troma

So Josh, the toxic avenger movie was unique in that its film production company, Troma

嗯。

Mhmm.

本身就非常有名。

Is very popular in their own right.

你看过《农奴纳粹必须死》吗？

Have you ever seen Serf Nazis Must Die?

我没看过，但我知道那是部好片子。Troma嘛，我是说，他们是自我营销大师。没错，也是市场高手。

I haven't, but I know about It's good one. Troma. I mean, are master self promoters Yep. And marketeers.

他们是最早拥有网站的制片公司之一。

They have They were one of the, first production companies to have a website.

哦，真的吗？

Oh really?

就像一个非常全面的网站。你应该去看看他们的网站。我很喜欢。他们的整个目录做得真的很棒。虽然有点俗气，但完成度很高。

Like a really comprehensive website. You should go on their website. I like that. Their whole catalog, it's really just well done. It's schlocky, but it's well done.

对，《毒魔复仇》讲述了一个98磅的弱者被欺负的故事，和《捉鬼敢死队》同年上映。嗯，你注意到了吗？1984年，对吧？

Right, and Toxic Avenger follows the story of a ninety eight pound weakling who was picked on, released the same year as Ghostbusters. Mhmm. Did you notice that? 1984, right?

是啊，所以它发生在零年。零年？对。

Yeah, so it occurred at zero year. At year zero? Yeah.

我们用空集来表示这个。然后这个孩子被推出窗户掉进一桶有毒污泥里。这已经超出了霸凌的范畴，真的。基本上，这是几年前切维·切斯电影《现代问题》的更扭曲版本。

We'll just put the null set to represent that. And this kid gets pushed out of a window into a vat of toxic sludge. Which, that's beyond bullying, really. Yeah. Basically, it's a more twisted version of Modern Problems, the Chevy Chase film from a couple years earlier.

好吧。我没看过那部。

Okay. I haven't seen that one.

哦，你从没看过《现代问题》？没有。那片子很无厘头。但他被倒了有毒污泥后获得了超能力。

Oh, you never saw Modern Problems? No. It's very silly. But he got toxic sludge dumped on him and had special powers.

是更早之前还是之后几年？

From years earlier or prior or after?

那部电影是什么时候的？对，是在《毒魔复仇》前两年。但《毒魔复仇》把血腥特效玩到了《现代问题》从未触及的高度。

When was the movie? Yeah. It was two years before Toxic Avenger. But Toxic Avenger took it into a gore special effects way that Modern Problems never did.

所以那个叫梅尔文的清洁工——我记得是这名字——变成了毒魔。他化身成毒魔复仇者，对当初在健身俱乐部虐待并导致他变异的人以暴制暴。成为毒魔后他桃花运不断，因为新获得的男性魅力让女人无法抗拒。值得一提的是，《毒魔复仇》确实在特效制作上下了功夫。

So the janitor Melvin, I believe his name is, becomes Toxified. He becomes Toxy, the toxic avenger Yeah. Who beats the tar out of people at the health club where he was abused and mutated. And has tons of sex as the toxic avenger because his new found manhood is just irresistible to women. And one of the things that's noteworthy about the toxic avenger is that they actually tried to make decent effects.

是啊，可以说还不算太糟糕。

Yeah. It wasn't horrible, I guess you could say.

嗯，以当时的标准来看，确实还行。

Well, the time, you know, wasn't bad.

不，那些特效现在看还是很差，可能当年也算不上好，但对于剥削电影来说...

No. They remain bad, and they probably were kinda bad even back then, but for Grindhouse films

对，就是那样

Yeah, there

你继续。它们很棒，对吧。而且值得注意是因为它出自特罗马制片公司或特罗马工作室。这引发了一系列《毒魔复仇》电影和类似的低劣作品，基本上就是发生了些疯狂可怕的事情，但我们不会过多纠结于此。

you go. They were great. Right. And it was also noteworthy because it came out of Troma Productions or Troma Studios. And it led to a whole line of toxic avenger movies and schlock in general, which is basically like some crazy horrible thing has happened, but we're not gonna dwell too much on that.

让我们看看，让行动带我们去哪儿。

Let's see what let's let's see where the action takes us.

是啊，

Yeah,

没错。就像彼得·杰克逊的《坏品味》，嗯哼。他的第一部电影就是《毒魔复仇》之后涌现的低劣电影典范。

exactly. So like Bad Taste, Peter Jackson's Uh-huh. First film is a great example of schlock that came out of Toxic Avenger.

他还有部接在彼得·杰克逊之后的电影《群尸玩过界》，据说一度是史上最血腥的电影。真的吗？不过听起来你提到的那部韩国新片已经超越它了。

And he had the film that followed Peter Jackson, Dead Alive, which was at one point supposedly the goriest film ever made. Really? Although it sounds like your new Korean movie has surpassed that.

是的。我觉得很可能超越了。我没看过《群尸玩过界》，但看过《坏品味》，《坏品味》已经够血腥了，但这部新片更胜一筹。

Yeah. I I think it probably has. I haven't seen Dead Alive, I've seen Bad Taste, and Bad Taste was horribly gory, but I think this has a beat.

是啊，不过我敢打赌，我是说虽然没看过你说的那部，但它的血腥场面更真实吗？

Yeah, but I bet you if anything I mean, haven't seen the one you're talking about, but is it more realistic gore?

是的，就像《Bad Like》里那种真正令人不安的场景。那些外星人被爆头，这至少让你在情感上保持了一定距离。而在《我看见恶魔》中，这种事发生在人类身上，所以冲击感肯定更强烈些。

Yeah, with Bad Like where it's really disturbing. These are aliens that are having their heads blown off, so that definitely takes you at least a degree away from caring. This is happening to human beings in I Saw the Devil. So it definitely is driven home a little more.

那时候的暴力场面，甚至血腥程度，简直就像直接从《Fangora》杂志里蹦出来的一样夸张。

Well, the violence, even the gore back then, it was so over the top right out of Fangora magazine.

老兄，《Fangoria》杂志现在还在发行呢。

Dude, Fangoria is still around.

是吗？好吧，我猜也是。

Is it? Yeah. I figured it was.

我很高兴它还在。我们推特上还关注着他们。

I'm glad it is. We follow it on our Twitter feed.

哦，真的？比如《扫描者》里脑袋爆炸的镜头。因为太夸张反而不觉得不适，但我觉得这些新电影才更让人毛骨悚然。

Oh, do? Yep. Like a head will explode in scanners. It's not disturbing because it's so clearly over the top, but these new movies are much more disturbing if you ask me.

我完全同意，因为它们更写实。好了，继续聊聊查克和米西斯科林·埃伯的表演，这是我们今天片单的倒数第二部。这部可追溯到三十年代的老片子——《大麻狂热》，咱们来聊聊吧。

I agree wholeheartedly because they're more realistic. Yeah. So carrying on with Chuck's and Mysiscollin Eber act, this is the second to last movie in our little list today. And this one's from way back from the thirties, so let's talk about reefer madness.

这些高中男生女生正在本地冷饮店举办舞会。他们天真地跳着舞，全然不知紧闭的门后潜藏着一个致命的新威胁——大麻，这种根系地狱的燃烧野草。或者说表壳里。

These high school boys and girls are having a hop at the local soda fountain. Innocently, they dance. Innocent of a new and deadly menace lurking behind closed doors. Marijuana, the burning weed with its roots in hell. Or watch case.

想要好烟的话，试试这个。

If you want a good smoke, try one of these.

你会遇到比尔，当他迈出沦为奴隶的第一步时，还以自己意志坚强为傲。

You will meet Bill who wants to pride in his strong will as he takes the first step toward enslavement.

我甚至感觉不到安全。

I can't even feel safe.

这就是经典的《大麻狂热》，一部剥削性质的毒品宣传片。对，完全是个警世故事。它甚至塑造了当时的毒品文化，让人们把大麻视为会让人发疯杀人的邪恶之物。

So that was the excellent Reefer Madness, which was an exploitation drugsploitation film. Yeah. And very much a cautionary tale. It even shaped the drug culture and how people looked at drugs as marijuana at the time as this really evil thing that can make you crazy and kill people.

没错。其实和早期剥削电影如出一辙，它是作为公共服务制作发行的。另一个片名叫《告诉你的孩子》。整个故事背景设在家校联谊会上。

Yeah. And actually in very much the vein of early exploitation films, was produced and distributed as a public service. The alternate title for it was Tell Your Children. And the whole thing's set in a PTA meeting.

对。

Right.

这家伙正在讲述这个故事。

Where this guy is relating the story.

嗯哼。

Uh-huh.

这是一个关于逝去的生命、谋杀、内疚与偏执的故事，而这一切都源于泛滥的药物滥用——实际上主要是大量吸食大麻，这能让人变成恶魔。导演名叫杜安·埃斯珀。嗯哼。他还拍过其他三十年代的剥削电影，比如《性疯狂》。

And it's a story about lost lives, about murder, about, guilt and paranoia, and all of it is fed and based on rampant drug use, which is really just a lot of pot smoking, which can turn you into a fiend. The director, his name is Duane Esper. Uh-huh. He did other exploitation films from the thirties like Sex Madness

对。

Right.

《精神病关联》。他通过把这些可能最初是作为公益宣传片拍摄的作品，改编得如此荒诞离奇，从而剥削了那些制作这些电影的人。对。由此创造了三十年代那些疯狂到极致的剥削电影遗产。

Psychotic Connections. And he made a name for himself, basically taking these things that may have originally been written as a public service Right. And making them so outlandish that he exploited the people who were making these movies. Right. And created this legacy of like just insanely over the top exploitation films from the '30.

讽刺的是，多年后，《大麻疯》不再被视为一部反毒品宣传片，该怎么说呢，反而成了大学生们聚在一起边吸食边观看取乐的影片。是的。一部邪典电影。

Well, and ironically, Reefer Madness, years later, would become not so much an anti drug propaganda film, how should I say this, but a film that college students would sit around and watch while partaking and laughing at this whole thing. Yeah. And a cult film.

没错。因为它把毒品描绘得如此极端，以至于如果你不顾所有警告还是尝试了，并发现自己并没有变成恶魔或杀人犯，《大麻疯》基本上是在怂恿你更进一步。所以它有点像是...效果适得其反。与杜安·埃斯珀接手前原本的意图完全相反。是的。

Yeah. Because it puts drugs so far out there that if you, despite all the warnings, take drugs anyway, and you realize that you don't turn into a fiend and murder somebody, Reefer Madness basically dares you to go further. So it's kind of an It's the opposite. It has the opposite effect of what I think its original intent was before Yeah. Dwayne Esper got its hands on it.

另外提一句，我曾在《大麻狂热》和另一部三十年代由托德·布朗宁导演的《畸形人》之间难以抉择。

And as a side note, I had trouble deciding between Reefer Madness and another nineteen thirties film by a guy named Todd Browning called Freaks.

哦对。那部片影响巨大，因为它是海斯法典前第一部大型剥削电影，也是首部兼最后一部。

Oh yeah. Well that was huge because it was the first big exploitation film pre Hays Code and Last. First and Last.

而且还是米高梅出品的。没错。它被广泛认为是杰作。

And it was an MGM film. Yeah. And it's widely considered a masterpiece.

是啊。画面很棒。制作确实精良。

Yeah. Mean, it looks great. It's not It was well done.

这是部典型的复仇题材电影——剥削片中非常常见的主题。特别是暴力类。但布朗宁大胆启用了真实的畸形人出演，如果你愿意这么称呼的话

It's a huge It's a revenge movie, which is a very common theme in exploitation films. Yeah. Especially violent ones. But it featured, Browning dared to have real freaks, I guess if you'll