VOA双语新闻：6、珍稀诺曼底登陆彩色电影胶片亮相

珍稀诺曼底登陆彩色电影胶片亮相

Most of the documentary footage of the 1944 Allied 1 invasion in Normandy, better known as D-Day, was shot on black and white film by a group of Army cinematographers led by the late Hollywood director George Stevens.

大多数1944年盟军诺曼底登陆日的纪录片图像都是黑白的。一组陆军摄影师在已故好莱坞导演乔治·史蒂文斯的领导下拍摄了这些镜头。

But Stevens was also filming a personal diary, using color film, which at that time was still rare. A documentary using his color images gives a new dimension to the campaign to drive Nazi 2 forces from France.

但是，史蒂文斯同样也在拍摄自己的日志，他使用的是在当时仍属罕见的彩色胶片。这部彩色纪录片从新的角度再现了这场把纳粹军队赶出法国的战役。

At dawn, June 6, 1944, a group of American cinematographers aboard the British light cruiser HMS Belfast was getting ready to film the opening salvos of the invasion.

1944年6月6日黎明，几名美国摄影师登上了英国皇家海军轻型巡洋舰“贝尔法斯特号”，准备拍摄盟军开炮拉响进攻序幕。

Their leader, Hollywood director George Stevens, 37, was also filming, but with his personal 16-millimeter camera, using Kodachrome color film.

他们的指挥是当时37岁的好莱坞导演乔治·史蒂文斯。他本人也在拍摄。不过，他使用的是他个人的16毫米摄像机和柯达克罗姆彩色胶卷。

Stevens developed but never used his footage. It was found many decades later by his son, George Stevens Jr., also a film director, who restored it and produced a stunning 3 documentary in 1994, the 50th anniversary of the invasion.

史蒂文斯洗出了他的胶片，但是却从未真正使用过。几十年后，他的儿子小乔治·史蒂文斯找到了这些胶片。同样是一名导演的他在1994年将这些影片进行了复原，并制作成了一部令人震撼的纪录片。这一年正逢联军进攻诺曼底50周年。

Thanks to his father, we can now see the color of the sky, the sea, soldiers’ uniforms, smoke from the big ships' guns and even the ships’ camouflage 4 paint.

正是由于他的父亲，我们现在可以看到当时丰富的色彩：天空、大海、士兵们的军装、战舰巨炮发射后的硝烟，甚至还有战舰上涂的迷彩。

“I had this feeling that my eyes were the first eyes that hadn't been there who were seeing this day in color, and I watched this film unfold and on this ship - and all of these men with their flak jackets and anticipation 5 of this day,” said Stevens.

他说：“ 我当时觉得，除了亲身见证了那一天的人之外，我的眼睛是第一双有幸能够看到那一天色彩的眼睛。影片在我眼前展现了军舰上那些穿着防弹衣的士兵，还有他们对那一天的期盼。”

The color film also brings the scenes of destroyed French towns to life, with French citizens greeting Allied soldiers.

这部彩色影片向人们展示了战火摧残下的法国城镇景象以及法国民众对盟军的热情欢迎。

The footage contains rare color shots of the liberation of Paris and French resistance leader and later president, Charles De Gaulle.

这些胶片也包含了其他一些罕见的彩色画面：解放巴黎、法国抵抗运动领袖、后来成为法国总统的戴高乐。

Stevens was fascinated with the faces of young French girls cheering the American soldiers.

乔治·史蒂文斯 对那些那些法国女孩欢迎美国士兵的笑脸非常着迷。

There are also shots of U.S. General George Patton, with his pearl-encrusted revolver, and the British forces commander, General Bernard Montgomery. German war prisoners seem almost relieved that they survived the carnage.

这部影片还有美国将军乔治·巴顿佩戴着珍珠外壳左轮手枪的镜头，以及英军指挥伯纳德·蒙哥马利将军。德国战俘看上去几乎是为自己的大难不死松了口气。

“It is the greatest body of color film, and World War II was a black-and-white war. That's how we see it. That's how we saw it,” said Stevens.

小乔治·史蒂文斯说：“这是数量最多的彩色胶片作品，而第二次世界大战是一部黑白战争片。这是我们的感知，或者说，是我们过去的感知。”

The allied soldiers soon were preparing behind enemy’s lines, some flying in gliders 6 decorated with graffiti typical of that time.

很快，盟军士兵就开始在敌军战线后方展开准备，一些军人乘坐滑翔机，机上的涂鸦反映了当时的特色。

Upon entering Germany with Allied forces, Stevens did not cringe from filming the horror of Nazi concentration camps, with piles of emaciated 7 human bodies next to still burning crematoriums, having a strong sense that those colors too should be preserved for later generations.

跟随盟军进入德国之后，史蒂文斯在拍摄纳粹集中营时并没有缩手缩脚。在那里，一堆堆骨瘦如柴的尸体放在仍在燃烧的火化炉旁。他坚信，为了子孙后代，这些彩色镜头应当保留下来。