五部鄧波兒由出演并大放光彩的電影

Franklin Roosevelt once said: "As long as our country has Shirley Temple, we will be all right.When the spirit of the people is lower than at any other time during this Depression, it is asplendid thing that for just 15 cents, an American can go to a movie and look at the smilingface of a baby and forget his troubles."

富蘭克林·羅斯福曾說(shuō)過(guò)：“只要我們國(guó)家有秀蘭鄧波兒，我們都會(huì)沒(méi)事的。在這民眾心情比任何時(shí)候都低落的大蕭條期間，只要15美分，就能到電影院看看那張閃耀微笑的娃娃臉然后忘卻一切煩憂，這是多么美好的事啊。”

As America's top box-office draw from 1935 to 1938, the tiny Temple gave the country somemuch needed escapism.

作為1935年至1938年間美國(guó)最有票房號(hào)召力的童星，小鄧波兒給了民眾亟需用以逃避現(xiàn)實(shí)的美好幻想。

But whereas many child stars have appealed primarily to young audiences, Temple beguiled alargely adult movie-going nation with what film critic David Thomson called her "elfinperfection".

很多童星只是吸引年輕觀眾的目光，而鄧波兒卻受到大批成年人追捧。電影評(píng)論員大衛(wèi)•湯姆森稱她為“完美精靈”

John F. Kasson writes: "At a time when movie attendance knit Americans into a truly nationalpopular culture, they did not want a mirror of deep deprivation held up to them, but a ray ofsunshine cast on their faces."

約翰•F•凱森寫(xiě)道：“當(dāng)電影成為美國(guó)全國(guó)性流行文化時(shí)，人們并非需要一面能映出他們正深深被剝削的現(xiàn)實(shí)的鏡子，而是需要一道能照亮他們沮喪面龐的暖陽(yáng)。”

Here are five films that Temple shined in:

下面介紹五部鄧波兒出演并大放光彩的電影：

"Bright Eyes" (1934): It's in this film that Temple gave perhaps her most belovedperformance, singing "On the Good Ship Lollipop" down the aisle of an airplane. The rows ofadoring men (and everyone else, for that matter) swoon at the cuteness. The movies don'talways have to be complicated things.

《亮眼睛》(1934)大概鄧波兒在這部電影中的表演是最受人喜愛(ài)的。在一架飛機(jī)的過(guò)道上唱著“好船棒棒糖號(hào)”，而飛機(jī)上的其他人都被她的可愛(ài)吸引。這部電影讓我們知曉，電影似乎并不必須是復(fù)雜的，輕松簡(jiǎn)單亦可。

"The Little Colonel" (1935): Along with "The Little Rebel," this was one of two films Temple madein 1935 with the tap-dancing great Bill "Bojangles" Robinson. They were a striking pair.Separated by race, decades in age and several feet in height, they were nevertheless a perfectmatch, particularly in their famous staircase dance sequence. Their magical harmony indance may have left a more powerful impression.

《小上?！?1935)這部電影和另一部《小叛逆》都是由鄧波兒和跳踢踏舞跳得格外好的羅賓森(美國(guó)百老匯和好萊塢著名舞蹈演員)于1935年一同出演的。即使種族不同、年齡和身高都差距很大，他們?nèi)酝昝琅浜希蔀橐俗⒛康囊粚?duì)搭檔，尤其在他們一同跳階梯舞時(shí)。他們魔幻般和諧的舞蹈或許給人們留下了更深刻的印象。

"Curly Top" (1935): This film contained one of Temple's biggest hits, "Animal Crackers in MySoup," in which she serenades her orphanage at mealtime, "I walk around like Noah's Ark/ Istuff my tummy like a goop." The New York Times said of "Curly Top": "So shameless is (thefilm) in its optimism, so grimly determined to be cheerful, that it ought to cause an epidemicof axe murders and grandmother beatings." But Temple, the review noted, was irresistible,playing dramatic scenes "with the precision of a veteran actress." Though a child, Temple wasoften the best actor in her films.

《卷毛頭》(1935)這部電影里鄧波兒演唱了她最熱門(mén)的歌曲《我湯里動(dòng)物餅干》。吃飯時(shí)她用歌聲唱出自己的孤單：“我像諾亞方舟一樣四處游蕩/像粗人一樣用食物填滿肚子”?！都~約時(shí)報(bào)》評(píng)價(jià)《卷毛頭》道：“這影片中的樂(lè)觀是多么讓人心慚，這樣冷酷的內(nèi)容用以鼓舞人心，這應(yīng)會(huì)讓‘斧子謀殺’和‘毆打祖母’成為流行。”而鄧波兒，評(píng)論人極為認(rèn)可，因她用“專業(yè)演員的水準(zhǔn)”表現(xiàn)出引人入勝的場(chǎng)景。我們可以看出，雖然仍是一個(gè)孩子，鄧波兒就已經(jīng)是她電影中的最佳演員。

"Wee Willie Winkie" (1937): It's about a British regiment fighting rebels in India. Reviewing thefilm, novelist Graham Greene — so convinced by Temple's adult-like gestures — claimed shewas just masquerading as a child. He suggested that Temple's adult admirers were respondingto "her well-shaped and desirable little body, packed with enormous vitality." A subsequentlawsuit over the review bankrupted the magazine.

《威莉•溫基》這部電影和印度對(duì)英國(guó)大規(guī)模叛亂有關(guān)?；仡欕娪埃≌f(shuō)家魯達(dá)亞•基普林深信鄧波兒的成人姿態(tài)他斷言她只是偽裝成孩童心性。他暗示鄧波兒的成人贊賞者是在回應(yīng)“她的好外形和姣好的小身材，配上充沛的活力。”而隨后關(guān)于這則評(píng)論的官司讓這家雜志倒閉。

"Heidi" (1937): Temple often played orphans, including in Allan Dwan's drama about a Swiss girlkidnapped by her aunt and taken to live richly in Germany. The portrait of Old World splendorin "Heidi" played as fantasy during the Depression. Along with "Wee Willie Winkie," it capturedTemple transitioning toward slightly more mature performance.

《海蒂》(1937)鄧波兒總是扮演孤兒，包括在埃蘭•德萬(wàn)的電影中出演了一個(gè)被阿姨拐騙并帶去德國(guó)過(guò)上富裕生活的瑞士女孩?！逗５佟穼?duì)舊世界美好演繹出現(xiàn)在經(jīng)濟(jì)大蕭條中像是一場(chǎng)白日夢(mèng)。這部電影和《威莉•溫基》一起標(biāo)志著鄧波兒的演技趨于成熟。