다른소리 게시판 4그들이 본 명 배우...커크 더글러스
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지난 2월5일....명 배우 커크 더글러스가 103 세의 일기로 죽엇답니다.. 다른소린 지금도 마이클 더글러스가 커크 더글러스의 아들로 먼저 인식됩니다. 요즘분들에겐 커트 더글러스를 마이클 더글러스의 아버지 라고 이야기를 해야 합니다.. 이런 것에서도 세대 차이는 분명하게 느껴집니다.. 마이클 더글러스와 아내 케서린 제타 존스 아래글은 WSWS에서 뽑은 것입니다... 트로츠키 주의자 빨갱이들(?)은 이런 당대의 명 배우를 어떻게 보고 잇을까?? 그 시각이 궁금하여 죽 읽어 보앗습니다.. 그리고 혼자 읽기 아깝다는 생각이 들어....카피 햇습니다.. 그러니까....빵갱이들이 보는 커크 더글러그 입니다.. 다른소린가 이런 글을 읽기 시작한 것은 그리 오래전이 아닙니다.. 좀 더 오래전 부터 이런쪽에 관심을 갖엇더라면...훨씬더 많은 것을 알게 되엇을 것이라는 아쉬움은......여전히 앞으로도 계속될 것입니다. 더글러스 아버지가 구 짜르시대에 새로운 세상을 꿈꾸고 미국으로 이민온 유태인 이라는 것도 흥미롭고.. 메카시즘의 광기가 휘몰아 첫던 헐리웃을 더글러스는 어떻게 견디고 넘어갓쓰며 더글러스의 영화의 일관된 주제가 ...자본주의 미국의 무한한 가능성과 또 그 이면의 비 인간성에 대한 고발이라는 이중성이라 서술도 흥미롭씁니다... 다른소리와 같은 시대를 살앗고 그래서 헐리웃 영화를 참 좋아 햇을 사람들이라면 이미 많이 잊엇던 그 옛날의 명 배우들의 이름을 영어로 발음해 보는 것도 재미 잇을 것 같습니다. 다른소리 시대에는 외국 영화의 제목까지 다 번역 햇습니다.. 그래서 원제를 모르면....그 영화가 그 영화인지 잘 알 수 없습니다.. TH 와 T 발음이 구분 되지 않아 애 먹던 시절에 영화 원제를 기억하는 할일 없는 사람들은 많지 않앗지요. 영화 원제를 읽어 내려가며...이 영화는 어떻게 번역돠엇을까..를 생각해 보는 것도 재미잇을 것입니다.. 성질드런 울 행님은 ....커크다-글라스 라고 발음하다.... 커크-더글러스..라고 발음 해야 한다는 다른소리와 충돌 ... 무식칸것....죶도 모른것.....운운 하며 거대한 쌈판을 버렷습니다.. 이 인간은 지금도 그 기질을 못 버렷습니다... 이때는 어찌 그리 싸울 꺼리도 많기만 햇답니까??..... 우리 형제들은 진짜로 잘 싸웟습니다.. Kirk Douglas....이것을 제대로 읽어낼 영어 능력의 소유자는 그리 많지 않앗습니다... 다른소린 아직도 고유명사의 발음이 가장 어렵습니다.. 이런것은 여전히 영어에서 느끼는 장벽입니다.. 칼 막스가 가장 좋아 햇던 인물이.....스팔타쿠스 엿다고 합니다.. 로사 룩셈부르크가 봉기 할때....그녀가 만든 당의 당명이 스팔타쿠스 당 이엿습니다.. 카크 더글러스를 이야기 하면서 영화 스팔타쿠스를 뺀다면 안 되겟지요?? 이 영화의 압권은 뭐라 해도..... 스탈파쿠스를 찾기 위해 포로들을 심문하는 로마 병정들에게 -내가 스파탈쿠스 다.....라고.....노예 포로들이 한명 한명 일어나는 모습일 것입니다.. 노무현교 똥 파리 쇗끼들은.....내가 조국이다...........라고 바꿔 지줘 됩니다.. 이 씨발놈의 쥐쇄끼때들.. .... 인간의 존엄과 인류 언어의 품위를 이 노무현교 똥파리 쐐끼들이 파괴 하고 잇습니다.. 참으로 개 쐣끼들입니다... American film actor Kirk Douglas (1916–2020) By David Walsh 10 February 2020 Kirk Douglas, a major performer in American films from the late 1940s until the early 1970s, died at his home in Beverly Hills, California, on February 5 from natural causes at the age of 103. One of the leading film actors of the post-World War II era, he also played a role in helping to end the anti-communist blacklist by hiring and crediting blacklisted screenwriter Dalton Trumbo for his efforts on Spartacus (1960). Douglas brought his renowned dynamism to dozens of films, including many valuable ones, among them, Out of the Past (Jacques Tourneur, 1947), Champion (Mark Robson, 1949), Ace in the Hole (Billy Wilder, 1951), The Bad and the Beautiful (Vincente Minnelli, 1952), Paths of Glory (Stanley Kubrick, 1957), Spartacus (Kubrick, 1960), Two Weeks in Another Town (Minnelli, 1962) and Seven Days in May (John Frankenheimer, 1964). Kirk Douglad and Lana Turner in The Bad and the Beautiful The actor’s career expressed some of the continued strengths of American filmmaking as it suffered through and emerged from the anti-communist McCarthyite purges, as well as the limitations imposed on—and accepted by—Hollywood as a result of the virtual criminalization of left-wing ideas in the early 1950s. Douglas was born Issur Danielovitch in December 1916—four months prior to US entry into World War I and 11 months before the Bolshevik-led revolution in Russia—in Amsterdam, New York, a small manufacturing city in the Mohawk Valley known for its carpet-making. 더글러스는 1916년에 태어 낫다...그가 태어난 이후 4개월후에 미국은 1차 세계대전에 참전 하엿고 ...11개월후에 러시아에선 볼세비키 혁명이 일어낫다.. 우리로 치면 묻지 말라 갑자생....같은 느낌이 듭니다.. In his autobiography, The Ragman’s Son (1988), Douglas recounted his childhood on Amsterdam’s “East End, the opposite side of town from the rich people on Market Hill.” He, his parents and six sisters lived in a “run-down, gray clapboard house, the last house at the bottom of a sloping street, next to the factories, the railroad tracks, and the Mohawk River.” In the same memoir, Douglas wrote that he had been “born in abject poverty. My parents came here from Russia, illiterate immigrants.” Douglas’s parents were Jews who emigrated, his father first, to the US in 1908–1910 to escape the oppression and misery of tsarist society. Douglas described his father, Herschel, born around 1884, as one of the “ignorant peasants” who, when conscripted into the army, “had hay tied on one sleeve, and straw on the other, so that they could tell their right hand from their left.” His father was a rag picker and junkman in Amsterdam, working from a horse-cart. His mother, born Byrna Sanglel, wrote Douglas, came “from a family of Ukrainian farmers… She wanted all her children to be born in this wonderful new land, where she thought the streets were paved with gold—literally.” In Russia, Douglas’s mother had seen a brother killed in the street by one of those Cossacks, (여기서 코작크 인들의 의미는 다분히 상징적이며 은유적 입니다- 관심 잇는 분들은 러시아 혁명사를 읽어 보시기 바랍니다)“exhilarated by vodka,” who “considered it a sport to gallop through the ghetto and split open a few Jewish heads.” Douglas worked at a variety of jobs from an early age, although he managed to go to college, St. Lawrence University, also in upstate New York. He had first been encouraged by an Amsterdam high school teacher to pursue acting. After graduating from university, Douglas, like many others before and after him, moved to Greenwich Village in New York City. He entered the American Academy of Dramatic Arts, which offered him a scholarship.(이런 부분도 눈여겨 볼 필요가 잇습니다......오늘날의 미국의 학자금 융자는 곧 빛쟁이를 의미 합니다.....장학금 혀택도 형편없이 줄엇고....학업이 엄메리카 드림을 실현시키는 도구 엿던 시대는 이미 과거의 전설이 되엇습니다........더글러스가 학교를 다니던 시절 만 해도...그런 꿈이 본인들의 노력에 따라 가능햇던 시대 엿다고 보면 됩니다) One of his classmates, who later helped him launch his movie career, was actress Lauren Bacall.(험프리 보가트의 첫번째(? 두번째?) 부인 After serving in the Navy during World War II, Douglas returned to New York and started finding work in radio and the theater. Douglas appeared in his first film in 1946, The Strange Love of Martha Ivers (directed by Lewis Milestone, from a screenplay by left-winger Robert Rossen).(아마도 더글러스의 이런 인연도 그가 러시아 이민자의 후손 이며 유대계 라는 이유가 잇엇던건 아닌지 생각해 볼말 합니다) He began a Hollywood career at an interesting time, at the height of the film noir era, when American filmmaking was at one of its most realistic and critical moments. Like others of his generation (including Burt Lancaster, William Holden and Robert Mitchum), 버드 랭카스타...윌리엄 홀덴,,,로버드 미첨(영화 섬머타임 킬어 의 주인공 크리스 밋첨의 아버지.....돌아오지 않는 강에서 마르린 먼로와 열연 햇습니당......이들의 스펠이 이럿게 되네요)Douglas—at 30 or so—already brought to his initial performances some knowledge of life and its difficulties. 크리스 밋첨은 그 당시(이 시대에 한국을 찾은 허리웃 유명 배우라면...마르린 먼노 정도..이 여자는 한국전쟁에 참전한 미군들을 위로 하기 위해 왓지요) 허리웃 배우로는 매우 드물게 빅토리아 러브랜드와 함께 한국을 방문 하기도 하엿습니당.....당시 선그라스를 쓰는 것은 매우 시건방진 양아치들의 문화 엿지만 이 배우는 썬 그라스를 쓴체 스튜디오에 등장하여 ...저 양아취 쇗끼 존나 싹아기 없다....는 소리를 들엇습니다.....물론 그를 좋아 하는 사람들은 그 선그라스 쓴 반항적 기질에 열광 하엿지요... 그러니까 싹가지 없는 것들이 헐리웃 양아치들 덕분에 사람대접을 받기 시작 한 셈입니다.. 제임스 딘= 최 민수....ㅋㅋ Kirk Douglas and Robert Mitchum in Out of the Past (1947) After another valuable “dark” and troubling work, I Walk Alone (Byron Haskin, 1948), the first of seven films in which he appeared with Lancaster,(버트랑카스터 와 함께한 영화가 7편) Douglas featured in the French-born Tourneur’s Out of the Past, based on a novel by left-wing American writer Daniel Mainwaring. Douglas plays a gangster, Whit Sterling, determined to track down his former lover (Jane Greer), who shot and wounded him, and stole $40,000 of his money. Unusually, while he is menacing throughout, Douglas’s character is suave and articulate, his homicidal tendencies hidden as much as possible. 이 영화 포스터 에서는 로버트 미첨과 제인 그리어가 주연으로 표기되어 잇습니다. The WSWS commented in 2015 that Out of the Past was a “morally and psychologically forceful” work. “Considering its subject matter, there is very little overt violence in the film… For his part, Whit smiles and jokes, and almost never raises his voice. He doesn’t have to, his money and power automatically demand respect.” Robson’s Champion, in which Douglas played a leading role as a boxer ruthlessly battling his way to the top, brought the actor to prominence. Douglas’s Midge Kelly shamelessly betrays friends, associates and women in the course of this “story of a man who,” as the film’s opening proclaims, “starting from the most sordid poverty, has become World Champion.” Arthur Kennedy, Kirk Douglas and Paul Stewart in Champion (1949)-아셔 케네디, 커크 더를라스 , 폰 스트어드,,,,,,,,,,,,히유..) Ace in the Hole is one of Wilder’s bitterest films (and one of his few commercial failures), influenced, one would assume, by the media’s foul role in generating the McCarthyite hysteria of the late 1940s and early 1950s, although it approaches the issue of deceitfully manipulating public opinion only by way of allegory. Douglas, now a full-blown “movie star,” plays a cynical, down on his luck journalist, Chuck Tatum, who stumbles upon the case of a man trapped in a New Mexico cave collapse. Tatum (“I’m a pretty good liar. I’ve done a lot of lying in my time.”) does everything in his power to manipulate a gullible public, all too eager to be led by the nose. He conspires with a corrupt, ambitious local sheriff to see to it that the unfortunate victim is not rescued immediately (“If I just had one week of this…”), so that the story can remain on the front pages of newspapers across the country. Kirk Douglas in Ace in the Hole (1951) In The Bad and the Beautiful, one of several of Douglas’s films directed by Minnelli, the actor played, once again, a relatively ruthless character, a maverick Hollywood producer, Jonathan Shields, “cynical, cunning, and demonic,” in the words of one commentator, based on several famous Hollywood figures. The melodrama proceeds in flashbacks. Three figures, a director, a scriptwriter and an actress, gathered in a Hollywood office essentially explain why they refuse to have anything to do with Shields, based on bitter past experience. A common theme clearly emerges in a number of these films, associated with general postwar criticism of “the American dream” and the pursuit of achievement “at any cost.” (Although, in the case of The Bad and the Beautiful, the Douglas character actually sacrifices others and himself in the effort, at least in part, to liberate “the creative potential of his director, scriptwriter, and leading lady,” as film critic and historian Thomas Elsaesser observes.) Kirk Douglas in The Bad and the Beautiful (1952) It is worth noting that Douglas, whose Horatio Alger, rags-to-riches story, in his own words, was so trite “as to be unbelievable,” was able to recognize the problematic nature of the framework in which his own life was often presented as proof of America’s unlimited opportunities. Film historian and scholar Joseph McBride (see accompanying interview), in his short 1976 biography of Douglas, argues eloquently that “the life vein running through virtually all of his films is a spirited, anguished critique of the American success ethic.” Two processes seem to be work simultaneously, and sometimes at cross-purposes, in a number of Douglas’s films: the undeniable ability (and determination) of certain people in America, including from immigrant or impoverished backgrounds, to raise themselves, economically and culturally—rooted in the powerful position and resources of US capitalism—and, on the other hand, the questionable, unstable character of the success achieved, often leading to the anguish, guilt or intense self-doubt of the central character.-- 궂이 더글러스의 영화만이 갖고 잇는 특징은 아닌듯 합니다. 인간이 부조리하고 모순적인 존재 입니다...그리고 자본주의는 이런 인간의 이중성을 참 잘 체계화한 체제이지요. -자본주의는 항상 쓸쓸하다........는 성공하지 못한 사람들의 푸념이 ...정말로 푸념일까?? 다른소린 자본주의적 성공을 이루어 내지 못 햇기 때문에...저 말이 정말 맞는 말인지.. 아님 루서들의 또 하나의 하품나는 푸념인지.....모르겟습니다. One recalls film director Rainer Fassbinder’s comment about the outlook of German novelist Theodor Fontane 데오토어 폰타네 (1819–1898): “He lived in a society whose faults he recognized and could describe very precisely, but all the same a society he needed, to which he really wanted to belong. He rejected everybody and found everything alien and yet fought all his life for recognition within this society.” In a 1960 interview, cited by McBride, Douglas commented, “All your life you’ve been dreaming of wanting to act, to portray roles. Then what happens is that if you’re successful at it, you become big business. A myriad of things that you never bargained for come into play. All of a sudden you are buffeted from every side and you’re fortunate if you’re a guy that has the right advice.”---이런말은 특히 현대 민주주의 치하의 정치인들에게 필요한 말 같습니다. Of course, it is easy enough to argue that all this took place within the general acceptance by the actor and Hollywood liberalism of “American democracy,” in whose political service Douglas often performed officially, including on State Department tours and other political operations. (Lancaster, who worked with European directors such as Luchino Visconti [The Leopard, Conversation Piece] and Bernardo Bertolucci [1900] in the 1960s and 1970s, and also appeared in actively oppositional works like David Miller-Dalton Trumbo’s Executive Action, Robert Aldrich’s Twilight’s Last Gleaming and Ted Post’s Go Tell the Spartans, adopted a somewhat more openly anti-establishment course.) Here too, however, it is necessary to distinguish between the artist and the actor-public personality, with his career, financial success, endless sexual conquests and all the rest. Douglas was honest enough as an artist to paint and leave behind unflattering pictures of American society through his characterizations and the truth, in particular, of his emotions and “anguish,” whatever function he may have performed as one of its loyal spokesmen during the Cold War. The objective contradictions involved with doing serious artistic work under conditions in which entire arenas of social life had been cordoned off by anti-communism and the film industry’s self-censorship perhaps find particular expression in the sometimes overwrought quality of Douglas’s performances (in Minnelli’s Lust for Life [1956] for example), as though too much had to be read into and squeezed out of too little. Critic Manny Farber, reviewing Detective Story, referred to the “gymnastic-minded” Douglas’s “mad-dog style of acting.” Kirk Douglas in Lonely Are the Brave (1962) McBride, in his 1976 book, noted that to segments of the film-going public, Douglas was “synonymous with the jut-jawed, strident-voiced, tirelessly pugnacious characters he usually plays on screen,” characters whose “gesticulating” and “ranting” (in Farber’s phrase) could be both irritating and distracting. At its best, however, his “phenomenal energy and intensity” (McBride) brought contradictory and disturbing conditions and dilemmas to life. Douglas did have the good fortune to work with many of the most serious studio film directors in the 1940s, 1950s and 1960s, in addition to those already mentioned, including John M. Stahl (The Walls of Jericho, 1948), Joseph L. Mankiewicz (A Letter to Three Wives, 1949), Michael Curtiz (Young Man with a Horn, 1950), Raoul Walsh (Along the Great Divide, 1951), William Wyler (Detective Story, 1951), Howard Hawks (The Big Sky, 1952), Richard Fleischer (20,000 Leagues Under the Sea, 1954, and The Vikings, 1958), Henry Hathaway (The Racers, 1955), King Vidor (Man Without a Star, 1955), André de Toth (The Indian Fighter, 1955), Robert Aldrich (The Last Sunset, 1961), Otto Preminger (In Harm’s Way) and Anthony Mann (The Heroes of Telemark, 1965) Douglas’s most prominent years extended from 1957 to 1963, when he was one of the top 25 most successful film stars each year. Paths of Glory, set during the slaughter of World War I, is one of Douglas’s most important works. He plays a French officer, Colonel Dax, obliged to lead a suicide mission against German lines planned by the French general staff, who know that it cannot succeed. The military hierarchy is quite prepared to see the mass killing of its own men. After one unit refuses to advance into the path of the murderous German fire, General Mireau (George Macready), to deflect attention from his own role in the fiasco, decides to court-martial 100 men for cowardice, eventually reduced to three. Paths of Glory (1957) Dax, a lawyer in civilian life, defends the three soldiers in a proceeding that is a farce from a legal standpoint. Conviction is preordained. In his summary, Dax tells the tribunal, “The prosecution presented no witnesses. There has never been a written indictment of charges made against the defendants. And lastly, I protest against the fact that no stenographic records of this trial have been kept. The attack yesterday morning was no stain on the honor of France... and certainly no disgrace to the fighting men of this nation. But this court-martial is such a stain and such a disgrace. The case made against these men is a mockery of all human justice. Gentlemen of the court, to find these men guilty would be a crime, to haunt each of you till the day you die.” The court, however, does precisely that, and three men are executed. In one of the final scenes, General Broulard (Adolphe Menjou), a member of the general staff, informs Mireau that he will be made a scapegoat for the whole affair and subsequently offers Mireau’s command to Dax. Dax-Douglas replies, “Sir, would you like me to suggest what you can do with that promotion?” When Broulard demands an apology, Dax responds with fury, in one of Douglas’s finest moments: “I apologize for not being entirely honest with you. I apologize for not revealing my true feelings. I apologize for not telling you sooner that you’re a degenerate, sadistic old man. And you can go to hell before I apologize to you now or ever again!” 당신에게 완전히 솔찍하지 못 햇다는 것을 사과 드립니다. 당신에게 나의 진실한 느낌을 들어내지 않앗던 것을 사과드립니다. 당신에게 당신이 타락하고 변태 성욕자인 늙은이 라는 것을 좀더 일찍 말 하지 못한것에 사과 드립니다. 내가 너에게 사과 드리기 전에 지옥이나 가거라.....영원히 Kirk Douglas and Woody Strode in Spartacus (1960) Stanley Kubrick (after the firing of Anthony Mann 10 days into the picture) directed Spartacus, the epic story of the slave revolt in ancient Rome, in the first century BCE. The film was made by Douglas’s company, Byrna Productions, named after his mother. The script, as noted, was written by the blacklisted Dalton Trumbo, adapted from the 1951 novel by left-wing author Howard Fast, begun in prison where Fast was serving a three-month sentence for refusing to provide names to the House Un-American Activities Committee. 더글러스의 대표작이라 할수 잇는 스팔타쿠스의 제작 배경입니다.. 이작품의 시나리오는 Dalton Trumbo 가 쓴것이고 ..그는 메키시즘의 광기가 헐리웃을 휩쓸엇을때 블랙리스트에 오른 빨갱이 작가 입니다.....그는 1951년 좌파 작가 Howard Fast 가 감옥에서 쓰기 시작한 소설을 각색하엿쓰며...Fast 는 the House Un-American Activities Committee에 헐리웃에 활동하고 잇는 공산주의자들의 이름을 밀고하기를 거부 하여 3개월간의 징역을 살고 잇엇습니다.. +the House Un-American Activities Committee: 1938년에 설립된 하원 조사 위원회로 민간, 공무원등공산주의 와의 유대가 의심되는 사람들이나 조직의 부적절하고 파괴적인 활동을 조사하기 위해 만들어졌습니다. 이 메카시즘의 상처는 아직도 진쟁중이라고 오래전에 글로 올려드린적이 잇습니다.. 이유없는 반항..에덴의 동쪽...부두.. 등등의 거작으로 우리에게도 잘 알려진 카잔 감독이 아카데미 특별상을 수상 햇을때.....조지 클루니 등 일부 배우들이 ..박수는 커녕..딴전을 피웟고....진행을 맡앗던 로버트 드니로가 분위기를 수습해 보기 위해 땀을 흘렷다는 글을 올린적이 잇습니다.. 카잔 감독이 HUAC 에 동료 배우들이나 제작자들을 줄줄히 써 냇고..거명된 사람들은 팔짜에도 없는 빨갱이들이가 되어 쌩 고생을 해야 햇습니다.....찰리 체플린도 미국에서 쫓겨나야 햇습니다. 이런것을 후배 배우들은 분명하게 기억하고 잇엇고...결코 카잔을 용서 하지 않앗슴을 글로 올렷습니다.. There are intriguing and powerful sequences in Spartacus. For the creators, the slave revolt in the ancient world clearly bore parallels to the revolt of the oppressed in modern times, including the ongoing Civil Rights movement(킹 목사가 주도 햇던 시민 운동 )According to McBride, Douglas pointed out that his lead character “was a complex blend of the animal and the spiritual, beginning as a brutish and brutalized sub-human and eventually finding a conscience and becoming a figure of heroic legend.” Kirk Douglas in Spartacus (1960) In a famous scene, after the defeat of the slave revolt, Roman officials try to locate the rebel leader by promising the survivors they will avoid “the terrible punishment of crucifixion on the single condition that you identify the body or the living person of the slave called Spartacus.” Famously, each of the survivors shouts, “I’m Spartacus!” 스팔타카스에서 이 장면을 이야기 하지 않는다면... 여자 빤스 내리고 애국가 씨불리는 격이지요.. https://youtu.be/FKCmyiljKo0 -내가 스팔타카스다.............. 와우~~~~ Two Weeks in Another Town, based on a novel by Irwin Shaw, is a further examination of the film industry directed by Vincente Minnelli. Douglas is a former star, Jack Andrus, afflicted with alcoholism, who travels to Rome to play a small part in a film to be directed by his onetime mentor, Kruger (Edward G. Robinson), featuring an up-and-coming film star (played by George Hamilton). In the end, after Kruger suffers a debilitating heart attack, Andrus takes over the direction of the film and completes it successfully. Instead of gratitude, he is met with jealousy and the charge that he has attempted to undermine Kruger. An atmosphere of bitterness and disillusionment pervades the lush, quasi-decadent goings-on. In Seven Days in May, set in the future, in 1974, a rogue Air Force general determines to organize a coup d’état in opposition to the US president’s signing of a disarmament treaty with the Soviet Union. Lancaster plays the semi-fascist general, James Mattoon Scott, and Douglas a Marine Corps colonel, “Jiggs” Casey, while Fredric March performs as the somewhat ineffectual President Jordan Lyman. Kirk Douglas and Burt Lancaster in Seven Days in May (1964) The best-selling novel by Charles W. Bailey II and Fletcher Knebel was inspired by the activities of Gen. Edwin Walker, a fascistic figure who resigned in 1961 after it come to light he was indoctrinating troops under his command with his ultra-right political views and had described former President Harry Truman, former Secretary of State Dean Acheson and former First Lady Eleanor Roosevelt as Communist sympathizers(용공분자). Bailey and Knebel also interviewed another extreme reactionary in the US military high command, Gen. Curtis LeMay, one of the inspirations for characters in Kubrick’s Dr. Strangelove (1964). 커티스 르메이(Curtis LeMay,).....이 사람 이름 정도는 암기해서 써 먹으라고 햇지요?? 동경폭격을 입안하여 실행한 사람이고...한국 전쟁에서는 융단폭격으로 북한 지역을 초토화 시킨....이제는 매파 전쟁주의자의 상징 처럼 사용되는 인물입니다.. -그 세끼 르메이 아녀??....이말은 -그 쇄끼 전쟁에 환장한 놈 아니냐??....는 말로 통합니다. 한국인들은 이 융단 폭격을 연합군의 화력을 자랑하는 상징처럼 인식하고 잇지만.. 제네바 협정에서는 이런 무차별 융단폭격을 엄격하게 금지하고 잇습니다.... 한국전쟁은 내내 연합군의 전쟁범죄로만 구성된 전쟁이엇습니다.. 2차 대전 동안 그리도 이갈리게 당햇다는 일본의 파괴율이 고작 40%정도 박에 되지 않습니다... 나치 독일이 당한 파괴율은 20%내외, 북한지역의 파괴율은 70%가 넘씁니다. 지금 진행되고 잇는 이스라엘의 가자지구 파괴율이 어느정도나 될지 모르겟지만 또 하나의 기록이 나올것은 분명합니다. 커티스 리메이가 직접 작전계획을 세우고..집행 하여 날려 버린 도쿄 대 공습의 사진.. 100만발이 넘는 소이탄이 사용되엇습니다. 르메이는 태평양전쟁때의 이 실험을 한국 전쟁에서도 꼭 같이 실행햇습니다.. 그리고 상원청문회에서 그는 말 햇습니다.. -이곳은 (북한지역은) 융단폭격으로 완전히 석기시대로 되 돌아 갓다... -이곳에서 문명이 다시 발생 한다면 그것은 기적이다.. 그도 말년 죽음을 앞에 두고는....자신의 전쟁 범죄에 대해 깊은 반성을 햇고.. -내가 승전국이 아닌 패전국의 장군이엇다면 나는 벌써 군사재판에서 형장의 이슬로 사라졋을 것이다............라는 말을 하며 반전을 이야기 하기도 햇습니다.. In Frankenheimer’s film, Casey comes to learn that Scott and the rest of the Joint Chiefs of Staff plan to stage a military takeover of the US government, removing Lyman and his cabinet. Under the plan, a secret unit will seize control of the country’s radio, telephone and television networks. Lyman and Casey work to stymie Scott’s plans, without, however, disclosing their existence to the American public. The film has numerous chilling and prescient aspects, and points to the cancerous and sinister growth by the early 1960s of the “military-industrial complex” and the fragility of American democracy at the height of postwar prosperity. What is its hollowed-out condition six decades later? -지금은 더 하지요... 지금은 이런 문제의식 조차 갖지 못 할 만큼....사람들의 생각과 의식은 국가 민족 애국 자본주의에 찌들어저 잇습니다. The final confrontation between Lancaster-Scott and Douglas-Casey goes like this, with Scott leading off: –You’re a night crawler, Colonel. A peddler. You sell information. Are you sufficiently up on your Bible to know who Judas was?… I asked you a question. –Are you ordering me to answer, sir? –I am. –Yes, I know who Judas was. He was a man I worked for and admired… until he disgraced the four stars on his uniform. 영화 감독이자 활동가인 올리버 스톤은 RT의 'Going Underground 와의 인터뷰에서 말햇지요. -케네디가 식민주의에 반대하고 냉전 종식을 추구햇기 때문에 살해되었을 수도 있다(물론 사실관계는 별론입니다) -이는 미국의 급속한 성장과 더 강력해 지는 군사 및 정보 분야의 야심에 거스르는 것이엇다. -JFK의 암살은 "특히 케네디 이후의 모든 대통령에게 "특정 선을 넘지 말라"는 "경고" 역할을 했다. -케네디 암살은 "관련된 어떤 한 사람 보다 더 큰 힘이 있다는 것을 미국 국민들에게 -무의식이긴 햇지만- 매우 분명히 했다". 올리버 스톤의 이런 인식에 대해선 당연히 반론이 잇을 수 잇습니다. 다른소린...케네디가 스톤이 생각 하고 잇는 그런 진보적인 정치인 이라 생각하지 않습니다. 단지 그 시대의 묘한 흐름이 케네디를 진보적인 정치인 이란 프레임을 선물 한 것이라고 봅니다. 월남전을 확전 시킨 대통령이 존 f 케네디 이고 . 5.16 쿠테타의 배후가 케네디라는 주장이 전혀 근거가 없는 것도 아닙니다. 피그만 계획을 세우고 실행한 사람도 케네디 이고...개 망신만 당햇지요. 큐바 위기는 케네디가 스스로 만들고 스스로 핵 전쟁 직전 까지 휘 몰아간 ...인류의 생존을 건 극단적으로 위험한 도박이엇지요. 케네디가 식민주의에 반대하고 냉전 종식을 추구 햇는지는 .....솔까 잘 모르겟습니다..하지만 미국의 기준으로 하면 (미국 미친개들의 기준...한국의 수구 꼴통 갱상도 쥐쇗끼들의 기준) 케네디가 미국의 패권에 컬끄러운 존재 일 수 는 잇엇겟지요. 미국의 어떤 대통령도 미국 패권주의, 미국 군사주의, 미국 예외주의에 예외인 대통령은 없엇다........크리스 헷지스 제주 강점마을을 방문 중인 올리버 스톤 이 제주 군사기지는 노무현이 입안하고, 이명박이 완성시켜 지금까기 운영되고 잇습니다. 미국의 죶만 빨아 중국과 전쟁을 준비해야 한다는 미츤개들에겐 강점 군사기지가 탁월한 결정일 수 잇겟지만 전쟁이 아닌 다른 방법을 생각하고 잇는 사람들에게 ...노무현의 셈법이 얼마나 진보적인 것인지 함 물어 보고 시포요. 다른소리가 가장 싫어 하는 정치인이 노무현이라고 햇지요?? --전두환이 빼고..야는 정치인이라고 할 수 없는 잡견이고 박그뇌 보다 솔까 더 싫습니다. 다른소린 노무현이 정말 환장하게 싫습니다....노무현의 노 짜만 들어도 얼굴의 털이 서요. 노무현교 추종자+갱상도 종들은 전광훈 할렐류야 부대들 보다 더 꼴 보기 싫습니다. A good number of Douglas’s films will endure. He had the energy and intelligence, and talent, to shed light on American life in a manner that encourages criticism and independent thought. |