“ The Lusty Men”評論：Nicholas Ray的牛仔競技情節劇是經典的值得重新審視

在周日下午的一個寒冷的周日下午，這部經典電影通常歸結為我的硬幣。這一天有40年代，50年代的情節劇氛圍嗎？

When I’m looking for a classic film to watch on a chilly Sunday afternoon, I often decide with a coin toss.

當我正在尋找一部經典的電影在周日下午的寒冷中觀看時，我經常決定用硬幣折騰。

Does the day have a ’40s, ’50s melodrama vibe? That usually means it’s Douglas Sirk or Nicholas Ray time. And if there’s a Ray film I haven’t seen yet popping up on the usual classic film menus, sometimes I don’t even bother tossing that coin.

這一天有40年代，50年代的情節劇氛圍嗎？這通常意味著是道格拉斯·塞克（Douglas Sirk）或尼古拉斯·雷（Nicholas Ray）時間。而且，如果有一部射線電影，我還沒有看過通常的經典電影菜單，有時我什至不用扔硬幣。

“The Lusty Men” has a homoerotic title, Robert Mitchum and Arthur Kennedy and a rodeo setting with Susan Hayward as the woman set up to “come between them.” The possibilities in that are many, considering its bisexual director and the ways he toyed with male relationships and female archetypes in such classics as “Rebel Without a Cause” and “Johnny Guitar.”

“ The Lusty Men”具有同性戀的頭銜，Robert Mitchum和Arthur Kennedy，以及與Susan Hayward的牛仔競技表演，因為該女子在“之間來”。考慮到其雙性戀導演以及他在經典中扮演男性關係和女性原型的方式，其中的可能性很多。

Sure enough an overtly “butch” woman or two slips past the censors, even if they aren’t the focus of the movie. Even if the plot of “Lusty” lapses into the predictable, there’s sure to be something interesting to unpack in a Ray picture.

果然，即使他們不是電影的焦點，也有一個公開的“ Butch”女人或兩條滑過審查員。即使“ Lusty”的情節陷入了可預測的範圍之中，也肯定會在射線圖片中打開一些有趣的東西。

“Lusty Men” is groundbreaking in a much more conventional way. Rodeo had been featured in some of the earliest silent films, which used real life rodeo competitors to show off their roping, riding and cow-punching skills. But it was an alien world to the Wisconsin-born, former Frank Lloyd Wright apprentice, folk-music-connected, Federal Theatre Project trained Ray.

“ Lusty Men”以一種更傳統的方式開創性。牛仔競技表演曾在一些最早的無聲電影中出現，該電影使用現實生活牛仔競技表演的競爭對手展示了他們的繩索，騎行和牛牛的技巧。但這是威斯康星州出生的前弗蘭克·勞埃德·賴特（Frank Lloyd Wright）學徒，民間音樂連接的聯邦劇院項目訓練雷的外星世界。

So Ray makes this love triangle melodrama a rodeo “explainer,” using grandstand announcers to detail the rules and traditions and dangers of each event. Real rodeo footage is edited into events that “legendary” bull rider Jeff McCloud (Mitchum) and cowhand/protege Wes Merritt (Kennedy) compete in.

因此，雷（Ray）將這種愛情三角形戲劇劇成為牛仔競技表演的“解釋者”，使用看台播音員詳細介紹了每個事件的規則，傳統和危險。真正的牛仔競技錄像被編輯為“傳奇”鬥牛騎士傑夫·麥克勞德（Mitchum）和牛角/普羅蒂格·韋斯·梅里特（Kennedy）參加的事件。

Editing emphasizes the man-vs.-beast violence of the sport, especially in those “safety last” good ol’days when even veteran cattlemen didn’t know diddly about how to evade a goring/stomping by a Brahma bull who doesn’t like to be ridden and just “threw” you.

編輯強調了這項運動的野獸暴力，尤其是在那些“安全最後”的好ol時，即使是經驗豐富的小伙子們也不知道如何逃避婆羅門公牛喜歡騎行，只是“扔”你。

Safety and rodeo clowning evolved over the decades. But the character “types” and the reasons they do what they do haven’t changed in “The Wildest Show on Earth.”

在過去的幾十年中，安全和牛仔競技表演的演變發展。但是角色“類型”以及他們所做的事情的原因並沒有改變“地球上最瘋狂的表演”。

It’s a way for fellows far from the center of the universe with an archaic professional skill set to change their luck, their fate and their cultural invisibility.

對於遠離宇宙中心的研究員來說，這是一種古老的專業技能，可以改變他們的運氣，命運和文化隱形。

“For a little bit there,” crusty rodeo cowboy Jeff intones, “you’re a lot more than you was.”

“那裡有一點，”硬皮牛仔兄弟牛仔傑夫·伊特恩斯（Jeff Intones），“你比以前要多得多。”

But that isn’t what married man Wes will admit to when he talks about his motivations for trying his luck

但這不是已婚男人韋斯談論自己的運氣動機時所承認的

“A fella’s bankroll could get fat in a hurry, rodeoin’,” Wes muses. “I wanna toss a rope over my own cow, just once.”

“小伙子的資金可能會趕緊變得胖，rodeoin'，”韋斯沉思。 “我想只一次將繩子扔在自己的牛上。”

He dreams of owning their own place. Jeff has met Mrs. Merritt (Hayward). And whatever she says about their current state — her keeping a modest cabin that’s not their own, him just a ranch hand with access to a war surplus Jeep — everybody involved knows the stakes.

他夢想著擁有自己的位置。傑夫遇到了梅里特夫人（海沃德）。無論她對他們目前的狀態所說的話 - 她保持一個不屬於自己的謙虛的小屋，他只是一隻帶有戰爭多餘吉普車的牧場手 - 每個人都知道這些賭注。

Jeff has taken one fall too many, “busted my last three ribs” and just limped back “home” to Big Springs, Texas. He ducks into the dusty hovel he grew up in, jaws with the old timer (Burt Mustin) who owns the family “ranch” now, and meet the Merritts, who keep stopping by.

傑夫（Jeff）跌倒了太多，“打破了我的最後三根肋骨”，然後又回到了德克薩斯州的大泉水中的“家”。他躲進了他長大的塵土飛揚的小屋，與現在擁有家庭“牧場”的舊計時器（伯特·梅丁）的下巴，並遇到了梅里特人，他們不斷停下來。

The Merritts need $5,000 to buy the Old McCloud place from old Jeremiah. And they ain’t getting there fast on cowhand cash.

梅里特斯需要$ 5,000才能從老耶利米購買舊的麥克勞德地方。而且他們並沒有以牛肉現金快速到達那裡。

“Wes tells me you once made three thousand dollars in one day, rodeoin,'” Louise asks.

路易絲問：“韋斯告訴我，你曾經有一天賺了三千美元。”

“That’s right.”

“這是正確的。”

“And threw it all away,” she quizzes.

“把它全部扔掉了，”她問。

“Oh, I didn’t throw it away. It just sorta’… floated.”

“哦，我沒有把它扔掉。只是有點……漂浮。”

Mitchum, the quintessence of manly cool in his day, is effortlessly credible as McCloud, a tough guy who rode hard, earned big and partied and frittered it all away on fancy saddles, boots and a cowboy’s idea of high living.

米奇姆（Mitchum）是當時的男性涼爽的精髓，他毫不費力地信任麥克勞德（McCloud），他是一個堅強的人，他艱難地騎著巨大的努力，贏得了大而奮鬥，並在花哨的馬鞍，靴子和牛仔的高生活觀念上都陷入了困境。

Louise may be tempted by the dollar signs, the shortcut her man might master to get them to their $5k quicker — if he doesn’t get hurt or killed. But most of her reservations are given voice by others.

露易絲（Louise）可能會被美元標誌所吸引，如果他沒有受傷或殺死他的男人，她的男人可能會掌握他們的捷徑更快。但是她的大多數保留都由別人發出聲音。

Crusty Jeremiah describes the McClouds as “the most shiftless family ever to hit these parts.” A lady rodeo performer (“Ain’t no ladies around here,” cracks notwithstanding) wants to know if “Jeff ever made a pass at you,” on meeting Louise. Other women swoon or sulk at hearing Jeff’s name, and about his mentor/”partner” relationship with Wes, once he’s gone behind his wife’s back and started competing.

硬皮耶利米（Jeremiah）將麥克勞德（McClouds）描述為“有史以來最不可移動的家庭。牛仔競技表演的一位女士表演（“在這裡沒有女士們”，儘管有裂縫）想知道“傑夫曾經向你通行證”，見到路易絲。其他女性在聽到傑夫的名字中昏昏欲睡，以及他的導師/“伴侶”與韋斯的關係，一旦他走到妻子的背後並開始參加比賽。