愤怒的葡萄

当初这片子不能在苏联上映，是因为美国的穷人在吃不饱饭的时候，竟然可以有辆车开来开去，有美化“邪恶资本主义”部分。我觉得不止这一点，片中牧师因为殴打警察而被抓去，随后能安然无恙的放出来；以及乔一家由于不满农场主工资随便可以自由离开农场等。都在某种情况下给人以一种不可思议的错觉。我觉得站在他们当时那个立场也不是并无道理。美国当时就算是经济危机大萧条再加上自然灾害，也还是世界上最发达的国家。所谓瘦死的骆驼比马大，穷困到极点的美国农民看起来也比其他国家体面，也有基本的人性价值观，也有维护尊严和追求自由地权利。这些是真正贫穷的国家人民所盼望却得不到的。

为什么呢?
因为社会发展水平达不到。“马克思认为物质生产水平决定上层建筑。”对于这句话，世人都清楚，但是经常抛之脑后而去追求那些虚无缥缈的目标。比如我们在物质水平还很匮乏的阶段，期望有着和美国一样的社会结构和思想层次，这是很可笑的。腿还站在一楼，而手想摸到三楼。这必然会导致整个身体各部分肌肉的撕扯，以及心中由于差距的存在而迅速累计的自卑感。人的社会性是有一定发展规律的，不能跳跃式前进。而其实人的本性又是共通的。倘若美国二三十年代的人如果经过那种极度接近动物的物质水生活水平和周围泯灭人性的社会舆论压力的时候，我觉的他们的表现也不会像影片中那样体面。

说回到这部电影。影片虽然是公路片，但是节奏其实并不快。氛围也保持了一致性：压抑，沉闷。偶尔有点小花，比如加油站买面包和糖果和夜晚的弹唱等让人舒缓一下，你都不知道这样的颠沛流离什么时候是个头，直到他们来到了“乌托邦”一样的农业部收容站。这里的农民自给自足，民主自治，不受讨厌的警察骚扰，还有较好的基础设施，这真是贫困农民梦想的“社会主义”啊。影片放到这，大家觉得总算是可以交代了，长舒一口气。但是，事与愿违，整个国家如此，这一块小小的土地怎么能容下所有人的期望呢！这里的农事做完，大家都还得去别的地方谋生存。颠沛流离必将继续。但是，不一样的是有两个人的已然觉醒。
一位是不愿意家庭四分五裂的妈妈。这位普通家庭妇女亲手送走了上一辈的两位老人，在月稀之夜和自己的心爱的儿子吻别，将来还要肩负着聚拢和维持家庭的责任。她已然变得更坚强更坚定了，就像她最后对丈夫说的，“女人天生忍受痛苦的能力要比男人强。男人是跳跃式的，而女人是细水长流。”活着就是她的目标。
第二位是充满着正义感的年轻的儿子。他刚从监狱保释出来，回家遭遇了这场艰苦的跋涉。最后牧师的死，让他彻底觉悟。底层的穷苦人民需要反抗，团结起来反抗，为实现美好的生活而奋斗。就像在离别之夜母亲问他，去哪可以找到他。他回答，“哪里穷人为吃饱肚子而抗争，哪里就有我；哪里有警察殴打穷人，哪里就有我；我就在愤怒呼喊的人群中，我就在闻到晚饭香而欢笑的孩子间，人们能够享用自己的粮食，住进靠双手建造的家中时，我就在其中。 ”如此的大义凛然，如此的坚定不移，我们有理由相信这样的年轻人日后肯定会掀起革命浪潮。

影片到尾还是给了观众一个交代，一点星星之火。所以这部影片可以说是一部披着现实外衣的理想主义作品。

This is a almost flawless adaption to one of my favourite Steinbeck classic novel The Grapes of Wrath.John Ford created an excellent piece of work that captures a very special period of American history when so many people and families lived under the shroud of the Great Depression.Lots of farmers in the county suffered from the effects of the economic dislocation and left the farms for the industrial job opportunities in big cities.The same goes characters of the Joad family in this flim.Despite the deep affection of their own land which they had lived on for several generations,they had to run off of their land in Oklahoma due to the never-ending frustrating drought and poverty.
Perhaps it's not easy to imagine a time when basic needs were such a struggle to obtain from today's perspective,whick made it simply not impossible to feel deep sympathy for every hardship the Joad families encountered.During the migration,they refuse to lose every small opportunity to make a living .Even after all of the suffering the Joad family goes through, the clinging hand of hope still firmly hangs on.We are reminded of their strength and working-class principles in the scenes where Ma Joad says to her husband, who loses hope, that we are the people, and when Tom Joad says that he sees himself as apart of one collective soul of humanity and that he feels connected to everyone who gets a bum rap by society.
The movie wouldn't be the same without the extraordinary performances of the cast.Henry Fonda comes across perfectly as Tom Joad and this is definitely one of his finest work of acting which put him into a legend in his later career.Jane darwell's role as Ma Joad made her win the Best Supporting Actress of 1940 Oscar.She captures the tough-as-nails dignity that the character has in the novel.Her remarkable and heartbreaking performance moved me to tears when I watched this film for the first time.Besides Henry and Jane, the other supporting cast also did an exceptional job.They succeed in making us believe these are real people, not just incomplete figures that revolve around the main characters.
The Grapes of Wrath was undoubtedly one of John Ford's finest pictures and this movie consolidated Ford as a master of his craft.His stark and shockingly realistic portrayal of a poor family in the Great Depression and dust bowl remains one of the most moving films in history.
Gregg Toland's spectacular cinematography should also take credit for this beautiful visual composition.Although there were some scenes that it was easy to tell that there was a painted backdrop,there are so many frames that could stand as works of photographic art,which make this film shedssuch a belief with beauty and charm

Henry Fonda (as Tom Joad): You know what I've thinking about? About Casy, about what he said, what he done, about how he died. And I remember all of it.

Jane Darwell (as Ma Joad): He was a good man.

Henry Fonda (as Tom Joad): I've been thinking about us, too. About our people living like pigs and good, rich land laying fallow. Or maybe one guy with a million acres and 100,000 farmers starving. And I've been wondering if...all our folks got together and yelled...

Jane Darwell (as Ma Joad): No Tommy, they'd drive you out and cut you down. Just like they done to Casy.

Henry Fonda (as Tom Joad): They are gonna drive me anyways. Sooner or later they'd get me, for one thing if not for another. Till then

Jane Darwell (as Ma Joad): Tommy, you're not aiming to kill nobody?

Henry Fonda (as Tom Joad): No Ma, not that. That ain't it. It's just...Well, as long as I'm an outlaw anyways, maybe I can do something. Maybe I can just find out something. Just...scrouge around and maybe find out what it is that's wrong. Then see if they ain't something that can be done about it. I ain't thought it all out clear, Ma. I...I can't I don't know enough.

Jane Darwell (as Ma Joad): How am I gonna know you, Tommy? Why, they could kill you and I'd never know. They could hurt you. How am I gonna know?

Henry Fonda (as Tom Joad): Well, maybe it's like Casy says. Fella ain't got a soul of his own, just...a little piece of a big soul. The one big soul that belongs to everybody. Then...

Jane Darwell (as Ma Joad): Then what Tommy?

Henry Fonda (as Tom Joad): Then it don't matter. I'll be all around in the dark, I'll be everywhere. Wherever you can look. Wherever there's a fight so hungry people can eat, I'll be there. Wherever there's a cop beating up a guy, I'll be there. I'll be in the way guys yell when they're mad, I'll be in the way kids laugh when they're hungry and they know supper's ready. And when people are eating the stuff they raise...living in the houses they build...I'll be there, too.

趁還想著，趕緊記錄下來。

1.
MA
        Then what, Tom?

TOM
        Then it don't matter. Then I'll be all aroun' in the dark. I'll be ever'where--wherever you look. Wherever there's a fight so hungry people can eat, I'll be there. Wherever there's a cop beatin' up a guy, I'll be there. I'll be in the way guys yell when they're mad--an' I'll be in the way kids laugh when they're hungry an' they know supper's
ready. An' when our people eat the stuff they raise, an' live in the houses they build, why, I'll be there too.

MA
        (slowly)
        I don't understan' it, Tom.

TOM
        (drily)
        Me neither.
        (Rising)
        It's jus' stuff I been thinkin' about. Gimme you han', Ma. Good-by.
        (He climbs over the fence)

MA
        Good-by, Tom. Later--when it's blowed over--you'll come back? You'll try to fin' us?

TOM
         Sure. Good-by.

MA
         Good-by, Tommy.




2.
Ma places her hand on one of Pa's and pats it.

MA
         Woman can change better'n a man. Man lives in jerks--baby born, or somebody dies, that's a jerk--gets a farm, or loses one, an' that's a jerk. With a woman it's all one flow, like a stream, little eddies, little waterfalls, but the river it goes right on. Woman looks at it like that.

AL
          (at the jalopy ahead)
          Look at that ol' coffeepot steam!

PA
          (thinking of what Ma says)
          Maybe, but we shore takin' a beatin'.

MA
          (chuckling)
          I know. Maybe that makes us tough. Rich fellas come up an' they die, an' their kids ain't no good, an' they die out. But we keep a-comin'. We're the people that live. Can't nobody wipe us out. Can't nobody lick us. We'll go on forever, Pa. We're the people.
          (She says this with a simple, unaffected conviction)

我们再也回不去了，对不对？

生活从来是不和我们开玩笑的，如果你觉得那是个玩笑，那只是因为你不懂得生活。

三代才可能出一个贵族，而且多数人富不过三代。但是，最底层的穷人，从古到今，却一直都在。

美国二十世纪三十年代失去土地的农民，面对传统农业自然经济的解体，先是愤怒，反抗，但生产力和生产方式终会适应的不可逆的规律，使得他们的反抗最终不了了之，正如影片的结尾那样，老爸还在为过去的好时光而忧伤，而老妈面对旧有的生活方式的失去，反而是随意而安的态度，而这种态度，也是所有国家在面对自然经济解体，所应有的态度。

一个国家走上工业化之路之后，无论民众有多么的不理解，有多少的牺牲要做，还是无法再回头了。

而稳固的工业文明需要橄榄结构，需要有大量的中产阶层的出现，而维持足够的中产阶层的出现，就要改变旧的社会阶层结构，首当其冲的就是要减少传统意义上的农民，而使得有足够的城市蓝领工人或农村蓝领农业工人出现，同白领脑力劳动者和大规模种植的农场主配合，保证社会渐渐形成橄榄结构。

大家一定要注意到，这一转变，会带来生产力的大踏步发展，同时也带来了旧有的小农意识的消逝。所谓任何事物都是双刃的，所有事物的进步都是有得有失。而每一次大的生产方式变革发生时，都有很多人的利益被蚕食，这是历史的必然，如果你能认识到这一点，你就会有影片结尾老妈妈的坦然。

美国从愤怒的葡萄的时代走到现在，美国的农民现在每年能从政府那里拿到大量的农产品补贴，生活的不错，美国的农民现在不再愤怒，当他们祖辈经过了痛彻心扉的洗礼后，渐渐的适应了全新的生产方式，并从这种适应生产力的生产方式中渐渐的得到好处以后，当下的人们从祖辈的愤怒变成再也不想回到老路上了。

而现在想想当下中国的农民进城运动，许多人表现的愤怒与愤怒的葡萄很相似，但这个过程，是不可逆的，牺牲总是要做的，而只要政策制定和调整的合理，未来我们在转型之后，一定会走上真正的强国之路。而在重要的历史转型期，失去奶酪的人们一定要看看《愤怒的葡萄》，想想结尾老妈妈的话，面对动荡多变的生活，让我们随遇而安吧……

一直以为《逍遥骑士》是第一部公路片，现在明白了，早在1940年的愤怒的葡萄早有了公路片该有的元素，破卡车，沿公路西行，不断邂逅的人与事。

导演是否美国共产党？影片的左派色彩如此强烈，好、坏、正、反对比犹如黑白两色。普通百姓都是善良的，哪怕是随便一个加油站杂货店，店员和卡车司机也如此有人情味。
如果本片换成中国演员，卡车换驴车，摘葡萄改为割麦子，片名改为《愤怒的人民》，那不就是一部我国解放初期揭露资本家黑暗且人民自觉的主旋律片？
也就四十年代可以公映，到了麦卡锡时代，嘿嘿~

非常佩服片中的卡车，看起来破烂不堪，随时有散架的可能，但偏偏能西行千余公里无需修理，怪不得赫鲁晓夫不让苏联公映该片，美国卡车质量好成这样，苏联的咋办？美国的赤贫阶层在经济大萧条时也能置办一辆破车，苏联生活在蜜糖中的人民咋办？