琼斯皇 (1933)
Emperor Jones
琼斯皇 是美国著名戏剧家奥尼尔的知名剧作。通过长期生活于西方世界的黑人琼斯在其本源文化区的特定情境遭遇和艰难求生的痛苦体验，奥尼尔向我们展现了殖民统治下黑人身份认同的焦虑以及殖民文化戕害下黑人扭曲、分裂的悲剧心灵，隐喻了现代人在文化压抑与撕扯下的悲剧性处境。
- 上映日期
- 1933-09-29
- TMDB
- 5.6 / 10 (29)
- 片长（分钟）
- 1小时13分钟
- 类型
- 剧情, 音乐
- 导演
- Dudley Murphy
演员阵容
- Paul Robeson — Brutus Jones
- Dudley Digges — Smithers
- Frank H. Wilson — Jeff
- Fredi Washington — Undine
- Ruby Elzy — Dolly
- George Haymid Stamper — Lem
- Billie Holiday — Extra in Nightclub Scene
- Moms Mabley — Marcella
- Rex Ingram — Court Crier
- Harold Nicholas — Young Tap Dancer
趣闻
- 预算：US$26.3万
- 改编自：琼斯皇
The Emperor Jones is a 1933 American pre-Code film adaptation of Eugene O'Neill's 1920 play of the same title, directed by iconoclast Dudley Murphy, written for the screen by playwright DuBose Heyward and starring Paul Robeson in the title role, and co-starring Dudley Digges, Frank H. Wilson, Fredi Washington and Ruby Elzy.
Production
The Emperor Jones was planned for ten days of location shooting in Haiti, but budget restrictions required shooting the film in the Astoria studios, underutilized following to the abandonment of the industry for the West Coast. Murphy was restricted to a trip to Haiti to bring back extras, musicians and dancers.
The producers, director and screenwriter were required to present the screenplay to Eugene O'Neill before filming could commence. They were apprehensive because they had added material by making new scenes from the stage monologues, but O'Neill gave the screenplay his blessing, saying that the group had "written a fine three-act play." O'Neill received $30,000 for the rights, which he badly needed for an expensive summer home that he had just pur…
Dudley Murphy and screenwriter DuBose Heyward had both been experimenting in using imagery held together by the film's music, rather than by dialogue or narrative. In the case of The Emperor Jones, Murphy was trying to do both, not always successfully. Robeson would later complain that Murphy was condescending toward him and that he was rushed through important scenes. Murphy had no theater background and some reports indicated that William C.
Emperor Jones also suffered at the hands of the Hays Office, whose Production Code was in place and had been since 1930, if only haphazardly enforced until the arrival of censor Joseph Breen the following year.
Black-on-white violence was strictly forbidden, so a scene in which Jones kills a sadistic white prison guard had to be removed, leaving a gap in the action. Scenes depicting Haitian women smoking and one showing a white trader lighting a cigarette for the Emperor were also cut.
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