金衣女人

看到最后才知道这是根据真事改编的，确有其画及其事，影片最后说海伦米勒打算把画留在奥地利。

实际中，画作持有者以1.35亿美元把画卖给纽约某博物馆。

通过海伦米勒的回忆不断闪回1938年的场景，但是对纳粹对犹太的迫害刻画流于一般。

唯有令人感叹的是法治社会中个人通过法律对抗奥地利政府，最终索回属于自己的东西。

即使你是一介草民，你也可以通过法律来捍卫自己的权利。

这在我们这里似乎是个很遥远的事情。

瑪利亞想要討回的是事隔五十年後，奧地利政府與人民的一句道歉；還有當年被迫嶄斷的親情。

電影到了最後，瑪利亞終於爭取到屬於她家的傳家寶﹣她阿姨的肖像，但是勝利過後，她卻沉默至潸然淚下﹣肖像回來了，可是消逝無法彌補的親情沒有人可以還給她。

她想到了告別時候父母微笑地對她說, take us in your heart and live a happy life.

风云激荡的二十世纪上半叶，有太多传奇性的故事上演。

第一次世界大战的硝烟尚未完全平息，第二次世界大战又卷土重来。

审视战争，它不仅仅是教科书上那一串串冰冷的死伤数字，它包含一些民族对另一些民族的践踏与藐视，而这种践踏与藐视不仅仅包含了对国民生命健康权的践踏，也包含了对一些民族文化上、艺术上、价值体系上的强盗式的掠夺与占有。

我们是逐渐远离历史的一代人。

我们生来就不知道战争为何物。

对战争的了解，只是凭借影像塑造的英雄和书籍构筑的血肉。

我们无法穿越时空，去触摸到战争中的人性。

千篇一律的战争片里炮弹横飞、火光冲天也难免审美疲劳，能触摸到的活生生的死亡毕竟是战争带给我们的最直观记忆。

严格来说，《金衣女人》这部影片是一场小人物对抗强权的“维权之路”——出生于一个高贵的犹太裔家庭的女主人公玛利亚.阿尔特曼联合自己的律师兰迪，要夺回68年前被纳粹掠夺、现存于奥地利美景宫的一副家传名画——《金衣女人》（画上的女主人公是玛利亚的舅妈阿黛尔）。

这幅市价高达一亿美元的画作是当年阿尔特曼的家族好友，一位当时颇有名望的画师——克里姆特所作。

画作完成后，玛利亚的父亲就将这幅画挂在了家里最显耀的客厅正中央。

1948年，纳粹扫荡了他们的家，带走了那幅《金衣女人》和克里姆特的其他一些画作。

“我是不得不耗费一切力量，让记忆活下去，当然，还有正义。

”固执而坚定的信念支撑着年逾古稀的玛利亚暗暗发誓要让属于家族的记忆得到延续。

她在与政府博弈的漫漫诉讼之路上，只为讨一个正义的说法——要求奥地利政府承认他们当年的掠夺是非法的。

（当然这遭到了奥地利政府的强硬回绝）。

不过，该片在拍摄手法上又与一些“维权片“有着显而易见的高下之分。

它并不是冷冰冰的讲述整个“民告官”的艰辛过程，而是在讲述过程中，回忆与现实交错并置：玛利亚在收拾妹妹的遗物时，在妹妹的信件中发现了这幅背面印有金衣女人的明信片，旧时光跃然眼前，呈现出古旧的暖黄色，她的舅妈告诉她，她唯一的问题就是恐惧。

正是这如同神一般的已逝的舅妈的“指引”，给玛利亚在潜意识里注入了坚定的力量：玛利亚决定战胜恐惧，独自面对这个棘手的难题，她连夜打电话给兰迪，于是他们二人踏上了漫漫的维权路；飞机上的玛利亚做了一个梦：梦见纳粹的军车在街道上堂皇驶过，她突然被震醒；坐在汽车上，望着车窗外的景色，突然又想起了自己的舅妈，玛利亚看到闪着金光的政府大楼，舅妈阿黛尔仿佛坐在露天咖啡馆里对她微笑，这仿佛是舅妈暗中给予玛利亚的又一次希望之光，预示她的诉讼的前途将是光明的；到了酒店以后，玛利亚从镜子中望见了自己的过去：玛利亚的婚礼现场，一大家子人正在跳舞。

到目前为止，回忆与现实交错的画面一共出现了4次，这第四次时光倒流的画面，是玛利亚正式作为主人公出现在旧时的画面中，因为此时的她，刚刚结婚，人生即将展开新的篇章，舅妈的指引退到了后景；玛利亚在博物馆参观金衣女人这幅画，解说员讲解着，她又一次陷入了沉思：她的舅妈抱着她，然后她看到了纳粹游街的情景，之后纳粹的军警将阿尔特曼家族的所有人软禁起来。

此时，回忆中的色彩趋向于苍白，不再是舅妈出现时的暖金黄色，预示着阿尔特曼一家即将遭受一场灭顶之灾，画面的色调格外冷峻；而到了第6次时光倒流的画面，是现在时空中的玛利亚在维也纳的一处橱窗中望见了过去和自己的歌唱家丈夫出逃前的情景：他们两人历经艰险，从药店的后门逃了出去，机智的玛利亚在过安检时编了个谎言，说他们夫妇二人要去科隆接替一个男中音演唱，所以走的匆忙没拿行李，混过了检查官，紧接着，却又被告知去科隆的飞机延误。

到此时，回忆里的色彩的温度已经降至近于浓黑色，天上飘着雪花，不过，玛利亚夫妇二人终于还是坐上了飞往科隆的小飞机，从此与家人天各一方；当法院最终判决玛利亚胜诉的时候，玛利亚倒在兰迪怀里哭了，泪眼朦胧中的玛利亚仿佛穿越时空回到了父母身边，那时她正与父母告别，三人抱头痛哭；影片行将结束之时，玛利亚来到了昔日自己的家，现在是奥地利政府所在地大楼，她礼貌的走进去，推开门，回忆的气息扑面而来：她依次看到了过去的亲人，她结婚时大家跳舞的情景，她像一位观众为自己和家人鼓掌，一扇扇门自动敞开，她径直走到挂着金衣女人那幅画的客厅里，画上的舅妈正向玛利亚微笑，而玛利亚看着这幅画，也露出了会心的微笑——两个女人，穿越时空的68年，终于，在最后一刻，完成了精神上的交汇。

舅妈终于可以回到属于自己的家了，而玛利亚也光荣的完成了自己的任务。

应该说，《金衣女人》的结局还是美式的“大团圆”。

换句话说，是一场“美式正义的胜利”。

因为最后的审判地是在美国。

影片的一个显著特色就是弱化了这种尖锐的对立，在整个影片的行进过程中，闪回画面与现实境况共同连缀起玛利亚断裂的记忆，而这种温情脉脉的夹杂着暖黄色回忆的拍摄技巧，也给影片镀上了一层诗意的色彩。

观众借由玛利亚的回忆看到了那段黑暗历史的另一侧面：在这个故事里，没有血腥与暴力交织，但同样让人毛骨悚然：对文明的掠夺就是对民族之魂的漠视，它同皮肉之损有着本质的区别，一者伤经动骨，一者摧毁信仰。

该片鲜见玛利亚对纳粹的激烈控诉，兰迪作为她的代理律师，已经替玛利亚充分阐明了他们的立场。

他们要的，仅仅是一个公正的裁决，而这迟来的名画归家路，他们走了68年；这场迟来的道歉，他们等了68年。

儿时鲜亮温暖的记忆与恐怖战栗的记忆穿插在玛利亚的生命里，终其一生，她都要背负着这些或明或暗的记忆坚强的活在这个世界上，而舅妈的面容也会像金色的阳光一样，照耀她前行的道路。

Simon Curtis’ legal drama, "Woman in Gold," is based on the true story of an American Jewish refugee from Austria who fights to reclaim a famous Gustav Klimt painting stolen from her family by the Nazis during World War II. It's a haunting film that speaks to the hearts of millions who have sought to reclaim their past, stripped from them 70 years ago. VOA's Penelope Poulou reports.导演西蒙·柯蒂斯的法律电影《金衣女人》是根据真实故事改编的。

影片讲述了从奥地利逃亡的美籍犹太人为收回二战期间纳粹从她家掳走的明华艾蒂儿肖像一号而斗争的故事。

这部让人难以忘怀的影片说出了千万想寻回70多年前被剥夺的一切的人的心声。

Fifteen years ago, Maria Altman hired a young lawyer, a family friend, to help her sue the Austrian government to recover the painting, which was on display at the Belvedere Museum in Vienna, home to the world's largest Klimt collection.15年以前，Maria Altman雇佣了一位年轻律师帮助她向奥地利政府诉讼讨回名画。

这幅画在维也纳的美景宫博物馆展出，这里拥有世界上最丰富的克林姆化作藏品。

The film portrays the Austrian curator as an arrogant, unyielding man who refuses to return the painting to Altman because he believes the painting belongs to Austria.这部电影逼真的描绘了一位傲慢偏执的奥利拉博物馆馆长。

他拒绝归还化作，以为他坚信这幅画属于奥地利。

A local Austrian journalist tells Altman her chances of getting the painting back were infinitesimal because "Woman in Gold" was the Mona Lisa of Vienna. But for Altman, it was a family portrait of her Aunt Adele.一位奥地利记者告诉Altman她那会化作的机会非常小，因为这位“金色衣服的女士“是维也纳的蒙娜丽莎。

但是对Altman来说，这幅画是她的阿姨Adele的家庭画像。

Filmmaker Curtis intersperses flashbacks of the dramatic last days before Altman’s escape from Vienna during the Nazi rule in 1938, with scenes of the contemporary courtroom drama.影片制作人Curtis将纳粹统治的1938年Altman逃离维也纳前夜和当代法庭审判的场景交织呈现。

Curtis’ film also addresses the much larger issue of victims’ need for justice rendered, even 70 years after the Holocaust.在这部影片里柯蒂斯同样强调了正义的审判对受害者的重要作用，即使是在大屠杀已经过去70年后的现在。

“One of the important messages in this film is that we must remember what happened,” he said. “The 21st century is a very complicated and unstable place right now, and it is important to remember some of the lessons and some of the terrible mistakes that were made in the 20th century.”影片传达的最重要的信息之一就是我们必须要记得曾经发生过什么。

他说，“21世纪到了现在已经到了一个纷杂的、不稳定的阶段，记得过去的教训、记起20世纪所犯下的可怕的错误是非常重要的。

”Curtis says he took exceptional care to accurately depict scenes from the persecution of the Jews in Austria on the eve of WWII.柯蒂斯说他特别留心的去准确展现了二战前夕奥地利对犹太人的迫害。

“We did our best to be as authentic as possible when we were recreating the hideous events of 1938 Vienna. We actually recreated documentary photographs and video of the Germans coming to town, so we did our best to give it as an authentic feel as possible.”当我们在重现1938年在维也纳发生的可怕的事件时，我们尽力做到客观。

我们的确重现了老照片和影像资料里德国人入侵城市的景象，我们尽量给出了客观的感受。

10. Helen Mirren offers a textured performance as the refined and spirited octogenarian Maria Altman.Helen Mirren在片中精细的演绎了优雅坚强的老人Maria AltmanRyan Reynolds plays Randol Schoenberg, an untried attorney in international law at the time, who in 1998 took the case against Austria to the U.S. Supreme Court, and won. Today, Schoenberg is president of the Holocaust Museum in Los Angeles. He continues his efforts to reclaim art stolen from Jewish families.Ryan Reynolds 饰演 Schoenberg，一个当时在国际法辩护中并没有经验的年轻律师。

他于1998年接下了此案向美国最高法庭诉讼奥地利政府，并取得了胜利。

Schoenberg如今是洛杉矶Holocaust博物馆的主席。

他一直为帮助犹太家庭讨回被剥夺的艺术品而努力。

“Immediately after the war, people didn’t concentrate on material things,” he explained. “It was rebuilding lives, finding loved ones, figuring out what had happened to them, so I think it did take time for these other issues to subside and for people to focus on the few things that they still could get back and art works are, seven decades later, one of the few things that we can still do something about.”“战争刚刚结束时，人民不关心物质，”他说，“生活需要重建，寻找爱人，探寻过去究竟发生了什么。

所以我想还需要时间去平息一些事情，让人们去关注那些他们还没有讨回的少数东西，而艺术品就属于70多年后我们仍然可以为之努力的少数东西。

”The world's costliest artwork, Gustav Klimt's portrait of a Viennese lady from 1907 "Adele Bloch-Bauer I," left, hangs in New York's Neue Galerie Museum for German and Austrian Art after being unveiled by its new owner, cosmetics magnate Ronald Lauder, fa这全世界的无价之宝，Klimt与1907年画下的维也纳女士“明华艾蒂儿”如今被挂在纽约 Neue Galerie博物馆的德国与奥地利艺术馆，由化妆品大亨Ronald Lauder为期揭幕。

New York Times -- Klimts Go to Market; Museums Hold Their BreathBy MICHAEL KIMMELMAN SEPT. 19, 2006How sad — if unsurprising — to hear that the heirs of Ferdinand and Adele Bloch-Bauer are indeed cashing in, as planned, and selling four Klimts at Christie’s in November. A story about justice and redemption after the Holocaust has devolved into yet another tale of the crazy, intoxicating art market.Wouldn’t it have been remarkable (I’m just dreaming here) if the heirs had decided instead to donate one or more of the paintings to a public institution? Or, failing that, to negotiate a private sale to a museum at a price below the auction house estimates of $15 million to $60 million?To back up: Ferdinand Bloch-Bauer, a wealthy Jewish industrialist in Vienna, commissioned Gustav Klimt to paint his wife, Adele, in 1907, and again in 1913. The family also acquired three Klimt landscapes. Adele died at 43, in 1925, of meningitis. Public-spirited, she wanted her art to go to Austria.But then the Nazis came to power. They seized the Bloch-Bauer collection along with everything else the family owned. Ferdinand fled Vienna. He died in Zurich in 1946. For decades the Austrian government insisted that it had acquired the Klimts legally. The case went to court. In January the heirs won. They were led by Maria Altmann, Ferdinand’s niece, now 90 and living in Los Angeles. Her lawyer was Randall Schoenberg, the grandson of another Hollywood exile, Arnold Schoenberg.In April, Mrs. Altmann lent the five recovered Klimts to the Los Angeles County Museum of Art, saying the works would probably be put up for sale. In June, the billionaire collector Ronald Lauder bought the early portrait of Adele for $135 million on behalf of the Neue Galerie, his museum of German and Austrian art on the Upper East Side. Auction houses jockeyed to sell the other pictures. Since July all five Klimts have been on view at Mr. Lauder’s museum, where they remain through Oct. 9.It is of course only sane that Adele and Ferdinand’s heirs seek to capitalize on a booming market, even as they might, in a more perfect world, have been altruistic too. The wall label for Mr. Lauder’s portrait of Adele at the Neue Galerie is curious: “This acquisition made available in part through the generosity of the heirs of the Estates of Ferdinand and Adele Bloch-Bauer.”What exactly does that mean? Mr. Lauder was generous in paying a fortune for the picture. There might be some generosity ascribed to the heirs in lending the paintings to the Los Angeles County Museum of Art and the Neue Galerie, were it not for the fact that the museums provided presale publicity of a sort that no auction house could organize. These museums added their prestige to the value of the collection, kindling interest in the artist and in Adele, in the intellectual salons of turn-of-the-century Vienna, in the notion of historical rectitude.In retrospect it may yet come to seem a pity that the Austrians declined to buy all five works for about the same amount that Mr. Lauder paid for Adele, saying the price was too high. At least the works would all have remained on public view. Over the years they had become — in particular Mr. Lauder’s Adele — civic landmarks and tourist attractions in Vienna.They might become landmarks in Los Angeles or New York or some other city, where a museum could display them with the Bloch-Bauer name properly attached. But how well any public institution, in the United States or abroad, will be able to compete at Christie’s is an open question.Among the Klimts, the second portrait of Adele has its charms and the highest estimate. At half the estimate, a forest scene of birch trees is the real gem, and a bargain at $20 million: an Edenic mix of sharp realism and Pointillist dots receding into deep space. While Picasso acquainted himself with African art a century ago, Klimt was visiting Ravenna and admiring the mosaics. In “primitivism,” the artist’s modernism found a way to the future.How refreshing this story would have been had the Bloch-Bauers conceived a way to ensure that that birch landscape, say, ended up in public hands. In so doing they would have earned not just public sympathy for their family’s struggle but also an enduring share of public gratitude. They would have underscored the righteousness of their battle for restitution and in the process made clear that art, even in these money-mad days, isn’t only about money.Heck, they would even have gotten a tax break.Follow-upAdele Bloch-Bauer II was subsequently sold in 2016 to an unidentified Chinese buyer for $150 million, destined for his private museum.

1、Maria Altemann:你唯一的敌人就是恐惧。

2、Maria Altemann:他们绝不是受害者，大多数人都手捧鲜花，张开双臂欢迎纳粹的到来。

3、Maria Altemann:The past is past.And now we must let it go.4、我们相信《外国主权豁免法》并不是不可以追朔以前的案例。

法官：为什么不直接说它可以追朔以前的案例？

嗯？

因为问题是，什么时候应该为一个特定用途而实施司法权？

I'm sorry,我不太明白这个问题。

法官：我也确定我不知道。

5、记者：美国政府支持奥地利想驳回案例，您是否惊讶？

Maria Altemann:有些人想我快点死去，为什么不可以是美国人呢？

Why not Americans,too?6、Maria Altemann:奥利地政府不会罢手的，要去你自己去，我绝不会再回奥地利。

我不会让他们再羞辱我一次。

7、父亲：Remember us.母亲：把我们牢记在心，玛丽亚，学会重新幸福起来。

（所有快乐都是忧伤的果实）8、原谅才是最大的和平。

例如，对不起，没关系。

9、Klimt:往左去一点。

Adele,你太焦躁不安了。

Adele:我太担心了，你知道的。

Klimt:担心什么？

Adele:未来。

個人評分：★★★☆豆瓣的分又虚高了，不过瑞恩雷诺兹和女王陛下的演技还是算挽救了一把这部电影节奏和剧情氛围上渲染的不足。

读下面这句话请先深吸一口气：女王陛下这次不演女王而演的是个二战时期出逃美国半个世纪后的现在想从奥地利政府夺回当年属于自己家族的画着自己auntie的名画的犹太女人，而Ryan Reynolds则是个辅助女王夺画的同样祖籍奥地利贵族的小律师。

乍一听梗概其实也能猜到是个感性基调的人文故事，不至于很难看，但高潮部分并不出彩。

但由于电影的真实故事改编背景会让你顺带了解一段历史，所以不至于太无趣吧。

Ryan Reynolds在可遇见的未来应该有机会能有一樽小金人，起码提名问题不大。

早于时代一百多年，卡夫卡预言了个人在官僚时代的生存处境。

卡夫卡准确的预见了这种处境的本质，却猜不出它会以什么样的具体形式出现。

也许还要过上一百多年，人们才能站在一段距离之外，看清集中营和社会主义，其实就是卡夫卡预言的实现方式。

比起死去的千千万万犹太人和十多万个被抢夺的艺术品，让我触目惊心的是Aunt Adele 变成了没有名字的 Woman in Gold。

个人时代的财富是一种精致的生活。

Cello因为拥有者对于音质的追求而有价值，黄金因为独特的色泽而融入了一幅浑然天成的艺术品中，钻石因为闪亮而复杂的光影衬托着主人高贵而独特的个性。

非人时代的财富是一串数字。

Adele的脸消失在了黄金之后，钻石戴在毫不相称的人身上，匹配的只是地位和售价。

人们在艺术馆欣赏的不是一位优雅女性的灵魂，而是一种想象中的民族荣耀。

个人时代的精英将世俗的财富变为精致的艺术品，将意志上升为国家机器的大众们将精致的艺术品变为高速公路和大众汽车。

大音乐家的孙子成为了律师——这个时代的精致是围绕着追求数字本身而构建的制度丛林。

Aunt Adele在画中想留下的是时间，留给自己和自己的家人，但是她再也没有了家，只能呆在博物馆中，无从选择的被千千万万只看到黄金和民族主义的过客打量。

这段历史的确应该记住，但是值得记忆的不是罪行，而是那个曾经真实存在过的个人世界。

痴迷于文艺片，同时却也钟情各种二战题材作品。

看了很多二战影片，这一部虽然没有往常二战题材中的血腥、沉重和硝烟场景，有的只是犹太人后裔恬静、美式的田园生活。

偏偏从这个角度带着我透过女主的回忆，和基于以往看二战片的记忆和想象力，从女主的记忆碎片中再一次感受到了历史的冲击。

掠夺、杀戮、分离、逃亡。

我们看了很多二战片，看到了各种人权、财产、生命的侵犯和掠夺，我们同情、缅怀、伤痛、惋惜，反之我们很少想到作为这段历史的当事人，犹太人、犹太人的后代、纳粹党、纳粹党的后代，他们背负的是怎样的伤痛。

昨晚和男友回顾了《辛德勒的名单》，善良敏感的男友看了一会儿觉得太depressing看不下去了，我安慰他说baby这是历史，我们应该去面对，但所幸的是我们所生活的世界再也不是这样了，现今社会尊重人权，反对霸权主义，抵制种族歧视，援助战争受难者，这样的历史再也不会重演了。

影片最后女主鼓起勇气走进旧居，还和前台小伙说起了德语，这与最初她在酒店前台拒绝说德语坚持用英语交流形成了对比，很巧妙的前后呼应。

可以说明她已经决定接受历史面对现实，真正的“let it go”了。

最后，向所有二战受害者与受害者家属及后裔致敬。

Simon Curtis’ legal drama, "Woman in Gold," is based on the true story of an American Jewish refugee from Austria who fights to reclaim a famous Gustav Klimt painting stolen from her family by the Nazis during World War II. It's a haunting film that speaks to the hearts of millions who have sought to reclaim their past, stripped from them 70 years ago. VOA's Penelope Poulou reports.导演西蒙·柯蒂斯的法律电影《金衣女人》是根据真实故事改编的。

影片讲述了从奥地利逃亡的美籍犹太人为收回二战期间纳粹从她家掳走的明华艾蒂儿肖像一号而斗争的故事。

这部让人难以忘怀的影片说出了千万想寻回70多年前被剥夺的一切的人的心声。

Fifteen years ago, Maria Altman hired a young lawyer, a family friend, to help her sue the Austrian government to recover the painting, which was on display at the Belvedere Museum in Vienna, home to the world's largest Klimt collection.15年以前，Maria Altman雇佣了一位年轻律师帮助她向奥地利政府诉讼讨回名画。

这幅画在维也纳的美景宫博物馆展出，这里拥有世界上最丰富的克林姆化作藏品。

The film portrays the Austrian curator as an arrogant, unyielding man who refuses to return the painting to Altman because he believes the painting belongs to Austria.这部电影逼真的描绘了一位傲慢偏执的奥利拉博物馆馆长。

他拒绝归还化作，以为他坚信这幅画属于奥地利。

A local Austrian journalist tells Altman her chances of getting the painting back were infinitesimal because "Woman in Gold" was the Mona Lisa of Vienna. But for Altman, it was a family portrait of her Aunt Adele.一位奥地利记者告诉Altman她那会化作的机会非常小，因为这位“金色衣服的女士“是维也纳的蒙娜丽莎。

但是对Altman来说，这幅画是她的阿姨Adele的家庭画像。

Filmmaker Curtis intersperses flashbacks of the dramatic last days before Altman’s escape from Vienna during the Nazi rule in 1938, with scenes of the contemporary courtroom drama.影片制作人Curtis将纳粹统治的1938年Altman逃离维也纳前夜和当代法庭审判的场景交织呈现。

Curtis’ film also addresses the much larger issue of victims’ need for justice rendered, even 70 years after the Holocaust.在这部影片里柯蒂斯同样强调了正义的审判对受害者的重要作用，即使是在大屠杀已经过去70年后的现在。

“One of the important messages in this film is that we must remember what happened,” he said. “The 21st century is a very complicated and unstable place right now, and it is important to remember some of the lessons and some of the terrible mistakes that were made in the 20th century.”影片传达的最重要的信息之一就是我们必须要记得曾经发生过什么。

他说，“21世纪到了现在已经到了一个纷杂的、不稳定的阶段，记得过去的教训、记起20世纪所犯下的可怕的错误是非常重要的。

”Curtis says he took exceptional care to accurately depict scenes from the persecution of the Jews in Austria on the eve of WWII.柯蒂斯说他特别留心的去准确展现了二战前夕奥地利对犹太人的迫害。

“We did our best to be as authentic as possible when we were recreating the hideous events of 1938 Vienna. We actually recreated documentary photographs and video of the Germans coming to town, so we did our best to give it as an authentic feel as possible.”当我们在重现1938年在维也纳发生的可怕的事件时，我们尽力做到客观。

我们的确重现了老照片和影像资料里德国人入侵城市的景象，我们尽量给出了客观的感受。

10. Helen Mirren offers a textured performance as the refined and spirited octogenarian Maria Altman.Helen Mirren在片中精细的演绎了优雅坚强的老人Maria AltmanRyan Reynolds plays Randol Schoenberg, an untried attorney in international law at the time, who in 1998 took the case against Austria to the U.S. Supreme Court, and won. Today, Schoenberg is president of the Holocaust Museum in Los Angeles. He continues his efforts to reclaim art stolen from Jewish families.Ryan Reynolds 饰演 Schoenberg，一个当时在国际法辩护中并没有经验的年轻律师。

他于1998年接下了此案向美国最高法庭诉讼奥地利政府，并取得了胜利。

Schoenberg如今是洛杉矶Holocaust博物馆的主席。

他一直为帮助犹太家庭讨回被剥夺的艺术品而努力。

“Immediately after the war, people didn’t concentrate on material things,” he explained. “It was rebuilding lives, finding loved ones, figuring out what had happened to them, so I think it did take time for these other issues to subside and for people to focus on the few things that they still could get back and art works are, seven decades later, one of the few things that we can still do something about.”“战争刚刚结束时，人民不关心物质，”他说，“生活需要重建，寻找爱人，探寻过去究竟发生了什么。

所以我想还需要时间去平息一些事情，让人们去关注那些他们还没有讨回的少数东西，而艺术品就属于70多年后我们仍然可以为之努力的少数东西。

”The world's costliest artwork, Gustav Klimt's portrait of a Viennese lady from 1907 "Adele Bloch-Bauer I," left, hangs in New York's Neue Galerie Museum for German and Austrian Art after being unveiled by its new owner, cosmetics magnate Ronald Lauder, fa这全世界的无价之宝，Klimt与1907年画下的维也纳女士“明华艾蒂儿”如今被挂在纽约 Neue Galerie博物馆的德国与奥地利艺术馆，由化妆品大亨Ronald Lauder为期揭幕。