VOICE ONE:
Welcome to THIS IS AMERICA in VOA Special English. I'm Barbara Klein.
VOICE TWO:
And I'm Faith Lapidus. This week, our subject is mothers and how their image
has changed over the years in film and television.
(MUSIC)
VOICE ONE:
In the United States and a number of other countries, the second Sunday in
May is celebrated as Mother's Day.
Early in the 1900s, a woman named Anna
Jarvis began a campaign to honor mothers in America. She talked to friends and
friends of friends. She wrote to congressmen, local leaders, teachers and
newspaper publishers.
Finally, President Woodrow Wilson signed a resolution in May of 1914
that officially established Mother's Day.
VOICE TWO:
Anna Jarvis thought mothers should be honored with expressions of love and
respect.
Professor Robert Thompson at Syracuse University in New York state is an
expert on American popular culture. Fifty or sixty years ago, he says, the
popular media image of mothers was the so-called perfect mother.
This was a woman who gave all her time to her husband, home and children.
Many women in society felt pressure to try to be this kind of mother.
VOICE ONE:
Like many observers, Professor Thompson uses the example of the imaginary
June Cleaver, the mother on "Leave It to Beaver." That was a TV series from 1957
to 1963.
The Cleavers were a happy family. June Cleaver always had time and patience
for her two sons, Wally and "Beaver." His real name was Theodore. And if there
was ever a problem she could not handle, her husband put things right.
The same was true on another 1950s television show. The name said it all:
"Father Knows Best."
VOICE TWO:
A different image, though, could be found in films like the 1948 motion
picture "I Remember Mama." It was set in San Francisco, California, in nineteen
ten.
It was about a family that came from Norway. The Hansons were poor and they
struggled to make their way in their new land.
Mama Hanson, played by actress Irene Dunne, had little education. But she
knew a lot about dealing with people. She guides her family.
VOICE ONE:
Mama hates "going to the bank" -- she means borrowing money. But she also
recognizes the importance of staying in school. We listen as Mama and her family
are sitting around the table, counting money.
(SOUND)
MAMA: "Yah, is all for this week. Is good. We do not have to go to the
bank."
SON: "Mama, mama, I'll be graduating from Valley School next month.
Could I -- could I go into high, do you think?"
MAMA: "You want to go to high
school?"
SON: "Well, I'd like to, very much, if you think I could."
MAMA:
"Is good."
VOICE TWO:
"I Remember Mama" earned Irene Dunne an Academy Award nomination for best
actress of 1948.
Two years later, in the lighthearted film "Cheaper by the Dozen," Myrna Loy
played Lillian Gilbreth, a mother of twelve. The father is an efficiency expert,
an expert in doing things better and faster.
Lillian Gilbreth obeys her husband, or at least appears to. But she also has
a mind of her own.
At one point, the husband, played by Clifton Webb, plays a joke on their son
Bill. The father honks the horn just as the boy crosses in front of their car.
Bill jumps. His father laughs and says the boy jumped six and nine-tenths
inches.
VOICE ONE:
A little later, Bill plays the same joke on his father. This time his father
does not laugh.
The mother has to save Bill from getting punished and, in the process, she
teaches her husband a lesson.
(SOUND)
FATHER: "Who did that?"
BILL: "Uh, that was a good joke on you,
Dad."
FATHER: "Listen, young man. There's a time and a place for jokes and a
time and place for spankings. And the sooner you learn -- get out. Get
out!"
MOTHER: "Mercy Maude, Frank, I'll bet you jumped six and nine-tenths
inches that time."
FATHER: "You're right, son. That was a good joke on me. By
jingo, I'll bet I did jump six and nine-tenths inches. Oh these kids, these
kids."
(HORN SOUNDS AGAIN)
MOTHER: "Excuse me, dear, I did it. It was
accidental."
VOICE TWO:
The Gilbreths were a real family. "Cheaper by the Dozen" was the name of a
book written by two of the twelve children.
Their mother, Lillian, was a psychologist and herself an expert in the area
of industrial management. In fact, Lillian Moller Gilbreth is known as the
mother of modern management.
A woman who graduated from a women's college in nineteen fifty-three
remembers hearing her as a graduation speaker. She remembers Lillian Gilbreth
urging the young women to have full lives, with professions if they wanted them.
When Lillian Gilbreth received her doctorate in psychology, she already had
four young children who attended the ceremony.
(MUSIC)
VOICE ONE:
Over the years, as mothers and American women in general became more
independent, more and more of them entered the job market. They did so by choice
or because of financial need or both.
Pop culture expert Robert Thompson says the changes could be seen in film and
television as well. For example, working women used to be shown mostly as nurses
or teachers, because those were the jobs that many held in real life.
But these days, whatever new jobs are written into movies or TV shows, some
images of mothers are timeless. One is the image of the overprotective mother
who gets too involved in her child's life, even after the child grows
up.
Diane Keaton plays just such a mother, a single mom named Daphne, in
the two thousand seven film "Because I Said So." Mandy Moore plays her daughter.
(SOUND)
VOICE TWO:
Daphne is supposed to be seen as one of those moms who mean well even if they
make their kids crazy.
Now consider Norma Bates, the mother in the nineteen sixty movie "Psycho,"
one of the scariest films from director Alfred Hitchcock.
In one scene we hear shouting because her son Norman, played by Anthony
Perkins, wants to bring a guest to dinner.
(SOUND)
MOTHER: "No! I tell you no! I won't have you bringing strange young girls in
for supper. By candlelight, I suppose, in the cheap erotic fashion of young men
with cheap erotic minds."
NORMAN BATES: "Mother, please."
MOTHER: "And
then what? After supper, music ... ?"
VOICE ONE:
Yet, in all fairness, the surprise ending to "Psycho" might leave you
wondering if mother Bates was really evil after all.
(MUSIC)
VOICE TWO:
The 1979 motion picture "Kramer vs. Kramer" got a lot of attention. It
dealt with issues of parenting and relationships in modern society. Meryl Streep
played a woman named Joanna Kramer who leaves her husband because he has no time
for her or their young son. Dustin Hoffman played the husband, Ted Kramer.
After his wife leaves, he has to balance his busy work life with raising the
boy himself. Later his wife goes to court to demand custody of their son. She
wins the battle of Kramer versus Kramer in court. But in the end, she decides
that her son will be better off with his dad.
The movie won five Academy Awards, including best picture. Oscars also went
to Dustin Hoffman for best actor and Meryl Streep for best actress in a
supporting role.
(MUSIC)
VOICE ONE:
For years, almost all leading movie and television stars, male or female,
were white. Activists say members of racial and ethnic minority groups are still
not well represented enough.
But the social gains that minorities made in the nineteen sixties and
seventies led the way to shows like "The Jeffersons." This was a comedy on CBS
television from 1975 to 1985. It about a newly wealthy black family that
moved into a New York City high-rise with mostly white neighbors.
VOICE TWO:
One of the most popular TV shows ever was "The Cosby Show," on NBC
from 1984 to 1992. It starred Bill Cosby as Cliff Huxtable and Phylicia
Rashad as his wife, Clair.
He was a doctor and she was a lawyer. The Huxtables were presented as a
strong, loving, successful African-American family. Still, pop culture expert
Robert Thompson notes that Clair Huxtable was often shown more as a wife and
mother than as a successful lawyer.
VOICE ONE:
"Mississippi Masala" was a 1991 film about an ethnic Indian family
exiled from Uganda when Idi Amin comes to power. The family lives in
Mississippi, in the American South.
Daughter Meena is in love with a black American named Demetrius, played by
Denzel Washington. Their parents strongly disapprove.
The family decides to return to Uganda, but Meena does not want to go. She
calls her parents to tell them she is running away with Demetrius. Her mother,
played by Sharmila Tagore, recognizes that they have to let their daughter lead
her own life.
(SOUND)
MOTHER: "Meena?"
MEENA: "Ma, I'm not coming back. I'm sorry, but I can't
go to Uganda. What would I do there?"
FATHER: "Are you alone?"
MEENA: "No,
I'm with Demetrius. Pa, are you there? Ma, I'm sorry, I'm really sorry. Why did
he put the phone down?"
MOTHER: "I'll talk to your father. ... She has a mind
of her own. She can't grow here anymore. "
(MUSIC)
VOICE TWO:
Our program was written by Jerilyn Watson and produced by Caty Weaver. I'm
Faith Lapidus.
VOICE ONE:
And I'm Barbara Klein. Transcripts and audio archives of our programs are on
the Internet at voaspecialenglish.com. Be sure to join us again next week for
THIS IS AMERICA in VOA Special English.We leave you with a song from a classic
film from 1967. It was about a relationship between a recent college graduate
and what popular culture today would call a "hot mom" -- a sexy older woman. The
young man feels regret, which only grows as he falls in love with her daughter.
The actress who played the mother was Anne Bancroft, the lover was Dustin
Hoffman and the movie was "The Graduate."
點(diǎn)擊進(jìn)入更多VOA慢速
（來源:VOA 英語點(diǎn)津姍姍編輯）
