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George Stout was the real-life 1）conservator and museum director who helped start the Monuments Men. He’s the basis for George Clooney’s character in the film.
（soundbite of film， The Monuments Men） George Clooney： （As 2）Lieutenant Frank Stokes） You can 3）wipe out a generation of people. You can burn their homes to the ground， and somehow they’ll still come back. But if you destroy their 4）achievements， and their history， then it’s like they never existed.
That part of the story is true， 5）as far as it goes. The Nazis stole artwork on a scale like no one before or since. They 6）plundered museums and churches across Europe and 7）seized works from Jewish collectors. 8）In response， the U.S. created the Monuments， Fine Arts and 9）Archives section of the Army—better known as the Monuments Men. Charles Parkhurst was its 10）deputy chief. Parkhurst died in 2008， but the year before he was featured in a 11）documentary called The Rape of Europa.
（soundbite of film， The Rape of Europa） Charles Parkhurst： There was lots of German art hidden where they thought it would be safe during the fighting. And it was our duty to search， and find， and save.
They found 12）stuff everywhere—hidden in caves， bank 13）vaults， 14）remote castles， even in salt mines. Harry Ettlinger： This will give you…an idea of what some of the items that we had in the mine. You can see here， boxes.
Harry Ettlinger shows me photographs of himself in 15）uniform almost 70 years ago. Ettlinger is now 88 and living in New Jersey. He was born in Germany but 16）fled with his parents when Hitler came to power. Ettlinger was 17）drafted into the Army in 1944 and because he could speak German， 18）wound up in the Monuments Men. That’s how Ettlinger found himself hundreds of feet below ground in a salt mine in southern Germany， 19）sifting through 40，000 cases of artworks that the Nazis had stored there for safekeeping. Ettlinger： It became part of my job to actually take the case， and have it brought to the surface.
The Nazis 20）stashed art all across Europe.（soundbite of archived 21）newsreel） News Reporter： The castle at Neuschwanstein housed a great part of the art treasures stolen by the Nazis. Parkhurst： It took us a year to empty that castle. Forty-nine train-car loads； that’s a lot. All packed tightly.
Deputy Chief Charles Parkhurst said the Monuments Men did the best they could. Parkhurst： We were 22）charged with much more than we could 23）encompass in our minds， even. We had no trucks， no jeeps—nothing but our shoes. And no support of any kind from 24）officialdom. To make the job even harder， Allied bombing had left Germany in a 25）shambles. Anne Olivier Bell： It was difficult because the telephones， they didn’t work. It would take you half a day to get through to Hamburg.
Anne Olivier Bell served in the British 26）counterpart to the Monuments Men. Bell is now 97 years old and lives in the south of England. She went on to make a name for herself as the editor of Virginia Woolf’s注1 diaries.
27）Allied forces had to figure out which artworks and objects should go back to museums and which belonged in private collections. Under the 28）chaotic 29）circumstances， the Monuments Men focused on returning the most famous and valuable works. But critics say that 30）strategy 31）accounted for just a 32）fraction of what the Nazis and their 33）collaborators had plundered. Marc Masurovsky： Well， let’s put it this way： It leaves out 90% of what was stolen. I mean， that’s part of the story. It’s unfortunate.
乔治·斯托特是现实中的文物保护者和博物馆馆长，他协助建立了古迹卫士队，他也是乔治·克鲁尼在电影中所饰演的角色的原型。
（电影《盟军夺宝队》片段）乔治·克鲁尼：（饰演弗兰克·斯托克斯中尉）你可以消灭一整代人，你可以烧光他们的家，他们还是会重建家园。但如果你摧毁他们的成就和历史，他们就会如同从未存在过一样。
就其本身而言，这部分故事是真实存在的历史。纳粹以空前绝后的规模盗窃艺术品，他们掠夺欧洲各地的博物馆和教堂，从犹太收藏家手中搜刮藏品。为对应这种情况，美国在军队里成立了“古迹、美术及档案部队”，这支队伍更为人所知的名字是“古迹卫士”。查尔斯·帕克赫斯特是这支队伍的副队长。他于2008年去世，然而他在去世前一年曾在纪录片《欧罗巴的梦魇》出现。
（电影《欧罗巴的梦魇》片段）查尔斯·帕克赫斯特：有很多德国艺术品在战时被藏在他们认为安全的地方。我们的职责就是搜寻和保存这些艺术品。
他们在各种各样的地方发现了艺术品，比如山洞、银行金库、偏远的城堡，甚至盐矿。
哈里·埃特林格：你们可以……由此了解到我们在矿井中曾经发现的一些物品。可以看到这里，有一些箱子。
哈里·埃特林格给我看他在将近七十年前穿着军服的照片。他现年88岁，住在（美国）新泽西州。哈里·埃特林格出生于德国，他和父母在希特勒上台时逃离家园。1944年，哈里·埃特林格应征入伍，由于他能说德语，于是被分派到了古迹卫士队。就这样，哈里·埃特林格有机会在德国南部地下几百英尺的盐矿里，对纳粹曾经存放在那里的4万件艺术品进行筛选。
哈里·埃特林格：我的工作内容之一其实是搬箱子，把它带到地面上。
Marc Masurovsky is a historian and
founder of the Holocaust注2 Art Restitution Project. After the war， he says mountains of stolen and misplaced 34）property were piling up at Allied collecting points across Europe. And Masurovsky says the Monuments Men simply lacked the resources to settle 35）disputes about who owned what.
Masurovsky： They had a task， which was to clean up this mess. But also the other task that really needs to be remembered is that they were there to 36）rehabilitate. In other words， to help the Germans put themselves back together culturally. So they went out of their way to help reopen museums； they organized exhibits.
To do that， the Monuments Men had to work quickly and rely on local experts. And in some cases， they made mistakes. Still， admirers of the Monuments Men say those mistakes should not 37）tarnish the rest of what they 38）accomplished. Reallife Monuments Man Harry Ettlinger says the U.S. effort to return major works of art to their rightful owners 39）went a long way toward earning the trust of the German people. Ettlinger： I’ve always said that what we did was very unusual， something that the average Americans ought to be very proud of—that instead of stealing things， we returned it， which is something that had never been done before.
And Ettlinger is happy to see Hollywood taking notice.
纳粹藏匿了欧洲各地的艺术品。（新闻存档片段）
新闻记者：位于新天鹅堡的这座城堡，保存有纳粹盗窃的很大一部分艺术珍品。
帕克赫斯特：我们花了一年的时间清理这座城堡。装了四十九节火车厢，相当多，全都包装得严严实实的。
副队长查尔斯·帕克赫斯特说，古迹卫士尽了他们最大的努力。
帕克赫斯特：我们肩负的任务远远超过了我们力所能及的范围，即便从思想层面而言也是如此。我们没有卡车，没有吉普车——我们什么都没有，只有鞋子。我们也得不到来自官方的任何支持。
雪上加霜的是，盟军的轰炸使德国成了一片废墟。安妮·奥利维尔·贝尔：困难在于电话无法使用。要和汉堡取得联系，可能得花上半天时间。
安妮·奥利维尔·贝尔曾服务于英国类似古迹卫士队的文物保护单位。她现年97岁，住在英格兰南部。她后来以编辑弗吉尼亚·伍尔夫的日记而闻名。
盟军必须弄清楚哪些艺术品和物品应该归还博物馆，哪些又属于私人收藏。在当时混乱的情况下，古迹卫士们把精力主要集中在归还最著名和最有价值的艺术品上。但批评者称，这一策略只成功应用到很小一部分被纳粹及其合作者掠夺的艺术品上。
马克·马苏洛夫斯基：我们这样说吧，有90%被盗窃的艺术品被漏掉了。我的意思是，这也是故事的一部分，非常不幸。
马克·马苏洛夫斯基是一名历史学家，也是“大屠杀艺术追索计划”的创始人。他说，战争结束后，大量被盗窃及转移的财产被堆放在盟军在欧洲各地的收集点，古迹卫士们真的缺乏资源来解决哪件物品属于谁的纠纷。
马苏洛夫斯基：他们有一个任务，就是清理这堆毫无头绪的物品。不过他们还有一个需要铭记的任务，就是在当地修复。换句话说，就是他们要帮助德国人恢复他们自己原来的文化。于是他们费了很大劲帮助博物馆重新开放，并组织展览。
要做到这一点，古迹卫士们必须迅速开展工作，并且依靠当地的专家（的帮忙）。在一些情况下，他们也会犯错。古迹卫士的崇拜者们说，尽管如此，这些错误仍然不应玷污他们的成就。现实中的古迹卫士哈里·埃特林格说，美国把重要艺术品物归原主的努力，对于赢得德国人民的信任起到了重要作用。
埃特林格：我总是说，我们所做的事非同寻常，美国人应该为此感到非常自豪——我们并不是偷窃，而是物归原主，这是前所未有的事。
埃特林格很高兴好莱坞注意到了这段历史。
注1：弗吉尼亚·伍尔夫（1882—1941），英国女作家，被誉为二十世纪现代主义与女性主义的先锋，代表作包括《达洛维夫人》（Mrs. Dalloway）、《雅各的房间》（Jakob’s Room）。
注2：犹太人大屠杀是指第二次世界大战中由纳粹德国主导的系统化种族灭绝行动，共有600万犹太人遭到屠杀。
（soundbite of film， The Monuments Men） George Clooney： （As 2）Lieutenant Frank Stokes） You can 3）wipe out a generation of people. You can burn their homes to the ground， and somehow they’ll still come back. But if you destroy their 4）achievements， and their history， then it’s like they never existed.
That part of the story is true， 5）as far as it goes. The Nazis stole artwork on a scale like no one before or since. They 6）plundered museums and churches across Europe and 7）seized works from Jewish collectors. 8）In response， the U.S. created the Monuments， Fine Arts and 9）Archives section of the Army—better known as the Monuments Men. Charles Parkhurst was its 10）deputy chief. Parkhurst died in 2008， but the year before he was featured in a 11）documentary called The Rape of Europa.
（soundbite of film， The Rape of Europa） Charles Parkhurst： There was lots of German art hidden where they thought it would be safe during the fighting. And it was our duty to search， and find， and save.
They found 12）stuff everywhere—hidden in caves， bank 13）vaults， 14）remote castles， even in salt mines. Harry Ettlinger： This will give you…an idea of what some of the items that we had in the mine. You can see here， boxes.
Harry Ettlinger shows me photographs of himself in 15）uniform almost 70 years ago. Ettlinger is now 88 and living in New Jersey. He was born in Germany but 16）fled with his parents when Hitler came to power. Ettlinger was 17）drafted into the Army in 1944 and because he could speak German， 18）wound up in the Monuments Men. That’s how Ettlinger found himself hundreds of feet below ground in a salt mine in southern Germany， 19）sifting through 40，000 cases of artworks that the Nazis had stored there for safekeeping. Ettlinger： It became part of my job to actually take the case， and have it brought to the surface.
The Nazis 20）stashed art all across Europe.（soundbite of archived 21）newsreel） News Reporter： The castle at Neuschwanstein housed a great part of the art treasures stolen by the Nazis. Parkhurst： It took us a year to empty that castle. Forty-nine train-car loads； that’s a lot. All packed tightly.
Deputy Chief Charles Parkhurst said the Monuments Men did the best they could. Parkhurst： We were 22）charged with much more than we could 23）encompass in our minds， even. We had no trucks， no jeeps—nothing but our shoes. And no support of any kind from 24）officialdom. To make the job even harder， Allied bombing had left Germany in a 25）shambles. Anne Olivier Bell： It was difficult because the telephones， they didn’t work. It would take you half a day to get through to Hamburg.
Anne Olivier Bell served in the British 26）counterpart to the Monuments Men. Bell is now 97 years old and lives in the south of England. She went on to make a name for herself as the editor of Virginia Woolf’s注1 diaries.
27）Allied forces had to figure out which artworks and objects should go back to museums and which belonged in private collections. Under the 28）chaotic 29）circumstances， the Monuments Men focused on returning the most famous and valuable works. But critics say that 30）strategy 31）accounted for just a 32）fraction of what the Nazis and their 33）collaborators had plundered. Marc Masurovsky： Well， let’s put it this way： It leaves out 90% of what was stolen. I mean， that’s part of the story. It’s unfortunate.
乔治·斯托特是现实中的文物保护者和博物馆馆长，他协助建立了古迹卫士队，他也是乔治·克鲁尼在电影中所饰演的角色的原型。
（电影《盟军夺宝队》片段）乔治·克鲁尼：（饰演弗兰克·斯托克斯中尉）你可以消灭一整代人，你可以烧光他们的家，他们还是会重建家园。但如果你摧毁他们的成就和历史，他们就会如同从未存在过一样。
就其本身而言，这部分故事是真实存在的历史。纳粹以空前绝后的规模盗窃艺术品，他们掠夺欧洲各地的博物馆和教堂，从犹太收藏家手中搜刮藏品。为对应这种情况，美国在军队里成立了“古迹、美术及档案部队”，这支队伍更为人所知的名字是“古迹卫士”。查尔斯·帕克赫斯特是这支队伍的副队长。他于2008年去世，然而他在去世前一年曾在纪录片《欧罗巴的梦魇》出现。
（电影《欧罗巴的梦魇》片段）查尔斯·帕克赫斯特：有很多德国艺术品在战时被藏在他们认为安全的地方。我们的职责就是搜寻和保存这些艺术品。
他们在各种各样的地方发现了艺术品，比如山洞、银行金库、偏远的城堡，甚至盐矿。
哈里·埃特林格：你们可以……由此了解到我们在矿井中曾经发现的一些物品。可以看到这里，有一些箱子。
哈里·埃特林格给我看他在将近七十年前穿着军服的照片。他现年88岁，住在（美国）新泽西州。哈里·埃特林格出生于德国，他和父母在希特勒上台时逃离家园。1944年，哈里·埃特林格应征入伍，由于他能说德语，于是被分派到了古迹卫士队。就这样，哈里·埃特林格有机会在德国南部地下几百英尺的盐矿里，对纳粹曾经存放在那里的4万件艺术品进行筛选。
哈里·埃特林格：我的工作内容之一其实是搬箱子，把它带到地面上。
Marc Masurovsky is a historian and
founder of the Holocaust注2 Art Restitution Project. After the war， he says mountains of stolen and misplaced 34）property were piling up at Allied collecting points across Europe. And Masurovsky says the Monuments Men simply lacked the resources to settle 35）disputes about who owned what.
Masurovsky： They had a task， which was to clean up this mess. But also the other task that really needs to be remembered is that they were there to 36）rehabilitate. In other words， to help the Germans put themselves back together culturally. So they went out of their way to help reopen museums； they organized exhibits.
To do that， the Monuments Men had to work quickly and rely on local experts. And in some cases， they made mistakes. Still， admirers of the Monuments Men say those mistakes should not 37）tarnish the rest of what they 38）accomplished. Reallife Monuments Man Harry Ettlinger says the U.S. effort to return major works of art to their rightful owners 39）went a long way toward earning the trust of the German people. Ettlinger： I’ve always said that what we did was very unusual， something that the average Americans ought to be very proud of—that instead of stealing things， we returned it， which is something that had never been done before.
And Ettlinger is happy to see Hollywood taking notice.
纳粹藏匿了欧洲各地的艺术品。（新闻存档片段）
新闻记者：位于新天鹅堡的这座城堡，保存有纳粹盗窃的很大一部分艺术珍品。
帕克赫斯特：我们花了一年的时间清理这座城堡。装了四十九节火车厢，相当多，全都包装得严严实实的。
副队长查尔斯·帕克赫斯特说，古迹卫士尽了他们最大的努力。
帕克赫斯特：我们肩负的任务远远超过了我们力所能及的范围，即便从思想层面而言也是如此。我们没有卡车，没有吉普车——我们什么都没有，只有鞋子。我们也得不到来自官方的任何支持。
雪上加霜的是，盟军的轰炸使德国成了一片废墟。安妮·奥利维尔·贝尔：困难在于电话无法使用。要和汉堡取得联系，可能得花上半天时间。
安妮·奥利维尔·贝尔曾服务于英国类似古迹卫士队的文物保护单位。她现年97岁，住在英格兰南部。她后来以编辑弗吉尼亚·伍尔夫的日记而闻名。
盟军必须弄清楚哪些艺术品和物品应该归还博物馆，哪些又属于私人收藏。在当时混乱的情况下，古迹卫士们把精力主要集中在归还最著名和最有价值的艺术品上。但批评者称，这一策略只成功应用到很小一部分被纳粹及其合作者掠夺的艺术品上。
马克·马苏洛夫斯基：我们这样说吧，有90%被盗窃的艺术品被漏掉了。我的意思是，这也是故事的一部分，非常不幸。
马克·马苏洛夫斯基是一名历史学家，也是“大屠杀艺术追索计划”的创始人。他说，战争结束后，大量被盗窃及转移的财产被堆放在盟军在欧洲各地的收集点，古迹卫士们真的缺乏资源来解决哪件物品属于谁的纠纷。
马苏洛夫斯基：他们有一个任务，就是清理这堆毫无头绪的物品。不过他们还有一个需要铭记的任务，就是在当地修复。换句话说，就是他们要帮助德国人恢复他们自己原来的文化。于是他们费了很大劲帮助博物馆重新开放，并组织展览。
要做到这一点，古迹卫士们必须迅速开展工作，并且依靠当地的专家（的帮忙）。在一些情况下，他们也会犯错。古迹卫士的崇拜者们说，尽管如此，这些错误仍然不应玷污他们的成就。现实中的古迹卫士哈里·埃特林格说，美国把重要艺术品物归原主的努力，对于赢得德国人民的信任起到了重要作用。
埃特林格：我总是说，我们所做的事非同寻常，美国人应该为此感到非常自豪——我们并不是偷窃，而是物归原主，这是前所未有的事。
埃特林格很高兴好莱坞注意到了这段历史。
注1：弗吉尼亚·伍尔夫（1882—1941），英国女作家，被誉为二十世纪现代主义与女性主义的先锋，代表作包括《达洛维夫人》（Mrs. Dalloway）、《雅各的房间》（Jakob’s Room）。
注2：犹太人大屠杀是指第二次世界大战中由纳粹德国主导的系统化种族灭绝行动，共有600万犹太人遭到屠杀。