约翰·弗兰肯海默(1930-)与西德尼·吕美特、富兰克林·沙夫纳和德尔伯特·曼等人同属“电视的黄金时代”的一代人,他导演过《90号剧场》和《本月的杜邦·肖节目》等电视系列片。当现场播出的纽约电视节目之星开始黯谈时,这些人便转到好莱坞从业,导演了许多类似的光彩熠熠的戏剧性故事片。这些往往是对白较多的电影剧本多半出自查耶夫斯基、英奇、塞林、维达尔、阿克塞尔罗德这些编剧之手,他们同属电视和战后百老汇的编导高才。他们中的佼佼者很快就使自己的才华适应了电影这一原有的媒介,同时又保持了他们原有风格中有益的元素。在成功地实现这一转变的人当中就有弗兰肯海默,看来他从电视经验中形成的现场实拍特点对他的影片(如《满洲候选人》和《五月里的七天》)的成功做出了有意义的贡献。六十年代初,美国影评界状况不佳,而弗兰肯海默似乎颇有预见地给法国人提供了一个研究的典型。虽然他没有提到“新浪潮”这个名词,但他指的正是戈达尔、特吕弗和夏布罗尔等影评家兼导演的创作。可惜1964年以来,美国影评的总的水平虽然或许有所提高,但他在本文中所说的导演和影评家之间创造性的相互交流却迄今没有实现。 John Frankenheimer (1930-), along with Sidney Lymett, Franklin Schaffner, and Delbert Mann, belong to the “Golden Age of Television,” a generation who directed “The 90 Theater ”and“ this month’s DuPont Shaw program ”and other television series. When the live broadcast of the New York television program stars began to bleak, these people turned to Hollywood and directed many of the same gleaming dramatic theatricals. Most of the screenplay, often with more dialogue, comes from screenwriters such as Chayewski, Inch, Salin, Vidal, and Axelrod, both directors of television and post-war Broadway. The best of them quickly adapted their talent to the original medium of the film while retaining the beneficial elements of their original style. Among those who succeeded in making this transition, Franklin Heimer appeared to be his on-the-ground feature filming of television experiences such as “Manchurian Candidates” and “Seven Days in May” ) Made a meaningful contribution to the success. In the early 1960s, the American film world was in poor condition, and Franconian Heimer seemed to give the French a fairly predictable example of his research. Although he did not mention the term “new wave”, he refers to the creation of film critics and directors such as Godard, Truvoul and Chabrol. Unfortunately, although the overall level of American film criticism may have increased since 1964, the creative interaction he has described in this article between directors and film critics has so far failed.