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With her contract with MGM expired, she invested heavily in producing her own movies the noir "The Strange Woman" of 1946, which was a moderate success.
随着她与米高梅公司的合同到期，她投入巨资制作自己的电影，1946年的黑色电影《奇怪的女人》获得了适度的成功。
But "Dishonored Lady"one year later was savaged by censorship and tanked at the box office.
但一年后，《丧失名誉的女士》遭到审查制度的猛烈抨击，票房惨败。
This did not help Heddy's finances as she was known for reckless shopping sprees.
这导致了海蒂的财务状况很糟糕，因为她以不计后果的疯狂购物而闻名。
The 1940s though closed with Heddy's biggest success to date, the biblical epic "Samson and Delilah" directed by Cecil B. De Mille and starring Victor Mature as the male lead.
20世纪40年代，海蒂获得了迄今为止最大的成功，塞西尔·德米勒执导的圣经史诗《参孙与黛利拉》，男主角是维克多·莫图尔。
Commenting on mature's pictorials, Groucho Marx famously quipped "First picture I've seen in which the male lead has bigger than the female."
在评论成熟的画报时，格劳乔·马克思曾说过一句名言:“这是我看到的第一张男主角块头比女主角大的照片。”
As much as we love Groucho Marx and his humor, we expect that Lamar wished to be remembered for something more than a figure.
尽管我们很喜欢格劳乔·马克思和他的幽默，但我们认为拉马尔希望人们记住的不只是一个人物。
But such was the life of a Hollywood star and one on the decline too.
但这就是一个好莱坞明星的生活，一个正在走下坡路的明星的生活。
At the age of 35, movie offers started to dry up.
35岁时，来自电影的邀请开始减少。
After working with De Millee, Heddy only appeared in six more films, the last being "The Female Animal " in 1958.
在与德米莉合作后，海蒂又出演了6部电影，最后一部是1958年的《女动物》。
Heddy's declining years were accompanied by trouble and heartache at home.
海蒂的晚年伴随着家庭的烦恼和心痛。
Throughout the 1950s and 1960s, Heddy got married and then divorced three more times.
在整个20世纪50年代和60年代，海蒂又结了三次婚，然后又离婚了。
The wild spending, the box office bombs and the divorce lawyer bills left the once glamorous star financially ruined.
挥霍无度、票房大爆炸和离婚律师账单让这位曾经光彩照人的明星倾家荡产。
In 1965, she confessed to a fan "I have no idea where my next meal is coming from and some days I go hungry."
1965年，她向一位粉丝坦言:“我不知道下一顿饭吃什么，有些日子我会挨饿。”
In 1966, she had the chance to return to the screen with the horror "Picture Mummy Dead" but she first failed to show up on set.
1966年，她有机会带着恐怖电影《死亡木乃伊》重返银幕，但她最初没有在片场露面。
And when she did, she collapsed due to exhaustion.
当她这么做的时候，她因为筋疲力尽而倒下了。
In February, she was fired from the production.
今年2月，她被剧组解雇了。
The year 1966 was the start of a series of curious appearances in court .
1966年是一系列在法庭上出现的奇怪现象的开始。
Earlier that January, she'd been arrested for shoplifting.
那年一月早些时候，她因入店行窃被捕。
However, the judge found her innocent and released her.
然而，法官认为她是无辜的，并释放了她。
In the following years, she appeared in court again and again.
在接下来的几年里，她一次又一次地出现在法庭上。
This time, as the plaintiff, first she sued the ghostwriters who had penned her 1966 autobiography "Ecstasy and me" and accused them of inventing scandalous details and lurid stories.
这一次，作为原告，她首先起诉了1966年为她撰写自传《狂喜与我》的代笔作家，指控他们编造丑闻细节和耸人听闻的故事。
Then in 1974, she dragged to court comedy legend Mel Brooks, guilty of naming a character Hedy Lamarr in her "Blazing Saddles" .
然后在1974年，她将喜剧传奇人物梅尔·布鲁克斯告上法庭，罪名是在她的《灼热的马鞍》中命名了一个角色海蒂·拉玛。
Apparently, Brooks was amused by the attention and agreed to settle out of court.
显然，布鲁克斯被这种关注逗乐了，同意庭外和解。
Next up were the newspapers, San Francisco Chronicle and the National Enquirer.
接下来是报纸，《旧金山纪事报》和《国家问询报》。
The chronicle the dead publishing the photo of a two-headed goat called Hedy Lamar while the latter claimed that the once star had become "a pathetic recluse...old and ugly".
《死亡纪事报》发布了一只名叫海蒂·拉玛的双头山羊的照片，而后者声称这位曾经的明星已经变成了“一个可怜的隐士…… 又老又丑”。
By the 1990s, Hedy was living in a small flat in Miami supporting herself with a social security check and a screen actors guild pension.
到了20世纪90年代，海蒂住在迈阿密的一套小公寓里，靠社会保险和演员工会的养老金养活自己。
She was arrested again for shoplifting in 1991 and this time she was sentenced to a year of probation.
1991年，她再次因入店行窃而被捕，这次她被判缓刑一年。
In April, 1998, Heddy found the energy to file her final lawsuit against software company Corel Corp.
1998年4月，海蒂鼓起勇气对软件公司Corel Corp.提起了最后的诉讼。
Her photo had been used without permission on the cover of CoralDRAW.
她的照片未经允许被用在了CoralDRAW的封面上。
Hedwig Kiesler better known as Hedy Lamarr, died on the 19th of January 2000 in Casselberry, Flotida.
海德薇·凯斯勒更广为人知的名字是海蒂·拉玛，于2000年1月19日死于佛罗里达州的卡瑟伯里。
Up to the end, she kept coming up with new inventions a fluorescent dog collar, a type of new traffic light and even improvements for the concorde.
直到最后，她不断地想出新的发明，比如荧光狗项圈，一种新型的交通信号灯，甚至协和式飞机的改进。
In her last years, Heddy had become obsessed with plastic surgery.
在她生命的最后几年里，海蒂痴迷于整形手术。
Some say she was attempting to recreate her long gone beauty. True?
有人说她是想重现她逝去已久的美丽。 真的吗?
Heddy owed her success and film career to her looks but deep inside she despised them.
海蒂把她的成功和电影事业归功于她的容貌，但在内心深处，她鄙视这些容貌。
In her autobiography, she wrote "My face has been by misfortune...It has attracted all the wrong people into my boudoir and brought me tragedy and heartache for five decades."
在她的自传中，她写道:“我的脸不幸…… 它吸引了所有不合适的人进入我的闺房，给我带来了50年的悲剧和心痛。”
"My face is a mask I cannot remove. I must always live with it. I curse it."
“我的脸是一张无法揭下的面具。 我必须永远忍受它。 我诅咒它。”
Perhaps, that's what she wanted to do through surgery, punish and erase the face that had distracted the world from her true talents.
也许，这就是她想做的，通过手术，惩罚和抹去那张让世界忽视她真正才华的脸。
A gift for innovation, invention and inexhaustible lust for life.
创新的天赋，发明和永不枯竭的生活欲望。
She once said "When I die, I want on my gravestone: 'thank you very much for a colorful life' .
她曾经说过:“当我死的时候，我想在我的墓碑上说:‘非常感谢你丰富多彩的生活’。”
The actual quote in our gravestone represents much better Heady's world view and achievements.
我们墓碑上的这句话更能代表海蒂的世界观和成就。
"Films have a certain place in a certain time period. technology is forever."
“电影在特定的时间有特定的位置。 技术是永恒的。”
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我希望你觉得今天的视频有趣。
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不要忘记订阅我们的频道，感谢收看!
