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  3. In 1926, while filming The King of Kings, director Cecil B. DeMille moved his cast and crew to Catalina Island, off the coast of

In 1926, while filming The King of Kings, director Cecil B. DeMille moved his cast and crew to Catalina Island, off the coast of

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问题     In 1926, while filming The King of Kings, director Cecil B. DeMille moved his cast and crew to Catalina Island, off the coast of California. There, he housed everyone in tents to promote a sense of community on the project.
    Not everyone was happy with the tents, including H. B. Warner, the actor playing Christ. One day, in the middle of a scene, a yacht sailed into camera range. When an enraged DeMille learned that the yacht belonged to his leading man, he said, "If I thought Mr. Warner needed a yacht, I’d have brought my own. Just who does he think he is?"
    "Jesus Christ, sir," replied a crew member.
    DeMille digested this and then said, "That puts me at something of a disadvantage, doesn’t it?"
    Mark it down as one of the very few times anyone ever got the better of Cecil B. DeMille.
    The superb film historian Scott Eyman includes this anecdote in his admiring and exhaustive new DeMille biography, Empire of Dreams, a life of the man who forged our idea of Hollywood. Eyman labors to unlock the contradictions in DeMille’s puzzling personality, or at least to put some flesh on the legend. Good as Eyman is, it’s uphill all the way. DeMille was a master showman onscreen and off. He ruled with a despot’s hand and a hambone’s instincts. Nearly all of our cliches about imperious movie directors come straight from him. Struggling to penetrate DeMille’s facade, Eyman never gets much beyond establishing that the filmmaker was an autocrat on the set and a kindly man at home(though one with three mistresses). But there is almost no time—or reason—to tabulate flaws.
    For an unparalleled half century, DeMille was one of the most powerful, successful producer-directors in Hollywood. And yet, on contemporary lists of great directors, he often goes unmentioned. His historical and biblical epics are no longer the fashion, with nothing to offer a modern audience.
    His fellow directors are wiser about DeMille’s accomplishments. Martin Scorsese claims that only Steven Spielberg knows as much as DeMille about manipulating crowds onscreen. Better yet, DeMille at his best always knew how to make a movie move. The special effects in The Ten Commandments look clunky today, but the story never flags. Every scene sets up the next, and the film holds your interest whether you like it or not. Cecil B. DeMille was a storyteller of genius—a genius without shame, but a genius just the same.  
The last paragraph suggests that DeMille’s fellow directors______.
选项 A、mourn him for his misfortune
B、appreciate him for his capacity
C、criticize him as a shameless man
D、memorize him the same as Spielberg does
答案B
解析 推断题。本题依据最后一段进行解答。在这一段中，作者借导演马丁·斯科西斯的话说明同行对戴米尔的看法：他具有拍摄宏大场面的卓越才能，只有斯皮尔伯格才能与之媲美；他在讲述故事方面更是一个天才。虽然文章最后说a genius without shame“一个无耻的天才”，但最后还是强调“天才就是天才”。可见，同行们的主要态度还是对他的才能表示赞赏，故[B]项为正确答案。[A]项所说的mourn“哀悼”的情绪在原文中没有依据，最易排除。[C]项曲解了最后一句话，以偏概全地认为同行们对戴米尔持批评态度，而实际上最后一句话的重点是就算他是个无耻的人，也不能掩盖他是天才的事实，可见[C]项不符合原文语义。而[D]项则误解了本段第二句，该句不是说大家像纪念斯皮尔伯格一样纪念他，而是在比较两人操控大场面的能力，故排除[D]项。
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