400.經濟學人-To be a king-6

Yet the fictitious role of T』Challa and his kingdom of Wakanda engaged him even more.

This was a work of recovery, the celebration of a severed African past that belonged to all black people.

Every part of it had to be properly done. It was he who insisted the cast spoke Xhosa, with its clicks and smacks.

He found it beautiful and rhythmical, like ancient music. He helped devise the salute, which reminded him of tomb effigies of the pharaohs. (In 2016 he had played Thoth in 「Gods of Egypt」, the one face of African descent among them, taking the part only because, without him, there would have been none.)

For close combat, he studied Zulu stick fighting and Dambe boxing from west Africa.

Costumes, sets and moves fused together different aspects of the continent he loved, a mixing and reconnection that went to his own roots: almost the moment he got the part, he had his DNA tested and found he was Yoruba from Nigeria and Limba from Sierra Leone.

Last, he reinforced the film’s relevance by making T』Challa a peacemaker in the Mandela mould while his nemesis Killmonger, his abandoned cousin, was inspired by Malcolm X.

That echoed a conversation he had long had with himself: forbearance, or violence.

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這是《經濟學人》2020年9月刊的一篇文章&39;第6段，共8句。

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然而，T&39;smacks&39;拍打&39;cast&39;全體演員&39;rhythmical&39;有節奏的&39;salute&39;讚頌，敬禮&39;tomb&39;墓穴&39;effigies&39;雕像&39;pharaohs&39;法老&39;Costumes&39;服裝（尤指戲裝）&39;continent&39;洲&39;reinforced&39;加強&39;mould&39;模型&39;Challa塑造成曼德拉似的和平締造者，而他的仇人Killmonger，他被遺棄的表弟則是受到馬爾科姆X的啟發。

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這回應了長期與自己內心的交流：寬容還是暴力。

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