History Repeating 歷史回顧
It's a genius concept – take those most modern of detecting duos, Sherlock Holmes and John Watson, and transport them to the 19th century. It's a wonder no one ever thought of it before. But before Sir Arthur Conan Doyle starts rolling in his grave – always a tricky feat for someonewho was buried standing up– this is not your average carriages and corsets period drama. And it certainly isn't Conan Doyle's Sherlock Holmes.
這真是一個(gè)天才的想法——把最現(xiàn)代的檢測(cè)方法飒硅、夏洛克·福爾摩斯和約翰·華生帶到十九世紀(jì)赦邻。奇跡啊，從來沒有人想過要這么干崎溃。但在亞瑟·柯南·道爾從墳?zāi)估锱莱鰜碇啊ǔＪ莿e人從墳?zāi)估锱莱鰜斫淋瘢粋€(gè)棘手的壯舉——這已經(jīng)不是你平時(shí)的馬車和穿緊身胸衣的時(shí)代劇啦！這顯然已經(jīng)不是柯南·道爾的夏洛克·福爾摩斯了。
To quote a certain nemesis – "Is this silly enough for you yet? Gothic enough, mad enough, even for you?"
引用一句話："你還不夠傻嗎菇怀？哥特式情節(jié)凭舶，瘋狂著迷，對(duì)你還不夠嗎敏释？"
Wibbly Wobbly Timey Wimey 時(shí)間和波浪库快，變化無常！
If one happened to be a reasonable expert in 1890s Britain, there are a number of inconsistencies at the beginning here that could be jarring, not least the inexplicably gloomy morgue lit by flickering gaslight – compare that to the nice, bright, clean(ish) morgue in fellow BBC stablemateRipper Streetand you wonder why Molly Hooper bothered with the fake mustache at all.
如果你對(duì)1890年的英國(guó)非常熟悉钥顽，那么你在這兒會(huì)發(fā)現(xiàn)很多不合理的地方义屏，不僅僅是難以理解的陰沉的太平間，閃爍的煤氣燈——相比之下蜂大，BBC同期的《開膛街》里的明亮干凈的太平間要好些闽铐。還有你知道為什么莫莉·琥珀用假胡子女扮男裝嗎？
In fact, the whole thing feels like a sporadically enjoyable but generally irritating conceit – a real shame when Mark Gatiss gives such good historical telly. Oh yes, it's shot beautifully, but the anchronisms are painful – does 1890s Mycroft really need to use the phrase"a virus in the data"? How did that not slip past the poor intern on historical accuracy duty?
事實(shí)上奶浦，整件事就像一個(gè)偶爾愉快但又普遍刺激的幻想故事——看到馬克·加蒂斯拍出如此好的電視兄墅，真的感到羞愧。噢澳叉，是的隙咸，拍得很漂亮，但是分歧的意見又很痛苦——19世紀(jì)80年代的麥考夫真的需要用到“數(shù)據(jù)病毒”這個(gè)詞嗎成洗？如何才能不違背歷史呢五督？
And then Moriarty breaks into the even-more-fictional-than-normal Baker Street, unapologetically flirting with Sherlock at a time when that could get you imprisoned or worse, twirling Chekov's gun like a music hall villain's mustache and reminding us that the abominable bride's death mimics his own in the "Sherlock" universe we all know. It's not the Reichenbach Fall that will kill you.
然后莫里亞蒂已經(jīng)突破到貝克街以外的小說了，跟夏洛克辯解瓶殃、調(diào)情充包，讓你覺得更不舒服的是，拿槍對(duì)著自己（朝著嘴里）開一槍遥椿，提醒我們可惡的新娘的死亡只是在模仿了夏洛克現(xiàn)實(shí)世界中的事情基矮。這不是賴興巴赫瀑布（跳下去就會(huì)死）。
That's when the penny drops – or rather, when we realize that it's been dropping just at the corner of our vision the entire episode. The "...and then he woke up and it was all a dream" twist is maligned for a reason, but if it takes talent to make a good cliché work, making a bad one brilliant is Holmes-level genius.
夏洛克跳下瀑布的場(chǎng)景冠场，只不過是銀幕呈現(xiàn)給我們看的家浇，實(shí)際上“然后他醒了，這一切都只是夢(mèng)”慈鸠。這樣的設(shè)定蓝谨，如果說把一個(gè)陳詞濫調(diào)做成一個(gè)好作品需要天賦的話，那么把一個(gè)爛作品變成殿堂級(jí)的作品青团，那簡(jiǎn)直就是福爾摩斯級(jí)別的天才譬巫。
The explanation is that Sherlock was in his mind palace trying to unravel Moriarty's apparent return, but in order to get there he had taken a dangerous cocktail of drugs and read up on an unsolved Victorian murder. We've all been there. The rest of the episode shuttles back and forth at a vertiginous pace between present day and the Victorian era, and who's to say how real even the present day is? This isn't a cheap cop-out, it's seeing Sherlock's mental disintegration from the inside, in all its confusing, non-linear glory.
解釋是夏洛克在他的思維殿堂里試圖解開莫里亞蒂死而復(fù)生之謎，但他為了進(jìn)入思維殿堂服下了危險(xiǎn)的毒品藥劑督笆，卻開啟了維多利亞謀殺案未解之謎芦昔。我們都沉迷進(jìn)去了。然后跟著他在現(xiàn)在和維多利亞時(shí)代來回穿梭娃肿，快到令人摸不著頭腦咕缎，誰敢說“現(xiàn)在”就一定是我們的世界珠十？這可不是隨便說說的，你可以看到夏洛克的精神分裂凭豪，都是混亂的巨缘，非線性的榮耀（穿越到過去解開謎團(tuán)的驕傲）逸绎。
Miss Me? 想我了嗎？
Moriarty's queerness, never subtle to begin with, is undeniable at this point. He's been in Sherlock's bed, he shows up dressed as a bride, he says the one thing everyone is thinking when he tells Sherlock and Watson to elope. He even straddles Sherlock and kicks him about in a scene painfully reminiscent of Irene Adler. And it's all in Sherlock's mind. This isn't Moriarty telling Sherlock that he's his weakness – this is the great detective telling himself that.
不可否認(rèn)，莫里亞蒂出現(xiàn)地莫名其妙乏冀。他就躺在夏洛克的床上吉嚣，打扮成新娘的樣子幔亥，說人人都想看夏洛克和華生私奔（注：原劇中是三個(gè)場(chǎng)景）琳疏。他甚至還對(duì)夏洛克拳打腳踢，那個(gè)場(chǎng)景令人痛苦地想起了艾琳·艾德勒拼余。這一切都是夏洛克的腦海里產(chǎn)生的幻覺污桦。這不是莫里亞蒂告訴夏洛克的，而是夏洛克自己的弱點(diǎn)——這是這位大偵探自己醒悟的匙监。
Moriarty is the virus in the data, the thing that corrupts Sherlock's mind palace – that corrupts Sherlock himself – and the thing about viruses is that they want to replicate. They want to make more of themselves. ?Moriarty is Sherlock's shadow self, the Hyde to his Jekyll. Moriarty is every impulse Sherlock has never given into, he is Sherlock's shadow self, the Hyde to his , so of course Sherlock jumps, of course he follows Moriarty into the abyss - it's not that he can't be without him, it's that he doesn't want to.
莫里亞蒂是硬盤中的病毒凡橱，使得夏洛克思維殿堂出錯(cuò)——讓夏洛克犯錯(cuò)——病毒想要復(fù)制，就是夏洛克想要更多的自己亭姥。莫里亞蒂是夏洛克的自我陰影梭纹，就像Hyde之于Jekyll（注：英國(guó)作家Stevenson的作品，善良的醫(yī)生Jekyll致份，在夜晚會(huì)轉(zhuǎn)變?yōu)樾皭旱腍yde）。所以夏洛克當(dāng)然會(huì)跳础拨，跟著莫里亞蒂跳入深淵——不是因?yàn)樗荒軟]有莫里亞蒂氮块，而是他不想再見到莫里亞蒂。
Quoteable Sherlock 引用夏洛克
"There's a woman in my sitting room. Is it intentional?"
“我的客廳里有一個(gè)女人诡宗，是故意的嗎滔蝉？”
"Give her some lines or she's perfectly capable of starving us."
“給她一些臺(tái)詞，否則她完全有可能把我們餓死塔沃◎鹨”
"What do you think about MI5's security?" "I think it would be a good idea."
“你認(rèn)為MI5安全？”“我猜是的蛀柴◇Ω牛”
"I'm a storyteller, I know when I'm in one."
“我是一個(gè)講故事的人，我知道我在故事里鸽疾〉跬荩”
This episode will be derided as Steven Moffat trying too hard to outwit the viewer and twisting what should be a perfectly simple whodunit into a plot device of labyrinth complexity. But the secret is that it isn't that clever and it doesn't completely make sense, because it's not supposed to. Moffat and Gatiss just filmed 90 minutes of the internal monologue of a tortured queer genius drug addict off his tits on coke, wrapped it up in a gothic mystery, and then gave it to us as a late Christmas present.
這一點(diǎn)是可笑的：史蒂文·莫法特嘗試騙過觀眾，但太難了制肮，還把原本非常簡(jiǎn)單的偵探小說扭曲婉轉(zhuǎn)到一個(gè)非常復(fù)雜的劇情迷宮里冒窍。想出這個(gè)秘密也不怎么機(jī)智递沪，完全沒意義，因?yàn)楦揪蜎]必要综液。莫法特和加蒂斯只是拍攝一個(gè)受盡折磨的古怪天才癮君子長(zhǎng)達(dá)90分鐘的內(nèi)心對(duì)話而已款慨，把它包裹在一個(gè)哥特式的神秘里面，當(dāng)作是給我們一個(gè)遲到的圣誕禮物谬莹。
原文：Review: 'Sherlock: The Abominable Bride' Takes Cliches and Twists Them Into Genius
出處：http://www.indiewire.com/article/review-sherlock-the-abominable-bride-takes-cliches-and-twists-them-into-genius-20160102
作者：Kaite Welsh
