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更新时间:2017-5-25 12:33:17 来源:纽约时报中文网 作者:佚名

Roger Moore Was the Best Bond Because He Was the Gen X Bond

I heard about Roger Moore’s death during a walk in Brooklyn on Tuesday morning, when a young father looked up from his phone and said, “The worst James Bond ever just died.” He wasn’t talking to me, but rather to the toddler in the stroller in front of him, who seemed indifferent to the news. Kids these days.

周二上午在布鲁克林散步的时候,我听到了罗杰·摩尔(Roger Moore)逝世的消息,一位在看手机的年轻父亲抬起头来说:“最糟糕的詹姆斯·邦德(James Bond)去世了。”他不是在跟我说话,而是和面前婴儿车里的小孩说话,后者似乎对这个消息无动于衷。现在的孩子们哪。

I’m talking about the dad, another millennial blithely trashing the pop-culture affections of aging Gen-Xers like me.


Look, I’m not going to argue. I grew up being reminded at every turn that Sean Connery was the better Bond — the “real” Bond, as if such a ridiculous Anglo-American Cold War confection could stake any kind of claim to authenticity. The Connery consensus seemed like part of a larger baby boomer conspiracy to bully people my age into believing that everything we were too young to have experienced firsthand was cooler than what was right in front of our eyes. We have been struggling against that ever since, which is why we invented so much of the cool stuff that everyone takes for granted now.

你看,我才不会争辩什么。我成长期间,动不动就被人提醒,肖恩·康纳利(Sean Connery)才是更好的邦德——“真正的”邦德,好像这么一道可笑的盎格鲁美洲冷战时代甜点有什么资格说自己多正宗似的。关于康纳利的共识似乎属于一个婴儿潮一代的大阴谋,他们欺骗我这个年纪的人,想让我们相信,我们因为太年轻而没能亲身经历的一切,都比我们眼前的东西更酷。我们一直在和这个阴谋作斗争,所以才创造出如今所有人都理所当然觉得很酷的东西。

Back in the ’70s and ’80s, the older 007 installments — especially “Goldfinger,” for some reason — showed up reliably on television, but for me they could never match the sublime, ridiculous thrill of seeing “The Spy Who Loved Me,” “Moonraker,” “For Your Eyes Only” and “Octopussy” on the big screen. Those movies were heavenly trash, with plots you didn’t really need to follow and sexual innuendo that struck my young eyes and ears as deliciously risqué.

早在七八十年代,更老一些的007系列就可以在电视上看到了——出于某些原因,《金手指》(Goldfinger)放映次数特别多——但是对我来说,它们永远都比不上在大银幕上看到《海底城》(The Spy Who Loved Me)、《太空城》(Moonraker)、《最高机密》(For Your Eyes Only)和《八爪女》(Octopussy)时那种又庄严又荒谬的兴奋刺激。那些电影是绝妙的烂片,你甚至根本用不着去管情节,各种性暗示是那么伤风败俗,美妙无比,刺激着我年轻的眼睛和耳朵。

There were radio-friendly pop songs and over-the-top action sequences. Mr. Moore exerted himself heroically, grappling with villains atop a moving train, chasing them down ski slopes or into outer space, his unflappable suavity accompanied by an occasional smirk or upward twitch of the eyebrow. He knew exactly how silly these endeavors were, but he was committed to them all the same. He was an ironist and a professional, and as such a pretty good role model for post-’60s preadolescents.


Mr. Connery brought a rough sexual swagger to Ian Fleming’s fantasy of British masculine competence. Later, Daniel Craig would bring pouty, wounded prettiness. His 21st-century 007 is at pains to seem sensitive, ambivalent, woke. But Mr. Moore’s blithe efficiency has always struck me as a truer expression of the Bond ideal. He was, by his own admission, an actor of modest gifts, which made him perfect for the role, at least as far as I’m concerned.

康纳利为伊恩·弗莱明(Ian Fleming)笔下的英国男性能力幻想赋予粗暴的性自大狂色彩。后来的丹尼尔·克雷格(Daniel Craig)又为之带来一种易怒与创伤之美。他的21世纪007是痛苦的,看上去敏感、矛盾、觉醒。但是,摩尔那种轻率欢快的效果总是让我觉得,对于“邦德”这个概念来说,这才是更为真实的呈现。摩尔也承认,作为演员,自己的资质其实很平庸,但这恰恰令他完美地适合这个角色,至少对于我来说是这样的。

My James Bond is not macho compensation for lost imperial power, like Mr. Connery, or an anxious avatar of globalization, like Mr. Craig. He is a cartoon superhero in evening wear, a man whose mission is to embody — and, therefore, to transcend — a secondhand, second-rate age, to be cool and clever in a world determined to be as lame and dumb as possible.


Nobody did that better than Roger Moore.