Benedict Cumberbatch and Martin Freeman return for another bold take on Sir Arthur Conan Doyle's iconic detective
History Repeating 历史回顾
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.
这真是一个天才的想法——把最现代的检测方法、夏洛克·福尔摩斯和约翰·华生带到十九世纪。奇迹啊，从来没有人想过要这么干。但在亚瑟·柯南·道尔从坟墓里爬出来之前——通常是别人从坟墓里爬出来，一个棘手的壮举——这已经不是你平时的马车和穿紧身胸衣的时代剧啦！这显然已经不是柯南·道尔的夏洛克·福尔摩斯了。
To quote a certain nemesis – "Is this silly enough for you yet? Gothic enough, mad enough, even for you?"
引用一句话："你还不够傻吗？哥特式情节，疯狂着迷，对你还不够吗？"
Wibbly Wobbly Timey Wimey 时间和波浪，变化无常！
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.
如果你对1890年的英国非常熟悉，那么你在这儿会发现很多不合理的地方，不仅仅是难以理解的阴沉的太平间，闪烁的煤气灯——相比之下，BBC同期的《开膛街》里的明亮干净的太平间要好些。还有你知道为什么莫莉·琥珀用假胡子女扮男装吗？
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?
事实上，整件事就像一个偶尔愉快但又普遍刺激的幻想故事——看到马克·加蒂斯拍出如此好的电视，真的感到羞愧。噢，是的，拍得很漂亮，但是分歧的意见又很痛苦——19世纪80年代的麦考夫真的需要用到“数据病毒”这个词吗？如何才能不违背历史呢？
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.
然后莫里亚蒂已经突破到贝克街以外的小说了，跟夏洛克辩解、调情，让你觉得更不舒服的是，拿枪对着自己（朝着嘴里）开一枪，提醒我们可恶的新娘的死亡只是在模仿了夏洛克现实世界中的事情。这不是赖兴巴赫瀑布（跳下去就会死）。
Benedict Cumberbatch in "The Abominable Bride."
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.
夏洛克跳下瀑布的场景，只不过是银幕呈现给我们看的，实际上“然后他醒了，这一切都只是梦”。这样的设定，如果说把一个陈词滥调做成一个好作品需要天赋的话，那么把一个烂作品变成殿堂级的作品，那简直就是福尔摩斯级别的天才。
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.
解释是夏洛克在他的思维殿堂里试图解开莫里亚蒂死而复生之谜，但他为了进入思维殿堂服下了危险的毒品药剂，却开启了维多利亚谋杀案未解之谜。我们都沉迷进去了。然后跟着他在现在和维多利亚时代来回穿梭，快到令人摸不着头脑，谁敢说“现在”就一定是我们的世界？这可不是随便说说的，你可以看到夏洛克的精神分裂，都是混乱的，非线性的荣耀（穿越到过去解开谜团的骄傲）。
Miss Me? 想我了吗？
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.
不可否认，莫里亚蒂出现地莫名其妙。他就躺在夏洛克的床上，打扮成新娘的样子，说人人都想看夏洛克和华生私奔（注：原剧中是三个场景）。他甚至还对夏洛克拳打脚踢，那个场景令人痛苦地想起了艾琳·艾德勒。这一切都是夏洛克的脑海里产生的幻觉。这不是莫里亚蒂告诉夏洛克的，而是夏洛克自己的弱点——这是这位大侦探自己醒悟的。
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.
莫里亚蒂是硬盘中的病毒，使得夏洛克思维殿堂出错——让夏洛克犯错——病毒想要复制，就是夏洛克想要更多的自己。莫里亚蒂是夏洛克的自我阴影，就像Hyde之于Jekyll（注：英国作家Stevenson的作品，善良的医生Jekyll，在夜晚会转变为邪恶的Hyde）。所以夏洛克当然会跳，跟着莫里亚蒂跳入深渊——不是因为他不能没有莫里亚蒂，而是他不想再见到莫里亚蒂。
Quoteable Sherlock 引用夏洛克
"There's a woman in my sitting room. Is it intentional?"
“我的客厅里有一个女人，是故意的吗？”
"Give her some lines or she's perfectly capable of starving us."
“给她一些台词，否则她完全有可能把我们饿死。”
"What do you think about MI5's security?" "I think it would be a good idea."
“你认为MI5安全？”“我猜是的。”
"I'm a storyteller, I know when I'm in one."
“我是一个讲故事的人，我知道我在故事里。”
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.
这一点是可笑的：史蒂文·莫法特尝试骗过观众，但太难了，还把原本非常简单的侦探小说扭曲婉转到一个非常复杂的剧情迷宫里。想出这个秘密也不怎么机智，完全没意义，因为根本就没必要。莫法特和加蒂斯只是拍摄一个受尽折磨的古怪天才瘾君子长达90分钟的内心对话而已，把它包裹在一个哥特式的神秘里面，当作是给我们一个迟到的圣诞礼物。
原文：Review: 'Sherlock: The Abominable Bride' Takes Cliches and Twists Them Into Genius
出处：http://www.indiewire.com/article/review-sherlock-the-abominable-bride-takes-cliches-and-twists-them-into-genius-20160102
作者：Kaite Welsh
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