又見(jiàn)《機(jī)械戰(zhàn)警》：炫酷外衣下的經(jīng)典重現(xiàn)？

導(dǎo)讀：27年前，由保羅·范霍文執(zhí)導(dǎo)的《機(jī)械戰(zhàn)警》(又譯《鐵甲威龍》)成為了眾多影迷心中的科幻經(jīng)典。時(shí)隔多年，前不久上映的這部新版翻拍片能否超越原作呢?是老瓶裝新酒?還是加入炫目視效后令經(jīng)典升華?一起來(lái)揭開(kāi)謎底。

Remaking a classic movie is a tricky business nowadays. Stay too close to the original and your work will be considered redundant; veer too far and you risk losing hardcore fans.

如今，翻拍經(jīng)典影片是件很棘手的事。太接近原版會(huì)有“狗尾續(xù)貂”之嫌;與原版相差太遠(yuǎn)又有可能流失忠實(shí)粉絲。

After watching Brazilian director Jose Padilha’s reboot of RoboCop — the 1987 classic sci-fi movie by Dutch director Paul Verhoeven — it’s fair to say that the remake comes dangerously close to the latter. But while it may upset some of the faithful fans, it may well win over a few new ones, too.

1987年荷蘭導(dǎo)演保羅•范霍文拍攝了經(jīng)典科幻片《機(jī)械戰(zhàn)警》。在看過(guò)巴西導(dǎo)演何塞•帕迪利亞翻拍的最新版本后不得不說(shuō)，兩部影片的高度類(lèi)似不禁叫人替翻拍版本捏了把汗。盡管本片可能會(huì)讓一些忠實(shí)粉絲感到失望，但它同樣會(huì)吸引一些新粉絲。

Some things remain the same. The setting is still a futuristic Detroit (in 2028), and the protagonist Alex Murphy (Joel Kinnaman) is still a good cop who gets seriously injured on duty and is put into a robotic suit to be the city’s cyborg peacekeeper.

新版影片保留了原版中的部分元素。故事依舊設(shè)定在2028年的底特律，主角亞歷克斯•墨菲(喬爾•金納曼飾演)仍然是名正直的警察。他在執(zhí)行任務(wù)時(shí)身負(fù)重傷，后來(lái)披上機(jī)械戰(zhàn)甲化身機(jī)械戰(zhàn)警。

But that’s where the similarities end. Padilha’s remake is set in a world where multinational corporation OmniCorp, led by ruthless CEO Raymond Sellars (Michael Keaton), has become the US military’s major contractor.

然而，新版影片對(duì)原版的保留僅限于此。在帕迪利亞翻拍的影片中，由冷面CEO雷蒙德•塞拉斯(邁克爾•基頓飾演)領(lǐng)導(dǎo)的跨國(guó)公司OnmiCorp成為了美國(guó)頭號(hào)軍火商。

Overseas, its soldier drones are helping to “enforce” the peace; back home, its advanced robotics department is helping injured soldiers to walk again. But despite their best efforts, there’s one area of business they haven’t yet cracked — securing the US’ own streets.

在海外，該公司研發(fā)的無(wú)人戰(zhàn)斗機(jī)身兼“維和”使命;在美國(guó)國(guó)內(nèi)，該公司利用先進(jìn)的機(jī)器人科技幫助受傷士兵重新站立行走。然而，盡管他們已傾盡全力，卻仍未在一個(gè)領(lǐng)域有所建樹(shù)——維護(hù)美國(guó)本土大街小巷的安全。

Just like the 1987 original, the struggle between man and machine forms the movie’s backbone, though here the concept is upended. While the original concerned a machine that realizes that it is a man, this update basically concerns a man who comes to terms with being trapped inside a machine.

和1987年的原版電影一樣，影片主題依舊圍繞人與機(jī)器人之間的掙扎;不同的是，新片顛覆了老版影片的理念。在老版影片中，機(jī)械戰(zhàn)警(掙扎過(guò)后)最終意識(shí)到自己本身是人類(lèi)，而新版影片中，機(jī)械戰(zhàn)警則甘心受困于機(jī)器之中。

That doesn’t mean Murphy, the new hero, gets all sentimental and soft. Along with much improved visual effects, there are some quite solid action scenes that make him reminiscent of Iron Man and Batman.

但是，這并不表示新版影片的主人公墨菲是個(gè)多愁善感、軟弱的角色。除了視覺(jué)效果方面的改進(jìn)，該片還展現(xiàn)了一些激烈的動(dòng)作場(chǎng)面，讓人不禁聯(lián)想到鋼鐵俠和蝙蝠俠。

Of course, a common problem with action-packed sci-fi movies is their short on intellectual weight. Compared with the 1987 original, which was a smart satire of American culture, the new RoboCop resonates to some degree with its depiction of military drone strikes. Yet it sidesteps deeper questions about the intersection of technology, law enforcement and politics.

當(dāng)然，科幻動(dòng)作片面臨的通病是缺乏深度。1987年的原版電影曾巧妙地諷刺了美國(guó)文化，新版《機(jī)械戰(zhàn)警》則通過(guò)對(duì)美國(guó)無(wú)人機(jī)空襲場(chǎng)景的刻畫(huà)，在某種程度上與前作產(chǎn)生了共鳴。但是，新版影片對(duì)科技、執(zhí)法與政治等深層問(wèn)題選擇了回避。

But Padilha’s update still works, because it logically transports the core concept into a future that feels closer to our own. And the movie is different enough to exist on its own without ignoring or disrespecting its roots. Given the potential mistakes when re-imagining a classic, you can’t be fairer than that.

盡管如此，帕迪利亞的翻拍版還是成功的嘗試，因?yàn)樵撈樌沓烧碌貙㈦娪昂诵睦砟钷D(zhuǎn)移到了一個(gè)似乎離我們很近的未來(lái)時(shí)空。在尊重原版的基礎(chǔ)上，該片的與眾不同足以為自己爭(zhēng)得一席之地。鑒于翻拍經(jīng)典難免出錯(cuò)，這是最公平的說(shuō)法了。