您现在的位置: 纽约时报中英文网 >> 纽约时报中英文版 >> 文化 >> 正文


更新时间:2018-9-29 21:05:05 来源:纽约时报中文网 作者:佚名

Sean Connery co-wrote a Bond film that was never made

James Bond has done some memorable things in his time, from dodging laser blasts on a space station to driving an invisible car across a glacier. One thing he hasn’t done, however, is deactivate a robot shark which is carrying an atom bomb through a Manhattan sewer. But he very nearly did. In 1976, a Bond screenplay revolved around a shoal of remote-controlled, nuclear-weaponised robo-sharks. Its title was Warhead. And one of its three screenwriters was none other than the original big-screen 007, Sean Connery.

邦德(James Bond)在他的时代做了一些令人难忘的事情,从躲避太空站的激光爆炸到驾驶一辆隐形汽车穿越冰川。然而,有一件事他没有做,那就是关停一只携带原子弹穿过曼哈顿下水道的机器鲨鱼。但他差一点就做到了。1976年,一部邦德电影的剧本正在编写:故事情节围绕着一群由人遥控载有核弹的机器鲨鱼而展开。剧本标题是《弹头》,三位编剧之一正是最初登上大银幕的007扮演者康纳利。

Another of the screenwriters was Kevin McClory, who had been introduced to Ian Fleming, the author of the Bond novels, back in 1958, well before any of them had been turned into films. He was almost as much of a Bond figure as Fleming himself. Fleming was a globe-trotting former British naval intelligence officer with a prodigious appetite for cigarettes and alcohol. McClory was a handsome Irish playboy who had served in the British Merchant Navy and had been engaged to Elizabeth Taylor. He had also written, produced and directed a film, The Boy and the Bridge, so when he asked Fleming if he could make the first ever Bond movie, the author felt that he was the ideal man for the job.

另一位编剧是麦克罗里(Kevin McClory),他早在1958年就经人介绍认识了邦德系列小说的作者弗莱明(Ian Fleming),当时这些小说还没有被拍成电影。他几乎和弗莱明本人一样都是邦德般的角色。弗莱明是一位周游世界的前英国海军情报官员,对香烟和酒精有惊人的兴趣。麦克罗里是一位英俊的爱尔兰花花公子,曾在英国商船队(British Merchant Navy)服役,还曾与荷里活女明星伊丽莎白·泰勒(Elizabeth Taylor)有过婚约。他还创作、制作和导演了一部电影《男孩与桥》(The Boy and The Bridge)。所以当他问弗莱明是否能拍出史上第一部邦德电影时,弗莱明觉得麦克罗里是这份工作的理想人选。

McClory’s plan was that instead of adapting one of Fleming’s published novels, they would concoct a new story with the help of an established screenwriter, Jack Whittingham. Several drafts were completed, some better than others: the results of one early brainstorming session had 007 going undercover as a cabaret entertainer, having been taught how to tread the boards by Noël Coward and Laurence Olivier. Mercifully, the revised plot concentrated on an international criminal consortium named Spectre, an organisation which hadn’t featured in any previous Bond novels. One of its officers, Largo, was to steal two Nato nuclear missiles, but Bond would track him to the Bahamas before he could launch them. Fleming was happy with the premise, although not with the title, Longitude 78 West. He replaced it with a title of his own: Thunderball.

麦克罗里的计划是,与其改编弗莱明已经出版的一部小说,还不如在一位知名编剧惠廷汉姆(Jack Whittingham)的帮助下编造一个新的故事。最后写成了好几个版本的初稿,有的版本略好,有的差强人意:一个早期的剧本讨论会议定下的基本情节是,007以一个卡巴莱歌舞演员的身份卧底,由科沃德(Noël Coward)和奥利维尔(Laurence Olivier)教他如何登台演出。幸运的是,修改后的情节集中在一个名为"幽灵党"(Spectre) 的国际犯罪集团身上,这个犯罪组织此前从未在邦德小说中出现过。该组织的一名官员拉戈(Largo)将偷取两枚北约(Nato)核导弹,但邦德会在他发射前追踪他到巴哈马。弗莱明对这个故事背景很满意,虽然对片名“西经78度(Longitude 78 West)”不敢苟同。他把片名换成了自己取的:《霹雳弹》。

For a while, it looked as if the film would be made, possibly with Alfred Hitchcock at the helm and Richard Burton playing the Secret Service’s top agent and Martini aficionado. But Fleming began to suspect that McClory didn’t have the experience to make an espionage blockbuster, after all. He decided instead to use the Thunderball screenplay as the basis of his next novel. Unfortunately, he didn’t get around to consulting the two men who had done most of the work.

有段时间,这部电影似乎即将开拍,可能由希区柯克(Alfred Hitchcock)执导,李察伯顿(Richard Burton)饰演特勤局的高级特工和马提尼酒的狂热爱好者。但弗莱明开始怀疑麦克罗里没有制作间谍大片的经验。他决定用《霹雳弹》的剧本作为下部小说的基础。不幸的是,他没有花时间去和做了大部分工作的那两人商量。

McClory sued. Two court cases later, the judgement came down that subsequent editions of the Thunderball novel would acknowledge him and Whittingham, and that McClory would also retain film and television rights to the story. Meanwhile, two producers named Albert R ‘Cubby’ Broccoli and Harry Saltzman had launched their own series of Bond movies starring Connery. Their company, Eon, produced Dr No in 1962, followed by From Russia With Love and Goldfinger. Keen that Thunderball should be their fourth Bond film, they did a deal with McClory whereby he would be credited as producer, and he would have the right to remake Thunderball 10 years later: presumably they were banking on either the public or McClory losing interest in 007 before the decade was up.

麦克罗里於是将弗莱明告上法庭。两起诉讼之后,判决下来,《霹雳弹》小说的后续版本会承认麦克罗里和惠廷汉姆的著作权,麦克罗里也将保留这个故事的电影和电视版权。与此同时,两位制片人布洛克利(Albert R 'Cubby' Broccoli)和萨尔茨曼(Harry Saltzman)推出了自己的邦德系列电影,由康纳利主演。1962年,他们的公司意昂(Eon)制作了首部007电影《诺博士》(Dr No),接着是《俄罗斯之恋》 (From Russia With Love)和《金手指》(Goldfinger)。他们希望《霹雳弹》成为他们的第四部邦德电影,于是和麦克罗里达成交易,麦克罗里将作为制片人,并且有权在10年后重拍《霹雳弹》:可能他们指望公众或麦克罗里在十年内失去对007的兴趣。

They were wrong on both counts. Thunderball was released in 1965, and when 1975 rolled around, McClory announced that his remake was going ahead without Broccoli and Saltzman. He even chose a title which would stake his claim to the character’s cinematic incarnation: James Bond of the Secret Service.


Licence to chill


If that weren’t provocative enough, he taunted his competitors at Eon by recruiting two co-writers who had once been friendly with them. The first of these was Len Deighton, three of whose novels had been made into Michael Caine films produced by Saltzman: The Ipcress File, Funeral in Berlin and Billion Dollar Brain. The second co-writer was Connery, who had hung up his Walther PPK and his waterproof toupee after 1971’s Diamonds Are Forever. The actor had never written a screenplay before – or since, for that matter – but that wasn’t the point. In Robert Sellers’ definitive chronicle of the Fleming/McClory/Eon courtroom saga, The Battle for Bond, he argues that McClory’s “real motive was getting Connery’s name attached to his Bond project any which way he could”.

如果这还不够挑衅的话,他招募了两位曾与自己在意昂公司的竞争对手保持友好关系的合著者,以此嘲弄竞争对手。第一位是戴顿(Len Deighton),他的三部小说都被拍成了由萨尔茨曼制作,由迈克尔·凯恩(Michael Caine)主演的电影:《伊普克雷斯档案》(The Ipcress File)、《柏林葬礼》(Funeral in Berlin)和《亿万头脑》(Billion Dollar Brain)。第二位合著者就是康纳利,他在1971年拍完《007之金刚钻》(Diamonds Are Forever)后,就把自己的瓦尔特 PPK手枪和防水假发挂了起来(译注:《金刚钻》是康纳利出演的最后一部007电影)。康纳利此前从未写过剧本——或者此后他也再没有写过剧本——但这并不是重点。塞勒斯(Robert Sellers)所著的权威纪实文学《邦德之战》(The Battle for Bond)描述了弗莱明、麦克罗里和意昂公司的法庭传奇故事,他认为,麦克罗里的“真正动机是让康纳利的名字以任何可能的方式与他的邦德计划绑在一起”。

However much or little Connery may have contributed, the screenplay was exciting enough to convince Paramount to back the film, now renamed Warhead. And it’s certainly tantalising stuff. Even though the three screenwriters followed the rough outline of Thunderball, they sometimes went their own way, too, occasionally veering into the realms of Austin Powers-style parody. There is a Bond girl named Justine Lovesit. (“She does?” our hero inevitably enquires.) And there is a wonderfully farcical scene in which Bond has sex with Fatima Blush (actually a Spectre agent) while his cleaning lady, Effie (also a Spectre agent), is hiding under the bed. Immediately afterwards, two men break into 007’s Belgravia flat, but he dispatches them with a karate chop and a kick to the groin, only to learn that they were on his side all along. The men, he is told back at MI6 headquarters, are “somewhat piqued”.

无论康纳利做出的贡献有多少,有他参与的剧本都足以说服派拉蒙公司(Paramount)支持这部现在更名为《弹头》的电影。这当然是诱人的。尽管这三位编剧遵循了《霹雳弹》的大致轮廓,但他们有时也会走自己的路,偶尔也会转向对《王牌大贱谍》(Austin Powers)风格的拙劣模仿。有位邦女郎叫勒芙斯特(Justine Lovesit)。(“她是邦女郎吗?”我们的英雄必然会问。) 还有一个滑稽的场景,邦德和布拉什(Fatima Blush)(实际上是幽灵党特工)上床时,他的清洁女工艾菲(也是幽灵党特工)正躲在床底下。紧接着,有两个人闯进了007在贝尔格拉维亚区(Belgravia,伦敦的上流住宅区)的公寓,但邦德送给他们一招空手道的劈砍,并一脚踢到他们的腹股沟,结果发现他们其实一直是自己人。邦德在军情六处(MI6)总部被告知,这些人“有些愤怒”。

Another distinction between Thunderball and Warhead is the latter’s crazily entertaining New York climax, which has Bond wrestling mechanical sharks in the sewers, then paragliding up to the head of the Statue of Liberty for a brutal fight with Spectre’s goons. (“Blood trickles down the cheek of the Statue of Liberty like a tear,” says the script.) And it’s striking how much Warhead has in common with the Bond movie that Eon was developing at that very moment. In The Spy Who Loved Me, which stars Roger Moore, the villain’s underwater lair bears a suspiciously close resemblance to the one described on the page by Deighton and company: “A gigantic white futuristic tubular structure rises out of the ocean.” And Bond’s final clinch aboard a luxurious escape pod can be found in the Warhead script, too. Take into account the sharks and the stolen nuclear weapons, and the similarities between Warhead and The Spy Who Loved Me would make anyone raise a Roger Moore-ish eyebrow.

《霹雳弹》和《弹头》的另一个区别是后者在纽约的高潮段落中疯狂的精彩表演:邦德在下水道里与机械鲨鱼搏斗,然后乘滑翔伞飞到自由女神像(Statue of Liberty)的头上,与幽灵党的暴徒展开残酷的搏斗。(剧本写道:“鲜血像眼泪一样从自由女神像的脸颊上流下。”)令人惊讶的是,《弹头》和那时意昂公司正在筹拍的邦德电影有许多是相同之处。在由摩尔(Roger Moore)主演的《007之海底城》(The Spy Who Loved Me)中,反派角色的水下巢穴与戴顿和他的同伴在《弹头》剧本中描述的“一个巨大的、从海中升起的未来主义的白色管状结构”疑似非常相近。邦德在豪华逃生舱上的最后一击也可以在《弹头》剧本中找到。考虑到鲨鱼和偷来的核武器,《弹头》和《007之海底城》的相似之处会让任何人都像摩尔一样,惊讶地瞪大眼睛。

McClory’s reaction was more extreme. He took out an injunction against Eon’s film, but Eon had already taken out an injunction against his, so each side was now claiming that the opposition had pinched their material. Wary of being caught in the legal crossfire, Connery and Paramount withdrew from the project. The Spy Who Loved Me went ahead. Warhead didn’t.


Not that McClory gave up. In 1983, he and another producer, Jack Schwartzman, completed a less ambitious, less robo-sharky Thunderball remake, Never Say Never Again, and in the 1990s he touted a third version, Warhead 2000. But by then the question which had always echoed around his efforts had grown too loud to ignore: who needed another Bond movie franchise when Eon’s was already so successful?

并不是麦克罗里放弃了。1983年,他和另一位制片人施瓦茨曼(Jack Schwartzman)完成了一部不那么雄心勃勃、没有机械鲨鱼的《霹雳弹》翻拍版——《007外传之巡弋飞弹》,并在20世纪90年代推出了第三版,《弹头2000》(Warhead 2000)。但那时,外界质疑声非常强烈,不容忽视:在意昂公司已经如此成功时,谁还需要另一部邦德系列电影呢?

Still, it’s hard to think about McClory without a quantum of sympathy, especially while you’re watching The Spy Who Loved Me, the jokey high-tech marine extravaganza which is so comparable to the one that he, Deighton and Connery had envisaged. And it’s hard to hear that film’s theme song without wondering if his rivals at Eon were sending him a defiant, mocking message: “Nobody Does It Better”.

尽管如此,你很难在想起麦克罗里时没有一丝同情心,尤其是当你在看《007之海底城》时,这个滑稽的高科技海洋狂想曲,和他与戴顿、康纳利当年编写剧本的设想所差无几。听到这部电影的主题曲《没有人能做得更好》(Nobody Does It Better)时,我们很难不怀疑他在意昂公司的竞争对手是否在向他传递一种挑衅嘲讽的信息:“没有人能比我们做得更好”。