The Mummy: The Path to Becoming a Bisexual Movie Paradigm

《木乃伊》:如何喚醒一代雙性戀者的情感與慾望

When I think back to the moment I first saw The Mummy (1999), I can't remember exactly where I was. The movie seemed to have been made for hieroglyphic-obsessed teenagers searching for stray vipers on the sidewalk. Maybe I was in a movie theater, watching the death scenes of those carnivorous saint beetles through the cracks in my hands; maybe I was at a sleepover trying to stay in my sleeping bag as the adrenaline spiked; or maybe I simply stumbled upon the film during a night of channel surfing, witnessing some of the best hair styles blowing in the locust-infested winds. In either case, I'm sure I don't remember the details because I was too busy watching fascinating characters searching for treasure in hotter deserts, too busy pretending my little world wasn't crumbling at the speed of a frivolous camel race.

影片一開始,當好奇的圖書館員伊芙琳(由蕾切爾·薇茲飾演)遇到任性的探險家瑞克(由布蘭登·弗雷澤飾演)時,他們立即分享了一個明確無誤的事實:如果他們不盡快與對方打臉,他們可能會死於口渴。她面對一個有著神秘過去的狂野男人,當他們目光接觸時,她本能地屏住了呼吸;他確信自己快要死了,卻看到了與一位令人心碎的美麗女人親熱的最後機會。瑞克是典型的印第安納·瓊斯式的冒險英雄,有著與之相配的尖刻笑容;而埃維是一位固執的學者,對她所代表的危險有著強烈的熱愛。兩人都充滿了絕望的慾望,這讓他們同樣感到驚訝,這種緊張感在電影的其餘部分中從未減弱,直到名義上的木乃伊被征服,他們最終可以表現出自己明確的肉慾慾望。

回顧我對《木乃伊》(以及更誇張的2004年續集《木乃伊歸來》)的迷戀,其根源似乎太明顯了。當時我正處於童年和青春期的邊緣,面對著蕾切爾·薇茲和布倫丹·弗雷澤的魅力磁場,而他們正處於流氓權力的巔峰。我的朋友們也喜歡這部電影,但當我們一起觀看時,我坐在那裡,知道我看的方式有些不同。只是花了更長的時間我才意識到,當我看到他們的角色穿過瑞克牢房的鐵柵欄相遇、四目相對並知道他們的生活將永遠不一樣的第一個場景時,我與他們的關係非常強烈。他們是如此渴望彼此,如此明顯,這讓我意識到——在我大聲說出這句話之前的幾年——我也多麼渴望他們兩個。

當然,直到我十幾歲時登入Tumblr網站,我才意識到我並不孤單。在世界各地,似乎,《木乃伊》喚醒了一代沉睡的雙性戀者。有些人對伊維和瑞克充滿詩意,認為他們是獨立的值得慾望的實體;有些人關注的是他們作為情侶的共同熱情;其他人則將他們的性取向完全歸功於這部電影(“《木乃伊》是為什麼我是雙性戀”)。一小部分但同樣熱情的派系將他們青春期的渴望歸因於伊姆霍特普(阿諾德·沃斯洛飾)和安克蘇納蒙(帕特里夏·委拉斯開茲飾)的結合,他們的古埃及風流韻事是如此被禁止(熱門),以至於注定了他們兩人的永恆痛苦(不那麼激烈,但作為人類如何成為全能木乃伊的煽動事件非常重要)。我們中的許多人傾向於那種特別煩人的“我們先到場”的沾沾自喜,因為薇茲,一個總體上具有不可思議魅力的表演者,似乎選擇了越來越多的角色,將她的性能量直接瞄準其他女性。對於每一代酷兒來說,“哦哦,那是為什麼我如此著迷”的新靈感這一刻誕生了,所以我和我的雙性戀千禧世代的兄弟姐妹們被《木乃伊》所吸引。

However, 25 years after its release, there's another key reason why this movie has stirred so much of our imagination in the way it has. Vyse and Fraser are obviously beautiful, but that's true for basically every star in every action movie. It's worth noting, for example, that when the 2017 reboot of The Mummy attempted to draft Tom Cruise's smash hit, with huge computer-animated action scenes and no memorable romance, it failed miserably enough for Universal to scrap much of its planned "Monsters" universe altogether. It's not enough to choose competent action heroes and expect sparks to fly. For any movie that sends a major character into mortal danger and back again, heat is a prerequisite at the most basic level. It's rare - especially nowadays - to see such an action movie as The Mummy it prioritizes the electrical chemistry of its protagonist as well as the explosive twists and turns of its plot. "Everyone is beautiful, no one is horny," as Benedict memorably and succinctly puts it, and God forbid a character should feel a tremor of desire while trying to save the world! More and more people feel that Hollywood blockbusters are happy to show their audiences the appearance of sex, rather than the tantalizing possibilities of foreplay, or the satisfaction that comes when it becomes more important.

Thankfully, the memo came too late for Evie and Rick. After connecting and having a child, shown here five years after The Mummy Returns, they did nothing to quell their inner need to throw each other against a wall, a bed, a dusty grave, whatever it took. Without their shared hunger, The Mummy would have been the perfect adventure movie. With it, The Mummy became much bigger than itself, a beacon of bisexuality for the movie age.

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