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Elementary, My Dear Downey

机译：小学，亲爱的唐尼

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It is hard not to be increasingly impressed with the talents of Robert Downey Jr., whom critic David Thomson winningly has described as "one of the most fascinating, mercurial actors around-if one cherishes the notion of the actor as jazz improviser: sudden, lyrical, absurd, tragic, comic, and ready to destroy himself for truth."rnHis father is the avant-garde filmmaker Robert Downey, whose critical breakout came with the modestly budgeted "Chafed Elbows" (1965), the same year his son was born. Fittingly, the boy's first film appearances were in the senior Downey's work, starting with "Pound" (1970). Given the free-spirited counterculture climate into which Downey was born, including an easy accessibility to drugs (starting with his father), the twin seeds of the young man's future, art and potential substance abuse, were planted early.rnLet me state early, however, that I am not the sort to be drawn to that perverse fascination with the self-destructive artist, be it poet Dylan Thomas or rocker Janis Joplin-and really, why does such interest persist? Biographers and critics alike long have enjoyed romanticizing the creative process. For instance, Val Holley's otherwise superiorrn1995 chronicle of James Dean finds the need to close with the most simple sentimentality: "Dean's earthy records were achieved because of-not in spite of-his self-destructive-ness, insecurity, and vulnerability. The gift of artistry can be a curse as well as a blessing." This is an entertainingly romantic take on Dean, but ultimately neglects so much. This gifted young man was anything but self-destructive or insecure, and his air of vulnerability was only part of arnpersona he created to match that angst-ridden youth he played in the movies and early live television. A critic pitching pain as the only catalyst for artistry is facilitating an excuse or an alibi for someone with a traditional background to cop out on creativity. Robert Downey Jr. had me on talent alone long before his temporary personal travails briefly landed him in prison on drug-related convictions.
机译：小罗伯特·唐尼（Robert Downey Jr.）的才华令人不禁被其印象深刻，批评家戴维·汤姆森（David Thomson）曾成功地将其描述为“周围最迷人，善变的演员之一，如果有人珍惜该演员作为爵士即兴表演者的想法：突然之间，抒情，荒诞，悲剧，喜剧，并准备为真理毁灭自己。”他的父亲是前卫电影制片人罗伯特·唐尼（Robert Downey），他的重要突破来自预算有限的“ Chafed Elbows”（1965年），他的儿子同年天生的。恰如其分，这个男孩的第一部电影是在唐尼的高级作品中出现的，从《庞德》（1970）开始。考虑到唐尼出生时自由奔放的反文化气候，包括容易获得毒品（从他父亲开始），早年种下了年轻人的未来，艺术和潜在的药物滥用的双胞胎种子。但是，我不是那种对自我毁灭的艺术家如此反常的迷恋的人，无论是诗人迪伦·托马斯还是摇滚歌手贾尼斯·乔普林-真的，为什么这种兴趣持续存在？传记作家和评论家们一直很喜欢将创作过程浪漫化。例如，瓦尔·霍利（Val Holley）1995年詹姆斯·迪恩（James Dean）的另一本比较出色的编年史发现，有必要以最简单的情感来结束：“尽管（尽管他具有自我毁灭性，不安全感和脆弱性，但并非出于所有目的，但获得了迪恩（Dean）的泥土记录。”艺术性既可以是诅咒，也可以是祝福。”这是对Dean的一种娱乐性浪漫的态度，但最终却忽略了很多。这个有天赋的年轻人只是自我毁灭或缺乏安全感，他脆弱的气氛只是他创造的arnpersona的一部分，以匹配他在电影和早期直播电视中扮演的焦虑缠身的年轻人。批评者将痛苦作为艺术性的唯一催化剂正在为具有传统背景的人提供借口或不在场证明他们应对创造力。小罗伯特·唐尼（Robert Downey Jr.）独自让我发挥才华，直到他的临时性个人苦难短暂使他因与毒品有关的定罪而入狱。

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  • 来源
    《USA today》 |2009年第2768期|65-65|共1页
  • 作者

    Wes D. Gehring;

  • 作者单位

    Ball State University, Muncie, Ind.;

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