搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-50-best-movie-soundtracks-of-all-time/?page=5

翻譯：Xavier，Lynn Liu

校正：Ryan-Chopin，Tyler Smith

推送：Lynn Liu

10.??Pulp Fiction （低俗小說） 1994

The musical universe of?Pulp Fiction?is as freewheeling and culturally omnivorous as its screenplay: Here is a quintessential ’90s film in which a ’70s disco icon dances the twist in a ’50s-themed burger joint. Quentin Tarantino approached the score of his film the way skillful rap producers approach sampling, digging up and recontextualizing lost gems from the vinyl era, finding a certain crazed intensity in ’60s surf-rock tunes. (In fact, the soundtrack’s commercial success briefly reinvigorated surf music’s prominence in America.)

《Pulp Fiction（低俗小說）》的原聲宇宙就如同它的劇本一樣肆意自在而又能在文化層面異彩紛呈：一個(gè)70年代的迪斯科偶像在50年代主題的漢堡店里熱舞的典型90年代電影。Quentin Tarantino完成他的電影配樂就如同一位純熟的饒舌制作人在處理采樣，挖出遺失在黑膠時(shí)期的寶貝玩意兒并把它們重新放置在新的時(shí)代語境下打磨，搜尋著某種60年代美國沖浪搖滾發(fā)瘋似的震顫感。

Pulp Fiction’s iconic music cues include Urge Overkill’s cover of “Girl, You’ll Be a Woman Soon” during Mia’s heroin overdose and the Revels’ “Comanche,”?with?the dash of comic energy it brings to the sadistic pawnshop sequence. Where a lesser filmmaker might have chosen more obvious accompaniment to the Jack Rabbit Slim’s dance-off, Tarantino plays it understated and surreal with Chuck Berry’s 1964 hit “You Never Can Tell.” Like the best compilation soundtracks,?Pulp Fiction?introduced contemporary audiences to musical gems from the past; before file-sharing and streaming collapsed such barriers, this soundtrack got Gen-X teenagers listening to Dusty Springfield and Ricky Nelson. –Zach Schonfeld

《低俗小說》里經(jīng)典的音樂符號(hào)包括Mia吸食過量海洛因時(shí)Urge Overkill翻唱的那首“Girl, You’ll Be a Woman Soon（女孩，你就要成為女人了）”，還有當(dāng)鋪那場施虐戲碼里，Revel的“Comanche（科曼切人）”在連續(xù)鏡頭中帶來的一陣強(qiáng)烈的喜劇效果。對(duì)于Jack Rabbit Slim參加舞蹈比賽的伴奏，昆汀用Chuck Berry 1964年的熱門歌曲“You Never Can Tell（你永遠(yuǎn)無法訴說）”，避重就輕地營造出了一種怪誕的氛圍，而大多數(shù)導(dǎo)演應(yīng)該都選不出這么貼切的曲子了。和那些優(yōu)秀的原聲帶選集一樣，《低俗小說》帶著當(dāng)代的觀眾領(lǐng)略了那些來自過去的音樂精粹。在文件分享和流媒體打破時(shí)代屏障前，這張?jiān)晭ё屒ъ甑那嗌倌杲佑|到了Dusty Springfield 和Ricky Nelson.

—— Zach Schonfeld

9.? ?Help!?（救命！） 1965

After the effortless naturalism of?A Hard Day’s Night, which mined the Beatles’ charm for low-key yuks and translated the energy of Beatlemania into an extended series of chase scenes, the following year’s high-budget?Help!?swung in the opposite direction: farcical, forced, and at times offensive in its treatment of an Eastern cult. But the music was another matter. The songs on?Help!?made subtle but important steps past 1964’s?Beatles for Sale?and?A Hard Day’s Night: tugging at the dimensions of their sound; playing with echo, overdubbing, and stereo separation; and infusing everything with a faint but distinctly modern psychedelic sheen. (Perhaps it’s no surprise that the band spent the entire film shoot in a permanent pot haze.) The American release of the album swapped out the UK version’s seven non-soundtrack songs for instrumentals featured in the film, but it’s the UK release that has become the canonical one, anchored by “Yesterday,” one of the quartet’s most enduring singles. For all intents and purposes,?Help!?is a soundtrack in name only, but it’s still a fascinating snapshot of the Beatles at a crucial moment in their evolution. –Philip Sherburne

The Beatles（披頭士）毫不費(fèi)力地完成了充滿了自然主義的專輯《A Hard Day’s Night（一夜狂歡）》，他們紳士般狂歡的魅力逐漸顯現(xiàn)，這股披頭士狂熱潮最終具化成了一個(gè)加長版的追逐戲。而緊接著后一年的大制作專輯《Help!（救命）》則選擇了完全相反的方向。膚淺，造作，甚至對(duì)于一部東方邪典片來說都有些過于挑釁。不過，其中的音樂就是另外一碼事兒了。在他們1964年的音樂作品《Beatles for sale（披頭士代售）》以及《一夜狂歡》后，《Help！》的音樂讓披頭士邁出了微妙而關(guān)鍵的一步：他們拉扯著聲音的維度，玩起了回聲，疊錄和立體聲分離的制作技巧，試圖將一切都涂上一層細(xì)微而極具辨識(shí)度的現(xiàn)代迷幻光澤。（大概也能解釋了為什么他們整部片子都是呆在鍋爐的霧氣里拍攝的）。美國發(fā)行的版本中用電影中的伴奏帶代替了英版的七首非原聲歌曲，不過真正經(jīng)典的也正是這七首歌，而作為這個(gè)四人組最耐聽單曲之一的“Yesterday(昨日)”更是為整張專輯奠定了基調(diào)。盡管從最終目的上看，《Help!》只是一張名義上的原聲帶，但它仍然是披頭士在他們進(jìn)化道路上關(guān)鍵時(shí)刻的一個(gè)精彩記錄。

——Philip Sherburne

8.??Rushmore?(青春年少)?1998

For Wes Anderson, whose formative teenage years coincided with the dawn of MTV, sound and vision are inextricably linked. The writer-director has often employed a music-first approach to filmmaking—finding a song that sets off his synapses and then imagining?a scene to it. But he’s not simply typing away to Top 40 hits. Working with his longtime music supervisor Randall Poster, Anderson peppers his offbeat movies with whimsical deep cuts and personal favorites that warm up his deadpan characters. It’s a strategy that has helped him become one of the defining auteurs of his generation, and it never worked better than on his 1998 breakthrough,?Rushmore.

Wes Anderson的青春期是和MTV的誕生發(fā)展重疊在一塊的，這對(duì)他后來的成長產(chǎn)生了巨大的影響，在他看來聲音與圖像從來都是如此地緊密纏繞著。這位作者兼導(dǎo)演總是把音樂第一的原則應(yīng)用在他的電影制作中——先找到一首震顫到他海馬區(qū)的音樂，然后在腦海中拼湊與之對(duì)應(yīng)的圖像。當(dāng)然，他可不是光靠著熱門榜單上的歌曲就能找對(duì)感覺。在與他長期合作的音樂總監(jiān)Randall Poster的幫助下，安德森用異想天開的切入口和個(gè)人偏好來填充他與眾不同的電影，后者更是讓那些面無表情的角色都有了可愛的一面。這些方法也讓他成為可以定義他那個(gè)時(shí)代的重要藝術(shù)家之一，而在1998年的突破之作《Rushmore(青春年少)》中這些技巧的作用則達(dá)到了前所未有的高度。

On the surface,?Rushmore?is a coming-of-age story filled with nerds, bullies, crushes, and handjob jokes. What separates it from movies like?American Pie, which came out the following year, is its straight-faced affect, subtle longing, and acute attention to detail: Yes,?Rushmore’s main love story involves a 15-year-old shamelessly pining for a schoolteacher, but the boy is haunted by his mother’s passing, and the older woman is still grieving for her dead husband. Similarly, at a glance, the soundtrack seems commonplace, with tracks by classic rock heavies John Lennon and the Kinks, but the song selections are unexpected and deeply felt. Instead of just carpet-bombing a rebellious scene with “My Generation,” Anderson syncs one of the film’s several memorable montages with a portion of the Who’s proggy, multipart epic “A Quick One, While He’s Away.” The addition of obscure British Invasion groups like the Creation and Unit 4 + 2 make his exactitude that much more apparent.?Rushmore?is a love letter to lost youth, and its soundtrack plays like a well-worn mixtape from a discerning childhood friend. –Ryan Dombal

表面上，《青春年少》是一部充滿了書呆子、校霸、暗戀對(duì)象和“右手”黃色笑話的成長電影。而讓它區(qū)別于來年上映的《American Pie（美國派）》一類電影的原因，正是它對(duì)方法論的恪守，對(duì)微妙的情感表達(dá)以及細(xì)節(jié)的精準(zhǔn)關(guān)注：對(duì)，《青春年少》主要講的就是一個(gè)15歲厚臉皮學(xué)生和學(xué)校老師糾纏的愛情故事，只不過這個(gè)男孩正沉浸在喪母之痛中，而那個(gè)老師也還對(duì)自己死去的丈夫念念不忘。同樣，轉(zhuǎn)過頭來品品音樂，這張?jiān)晭б诧@得平庸無常，充填著John Lennon和 the Kinks的經(jīng)典搖滾歌曲，但是關(guān)于歌曲的安排卻足夠出乎意料且富有感染力。除了在“My Generation（我的時(shí)代）”旋律下安插了一段足以驚爆紅毯的反叛鏡頭， Anderson還用一小段the Who帶有先鋒搖滾特色的多段落史詩歌曲“A Quick One, While He’s Away （趁他走了，來個(gè)快的）”來搭配這部電影里幾個(gè)重要蒙太奇之一的連續(xù)鏡頭。而其他幾個(gè)英倫入侵的樂隊(duì)像是“the Creation”和“Unit 4 + 2”更是讓他的精準(zhǔn)性昭然若揭?！肚啻耗晟佟肥且徊揩I(xiàn)給失落青春的情書，而它的原聲帶就像是一張陳舊的混錄唱片，只不過你還依稀記得它出自你童年品味最好的那個(gè)玩伴。

—— Ryan Dombal

7.??Lost in Translation（迷失東京） 2003

When Bill Murray sings a terribly off-key, blundering rendition of Roxy Music’s “More Than This” at karaoke, it is enough to move the listener to tears—and not just because Bryan Ferry’s sweet melody is incorruptible. It’s also due to the auteurist ear Sofia Coppola brings to?Lost in Translation, her ability to capture the story’s aching undertones through music. If what’s on the page is Murray drunkenly?warbling a glam-rock ballad, the subtext is in the bittersweet song itself, and Scarlett Johansson’s desiring gaze upon him, so penetrating that you can feel it even when she’s out of focus.

當(dāng)Bill Murray在卡拉OK廳笨拙地唱著跑調(diào)版的"More Than This（遠(yuǎn)不僅此而已）"時(shí)，這首來自Roxy Music 的金曲足以讓聽者們動(dòng)容落淚。當(dāng)然不單單是因?yàn)锽ryan Ferry 那永不過時(shí)的甜美旋律，這還要?dú)w功于Sofia Coppola為《Lost In Translation (迷失東京）》帶來的藝術(shù)品味，以及她透過音樂捕捉到故事背后苦痛內(nèi)質(zhì)的能力。畫面中的Murray醉醺醺地唱著一支魅惑搖滾樂隊(duì)的抒情戀曲，而歌曲苦樂摻半的名字才是它背后真正的潛臺(tái)詞。Scarlett Johansson對(duì)于比利充滿愛欲的凝望同樣具有攝人心魄的能力，以至于在她失焦的狀態(tài)下，我們?nèi)匀荒苷媲械馗惺艿玫健?/p>

While?Lost in Translation?features upbeat, debaucherous moments like Peaches’ “Fuck the Pain Away” and Phoenix’s “Too Young,” the film is remembered for the swirling shoegaze sounds of My Bloody Valentine and Air, accompaniments that turn Tokyo’s glaring neon surroundings into hazy, soft memories, even in the present. Since her 1999 debut,?The Virgin Suicides, Coppola has used needle drops to express certain feelings that cannot be articulated, and here, the Jesus and Mary Chain’s reverb-cloaked “Just Like Honey” acts as the?ideal romantic declaration in that famously indecipherable final scene. Coppola understands, and cosigns, something powerful in this moment: Sometimes, nothing we can say lives up to the perfect song. –Kristen Yoonsoo Kim

盡管《迷失東京》有著像是“Fuck the Pain Away”（做到忘記痛，Peaches）和“Too Young”（太年輕，Phoenix ）這種驕奢淫逸的瞬間，但能讓我們過后回味的仍然是“My Bloody Valentine” 和“Air”這樣天旋地轉(zhuǎn)的盯鞋之音，就連東京炫目的霓虹色彩都變得模糊不清，即刻成為最柔軟的記憶。從她99年的處女作《The Virgin Suicides（處女之死）》開始，Coppola就時(shí)常用"細(xì)針掉落"似的聲音來表達(dá)某種無法言說的感覺，這部電影里，來自Jesus and Mary Chain充滿混響的“Just Like Honey（就像那蜂蜜）”就成了電影晦澀結(jié)尾最理想的浪漫解碼。

——?Kristen Yoonsoo Kim

6.?Do the Right Thing （為所應(yīng)為）1989

Public Enemy’s “Fight the Power” blasts from Radio Raheem’s boombox a whopping 15 times throughout?Do the Right Thing. Written for the film, the song is so thoroughly enmeshed in its sweat-drenched fabric that Motown Records could’ve gotten away with looping it for 80 minutes on the soundtrack. But sweltering Brooklyn summers contain multitudes, and?Do the Right Thing’s album mirrors the agony and ecstasy streaked across Spike Lee’s masterpiece. Accompanying a montage of Bed-Stuy locals attempting to beat the heatwave that hovers hazily around them, the British reggae group Steel Pulse’s languid “Can’t Stand It” mirrors the humidity; the elastic strains of new jack swing pioneers Teddy Riley and Guy’s “My Fantasy” snap faintly as?Do the Right Thing’s aspiring community organizer, Buggin’ Out, schemes to boycott Sal’s Pizzeria. Alongside a gorgeous jazz score conducted and composed by Bill Lee, Spike’s father, the radiant ballads and punchy summer jams on?Do the Right Thing’s soundtrack are perfect evocations of city life in the summertime. –Larry Fitzmaurice

在《Do the Right Thing（為所應(yīng)為）》中，Public Enemy轟隆隆的單曲“Fight the Power（對(duì)抗強(qiáng)權(quán)）”在影片人物Radio Raheem手里拿著的那臺(tái)巨大收音機(jī)里炸裂了15次之多。這首專門為電影創(chuàng)作的歌曲大肆渲染著它大汗淋漓的特殊質(zhì)感，以至于摩城唱片不得不在它出品的原聲帶里把它循環(huán)了近80分鐘。就像酷熱難耐的布魯克林夏日里發(fā)生的亂情雜事一樣，《為所應(yīng)為》的原聲專輯也在Spike Lee這部佳作里留下哀痛和狂喜的斑駁痕跡。伴隨著Bed-Stuy區(qū)的街景蒙太奇，英國雷鬼團(tuán)體Steel Pulse慢悠悠的小調(diào)子“Can’t Stand It（難以忍受）”帶來了莫名的幽默氣息，試圖想將彌漫在他們身邊的熱浪再激起幾個(gè)小浪花。新杰克搖擺的先鋒Teddy Riley 與Guy的“My Fantasy（我的幻想）”里富有彈性的旋律就像《為所應(yīng)為》中野心勃勃的團(tuán)體領(lǐng)導(dǎo)Buggin’ Out一樣雷聲大雨點(diǎn)小，悄悄密謀著怎樣抵制Sal家的披薩店。伴隨著由Spike Lee的父親Bill Lee創(chuàng)作并指導(dǎo)的精妙爵士原聲音樂，這些專輯中爛漫的情歌和盛夏小曲成了夏日生活最完美的復(fù)現(xiàn)。

——? Larry Fitzmaurice

5.?2001: A Space Odyssey 《2001太空漫游》1968

By the mid-’60s, Stanley Kubrick had risen into the upper echelon of filmmakers, thanks to the provocations of that decade’s?Spartacus,?Dr. Strangelove, and?Lolita. For?2001: A Space Odyssey, he parlayed that cachet into a technologically audacious epic that required construction of an artificial gravity chamber and two years’ toiling over special effects. Still, MGM initially balked at one demand: a soundtrack cobbled together from the classical canon, rather than an original score that would boost marketing efforts and the bottom line.

到了60年代中期，斯坦利·庫布里克（Stanley Kubrick）已經(jīng)晉升到電影制片人的高層，這要?dú)w功于那十年斯巴達(dá)克斯（Spartacus）、奇愛博士（Dr.Strangelove）和洛麗塔（Lolita）的挑釁。在《2001太空漫游（2001: A Space Odyssey）》中，他把這部電影在塑造成了一部大膽的史詩，大膽尤其體現(xiàn)在技術(shù)層面 ——建立一個(gè)人工重力艙，花兩年的時(shí)間研究特效。盡管如此，米高梅（MGM）最初還在某個(gè)需求上猶豫不決：他們要的是一首由經(jīng)典卡農(nóng)曲拼湊而成的配樂，而不是一首占有市場和反應(yīng)電影本質(zhì)的原創(chuàng)配樂。

At first, Kubrick conceded. But then, after watching early footage of his film while blaring the likes of Mahler, he scrapped Alex North’s recorded score at the eleventh hour for the music he’d heard in his head. From the early, thundering repetition of Richard Strauss’ “Also Sprach Zarathustra” and the outer-space waltz of Johann Strauss’ “The Blue Danube” to the?existential choral nightmare?that is Gy?rgy Ligeti’s “Lux Aeterna,” these songs are now indelibly bound to Kubrick’s scenes of creation and destruction, god and hell, violence and love, as if they were written for the film. The soundtrack is a monument to the importance of artistic vision over executive expectation, a monolith to insisting on an idea when you know it’s right. –Grayson Haver Currin

起初，庫布里克讓步了。但是，在觀看了早期電影片段后，其使用馬勒這樣的音樂家的作品作為電影配樂，他在最后一刻放棄了他在腦海中聽到的Alex North的錄音。從電影開始，理查德·施特勞斯的《查拉圖斯特拉如是說（Also Sprach Zarathustra）》如雷鳴般重復(fù)，約翰·施特勞斯的《藍(lán)色多瑙河（The Blue Danube）》則變演變?yōu)榱肆送馓杖A爾茲版本，緊接著到了存在主義的合唱夢魘，也就是Gy?rgy Ligeti的《Lux Aeterna》，這些歌曲與庫布里克電影場景的塑造密不可分——?jiǎng)?chuàng)造與毀滅、上帝與地獄、暴力與愛，這些音樂就像是為電影而生的一樣。這首配樂是一座里程碑，象征著藝術(shù)愿景的重要性超過了實(shí)際展現(xiàn)出來的效果，也是一部追隨本心的巨作 。

—— Grayson Haver Currin

4.??The Harder They Come?《不速之客》1972

Director Perry Henzell’s cult classic?The Harder They Come?isn’t necessarily a tour de force of storytelling or acting, but it will forever be an important film for what it did for Jamaica and the country’s greatest cultural export: reggae. Starring Jamaican music legend Jimmy Cliff, the film introduced international audiences to the lives and music of the people of the island nation. Its title song, recorded by Cliff for the film, encapsulates the beauty, struggle, and defiance of his character, Ivanhoe “Ivan” Martin, a poor country boy with dreams of stardom. Almost as soon as his dream is realized, it becomes a nightmare, as Ivan goes from a celebrity to an outlaw and, finally, a folk hero. The soundtrack features songs from some of reggae’s premier artists of the time, including Desmond Dekker, the Melodians, and Toots & the Maytals (whose “Do the Reggay” helped coin the genre’s name). Still, Cliff remains the anchor of the album: While songs like Dekker’s “Shanty Town” capture the hardships of Jamaica’s poor, Cliff’s “You Can Get It If You Really Want” adds a glimmer of hope and motivation. Immediately, the world fell under reggae’s spell. –Timmhotep Aku

導(dǎo)演Perry Henzell大火的《The Harder They Come（不速之客）》不一定是一部敘事或表演的杰作，但它會(huì)永遠(yuǎn)是一部重要的電影，因?yàn)樗鼮檠蕾I加及這個(gè)國家最大的文化出口——雷鬼（Reggae）做出了巨大的貢獻(xiàn)。該片由牙買加音樂傳奇人物吉米·克里夫（Jimmy Cliff）主演，向全世界觀眾介紹了這個(gè)島國人民的生活和音樂?？死锓?yàn)殡娪颁浿浦黝}曲，包含了角色的美麗，斗爭及反抗性，Ivanho “Ivan” Martin是本片的主角——一個(gè)擁有明星夢的貧窮鄉(xiāng)村男孩。他的夢想一實(shí)現(xiàn)，這就變成了一場噩夢，Ivan從一個(gè)明星變成了一個(gè)亡命之徒，最后變成了一個(gè)民族英雄。配樂以一些雷鬼樂的頂級(jí)藝術(shù)家的歌曲為主，包括Desmond Dekker、the Melodians、Toots & the Maytals（這個(gè)流派因他們的“Do the Reggay”而得名）。盡管如此，克里夫仍然是這張專輯的重頭戲：盡管像Dekker的《Shanty Town》這樣的歌曲捕捉了牙買加窮人的艱辛，但克里夫的《You Can Get It If You Really Want》卻為之增添了一絲希望和動(dòng)力。很快，世界就為雷鬼的咒語而沉醉。

——Timmhotep Aku

3.?Trainspotting《猜火車》 1996

Trainspotting?and its soundtrack mirrored the effects of its narcotic subject matter: a brief high followed by self-annihilating consequences. Danny Boyle’s cheeky addicts inspired an appalling wave of Britflicks peopled by the likes of Guy Ritchie and?Vinnie Jones, and the?soundtrack’s then-inspired clash of indie and club tracks curdled into an ensuing wave of beery laddiness that still rules certain parts of British culture.?And yet this long shadow can’t dim the adrenaline of watching Boyle’s depiction of heroin addiction meet soundtrack compiler?Tristram Penna’s song selections: Renton’s sprinting feet pummeling life back into Iggy Pop’s 19-year-old “Lust for Life”; Brian Eno’s “Deep Blue Day” transforming a dive down the worst toilet in the world into a transcendental reverie. David Bowie declined to lend his music—as did Oasis, who, wonderfully,?thought the film was literally about train enthusiasts—but?Trainspotting?benefitted from being turned down by major stars. For Brits, Penna’s resourceful delve beyond the A-list mythologized an era approaching imminent decline, and overseas listeners got a crash course in Anglophile cool. Despite its cultural baggage, the?Trainspotting?soundtrack endures because—unlike others of the era—it’s ecstatic, not angsty, and captures a generation’s brief flash of blind optimism despite all evidence to the contrary. –Laura Snapes

《猜火車（Trainspotting）》及其原聲反映了其致幻主題的影響：短暫的高潮，緊接著是自我毀滅的后果。Danny Boyle厚顏無恥的癮君子激發(fā)了一股令人震驚的浪潮，由Guy Ritchie和?Vinnie Jones這樣的英國電影人組成，而當(dāng)時(shí)的原聲帶則激發(fā)了獨(dú)立音樂和俱樂部音樂的沖突，形成了隨后的一陣啤酒味的少女風(fēng)潮，這仍然統(tǒng)治著英國文化的某些部分。然而，這股浪潮并不能使觀眾在觀看Boyle對(duì)海洛因上癮的描述時(shí)產(chǎn)生的興奮感減退，而原聲帶作曲家Tristram Penna的歌曲選集滿足了這一要求 ：Renton的短跑般的腳步將生活重新打造成Iggy Pop 19歲時(shí)的“Lust for Life”；Brian Eno的“Deep Blue Day”將潛水描述成世界上最糟糕的廁所，然后進(jìn)入一個(gè)超然的幻想。David Bowie拒絕把音樂用于電影之中，Oasis同樣如此，他們居然認(rèn)為這部電影實(shí)際上是關(guān)于火車愛好者的，但是《猜火車》卻得益于被主流明星拒絕。對(duì)于英國人來說，Penna很足智多謀，她基于頭號(hào)名單，鉆研神話了一個(gè)即將衰落的時(shí)代，海外聽眾得到了一個(gè)關(guān)于親英潮的速成課程。盡管有著文化的包袱，但《猜火車》的原聲帶經(jīng)久不衰，因?yàn)樗幌衲莻€(gè)時(shí)代的其他歌曲一樣，它讓人著迷，而不會(huì)讓人焦慮，它捕捉到了一代人短暫而盲目樂觀的閃現(xiàn)，盡管所有的證據(jù)都與這一事實(shí)相反。

—— Laura Snapes

2.??Purple Rain《紫雨》1984

In 1983, with two big pop hits to his name—“1999” and “Little Red Corvette”—Prince decided he had to star in a movie from a major studio, with his name above the title. This, he declared, was the only possible way forward. The mere mortals in his orbit, including his manager Bob Cavallo, shrugged and attempted to do his bidding. The result was one of the 10 highest-grossing films of 1984, and watching it still feels like stumbling into Prince’s weird dream as it unfolds. It is, in many ways, a cruel and trashy movie, full of stiff acting and rank misogyny: Women are literally tossed in dumpsters for one-off gags, and even as our sensitive, vulnerable, too-good-for-this world hero, Prince still slaps his girlfriend. He has a profoundly Other presence throughout the film; he wanders through scenes like a genie half-bemused at his own powers.?I conjured all of these?humans into existence, he seems to be thinking.?Now let’s see what I can make them do.

1983年，Prince有兩大熱門歌曲——“1999”和“Little Red Corvette” ——Prince決定他必須在一個(gè)主流工作室的電影中出演，為他的頭銜正名。 他宣稱，這是唯一可能的前進(jìn)方向。在他的職業(yè)生涯中有一些重要的人，包括他的經(jīng)理Bob Cavallo，聳聳肩并試圖做他的競標(biāo)。 結(jié)果這部電影是1984年票房收入最高的10部電影中的其中之一，觀看它仍然感覺能夠進(jìn)入Prince所呈現(xiàn)的奇怪夢想。 從許多方面來說，這是一部殘酷而無用的電影，演技僵硬，充斥著厭女癥的氣息：女性一言不發(fā)地被扔進(jìn)垃圾箱，甚至作為我們敏感，脆弱，大材小用的世界英雄 ，Prince仍然會(huì)打他的女朋友。他在影片中有著深刻的表現(xiàn)力，他像一個(gè)被自己力量迷住了一半的精靈一樣，徘徊在各個(gè)場景中。 我施法讓所有這些人類存在于世，他似乎在思考。 現(xiàn)在讓我們看看我能讓他們做些什么。

What really can be said about a film with “The Beautiful Ones,” “When Doves Cry,”?and?“Purple Rain” in it? If the surrounding 90 minutes had just been Prince dry-cleaning his scarves, the film would still be a masterpiece by default.?Purple Rain?is Prince in his prime, at his peak, at his most audacious. It is Prince at his most sensual, his most open and pleading. It is, then, by logical extension, some of the most powerful popular music of the last century, and some of the best we will ever get. That it came alongside a silly, campy picture to enjoy is just a bonus. –Jayson Greene

一部像《The Beautiful Ones》，《When Doves Cry》以及《Purple Rain》的電影到底像表達(dá)什么呢?如果這90分鐘只是Prince干洗他的圍巾那么久，那我們?nèi)詴?huì)默認(rèn)這部電影是部杰作?！蹲嫌辍肥峭踝釉谒亩κr(shí)期、巔峰時(shí)期，在他最大膽的時(shí)候拍攝的。這時(shí)候是Prince最感性，最開放和懇求的時(shí)候。因此，從邏輯上講，它是上個(gè)世紀(jì)最強(qiáng)大的流行音樂之一，也是我們所能聽到的最好的音樂之一。它與一部愚蠢而做作的電影放在一起欣賞，只是一個(gè)意外收獲。

—— Jayson Greene

1.?Super Fly《超級(jí)蒼蠅》1972

When small-time drug dealer Fat Freddie dies in?Super Fly, the plot, like the car that strikes him, keeps moving. No one mourns him or inquires about his absence, and his wife, whom he loves dearly, never shows up again. The generous view is that the budget was low and all death is a senseless tragedy; a more realistic outlook is that the?Super Fly?screenplay is a silly mess. Luckily, in “Freddie’s Dead,” Curtis Mayfield gives Freddie the send-off he deserves. In Mayfield’s hands, Freddie’s death becomes a soulful rumination on the misery that drives the drug trade: the exploitation, the loss, the pain. “Everybody’s used him/Ripped him off and abused him,” Mayfield pleads. These kinds of insights don’t make it into the script, but the soundtrack overflows with them.當(dāng)小毒販Fat Freddie死于《超級(jí)蒼蠅（Super Fly）》時(shí)，情節(jié)就像撞到他的那輛車一樣，一直在前進(jìn)。沒有人哀悼他，沒有人問起他的離去，他深愛的妻子再也沒有出現(xiàn)過。比較樂觀的觀點(diǎn)是，這部電影預(yù)算很低，所有的死亡都是一場無謂的悲劇，而更現(xiàn)實(shí)的觀點(diǎn)是，《超級(jí)蒼蠅》的劇本簡直就是一團(tuán)糟。幸運(yùn)的是，在“Freddie’s Dead”中，Curtis Mayfield給了Freddie一個(gè)他應(yīng)得的送別。在梅菲爾德的筆下，F(xiàn)reddie的死變?yōu)榱藢?duì)毒品交易痛苦的深刻反思:剝削、損失和痛苦?！懊總€(gè)人都在利用他/剝削他，虐待他，” Mayfiel懇求道。然而這些見解并沒有出現(xiàn)在劇本中，可電影的配樂卻能充分的體現(xiàn)出來這些內(nèi)容。

Mayfield wrote and recorded the?Super Fly?soundtrack working from the screenplay and dailies from the film set, and his music is not just a companion; it’s composition as world-building. From the narrow life of Youngblood Priest, a jaded cocaine dealer seeking to exit the game after one last score, Mayfield unfolds multitudes. A few years into his solo career, he was shifting from high-minded soul into rooted funk, and?Super Fly?catches him in this farsighted nexus; here, he widens the film’s story into a vista of broken relationships, with a portrait of Priest that is as dignified as it is dangerous. On “Pusherman,” wah-wah licks and a bright bassline keep the tone buoyant, as Mayfield catalogs the many voids drugs can fill. “I’m your mama/I’m your daddy/I’m that nigga in the alley,” Mayfield boasts. There’s a deep pride in the smoothness of the pusher’s sell, and Mayfield doesn’t downplay it: “Pusherman” drifts from his lips like smoke on a movie screen, sexy and glamorous.

Mayfield通過電影劇本和樣片創(chuàng)作并錄制了《超級(jí)蒼蠅》配樂原聲帶 ，他的音樂不僅僅是一個(gè)陪襯；它是作為世界建構(gòu)而創(chuàng)作的。Mayfield的音樂中展示了許多的情緒，比如Young blood Priest，一個(gè)落魄的毒販子，想要在干完最后一票后金盆洗手，通過對(duì)他有限生活的描寫，繪出了眾生百態(tài)。[2]?在他獨(dú)奏生涯的幾年里，他高尚的靈魂轉(zhuǎn)變?yōu)榱艘粋€(gè)根深蒂固的狂人，而《超級(jí)蒼蠅》抓住了他這個(gè)遠(yuǎn)見卓識(shí)的連結(jié)。在這里，他將電影的故事擴(kuò)展到了一個(gè)關(guān)系破碎的視野，刻畫了Priest莊重而危險(xiǎn)的形象。在 “Pusherman”中，嘩嘩的聲音和低音聲部伴著一條明亮音調(diào)的上揚(yáng)，正如Mayfield列出許多可以填補(bǔ)的空白?！癐’m your mama/I’m your daddy/I’m that nigga in the alley” Mayfield自夸道。“Pusherman”唱出來，就像電影屏幕上的煙霧，性感而迷人。

With?Super Fly, Mayfield sought to challenge the script without undermining it, and that tension colors the entire soundtrack. “Freddie’s Dead” is funky and haunting even as it scolds the world that killed Freddie. With gusts of brass, the title track celebrates Priest while also condemning him, seeing the struggle within his hustle—how he is “tryin’ to get over,” as Mayfield coos. Mayfield was both a moralist and an empath; channeling his own experience with drug use, he captures the sweet and the bitter. As he lauds sobriety over the pillowy brass and strings of “No Thing on Me (cocaine Song),” regret seeps through his bliss. “It’s a terrible thing inside/When your natural high has died,” he sings knowingly.

憑借《超級(jí)蒼蠅》，Mayfield試圖在不破壞劇本的前提下挑戰(zhàn)劇本，而這種緊張氣氛也影響了整個(gè)原聲帶?！癋reddie’s Dead”這個(gè)詞很古怪，甚至在指責(zé)殺死這個(gè)世界殺了Freddie時(shí)也讓人難以忘懷。伴著銅管樂器的聲音，主題曲在歌頌Priest的時(shí)候同時(shí)也在譴責(zé)他，我們從中能看到他的激烈斗爭——他是如何“嘗試克服”的，Mayfield嘀咕到。Mayfield既是一個(gè)道德家，又是一個(gè)移情者；他通過自己的吸毒經(jīng)歷，捕捉到了甜蜜和痛苦。當(dāng)他為柔和的管樂和弦樂單曲“No Thing on Me (cocaine Song)”稱贊自己的清醒時(shí)，遺憾從他的幸福感中顯露出來?！癐t’s a terrible thing inside/When your natural high has died”，他故意唱到。

Priest doesn’t at all embody Mayfield’s perfect melding of style with substance—and neither did Fat Freddie, for that matter—but this striking disconnect is largely what makes the?Super Fly?soundtrack so enduring. In its richness and gravitas and groove, the record imparts what the movie can only sketch. Through Mayfield’s brimming imagination, one-dimensional pulp roles became vessels of guile and verve. It’s an essential listen, and also an act of quiet subversion: a public screening of the unrealized film Mayfield saw in his head. –Stephen Kearse

Priest根本沒有體現(xiàn)出Mayfield完美的音樂風(fēng)格與物質(zhì)的融合，而Fat Freddie也沒有體現(xiàn)出來，就此而言——但這種驚人的脫節(jié)很大程度上使《超級(jí)蒼蠅》原聲帶能夠經(jīng)久不衰。在它的豐富，莊重和節(jié)奏，它的原聲帶賦予了電影想要刻畫的東西。通過Mayfield豐富的想象力，膚淺的漿糊角色立馬變得有血有肉。原聲帶是必須要聽的，可以說它悄然顛覆了這部電影：大眾所看的電影并不是Mayfield所看到的那樣。

——? Stephen Kearse