搬運自：微信公眾號【評論搬一堆】（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：Ryan-Chopin

校正：Queenie.S，Lynn Liu

50.?Judgment Night 《夜驚魂》 1993

Judgment Night?is?a?forgettable film about a drug-related murder, but its soundtrack maintains a deserved infamy thanks to its peculiar but effective pairing of rappers and rock groups. The real-life mashups of Sonic Youth and Cypress Hill, Biohazard and Onyx, Slayer and Ice-T were seedy, gruff, and electrifying upon release—but mostly, the overall effect was abrasively odd, heavy with middle-school anarchist lyrics like, “Chaos, chaos, chaos, chaos/Don’t give a fuck!” The soundtrack is like a time capsule from an alternate universe, and you can credit (and blame) it, in part, for rap-rock.?–Matthew Schnipper

《夜驚魂》這部影片主要講述了一起與毒品有關(guān)的謀殺案，但它的電影配樂因其獨特合作-說唱歌手與搖滾樂隊聯(lián)合-名聲大噪、令人印象深刻。搖滾樂隊Sonic Youth和說唱歌手Cypress Hill、Biohazard和Onyx、Slayer和Ice-T等現(xiàn)實生活中的混搭組合發(fā)行的音樂都帶有一絲下流而粗獷，常常令人震撼。然而最主要的是，其音樂的整體效果卻很奇異，令人難以置信，充斥著中學(xué)生式的無政府主義歌詞，比如“Chaos, chaos, chaos, chaos/Don’t give a fuck!（混亂吧、混亂吧、混亂吧、混亂吧/我tm不在乎!）”這張電影原聲帶就像是來自平行宇宙的時間膠囊，這種說唱搖滾風(fēng)格給其帶來褒貶不一的評價?！?Matthew Schnipper

49.??High Fidelity 《失戀排行榜》2000

To this day,?High Fidelity?remains Bruce Springsteen’s?only acting credit?in a film. Sitting at the bedside of Rob Gordon—the film’s record-collecting hero, played with mopey, proto-Seth Cohen?narcissism by John Cusack—a muscled ’90s Bruce rips uncharacteristically bluesy riffs on his guitar and gives questionable advice about getting back in touch with your exes. “They’d feel good, maybe,” drawls the Boss. “But?you’d?feel better.” Here is the ultimate fantasy of music fandom: the artists you love speaking directly to?you, about?your?problems, at the expense of everyone else in the world.

直到今天，《失戀排行榜》仍然是Bruce Springsteen在電影領(lǐng)域中唯一的表演成就。Rob Gordon（由John cusack飾演）在這部電影中扮演一個唱片收集大家，電影中他一臉悶悶不樂，散發(fā)著Seth Cohen式自戀氣息。而90年代肌肉發(fā)達的Bruce坐在Rob Gordon床邊，在吉他上彈出了不同尋常的布魯斯樂段，并就如何與前任聯(lián)系向Rob Gordon給出了不恰當?shù)慕ㄗh?！耙苍S他們會感覺很好，”這位老板慢吞吞地說，“但你也會感覺好些?！边@正是樂迷們的終極幻想:你喜歡的藝術(shù)家們和你面對面談?wù)撃愕膯栴}，甚至因此犧牲了世界上其他人的利益。

High Fidelity’s soundtrack was tasked with summarizing this mindset in a tidy 15 tracks, and its curation was?apparently?one of the most difficult tasks in bringing Nick Hornby’s 1995 book to the screen. The 2000 film succeeds by blending old-school favorites (the Kinks, Elvis Costello, the Velvet Underground) with some of the?previous decade’s?most promising newcomers (Smog, Stereolab, Royal Trux). With no new music written specifically for the film?(other than Jack Black’s in-character rendition of “Let’s Get It On”) it reintroduced the idea of the soundtrack as a lovingly crafted mixtape, a trend that extended toward?Garden State?and beyond. –Sam Sodomsky

《失戀排行榜》的原聲帶由15首曲目組成，一氣聽下來便能感覺上述心態(tài)在音樂中的呈現(xiàn)。而這種做法確實是把Nick Hornby發(fā)行于1995年的書搬上銀幕時最困難的任務(wù)之一了。這部2000年的電影成功地融合了守舊派的最愛(如the Kinks, Elvis Costello, The Velvet Underground等音樂人的風(fēng)格)和這十年最有潛力的新人風(fēng)格(如音樂人Smog, Stereolab, Royal Trux)。由于沒有專門為這部電影創(chuàng)作的新音樂(除了Jack Black在劇中演繹的“Let 's Get It On”)，這部電影重新采用了將精心制作的混音帶作為原聲帶的理念，且這一趨勢延伸到了電影《情歸新澤西》和其他影片當中?！?Sam Sodomsky

48.?The Shining《閃靈》 1980

More than a decade after?2001: A Space Odyssey, director Stanley Kubrick reused?a?controversial trick.?Once again, he?scrapped almost all of the score that had been written for his new film,?The Shining—this time by?synth innovator Wendy Carlos, who had been essential to?A Clockwork Orange,?and producer/vocalist Rachel Elkind—and used only snatches of their work.?In the final cut, their?sepulchral electronics?are only heard?in the early scene where the Torrance family navigates the steep?roads?to their fateful hotel. Still, it is the defining piece of the film, its familiar lumbering rhythm and simple melody haunted by an unease you can never quite identify. In it,?Carlos establishes the essence of the creeping dread that dominates?the Overlook Hotel. (The rest of Carlos’ unused score is absolutely worth seeking out, in part to reimagine the ways it might have changed?The Shining?and in part because it’s terrifying.)

《2001太空漫游》上映十多年后，導(dǎo)演Stanley Kubrick再次做了一個有爭議的選擇。他再一次放棄了新電影《閃靈》幾乎所有已完成的配樂，這些音樂是由合成器創(chuàng)新者Wendy Carlos（曾為電影《發(fā)條橙》配樂）和制作人兼歌手Rachel Elkin先制作出的，結(jié)果導(dǎo)演只使用了他們作品的一小部分。在最后的剪輯過程中，他們陰森森的電子樂只出現(xiàn)在了Torrance一家在通往改變他們命運的旅館途中那陡峭道路上的前期場景里。盡管如此，這首配樂仍然是這部電影的關(guān)鍵部分，它那熟悉緩慢的節(jié)奏和簡單的旋律縈繞著一種你永遠無法完全識別到的不安。在影片原聲中，Carlos營造了一種籠罩著酒店的俯瞰式的恐怖氣氛。(Carlos其他沒被使用的音樂絕對值得發(fā)掘，一方面是因為它能讓你重新審視《閃靈》，另一方面是因為它的確很驚悚。)

For the rest of?his?film,?Kubrick opted for the oversized melodrama of modern Eastern European classical music, with the strains of Krzysztof Penderecki’s shrieking strings and Gy?rgy Ligeti’s orchestral lurches hinting at premonitions and fears left unspoken. Ligeti’s creeping “Lontano” poisons moments that should be playful or even innocent; Béla Bartók’s “Music for Strings, Percussion and Celesta” gives little Danny’s tricycle romps the terror of a sweaty nightmare. But?The Shining, to an extent, is about haunted spaces, so Kubrick uses period pieces—most famously, Ray Noble and his Orchestra’s drifting ballroom ballad “Midnight, the Stars, and You”—to pull ghosts into an unraveling present. These pieces become essential props, as symbolic as Jack’s typewriter?and as?alarming as rivers of blood rushing out of?elevators, shaping a latticework of horror that feels as eternal as whatever lurks in Room 237. –Grayson Haver Currin

Kubrick在電影的其余部分選擇了現(xiàn)代東歐的古典大型音樂劇，Krzysztof Penderecki尖銳的弦樂和Gyorgy Ligeti的管弦樂，二者充斥著說不出的不詳預(yù)感和恐懼。Ligeti令人毛骨悚然的曲子“Lontano”毒化了本應(yīng)有趣且單純的時刻;Bela Bartok的曲子“Music for Strings, Percussion and Celesta”讓小Danny在三輪車騎行中像做噩夢一樣汗流浹背，充滿了恐懼?！堕W靈》在一定程度上講的是鬧鬼，因此Kubrick用了一些歷史時期的作品——最著名的是Ray Noble和他的管弦樂隊在舞廳里悠哉悠哉的民謠“Midnight, The Stars, and You”，這聽起來就像是為鬼魂們準備好了他們喜歡的禮物，迎著他們的到來。這些音樂都是電影必不可少的輔助，就像電影中Jack的打字機一樣具有象征意義，也像從電梯里涌出的鮮血一樣令人驚恐，它們構(gòu)成了一個恐怖網(wǎng)絡(luò)，讓人感覺就像你永遠都逃離不出潛伏在237號房間里的那些驚悚之物一樣?！?Grayson Haver Currin

47.?Waiting to Exhale 《待到夢醒時分》 1995

The?Waiting to Exhale?soundtrack, with its signature soul snares and weightless melodies, is still an essential self-care listen. On it, producer-songwriter Babyface assembled an Avengers team of the most powerful and graceful women in R&B, relaying the film’s themes of female empowerment, individuality, and kinship.?It became one of the 15 highest-selling soundtracks of all time, going seven times platinum, and includes a laundry list of moody ’90s hits. The invincible Whitney Houston sounds supremely comfortable paired with Babyface’s soothing drums on “Exhale,” Chaka Khan’s smoky rendition of “My Funny Valentine” shines over the woozy R&B snap-filled melody, and Brandy’s funky “Sittin’ Up in My Room”?serves as a youthful dance anthem. The soundtrack is an uplifting and joyful ode to black women’s power and love, especially for themselves. –Alphonse Pierre

《待到夢醒時分》的音樂原聲帶有其標志性的靈魂樂及其輕盈的旋律，值得你獨自一人時聆聽。在這部影片中，制作人兼詞曲作者Babyface組建了一支由R&B領(lǐng)域中最有力、最優(yōu)雅的女性構(gòu)成的復(fù)仇者聯(lián)盟團隊，傳達了影片中支持女權(quán)、發(fā)揚個性和贊譽親情的主題。這張原聲帶成為史上最暢銷的15張原聲大碟之一，銷量相當于7張白金唱片（700萬張上下），其中包括一長串90年代的熱門單曲。戰(zhàn)無不勝的Whitney Houston創(chuàng)作了曲目“Exhale”，她的歌聲與Babyface舒緩的鼓聲搭配起來聽讓人感覺超級舒服；Chaka Khan用煙嗓演唱的“My Funny Valentine”在R&B節(jié)奏輕快的旋律中讓人眼前一亮；而Brandy時髦的音樂“Sittin ' Up in My Room”是一首青春舞曲。這張原聲帶不乏振奮人心的頌歌，歌頌黑人女性的力量和愛，尤其是對她們自己的愛。

46.?The Wicker Man 《異教徒》1973

The Wicker Man?is never what you expect it to be. Like its hero, a Scottish police sergeant trying to find a missing girl in a pagan community, the New York musician Paul Giovanni was a stranger to the old Celtic folkways he was hired to investigate for Robin Hardy’s haunting horror film. His outsider’s ear for both the then-booming British folk scene and its ancient antecedents made the music he composed the ideal mirror for?such a twisted journey. The opening song is a tightly harmonized adaptation of Scottish poet Robert Burns’ “The Highland Widow’s Lament,” nearly abrasive in its mournful mountain-air beauty. Sex is a frequent topic for the film and music, rendered in forms both profane (the absolutely filthy drinking song “The Landlord’s Daughter”) and sacred (“Willow’s Song,” the set’s dirty-minded but gorgeous standout). Rousing community singalongs and sparse hymns of ritual sacrifice weave conflicting narratives of their own. It’s a soundtrack that casts strange shadows and remains ungraspable, like a tongue of flame. –Sean T. Collins

《異教徒》絕不是你想象的那么簡單。和故事的主人公一樣，紐約音樂家Paul Giovanni對古老的凱爾特民間習(xí)俗并不熟悉，他受雇為導(dǎo)演Robin Hardy這部杰出的恐怖電影做配樂調(diào)查。作為局外人，他用耳朵挖掘了當時蓬勃發(fā)展的英國民間場景和它的古老前身，這也使他在這不易的旅程中創(chuàng)作了最理想的音樂。開場曲改編自蘇格蘭詩人Robert Burns的《The Highland Widow’s Lament(高原寡婦的哀歌)》，但歌曲在凄美的山風(fēng)映照下顯得有些突兀?！靶浴笔请娪昂鸵魳分薪?jīng)常出現(xiàn)的主題，以“褻瀆篇”(例如帶臟標描寫酗酒的歌曲“The Landlord’s Daughter”)和“神圣篇”(例如設(shè)想骯臟但又華麗突出的“Willow’s Song”)兩種形式呈現(xiàn)。大量活潑的社區(qū)歌謠和少量的祭祀贊美詩互相交織，敘述著彼此矛盾的故事。這張原聲帶有些撲朔迷離，并且像火苗一樣搖擺不定、難以捉摸。

45.?Black Panther 《黑豹》 2018

Before this soundtrack, Kendrick Lamar’s vision of Africa was vague. He endorsed a “Zulu love” and wanted to be?adored like Nelson Mandela, but these gestures used Africa as a hazy proxy of blackness. The?Black Panther?soundtrack gives?such ideas more life and dimension, rooting them in the voices and sounds of a fuller African diaspora. Linking artists from Canada, California, South Africa, and the United Kingdom, Kendrick renders blackness as global and multifaceted.

在參與這張原聲帶專輯制作之前，Kendrick Lamar對非洲的印象很模糊。他贊美著類似“祖魯人的愛”，希望像Nelson Mandela（曼德拉）那樣受到崇敬，但這些姿態(tài)也把非洲當作了模糊的黑人象征?！逗诒返脑晭зx予了這些想法充足的生命力和多面的維度，使其更全面地扎根于非裔人民的聲音中。Kendrick將來自加拿大、加利福尼亞、南非和英國的藝術(shù)家聚集在一起，呈現(xiàn)了一個具有全球性和多面性的黑人文化。

It’s funny that this expansion occurs through a historically corny comic book character now owned by Disney, but that odd backdrop isn’t taken for granted. Superhero comics traffic in wish fulfillment, and imagination is in abundance here. SOB X RBE perform as rowdy anti-heroes; Future villainously celebrates his Sexual conquests with giggly scats; Zacari and Babes Wodumo resolve conflict through sensual dance. The soundtrack falls flat when the ideas are too basic,?but the record generally rises to the occasion, positioning Kendrick and the many worlds he links as parts of a brilliant whole. Wakanda is a zany idea, and in Kendrick and co.’s hands, it almost feels real. –Stephen Kearse

有趣的是，這一愿景是通過刻畫一個歷史上老掉牙的漫畫人物來實現(xiàn)的，現(xiàn)在這個角色已歸迪斯尼所有，但這個奇怪的人物背景并不是真實存在的。畢竟有關(guān)超級英雄漫畫的內(nèi)容總是離不開“愿望實現(xiàn)”，況且創(chuàng)作者的腦洞及想象力極為豐富。（參與原聲帶的音樂人們也對應(yīng)了劇中角色）SOB X RBE扮演著粗暴的反英雄角色；Future用嘻嘻哈哈的rap邪惡地慶祝著他成功的性征服；Zacari和Babes?Wodumo通過性感的舞蹈來解決沖突。若這些想法平平，其原聲帶也就會變得平淡無奇，但一張原聲帶通常會緊跟情節(jié)的發(fā)展，使Kendrick和他所聚集之作當為一個輝煌整體的一部分。Wakanda（電影中的部落）本身是一個滑稽的想法，但對于Kendrick和（著手于這種原聲帶的）公司而言，它幾乎是真實存在的。

44.??Gummo 《奇異小子》1997

Harmony Korine burst on the film scene in the mid-’90s like a problematic?Robert Bresson, obsessed with cinematic voyeurism and heavy metal. The art-house prodigy supposedly cast his debut film in less than an hour “out of, like, Burger Kings and slaughterhouses,” which gives?Gummo?a very Cassavetes-covered-in-rats feel, and its soundtrack further carved out a niche for Korine’s sublime, nihilistic worldview. Speed riffs and morbid howls from ’90s black, death, and stoner metal cut into the film’s unsettling vérité scenes, but his use of pop music stands out even more. A snippet of Madonna’s “Like a Prayer” blasts as a gawky young boy tapes a bundle of utensils together and “l(fā)ifts weights” in his basement. The movie ends in the pouring rain while the entirety of Roy Orbison’s “Crying” plays, as a mute boy wearing bunny ears gets kissed in a pool and then holds up a dead cat as a prize for the audience. The song swells magnificently, creating dirtbag art at its finest. –Jeremy D. Larson

90年代中期，Harmony Korine突然出現(xiàn)在電影熒幕上，扮演著一個像問題重重的Robert Bresson的角色，一直癡迷于電影中的窺淫癖和重金屬搖滾樂。據(jù)推測，這位藝術(shù)奇才在不到一個小時的時間里就完成了他的處女作《out of like, Burger Kings and?slaughterhouses》，這讓《奇異小子》有一種被羞辱的感覺，而它的電影原聲音樂進一步為Korine崇高的虛無主義世界觀開辟了一片新天地。他熟練地將90年代的黑暗、毀滅感和重金屬搖滾樂的快速重復(fù)和病態(tài)嚎叫嵌入電影中令人不安的場景，但實際上他對流行音樂的運用更加突出。隨著Madonna的"Like A Prayer"片段突然響起，一個笨手笨腳的小男孩出現(xiàn)，他把一堆餐具綁在一起，在地下室里“舉重”。伴隨著Roy Orbison的"Crying"，在一場傾盆大雨中，一個戴著兔子耳朵的啞巴男孩在泳池里被別人親吻著，隨后，他舉起一只死貓作為獎品送給觀眾，影片到此，戛然而止。這首歌氣勢磅礴，創(chuàng)造了最優(yōu)秀的垃圾藝術(shù)。

43.?American Graffiti《美國風(fēng)情畫》 1973

American Graffiti?is a hall-of-mirrors of nostalgia, and music guides the experience. George Lucas’ film unfolds over one long night at the end of summer 1962, as high school kids cruise around the streets of Modesto, California, with the radio on, thinking about their futures. The hits they hear—by Buddy Holly, the Beach Boys, Frankie Lymon & the Teenagers, and Chuck Berry—are presented by Wolfman Jack, the legendary disc jockey hosting the show they’re all glued to. These songs mostly date from the mid-to-late ’50s, so by ’62, for the characters in the film, they already carry the ache of time gone by. This longing is echoed and amplified by Lucas, who is looking back on this transitional moment a decade later, when he and his generation of Baby Boomers were about to turn 30.

《美國風(fēng)情畫》是一面懷舊的鏡子，同時，其音樂更是引導(dǎo)著這種體驗。George Lucas的電影在1962年夏末的一個漫漫長夜中展開，一群高中生開著收音機在加州莫德斯托的街道上游蕩，思考著自己的未來。他們所聽的這首熱門歌曲來自Buddy Holly、the Beach Boys、Frankie Lymon、the Teenagers和Chuck Berry——在劇中都是由Wolfman Jack演唱的，這位傳奇的音樂節(jié)目主持人主持了人們都非常喜歡的節(jié)目。這些歌曲大多是在50年代中后期創(chuàng)作的，所以到1962年，對于電影中的角色來說，它們已經(jīng)承載了過去歲月的傷痛。這種渴望得到了Lucas的呼應(yīng)和放大，他回顧了10年后的這個過渡時期——他和他當時那嬰兒潮的一代即將步入30歲。

American Graffiti’s soundtrack itself has a yearning eloquence: The two-LP set?consists of the songs featured in the film in the order they appear, and it retains Wolfman’s intros and hepcat patter. So it’s not just a collection of songs used or a sampler of timeless hits from the era—it was also a way to relive the experience at home in the pre-VCR era, an audio prompt encouraging your mind to dream the pictures. –Mark Richardson

《美國風(fēng)情畫》的原聲音樂本身就有一種令人向往的感染力:兩張黑膠唱片中的歌曲在電影中按曲序出現(xiàn)，也保留了Wolfman的開場介紹和爵士音樂家的行話。因此，這張原聲帶不僅僅是作為被使用的那些曲目或大熱單曲的合集，它也重溫著在前VCR時代的家中，一個錄音帶激勵著你去大膽構(gòu)思夢想。

42.?Singles 《單身一族》 1992

When one of the most famous songs in “Portlandia”?refers to the “dream of the ’90s” being alive in the Pacific Northwest,?they’re singing about the dream of?Singles. In 1992, Seattle’s grunge?scene?met an?American economic boom,?and the earnestness of the era translated into a soundtrack with?an?edifice of deepness but a heart full of jangle. Surprisingly, among tracks from Pearl Jam, Alice in Chains, and Soundgarden, it’s “Dyslexic Heart” by the Replacements’ Paul Westerberg that stands up as the most memorable—his “na na na” refrain?is probably the one that's been?stuck in your head for the past 27 years, and deservedly so. –Matthew Schnipper

當《波特蘭迪亞》中最著名的某一首歌曲提到“90年代的夢想”在太平洋西北地區(qū)活力四射時，他們唱的是便是《單身一族》。1992年，西雅圖的垃圾搖滾樂迎來了美國經(jīng)濟的繁榮，使那個時代的真摯轉(zhuǎn)化成了一種音樂，它有著無窮的深度，但其核心卻嘈雜無章。令人驚訝的是，在樂隊Pearl Jam、Alice in Chains和Soundgarden的眾多歌曲中，最令人難忘的是the Replacements樂隊成員Paul Westerberg所作的“Dyslexic Heart”，他的歌曲“na na na”的副歌可能會在過去27年里被你一直銘記在心，這也是理所應(yīng)當?shù)摹?/p>

41.?Midnight Cowboy 《午夜牛郎》1969

Midnight Cowboy’s soundtrack melds original material and pre-existing songs with seamless grace. Much like the film’s two central characters—Jon Voight’s wannabe Sex worker cowboy and Dustin Hoffman’s sickly con artist—they are opposite forces that create an unlikely harmony. Crucially, Harry Nilsson’s “Everybody’s Talkin’,” a cover of Fred Neil’s country folk ballad, bookends the film. In the beginning, the melodic jangle of the guitars captures the optimism and na?veté of a cowboy leaving the South for the big city. Yet the lyrics of escapism and new pastures—“I’m going where the sun keeps shining/Through the pouring rain”—also?reflects?the character’s final journey as he leaves the city.

《午夜牛郎》的原聲帶完美地融合了原創(chuàng)歌曲和已發(fā)行的歌曲，使得其優(yōu)雅無比。就像電影中的兩個主要角色一樣（由Jon Voight扮演的一名想要成為性工作者的牛仔和由Dustin Hoffman扮演的一個病態(tài)騙子，他們代表著對立的兩方力量，并帶來了一種不太可能的融洽感。值得注意的是，Harry Nilsson翻唱自Fred Neil的鄉(xiāng)村民謠“Everybody’s Talkin’”為這部電影畫上了圓滿的句號。從一開始，吉他悅耳的叮當聲就襯托著牛仔離開南方去大城市的樂觀和天真。然而，透露著逃避主義和渴望新牧場式的歌詞（“我要去陽光燦爛的地方/穿過傾盆大雨”）也映襯了主人公離開這座城市會是他最后的旅程。

Likewise, John Barry’s main theme is embedded in the film; its mournful, fragile solo harmonica underscores the pair’s loneliness and detachment as they navigate an unforgiving city. Subtle yet sweeping strings float behind, a far cry from Barry’s bold, striking stringwork in “The James Bond Theme”—instead they appear here as a ghostly presence. During the Warhol party scene, the psychedelic rock of Elephants Memory (who later became John Lennon and Yoko Ono’s backing band) adds another dimension to a soundtrack that is as eclectic as it is singular. –Daniel Dylan Wray

與此同時，John Barry的音樂主題也融入了電影中。它的悲傷，柔弱的獨奏口琴突出了兩人的孤獨和離別，因為他們航行在一個無情的城市中。微妙而飄逸的琴弦，與Barry在歌曲“The James Bond Theme”主題中大膽而引人注目的琴弦相去甚遠，相反，這種演奏卻像幽靈一樣出現(xiàn)在了這里。在Warhol的派對場景中，迷幻的搖滾樂隊Elephant’s Memory(后來成為John Lennon和小野洋子的伴奏樂隊)為其音樂增添了另一個維度，既兼容不倚又獨樹一幟。