搬運(yùn)自：網(wǎng)易云音樂(lè)專欄【Music Online Zine Courier】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

翻譯：豆目豆科

The Japanese experimental musician’s score for the lauded new film by Ryusuke Hamaguchi possesses a cool remove, mirroring the film’s glacial profundity with organic nuance and contemplative improvisation.

這位日本實(shí)驗(yàn)音樂(lè)家為濱口龍介這部備受贊譽(yù)的新電影所做的配樂(lè)有著一種冷靜沉穩(wěn)的剝離感，借以渾然天成的細(xì)致偏差以及冥思般深沉的即興創(chuàng)作來(lái)反映影片之冰冷深邃。

Ryusuke Hamaguchi’s?Drive My Car?is a staggering exploration of grief, betrayal, and acceptance. The loose adaptation of a Haruki Murakami short-story follows Yusuke Kafuku (Hidetoshi Nishijima), a stage actor and director, as he mourns the deaths of his young daughter and his screenwriter wife, Oto (Reika Kirishima). Two years after Oto’s death, Yusuke relocates to Hiroshima where he will direct a production of Anton Chekhov’s “Uncle Vanya.” Upon arrival, he is assigned a quiet female driver named Misaki (Toko Miura). Throughout many long drives in Yusuke’s vintage Red Saab, the two gradually open up about their individual sorrow.

濱口龍介的《Drive My Car》是對(duì)悲傷、叛離和接納的一次驚人的探索。改編自村上春樹短篇小說(shuō)，影片講述了舞臺(tái)劇演員兼導(dǎo)演家福悠介（西島秀俊 飾）正經(jīng)歷著小女兒和他身為編劇的妻子音（霧島麗香 飾）不幸身故時(shí)發(fā)生的故事。音死后的兩年，家福決定搬到廣島，在那里導(dǎo)演契訶夫的《萬(wàn)尼亞舅舅》。到達(dá)后，他遇見(jiàn)了一個(gè)沉默寡言的女司機(jī)，叫作渡利（三浦透子 飾）。二人在家福的老式紅色愛(ài)車中渡過(guò)的多次長(zhǎng)途旅行中，逐漸敞開心扉，袒露他們各自的悲哀。

Now nominated for four Academy Awards, including Best Picture and Best International Film,?Drive My Car?is a profound masterpiece made all the more entrancing by its score, written by?Eiko Ishibashi. The Japanese multi-instrumentalist and composer is best known for her experimental solo work, which ranges from jazz fusion to the imaginative dream pop heard on a recent?tribute?to a?Law & Order?character. Like the film’s protagonist, Ishibashi’s score possesses a cool remove and, alongside an ensemble that includes her frequent collaborator?Jim O’Rourke, Ishibashi creates a soundtrack that is as moving as the film itself.

《Drive My Car》是一部深刻的杰作，已經(jīng)攬獲四項(xiàng)奧斯卡提名（其中包括最佳影片和最佳國(guó)際影片），而由石橋英子創(chuàng)作的配樂(lè)使其更加迷人。這位日本多樂(lè)器演奏家和作曲家以其實(shí)驗(yàn)性獨(dú)奏作品而聞名，其作品融匯自爵士樂(lè)至最近向《Law & Order》中的人物致敬所創(chuàng)作的極富想象力的夢(mèng)幻流行樂(lè)。同影片的主角一樣，石橋的配樂(lè)有著一種冷靜沉著的剝離感。包括同她經(jīng)常合作的Jim O'Rourke在內(nèi)，她與其他合奏者一起，共同創(chuàng)作出與影片本身一樣動(dòng)人的配樂(lè)。

In the film, Yusuke’s theatrical method requires his cast to internalize the play’s text by running through the script without emotion before they are allowed to begin acting. (Yusuke rehearses his own lines by driving in his car and listening to cassettes of Oto reciting the other characters’ dialogue.) This emphasis on close listening and organic nuance is reflected in Ishibashi’s score, which is structured around variations of two themes, “Drive My Car” and “We’ll Live Through the Long, Long Days, and Through the Long Nights.” The eponymous core theme is set in motion by an opening burst of percussion and tumbling keys imbued with a certain thoughtfulness. This soon evolves into an upbeat and idyllic melody featuring yearning strings and the synthetic squawk of a melodion. However, this whimsical track is not the first piece of music heard by the audience. That would be “We’ll Live Through the Long, Long Days… (Oto),” a ghostly ambient track that abandons the score’s melodicism in favor of stillness, the falling of rain, and the muffled whooshing of passing cars.

在影片中，家福要求他的演員在開始表演之前，要通過(guò)不帶感情地朗讀劇本來(lái)內(nèi)化劇作的文本（家福會(huì)在開車過(guò)程中聽妻子背誦其他角色對(duì)話的磁帶錄音來(lái)排練）。這種對(duì)仔細(xì)聆聽和細(xì)致精巧偏差的強(qiáng)調(diào)也同樣反映在石橋的配樂(lè)中，并圍繞著兩首主題曲而衍生變化——“Drive My Car”和“We'll Live Through the Long, Long Days, and Through the Long Nights”。同名主題由一陣打擊樂(lè)和滾動(dòng)起伏的鍵盤中拉開帷幕，極具某種神秘的思辨性。隨后很快演變成一個(gè)歡快、田園詩(shī)般的旋律，這之中夾雜著令人向往的弦樂(lè)和合成器的高聲部鳴叫。然而，這首異想天開的曲目并非觀眾在影片中聽到的第一首音樂(lè)。而是“We'll Live Through the Long, Long Days, and Through the Long Nights (Oto)”，一首幽靈般的氛圍樂(lè)，摒棄了樂(lè)章中的旋律性，取而代之的是寂靜、淅淅瀝淅的雨聲，以及過(guò)往車輛低沉的呼嘯。

In the same way that Yusuke?suggests?that a good driver allows their passenger to relax, Ishibashi’s score, even removed from the context of the film, allows the listener to sit back and enjoy the ride. Some of Ishibashi’s contributions suggest the transportive effect of driving in a concrete way. “Drive My Car (Cassette)” opens with a tape being inserted in a deck and the sounds of ambient traffic before it drifts into a pensive piano reverie. Meanwhile, Yusuke’s theme, “Drive My Car (Kafuku),” opens with the squeak of a seat being lowered before spiraling into rumination. “Drive My Car (Misaki)” also begins with an automobile sound as the titular character opens the Saab’s creaky front door and turns on the Saab’s ignition. This interpretation of the theme incorporates tumbling piano notes, brushed drums, and the steady thump of an electric bass; that such a reserved character is bestowed a warm theme underlines the idea that her wall of ice will someday melt, given the correct conditions.

正如家福的建議，一個(gè)好的司機(jī)能讓他們的乘客旅途舒適愜意，石橋的配樂(lè)，即使脫離了電影，也能讓聽眾靜坐下來(lái)享受旅程。石橋的一些作品會(huì)采用一種具體的方式來(lái)呈現(xiàn)駕駛過(guò)程中旅途的不同階段?！癉rive My Car (Cassette)”以一盤磁帶被插入卡座夾雜著周遭車水馬龍的紛雜開場(chǎng)，隨后便漂移到一個(gè)低沉、引人遐思的鋼琴之中。除此之外，家福的主題曲“Drive My Car (Kafuku)”，以座椅被放下時(shí)的吱呀作響開場(chǎng)，再度陷入沉思?！癉rive My Car (Misaki)”也以汽車發(fā)出的聲響開始，主人公渡利打開了薩博車?yán)吓f的前門，點(diǎn)火啟動(dòng)。這一主題曲中有著此起彼伏的鋼琴音符、雨刷般的鼓聲和電貝司的穩(wěn)定轟鳴聲；這樣一個(gè)矜持的角色被賦予如此一個(gè)溫馨的主題曲，也暗示了她內(nèi)心的冰墻終有一天適逢正確的條件便會(huì)慢慢融化。

Drive My Car’s second theme, “We’ll Live Through the Long, Long Days, and Through the Long Nights,” is more contemplative than its companion. There is an initial melancholy inflicted by strings so sorrowful that each note wavers like a dying breath. The “... (Saab 900)” version of the theme is the closest the score gets to a car crash: Percussionist Tatsuhisa Yamamoto’s fast and furious playing is layered atop the original theme’s piano melody with interjections of droning electric guitar and crashing cymbals. The arrangement is dusted, again, by vehicular ambience: the beep of a locked car, the slam of a door, and the click of a seatbelt. If the score’s other tracks capture a character or existential statement, “... (Saab 900)” is the titular car’s inner monologue as it drifts, and at one point, narrowly avoids getting side-swiped. “…(And When Our Last Hour Comes We’ll Go Quietly),” whose title is pulled from a soliloquy that arrives at the end of “Uncle Vanya,” features guitar work from O’Rourke that changes lanes from downcast meditation to hypnotic climax smoothly, as if there’s not a single bump in the road. And in its last moments, after a few final piano notes, Ishibashi’s glorious?Drive My Car?score goes quiet.

《Drive My Car》的第二支主題曲“We'll Live Through the Long, Long Days, and Through the Long Nights”，相較于它的“小伙伴”更為引人深省。由弦樂(lè)共鳴引發(fā)的陰郁如此的令人憂傷，每個(gè)音符都像垂死者的呼吸一樣搖搖欲墜。其中“We'll Live Through the Long, Long Days, and Through the Long Nights?(Saab 900)”是最接近于車禍的版本：打擊樂(lè)手山本達(dá)久快速而激烈的演奏，在原先的鋼琴旋律上層層疊進(jìn)，同時(shí)引入沉悶的電吉他和轟鳴的鐃鈸。這一安排又再次被車流往來(lái)的環(huán)境錄音所覆蓋：開鎖時(shí)提示的滴滴聲、關(guān)門時(shí)的撞擊聲和安全帶扣緊時(shí)的咔噠聲。若說(shuō)“We'll Live Through......”的其他章節(jié)都捕捉到一個(gè)人物或某種存在，那么“We'll Live Through......?(Saab 900)”則是家福的愛(ài)車在行駛圖中的內(nèi)心獨(dú)白，某一時(shí)刻，我們能聽到它的車身一側(cè)差點(diǎn)就被剮蹭到。“We'll Live Through......?(And When Our Last Hour Comes We 'll Go quiet)”，其標(biāo)題源自《萬(wàn)尼亞舅舅》結(jié)尾處的獨(dú)白，在O'Rourke的吉他演奏中，歷經(jīng)低沉的冥想到引人入眠的高潮，順暢自然，仿佛路途中沒(méi)有任何顛簸。在最后的時(shí)刻，在最后的幾個(gè)鋼琴音符敲響之后，石橋筆下輝煌的《Drive My Car》配樂(lè)歸于平寂。