搬運自：微信公眾號【評論搬一堆】（在原文基礎上添加了英語原文與排版調整）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-50-best-movie-scores-of-all-time/?page=1

翻譯：Winnie Hess，Tiana.T

校正：Lynn Liu

50.?Crouching Tiger, Hidden Dragon《臥虎藏龍》?2000

A landmark of Asian cinema, Crouching Tiger, Hidden Dragon was the result of close collaboration Between composer Tan Dun and director Ang Lee. Alongside famed cellist Yo-Yo Ma, Dun and Lee worked for four years to conceptualize a movie that would introduce Western audiences to martial arts as a historical form, rather than simply violent entertainment. Just as the film bridged the East and West—it remains the top-grossing foreign film of all time in the U.S.—Dun’s breathtaking score melds elements of his upbringing and traditional Chinese instrumentation with the classical training he received later in America.

作為亞洲電影的里程碑，《臥虎藏龍》的成功離不開作曲家譚盾與導演李安的合作。譚盾、李安還有著名大提琴家馬友友三個人花了四年時間去構思這部電影，《臥虎藏龍》將武術作為一種歷史形態(tài)呈現(xiàn)給西方觀眾，而不僅僅是暴力娛樂。這部電影連接了東西方，并且它是美國有史以來票房最高的外國電影。譚盾驚艷的配樂里融入了他個人的成長要素，還有中國傳統(tǒng)樂器以及他之后在美國所接受的古典音樂的訓練。

The star here is Yo-Yo Ma; Dun would probably agree, as he’s called him the “spiritual glue” of the writing process. His performances breathe elegance across the entire score, and in the film, his percussive thumps and pizzicato strums are interspersed brilliantly Between punches and kicks. The most powerful moment comes in “Yearning of the Sword,” where Ma’s cello concedes center stage to a Chinese erhu, a sorrowful two-stringed instrument. The two trade melodies, highlighting their distinctive timbral differences before eventually reaching a wistful harmony. –Noah Yoo

說馬友友是點睛之筆的話，譚盾大概會很贊同，因為譚盾說馬友友是寫作過程中的“心靈粘合劑”。馬友友的表演在整個配樂中都散發(fā)出優(yōu)雅的氣息，在電影中，他的重音和撥奏巧妙地穿插在拳打腳踢之中。最震撼人心時刻應該出現(xiàn)在 “思慕青冥劍”奏響時，馬友友地大提琴與中國二胡（一種聽起來很悲傷地兩弦樂器）交織演奏。這兩種美妙的旋律，在充分展現(xiàn)了音色上的差異之后，最終達到了和諧。

—— Noah Yoo

49.?Trouble Man《黑手煞星》 1972

As Curtis Mayfield’s?Super Fly?and Isaac Hayes’?Shaft?took Blaxploitation soundtracks to new heights, Marvin Gaye also found his?groove in film music. The?Trouble Man?score?serves the gun-toting, fist-flying, cheesy dialogue-spouting movie just?fine, with its smooth grooves cushioning the action, and Gaye’s lyrics amplifying the bullish attitude of the lead character, but it’s most potent as a standalone listen.

柯蒂斯·梅菲爾德(Curtis Mayfield)的《超級蒼蠅》和艾薩克·海耶斯(Isaac Hayes)的《鐵桿神探Shaft》將黑人電影的配樂水平推到了一個新的高度，馬文·蓋伊(Marvin Gaye)也在電影音樂中找到了自己的最佳狀態(tài)?！逗谑稚沸恰返呐錁芬话銜谀承﹫鼍爸新牭?，比如持槍行兇、拳打腳踢、虛偽對話之類的，流暢的節(jié)奏緩沖了這些動作畫面，Gaye的歌詞充分展現(xiàn)了主角自信樂觀的心態(tài)，但是單聽的話更有體會。

Trouble Man?was released Between the politically charged?What’s Going On?and the sexually driven?Let’s Get It On, finding Gaye at?his?artistic peak. The score is largely instrumental with?suave horns, funky grooves, pulsing synthesizer, and sparse drums. Yet even when removed from its visual context, the music remains inherently cinematic. Gaye is so reserved with his own vocal contributions that when they soar through the honeyed instrumentations, they greet you like a long-lost friend. Gaye clearly took his role as producer seriously; he holds back his voice and lets the studio sing instead. –Daniel Dylan Wray

在發(fā)布《黑手煞星》前后，Gaye相繼發(fā)布了充滿政治性的《近來可好》（What’s Going On）和有著性沖動意味的《讓我們繼續(xù)》（Let’s Get It On）兩張專輯，而他也達到了音樂生涯的巔峰。曲子里混雜著浩大的樂聲，有溫軟的號聲，時髦的律動，脈沖合成器聲還有一些稀疏的鼓聲。即使不看畫面，透過音樂也能知道電影在演些什么，因為音樂自身就是有電影畫面感的。當他的嗓音穿透樂器聲時，Gaye對他的人聲有所保留，這就像是久違朋友的問候。Gaye對于自己制片人的身份很重視，他壓住自己的聲音，而讓作品說話。

—— Daniel Dylan Wray

48.?Teesri Manzil《第三層樓》1966

Composer Rahul Dev Burman racked up over 250 film credits in his lifetime, making him one of the most prolific artists in the already bustling Bollywood factory. One of his most enduring scores is also one of his earliest: his crackling collaboration with director Vijay Anand for 1966’s Teesri Manzil, a Hitchcock-like thriller that remains one of Bollywood’s best-loved films. It marked the first time that Burman and Anand collaborated, a partnership that would last into the ’80s.

作曲家拉胡爾·德夫·伯曼(Rahul Dev Burman)一生為250多部電影作曲，這使他成為寶萊塢中最多產的藝術家之一。他最經典的，同時也是他最早的作品之一，是1966年他與導演維賈伊·阿南德(Vijay Anand)合作的希區(qū)柯克風格的驚悚片《第三層樓》(Teesri Manzil)，這部電影是寶萊塢最受歡迎的電影之一。而這也是Burman和Anand第一次合作，此后他們的合作關系一直持續(xù)到80年代。

With Teesri Manzil, Burman paired Indian cinema’s lavish orchestrations with surf music’s whiplash guitar, then added rock’n’roll’s rollicking sax and booming backbeat. Burman also deployed iconic playback singers like Mohammed Rafi and Asha Bhosle to duet on the film’s biggest numbers. With dizzying choreography set against surreal set pieces, songs like “Oh Haseena Zulfon Waali” and “Aaja Aaja” remain beloved in India to this day. –Andy Beta

在《第三層樓》中，伯曼將印度電影里豐富的管弦樂和沖浪音樂中搖擺的吉他聲結合起來，同時加以搖滾樂的歡快薩克斯聲和強烈的基礎節(jié)奏。伯曼還安排了像穆罕默德·拉菲和亞沙·博斯勒這樣受大眾歡迎的歌手在這部電影的原聲帶中進行二重唱。令人眼花繚亂的編舞與超現(xiàn)實主義的布景相映成趣，像《Oh Haseena Zulfon Waali》和《Aaja Aaja》等歌曲至今仍深受印度人民的喜愛。

—— Andy Beta

47.?Batman《蝙蝠俠》 1989

In his score for Tim Burton’s?Batman,?Danny Elfman?starts somewhere appropriate for our hero: the minor key.?The composer’s iconic “The Batman Theme” is fortissimo in all the right ways, with thunderous drums and a brass section so brash, it would make Mahler blush. It’s riveting and, most importantly, not at all menacing; it's just a bit dark, nodding subtly to Bruce Wayne’s antihero tendencies without taking him too seriously or squashing the invigorating feeling of watching?him save the day.?

在為蒂姆?伯頓(Tim Burton)的《蝙蝠俠》(Batman)配樂中，丹尼?埃爾夫曼(Danny Elfman)從一個適合英雄的地方開始創(chuàng)作:小調。這位作曲家的代表性作品《蝙蝠俠主題》(The Batman Theme)在所有方面堪稱杰作，強有力的鼓聲，急促的銅管樂合奏，可能馬勒都會自愧不如。這音樂引人入勝，最重要的是，一點也不來勢洶洶，只是有點暗黑的感覺，而這巧妙地迎合了布魯斯·韋恩(Bruce Wayne)的反英雄傾向，既沒有把他太當回事，也沒有扼殺他拯救世界那種令人振奮的感覺。

“The Batman Theme” is also pure?fun, befitting a story about an unhinged rich man who spends his free time spying on people from a cave. The playfulness shows up elsewhere in the film, such as when Elfman uses “Photos/Beautiful Dreamer” to soundtrack the Joker’s gleeful destruction, or turning the Joker’s demented rooftop dance with Vicki Vale into a “Waltz to the Death.”?In contrast to the grim?tendencies of Christopher Nolan’s Batman reboot—complete with a joyless, orchestral score by?Hans Zimmer—Danny Elfman shows that a superhero movie is at its best when it’s a thrilling,?snappy spectacle. –Matthew Strauss

《蝙蝠俠主題》也很有趣，很適合用來講述一個精神失常的闊佬用空閑時間在山洞里監(jiān)視別人的故事，這種滑稽在影片的其他地方也有所體現(xiàn)，比如艾夫曼用“Photos/Beautiful Dreamer（照片/美麗的夢想家）”為小丑大快人心的毀滅配樂，或者把小丑在屋頂上與薇姬·維爾瘋狂的舞蹈變成“死亡華爾茲（Waltz to the Death）”。但是與克里斯托弗·諾蘭(Christopher Nolan)執(zhí)導的《蝙蝠俠:卷土重來》(Batman rebooe)中的冷酷傾向形成鮮明對比的是，丹尼·埃爾夫曼(danny Elfman)展示了一部超級英雄電影的最佳之處就在于其中那些激動人心的場面。

46.?The Pink Panther《粉紅豹》?1963

Spry, swinging, and just a shade louche, “The Pink Panther Theme” perfectly sums up the kind of detective movie that jokes, “Take your filthy hands off my asp.” Its horns squeal like a Fiat burning rubber; the iconic, ascending saxophone lead, originally slurred out by the great Plas Johnson, winks and twists like mod headscarves floating through air. Henry Mancini, one of the greatest film composers of the 20th century, brought irrepressible joys to his score, lighting Peter Sellers’ slapstick Inspector Clouseau with another layer of wry mischief; the light, refined lounge pop of “Champagne and Quail” befits his upper-crust world, while the brassy “The Tiber Twist” has a noir underbelly to pair with all that hip-shaking. Mancini already had some silver-screen classics under his belt by The Pink Panther—including “Moon River” and “Theme From Hatari!”—but this captures him entranced by the glamorous lives onscreen and celebrating what makes them effusively, wonderfully alive. –Stacey Anderson

歡脫搖擺，只是陰郁頹廢，《粉紅豹主題》完美地總結了這類搞笑的偵探電影:“把你的臟手從我屁股上拿開?！疤柭暰拖袢紵南鹉z菲亞特一樣，那代表性的、不斷上升的薩克斯聲，一開始被大師普拉斯·約翰遜(Plas Johnson)含糊地奏出來，時而眨眼，時而扭動，就像飄在空中的時髦頭巾。亨利·曼奇尼(Henry Mancini)是20世紀最偉大的電影作曲家之一，他的音樂中充滿了壓抑不住的歡快，同時用另一種諷刺的惡作劇塑造了彼得·塞勒斯(Peter Sellers)筆下的鬧劇《糊涂大偵探（Inspector Clouseau）》;《Champagne and Quail)》里輕松優(yōu)雅的休閑流行音樂很適合上流社會，而刺耳的《The Tiber Twist》中，人物身穿黑色熱褲，與抖臀的動作相呼應。除了《粉紅豹》之外，曼奇尼還創(chuàng)作了一些經典的銀屏之作，包括《Moon River》和《Theme From Hatari!》。但這讓他沉醉于對銀幕上迷人生活，贊美著那些讓他們充滿激情、精彩活著的事物。

——?Stacey Anderson

45.??Les Stances à Sophie 1971

In 1969, the Art Ensemble of Chicago relocated to Paris, where they hypnotized the film director Moshé Mizrahi in concert. Struck by “the way they attacked music, like they could do anything they wanted,” he asked them to score his adaptation of Les Stances à Sophie by the French feminist novelist Christiane Rochefort. The result is often jarringly at odds with the film’s visuals, pulling attention from screen to speaker and stealing scenes, but their riotous work succeeds in capturing the push-pull dynamics and clashing philosophies of the central couple, a sexually liberated woman and her more uptight husband. The recording features Fontella Bass (singer of the R&B hit “Rescue Me”) on the memorable “Thème De Yoyo,” which melds her infectious vocals, explosive Can-like drums, silky bass-led funk, and detonating brass. The score blazes with such vitality and momentum that the music’s legacy eclipses the largely forgotten film. –Daniel Dylan Wray

1969年，芝加哥藝術團搬去了巴黎，他們在那里舉辦了一場音樂會，電影導演Moshé Mizrahi對他們自由不羈的音樂著了迷。他說：“他們演奏音樂的方式給人一種他們可以為所欲為的感覺。”隨后，Moshé Mizrahi邀請他們?yōu)樗磳⑴臄z的電影做配樂，這部電影改編自法國女權作家Christiane Rochefort所著的同名小說《Les Stances à Sophie》。但合作并沒有那么順利，他們常常因為電影的視覺效果產生激烈的分歧，因為配樂過度分散了觀眾對于視覺享受。盡管如此，他們大膽的合作還是成功了，完美地呈現(xiàn)出一個提倡性自由的女人和一個拘謹保守的丈夫之間的感情糾葛和沖突。電影配樂由Fontella Bass（R&B大熱曲目”Rescue Me”）演唱，融合了她極具感染力的聲線，爆裂的鼓聲，絲綢般的貝斯主音，還有炸裂的號聲，四者更唱迭合迸發(fā)出熾熱的激情活力。如此成功的配樂無疑使這部快被遺忘的電影本身黯然失色。

—— Daniel Dylan Wray

44.?Jackle 《第一夫人》2016

In not much time, Mica Levi has made a name for herself as a master of cacophonous anxiety. After scoring the eerie extraterrestrial film Under the Skin, she brought that disquiet to Pablo Larraín’s Jackie, starring Natalie Portman as the grieving First Lady in the days after JFK’s assassination. Levi elevates the film out of conventional biopic territory with its dreamlike, frightening ambience; her strings sound ominously off, as if someone has accidentally landed on the wrong note, and the entire score doubles down on that pebble-in-the-shoe feeling. The musical Camelot plays a big role in the film, most notably in the scene where the newly widowed Jackie drinks wine alone in the White House. But overall, Levi’s creeping strings provide the minor-key backbone for this snapshot of a woman in mourning as the world watches her. –Kristen Yoonsoo Kim

Mica Levi因為用不和諧樂音表現(xiàn)焦慮而一舉成名。在給科幻驚悚片《皮囊之下》配樂之后，她把那種獨特的表現(xiàn)形式帶到了Pablo Larraín的電影《第一夫人》中，Natalie Portman在片中飾演第一夫人在美國前總統(tǒng)約翰肯尼迪遇刺后的四天內的傷痛經歷。Levi通過打造夢一般可怕的氣氛突破了傳統(tǒng)傳記片的表達方式，也使電影進一步升華。琴弦聲的驟停往往預兆著不詳?shù)陌l(fā)生，就好像有人突然間要在某個錯誤的調子出現(xiàn)。整體的配樂更是加深了這種令人坐立難安的感覺。音樂劇《Camelot（卡蒙洛）》在影片中起了很大作用，尤其是第一夫人剛成為寡婦后在白宮獨酌紅酒的這一幕。但是總體而言，Levi讓人起雞皮疙瘩的琴弦聲讓人們從另一層面捕捉到這個女人如何在全世界關注下哀悼其丈夫的這一故事主線。

—— Kristen Yoonsoo Kim

43.?Koyaanisqatsi?1982

Director Godfrey Reggio has never wanted to say what?Koyaanisqatsi?is about, to pinpoint the message behind his?precisely edited slipstream of time-lapse beauty and stunning slow-motion. Juxtaposing the ancient majesty of nature with the mechanized might of human endeavor,?Koyaanisqatsi?is either an environmentalist’s nightmare or an industrialist’s ode to invention and conquest, depending on how you see the world. Philip Glass’ overwhelming score, which runs largely uninterrupted for the length of the film, is a similar litmus test: During “The Grid,” do you connect with the perfectly controlled voices or the pulsing synthesizers? Is “Slo Mo People” the sound of existential satisfaction or anguish, “Prophecies” a clarion call to action or a dream for the future? Ultimately, is?Koyaanisqatsi?a celebration of what we have done or a lamentation of what we will do? A microcosm of a million moving parts, Glass’ score makes everything feel important and urgent, with enormous dynamic sweeps and interwoven melodies that seem to multiply and surround you, giving you no choice but to at least consider the questions he and Reggio raise.?Koyaanisqatsi?marked the start of Glass’ career as a major film composer, but it also helped redefine how tightly bound film and sound can be, and how much they can say together. –Grayson Haver Currin

導演Godfrey Reggio不會告訴我們電影《Koyaanisqatsi》講了什么，也不會指明在他精心設計的延時和慢動作展現(xiàn)出的優(yōu)美景象背后的含義。導演將自然的原始壯闊與工業(yè)社會人類所創(chuàng)造的一切放在一起，并不是為了呈現(xiàn)環(huán)境被破壞的噩夢，也不是為了贊頌工業(yè)文明的創(chuàng)造與征服，它所傳達的思想全在于觀眾的怎么看待這個世界。

Philip Glass壓倒性氣勢的配樂貫穿全片，就像是石蕊實驗：在聽”The Grid”時，你有沒有理解那些完美演繹的嗓音和脈沖合成器聲？”Slo Mo People”有沒有表達出真實的滿足和悲傷？”Prophecies”是呼吁行動的號角還是對未來的夢？最后，影片究竟是在歌頌我們所做的一切，還是在悲痛我們即將做的呢？無數(shù)個觸動人心的片段實際就是影片的縮影，眾多穿梭的音頻和交織的旋律簇擁包圍著你，這讓影片中的一切都更加急迫，使你無從選擇，只能思考影片中所探討的問題?！禟oyaanisqatsi》 開啟了Glass作為專業(yè)電影作曲家的職業(yè)道路，同時也重新定義了電影和配樂之間的關聯(lián)的緊密性，還有它們共同呈現(xiàn)出的最高境界。

—— Grayson Haver Currin

42.?Suspiria《陰風陣陣》 1977

Italian prog-rock band Goblin’s score for Dario Argento’s Suspiria is routinely exalted by horror connoisseurs and electronic music producers alike. Suspiria nostalgia reached an all-time high in 2018 when founding Goblin member Claudio Simonetti led a tour performing the score to screenings of the film; also, none other than Thom Yorke filled Goblin’s shoes onscreen, providing music for a chilly, cerebral Suspiria remake by Luca Guadagnino. But what an unlikely candidate for hushed reverence: The original picture is gloriously over-the-top and irreverent, with its intentionally cartoonish color scheme, stiffly dubbed dialogue, and lurid occult violence.

意大利前衛(wèi)搖滾樂隊Goblin為Dario Argento的電影《suspiria（陰風陣陣）》的配樂，不出所料，受到了恐怖電影愛好者和電子音樂制作人一致好評。人們懷念經典《Suspiria》的浪潮在2018年達到了新高，創(chuàng)立Goblin的樂隊成員Claudio Simonetti在巡演中表演了這些經典的電影配樂，同時，導演Luca Guadagnino翻拍了這部恐怖卻理智的電影，Thom Yorke為這部電影制作了配樂，但仍不能代替Goblin在這部電影的地位。但是在傳達某些寂靜的敬畏方面，Goblin似乎并不是一個合適的人選：1977年版的電影過于夸張、不敬，刻意使用了一些卡通的配色，違和的配音對話和毫無美感的暴力。

Goblin’s score heaps on the?gaudy extravagance and visceral thrills. From The Exorcist-like bells to Halloween-presaging synths, funked-out guitar to prim harpsichord, trippy tabla to creepy screams, all is fair game so long as it’s suitably wild. These days, synthesizers and cinema are no longer strange bedfellows, and “cult classics” have graduated to become simply “classics,” but Goblin’s work on Suspiria still sounds wonderfully deranged. –Marc Hogan

Goblin的配樂堆砌了華而不實的艷俗和發(fā)自肺腑的興奮。從類似于《驅魔人》的鈴聲到《月光光心慌慌》中有所預示的合成器聲，放克式的吉他旋律到規(guī)矩的大鍵琴，迷幻的手鼓再到毛骨悚然的尖叫，只要這些狂野適可而止，這絕對是一場公平的游戲。近年來，合成器和電影院不再只是奇怪的陪襯，而且被狂熱崇拜的“地下經典”也變成了僅僅是“經典”，但是Goblin在《Suspiria》中的配樂聽起來仍叫人為之瘋狂。

41.?Blue Velvet《藍絲絨》 1986

“You fucking get that thing, man. There are 27 zillion songs in the world. I don’t want one of them. I want this song,” David Lynch told producer Fred Caruso. He was talking about This Mortal Coil’s ethereal masterpiece “Song to the Siren,” which he envisioned as the backdrop for a crucial scene in his film Blue Velvet, a surreal mystery bound up in straitjacketed camp—a kind of claustrophobic Norman Rockwell nightmare.

“嘿，你必須搞到這個東西，這世上有數(shù)不清的歌，可我一首都不想要，我只想要這一首。“David Lynch（大衛(wèi)·林奇）對制片人Fred Caruso說。他所指的這首歌正是This Mortal Coil的杰作”Song To The Siren”，他想這首歌能在他的電影《藍絲絨》中的關鍵一幕做背景音樂，這一幕涉及到營地之下被緊緊包裹著的那超現(xiàn)實主義秘密，有點類似于患了幽閉恐懼癥的Norman Rockwell做的噩夢。

Lynch didn’t get the song. Instead, the director tasked Angelo Badalamenti, a young composer he had hired as Isabella Rossellini’s vocal coach, with creating a replacement. It “should be a song that floats on the sea of time,” Lynch told him. And that’s exactly what Badalamenti came up with in “Mysteries of Love,” in which a then-unknown singer named Julee Cruise coos coolly over beatific synth pads. (The title and lyrics were Lynch’s.) Badalamenti’s score for the film—the first of many he would compose for Lynch—proves perfectly suited to the director’s sneaky visual style, encompassing lounge jazz, sinister atmospheres, and winking twists on cinematic convention. The “Main Title” theme, repeated frequently, slices back and forth, pawing at the spongy ground: Like the film’s narrative itself, it progresses haltingly, two steps forward, one step back, unleashing unimaginable darkness as it burrows deep into the subconscious. –Philip Sherburne

但Linch最終還是沒能得到那首歌，他把這項工作交給了Angelo Badalamenti，Badalamenti一名年輕的作曲家，曾被Linch聘為Isabella Rossellini的聲樂指導。Linch讓他創(chuàng)作一首代替品，告訴他這首歌“應該呈現(xiàn)一種在時間之海漂流的感覺”。那確實就是Badalamenti在“Mysteries of Love”中想出的，在那首歌中名叫Julee Cruise的無名歌手在合成音色的襯托下冷冷地低語。（標題和歌詞都出自Linch）這部電影最終采用的配樂是Badalamenti第一次給Linch創(chuàng)作的作品。最終，這首配樂的確完美吻合了導演怪誕的視覺風格。這正是慵懶爵士，陰森氣氛和電影中離奇轉折的精妙融合?！癕ain Title”在片中反復出現(xiàn)：就像電影在自己敘事一樣，它進展得很慢——兩步向前，一步向后，慢慢揭示了那些不為人知的黑暗。

—— Philip Sherburne