搬運(yùn)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：Emma.Z

校正：WhitneyL，Tyler Smith

推送：Lynn Liu

20.??O Brother, Where Art Thou? (逃獄三王) 2000

O Brother, Where Art Thou??is a work of subversive American mythology, a hero’s hapless journey through the Depression-era South in search?of love, companionship, and the promise of meager loot. Based very loosely on?The Odyssey, the Coen Brothers’ film shapes a saga from national perils (like recalcitrant racism) and promises (like the thrill of still-wild spaces), building a fable from the vaporous allure of the American Dream. The Coens needed the music to match the saga, so they reached back to the rural sounds of the South, black and white, and recaptured this essence with mostly modern voices. T-Bone Burnett outfitted a Nashville studio with antediluvian recording technology, like vintage microphones arranged in specific decades-old patterns, and used it to capture a murderers’ row of bluegrass, blues, and country stars in perfect form—first Emmylou Harris, Gillian Welch, and Alison Krauss lilting through a wicked lullaby, then septuagenarian bluegrass?legend Ralph Stanley staring down death without blinking.

《O Brother, Where Art Thou？（逃獄三王）》是一部顛覆美國神話的作品，講述了一個英雄在大蕭條時期，去往南方尋找愛情、友誼和微薄戰(zhàn)利品的不幸旅程?？贫餍值艿倪@部電影很大程度上是根據(jù)《The Odyssey (奧德賽)》改編的，包括從國家危難(比如頑固的種族主義)到承諾(比如寂靜的蠻荒空間帶來的緊張氣氛)。他們塑造了一個靠著美國夢虛無縹緲的魅力構(gòu)造出的傳奇。科恩兄弟需要合適的音樂來為這部傳奇故事增色，所以他們回歸到了南方的鄉(xiāng)村音樂，走到黑人與白人之間，并用現(xiàn)代唱法重現(xiàn)了鄉(xiāng)村音樂的精妙。T-Bone Burnett在那什維爾的工作室配備了老式錄音設(shè)備，比如一些有著特殊年代樣式的古董麥克風(fēng)，并用它完美地記錄了《超級情報員麥漢（a murderers’ row）》中的藍(lán)草音樂、布魯斯和一些鄉(xiāng)村音樂明星——首先是Emmylou Harris, Gillian Welch和Alison Krauss旋律輕快且抑揚(yáng)頓挫的搖籃曲，然后是毫不猶豫地凝視著死亡的，年近古稀的藍(lán)草音樂傳奇人物Ralph Stanley。

A stunning commercial success, the?O Brother?soundtrack launched a new folk renaissance, in part because its deep roots offered a soothing sense of national connection in the dawning era of post-9/11 anxiety. Like the film, these songs collectively map a land of great trouble and hope, documenting the highs and lows of a very ordinary epic—people of constant sorrow, beset by violent cases of moaning blues and beaten by wicked authority figures, looking for a little pleasure now and the promise of eternity later. –Grayson Haver Currin

《O Brother, Where Art Thou？（逃獄三王）》的配樂在商業(yè)上取得了驚人的成功，并開啟了一場新的民間文藝復(fù)興。其部分原因在于，在后9/11焦慮時代到來之前，這些音樂深厚的文化根基讓人們感受到了與國家緊密相連的親切感。像這部電影一樣，這些歌曲共同勾勒出了一個充滿問題同時又飽含希望的國家，記錄著一部平凡史詩的起起落落——極易悲傷的人們、遭受暴力事件后憂傷的藍(lán)調(diào)音樂、受到邪惡的權(quán)威人物打壓，尋找短暫的歡樂和永恒的承諾。

—— Grayson Haver Currin

19.??? This Is Spinal Tap(搖滾萬歲)? 1984

“The invention of languages is the foundation,” wrote literature professor and?Lord of the Rings?demiurge J.R.R. Tolkien to his publisher in 1955. “The ‘stories’ were made rather to provide a world for the languages than the reverse.” Bilbo, Frodo, Gollum, Gandalf, the Ring: They all exist so the good professor would have people to speak with in Elvish.

“有基礎(chǔ)才能發(fā)明語言”文學(xué)教授、《指環(huán)王》作者J.R.R. Tolkien在1955年給出版商的信中如是寫道。“我寫的這些‘故事’，與其說是為一個世界創(chuàng)造了語言，不如說是給語言提供了一個合理的背景?！盉ilbo, Frodo, Gollum, Gandalf, the Ring：他們都是存在的，這樣教授才可以用上精靈語來聊天。

Given their blacklight-poster pretentiousness, David St. Hubbins, Nigel Tufnel, and Derek Smalls—the members of the imaginary, past-their-prime English heavy-metal band Spin?al Tap—are no doubt?Lord of the Rings?devotees. But the real-life actor-musicians Michael McKean, Christopher Guest, and Harry Shearer, plus their co-writer and director Rob Reiner, are more in tune with Tolkien’s chicken-and-egg sensibility than their rock ‘n’ roll creations ever could be. In tracks like the dunderheaded epic “Stonehenge,” the redudantly-titled groupie paean “Tonight I’m Gonna Rock You Tonight,” and the low-end-driven (in every sense) ass anthem “Big Bottom,” they created mockumentary pastiches of arena metal so fully formed, they feel able to support an entire world on their spandex-clad shoulders. From Middle-earth to “Hello, Cleveland,” the song remains the same. –Sean T. Collins

考慮到他們blacklight-poster自命不凡, David St. Hubbins，Nigel Tufnel和Derek Smalls，當(dāng)然他們都是虛構(gòu)的人物，來自過氣重金屬樂隊(duì)Spinal Tap。毫無疑問他們都是指環(huán)王愛好者。但現(xiàn)實(shí)生活中的演員兼音樂家Michael McKean、Christopher Guest和Harry Shearer，以及他們的聯(lián)合編劇兼導(dǎo)演Rob Reiner，都比他們的搖滾作品更符合托爾金的“先有雞還是先有蛋”的情感。比如愚蠢的史詩 “巨石陣（Stonehenge）”，冗長的樂隊(duì)贊歌“今夜我將震撼你（Tonight I’m Gonna Rock You Tonight）”，以及(從各方面來說)低俗的屁股歌“大屁股（Big Bottom）”，他們創(chuàng)造了看似完全成熟的帶有金屬感的假紀(jì)錄片,他們覺得自己套著氨綸衣服的肩膀能支撐起整個世界。從中土世界到“你好，克利夫蘭（Hello, Cleveland）”，這些歌始終如一。

——Sean T. Collins

18.??Love Jones(愛瓊斯)?1997

Love Jones?remains Theodore Witcher’s sole directing?credit, despite being a high point of late-’90s African-American cinema (and remaining in heavy rotation on Bet come Valentine’s Day). Its silken, seductive soundtrack also has its own firm place in the pantheon: A deft blend of lovers’ hip-hop, honeyed R&B, and smoldering jazz, it effortlessly segues from Minnie Riperton and Wyclef Jean to John Coltrane and Duke Ellington. At a time when most movie soundtracks paired two new songs with a heap of filler, every selection here adds to the consummate whole, from the unquenchable desire of Groove Theory’s “Never Enough” to the spare caresses of Cassandra Wilson’s “You Move Me.” Unhurried yet assured, each musical moment from?Love Jones?feels—as Lauryn Hill purrs at one point—like “fingertips on the small of my back.” –Andy Beta

拋開“90年代末非裔美國電影的巔峰之作”的這一高度評價，《愛瓊斯（Love Jones?）》維護(hù)了Theodore Witcher獨(dú)立導(dǎo)演作品的聲望(在情人節(jié)到來之前，該片仍在大量上映)。它柔軟誘人的原聲音樂使它在萬神殿中也有自己的一席之地：它巧妙地融合了情侶嘻哈、甜美的R&B和沉悶的爵士樂，并且輕松地?zé)o縫銜接了Minnie Riperton、Wyclef Jean、John Coltrane和Duke Ellington。當(dāng)大多數(shù)電影配樂都慣用兩首新歌搭配一堆填充物之類操作的時候，這部作品當(dāng)中的每一個選擇都能為整體添彩：從Groove Theory“永不滿足(Never Enough)”中那種不可抑制的渴望，到Cassandra Wilson“你打動了我(You Move Me)”中過剩的愛戀之情。從容而自信，每一個音樂時刻都來自于瓊斯對愛的感覺——就像Lauryn Hill在某一點(diǎn)上發(fā)出的咕嚕聲——仿佛“指尖輕撫著我的后背”。

—— Andy Beta

17.??The Sheltering Sky(遮蔽的天空) 1990

The Sheltering Sky, Paul Bowles’ 1949 novel, offers a sweeping metaphor for the human condition, pinning its protagonists against the vastness of the Sahara Desert and beneath the unforgiving, all-seeing heavens: together yet hopelessly alone, unreachable by others and unknowable even to themselves. Whatever the failures in Bernardo Bertolucci’s accompanying film—its exoticism, its melodrama—it’s beautiful to look at, and Ryuichi Sakamoto’s score fits it perfectly. The wistful main theme, perpetually twisting and rising like a dust devil, is appropriately tragic, even a little indulgent, though other passages can be atonal, jarring, and as prickly as its characters (especially John Malkovich’s Port). The rest of the soundtrack rounds out the film’s world with songs from the Algerian ra? singer Chaba Zahouania, traditional music from Tunisia and Burundi, and?jazz period pieces from American vibraphonist Lionel Hampton and French?singer Charles Trenet. The latter’s contribution, “Je Chante,” is a jaunty 1955 romp with a perennial cheer that stands starkly at odds with the bleakness of the film, and it’s precisely that incongruity that makes the soundtrack so engaging. –Philip Sherburne

Paul Bowles 1949年出版的小說《遮蔽的天空(The Sheltering Sky)》之中對人類的處境的隱喻意義深遠(yuǎn)。他將主人公們置于浩瀚無垠的撒哈拉沙漠之中，置于毫無人情、毫無遮蔽的蒼穹之下：兩人在一起，絕望又孤獨(dú)，與外界失聯(lián)，甚至自己也不了解所處的環(huán)境。無論Bernardo Bertolucci的電影配圖有多失敗——異國情調(diào)、驚險故事——這看起來都是非常美的。Ryuichi Sakamoto的配樂也與之完美契合?？释侵黝}，它像沙塵暴一樣不斷地盤旋、上升，還有適時的悲劇，甚至有些許放縱。盡管有些段落的配樂是無調(diào)性的，非常刺耳，就像劇中角色一樣刺痛人心(尤其是John Malkovich飾演的 Port)。電影的其他配樂包括阿爾及利亞rai歌手Chaba Zahouania的歌曲、突尼斯和布隆迪的傳統(tǒng)音樂，以及美國電顫琴演奏家Lionel Hampton和法國歌手Charles Trenet的爵士樂片段。后者提供了“我的贊歌(Je Chante)”。這是1955年的一部歡快的輕喜劇，經(jīng)久不衰的愉悅與影片的陰郁格格不入。也正是這種不協(xié)調(diào)的美感讓本片的原聲如此引人入勝。

——?Philip Sherburne

16.?Boogie Nights(不羈夜) 1997

Despite its shag carpets, disco-dancing montages, and abundance of gold chains on chest hair, there’s nothing kitschy about?Boogie Nights. Director Paul Thomas Anderson is thoroughly empathetic in his treatment of the film’s striving, struggling San Fernando Valley misfits as they navigate the turbulent adult film industry of the late-’70s and ’80s. The film’s despair is pure and uncut, and?its?soundtrack is just as fantastically on-the-nose. Eric Burdon and War’s tiki-bar-tastic “Spill the Wine” pairs perfectly with a pool party, and the vocal eruptions that dot the Chakachas’ “Jungle Fever”—a song so erotically tinged that the BBC once banned it—are apropos in a film in which the characters’ livelihoods are dedicated to the art of the climax. The biggest curveball arrives in the form of Night Ranger’s “Sister Christian,” a coming-of-age hair-rock anthem recast to add tension to a drug deal gone terribly, explosively wrong. Like the rest of?Boogie Nights’ groovy, neon-lit soundtrack, it’s not ironic in the slightest, instead fitting with the ease and comfort of a pair of exquisitely tailored bell-bottoms. –Larry Fitzmaurice

盡管有松軟的地毯，迪斯科舞曲蒙太奇，胸毛上很多的金項(xiàng)鏈，但《不羈夜（Boogie Nights）》一點(diǎn)也不俗氣。導(dǎo)演Paul Thomas Anderson對這部電影中苦苦掙扎卻格格不入的“圣費(fèi)爾南多谷（San Fernando Valley）”地處理非常感性，因?yàn)檫@個過程就像上世紀(jì)70年代末和80年代他們在成人電影行業(yè)中艱難前行。這部電影的絕望是純粹且未加修飾的，它的配樂有著恰到好處的美妙。Eric Burdon & War的夏威夷風(fēng)情酒吧風(fēng)的“把酒灑了（Spill the Wine）”配上完美的泳池派對，再加上 Chakachas的“叢林熱（Jungle Fever）”的聲音爆發(fā)——一首如此有情色意味的歌曲，甚至一度受到了BBC的抵制。而當(dāng)它出現(xiàn)在電影里，主角的生計就是獻(xiàn)身于高潮的藝術(shù)，這就非常合適。最讓人意料不到的，是《夜巡(Night Ranger)》中的“修女克里斯蒂安(Sister Christian)”的出現(xiàn)形式。這是一首成年搖滾歌曲的翻唱，卻成功為一樁糟糕透頂?shù)亩酒方灰自鎏砹司o張氣氛。就像《不羈夜(Boogie Nights)》中其余幾首如霓虹閃爍般美妙的歌曲一樣，這首歌毫無諷刺意味，反而是與一條剪裁精致、舒適的喇叭褲相得益彰。

—— Timmhotep Aku

15.??20th Century Women（二十世紀(jì)女人） 2016

Mike Mills’?20th Century Women?follows single mother Dorothea, her teenage son Jamie, and their makeshift family as they struggle to find their place in a rapidly changing world. Set in Santa Barbara in 1979, amid the booming West Coast punk scene, music is the medium?through which these characters find connection and meaning. A needle drop on the Raincoats’ debut single, “Fairytale in the Supermarket,” leads to a discussion on what happens when one’s passions are greater than their ability; the band’s raw musical freedom also spurs Dorothea to consider her own insecurities. Abbie, an artsy young boarder, tries to impart wisdom on Jamie, bringing him to clubs and making him mixtapes of feminist punk and glam rock. Dorothea, whose preferred oldies like Louis Armstrong and Benny Goodman also sprinkle the soundtrack, attempts to understand her son by listening to Black Flag and Talking Heads: “What is he?saying?” she asks of the former before genuinely enjoying the latter. As?20th Century Women?proves, a soundtrack can be as crucial as dialogue in creating a movie’s core relationships. –Quinn Moreland

Mike Mills的《20世紀(jì)的女人（20th Century Women）》講述了單身母親Dorothea、她十幾歲的兒子Jamie和她們顛沛流離的小家庭，在這個瞬息欲變的世界里努力生存的故事。故事發(fā)生在1979年的圣巴巴拉。當(dāng)時西海岸朋克風(fēng)盛行，是音樂讓這些愛好者們找到了信念和歸屬感。“超市里的童話(Fairytale in the Supermarket)”是the Raincoats的首張單曲。這首歌的發(fā)行引發(fā)了一場討論：當(dāng)一個人的熱情超過了能力時會發(fā)生什么。樂隊(duì)所展現(xiàn)的，關(guān)乎音樂的強(qiáng)烈自由感也促使Dorothea開始審視自己不穩(wěn)定的生活。Abbie，一個搞藝術(shù)的年輕寄宿校學(xué)生，費(fèi)盡心思地傳授給Jamie一些別樣的經(jīng)驗(yàn)。她把他帶到俱樂部，把他變成了女權(quán)主義朋克和華麗搖滾的追隨者。 Dorothea喜歡聽那些Louis Armstrong和Benny Goodman之類的老歌，它們同樣穿插在原聲當(dāng)中。但為了了解她的兒子，她也聽Black Flag和Talking Heads的 “他在說什么？（What is he?saying?）”，盡管前者對她來說更加受用。正如《20世紀(jì)的女人（20th Century Women）》所證實(shí)的那樣，在構(gòu)成電影核心關(guān)系時，配樂和對話同樣重要。

—— Quinn Moreland

14.???Apocalypse Now（現(xiàn)代啟示錄） 1979

Gatefold sleeves, according to earlier generations’ wisdom, were perfect for rolling joints on. All but the most stalwart stoners might have thought twice, though, before skinning up to the double-LP soundtrack to Francis Ford Coppola’s?Apocalypse Now. From the very start—which is, ironically, the Doors’ “The End,” overlaid with the ominous throb of helicopter rotors—the 96-minute album takes a journey as dark as that of Martin Sheen’s Captain Benjamin L. Willard, who ventures deep into the Vietnamese jungle for an ill-fated showdown with Marlon Brando’s Colonel Kurtz. Unlike conventional soundtrack albums, this one mostly foregoes actual musical selections, save a few exceptions (the Doors, Wagner’s fittingly apocalyptic “The Ride of the Valkyries”). Instead, it follows the film’s narrative with a meandering mix of dialogue scraps, jungle noises, and firefights. The results are a bleakly hallucinogenic document of the ’70s. –Philip Sherburne

根據(jù)前人的智慧，門襟套筒非常適合滾動接頭。不過，除了最頑固的癮君子，所有人在聽Francis Ford Coppola的《現(xiàn)代啟示錄(Apocalypse Now)》的雙LP（密紋唱片）原聲帶之前，都會再三思慮。諷刺的是，從一開始，the Doors的“結(jié)尾（The End）”就用不詳?shù)墓?jié)奏掩蓋住了直升機(jī)螺旋槳的轟鳴聲。這張96分鐘的專輯就像Martin Sheen飾演的上校Benjamin L. Willard一樣陰暗。他冒險深入越南叢林，與Marlon Brando飾演的上校Kurtz一決雌雄。有別于傳統(tǒng)的原聲專輯，除了少數(shù)幾個例外：大門樂隊(duì)和瓦格納恰如其分的末日啟示——“女武神的騎行”，這一部分大多放棄了實(shí)際的音樂選擇。相反，它遵循了電影的敘事進(jìn)程，并且其中混雜著人物對白的只言片語、叢林里的噪音和交火聲。這張專輯的問世也在七十年代留下了陰郁而迷幻的一筆。

——Philip Sherburne

13.??Friday (星期五)?1995

In the ’90s, South Central Los Angeles was a cultural hotbed, setting trends in both fashion and music. With their script for?Friday, Ice Cube and DJ Pooh made an adventure out of a mundane day in the neighborhood, bringing their community’s style and attitude to the big screen.?Fittingly, the film’s soundtrack is a time capsule of essential gangsta rap, G-funk, and soul. Dr. Dre’s “Keep Their Heads Ringin’” incorporates the signature synths and speaker-rattling drum kicks crucial to the city’s music. Ice Cube’s own “Friday” stands in as the tough-talking credo of his characters, Craig and Smokey, as they try only to survive. The soundtrack doesn’t limit itself to L.A., though, grabbing Houston’s Scarface for “Friday Night,” an outsider’s perspective about the overwhelming amount of women he encounters in the L.A. streets. The final touch is wrangling an original cut from the Isley Brothers, “Tryin’ to See Another Day,” about just living another 24 hours—or, even Better, to the “daaaaamn” weekend. –Alphonse Pierre

在90年代，洛杉磯中南部是一個文化搖籃，這里的時尚和音樂都引領(lǐng)著潮流。拿著《星期五（Friday）》的劇本，Ice Cube和DJ Pooh在一個平凡的日子里，在附近進(jìn)行了一次冒險，并把他們社區(qū)獨(dú)特的風(fēng)格和觀念呈現(xiàn)在了大屏幕上。恰好這部電影的配樂包含了不可或缺的黑幫說唱，G-funk和靈魂音樂。Dr. Dre的“保持頭腦清醒（Keep the Heads Ringin）”融合了對這座城市標(biāo)志性音樂至關(guān)重要的合成器和揚(yáng)聲器鼓點(diǎn)。Ice Cube自己的“ 星期五（Friday） ”代表著他的角色，Craig 和Smokey，堅(jiān)定且唯一的信條——生存。盡管如此，但電影的配樂并不局限于洛杉磯，因?yàn)椤?星期五之夜（Friday Night） ”抓住了休斯頓的《疤面煞星（Scarface）》，一個局外人對于他在洛杉磯街頭遇到的大量女性的想法。最后一次接觸是與Isley Brothers就原始剪輯問題的爭吵，從關(guān)于再活24小時的“試著看到新的一天（Tryin’ to See Another Day）”到或者效果更好的“糟~~糕”的周末。

—— Alphonse Pierre

12.??Velvet Goldmine（天鵝絨金礦）?1998

Velvet Goldmine?helped itself to such generous?plates of David Bowie’s life story, it’s surprising director Todd Haynes didn’t name his hero’s band the Scorpions From Jupiter.?Goldmine’s glam-rock preener Brian Slade—a volatile, god-mode hedonist played by Jonathan Rhys-Meyers—has a hell of a time in late-’70s Britain, scandalizing its press and delighting its teens with his bisexual bed-hopping, superheroic drug consumption, and glittery stage spectacles. Slade’s trysts with the Iggy Pop avatar Curt Wild, played by Ewan McGregor, are the film’s highlights—not least because, two years after?Trainspotting, McGregor still had yet to embrace the concept of pants.

《天鵝絨金礦（Velvet Goldmine）》向觀眾們講述了David Bowie一籮筐的平生逸聞，但令人驚訝的是導(dǎo)演Todd Haynes竟然沒有把他的“英雄”的樂隊(duì)命名為Scorpions From Jupiter。影片中Jonathan Rhys-Meyers扮演的華麗搖滾歌手Brian Slade，是一個喜怒無常，神模式的享樂主義者。70年代末他在英國度過了一段極其讓媒體大跌眼鏡的時期，并且他雙性戀的性取向、眾多花邊新聞、超級英雄藥物以及強(qiáng)大的舞臺表現(xiàn)力，都讓青少年們津津樂道。Slade與Ewan McGregor飾演的Iggy Pop之間的曖昧關(guān)系也是影片一大亮點(diǎn)。但也不只局限于此，因?yàn)楫?dāng)兩年后《猜火車（Trainspotting）》上映時，觀眾們發(fā)現(xiàn)McGregor依然沒有理解那個叫做“褲子”的東西。

Bowie was no fan of this celluloid fan-fic—he barred his songs from appearing in the film—but?Velvet Goldmine?fared just fine with a squad of his friends and admirers. Shiny original dance tracks from Pulp and Shudder to Think crib the Major Tom era, with familiar Brian Eno and Lou Reed cuts lending deeper pathos. Perhaps not surprisingly for a film of such naked adoration, the soundtrack shines brightest in its covers: Placebo take a mighty, sneering spin through T-Rex’s “20th Century Boy,” and a mysterious, formidable glam outfit called Venus in Furs cover Roxy Music’s “2HB,” “Ladytron,” and “Bitter-sweet.” Who were these guys? Just Suede’s Bernard Butler and Radiohead’s Jonny Greenwood on guitar—plus one Thom Yorke, doing the best Bryan Ferry imitation in the universe. –Stacey Anderson

Bowie本人并不喜歡這種塑料粉絲創(chuàng)作，并且拒絕提任何他的歌曲作為電影配樂。但《天鵝絨金礦（Velvet Goldmine）》在他的粉絲和朋友之間反響良好。從Pulp and Shudder到Think crib the Major Tom時代的閃亮原創(chuàng)舞曲，熟悉的Brian Eno和Lou Reed削減了更深層的傷痛。也許對于一部裸體崇拜電影來說并不奇怪。配樂如何，封面奪不奪人眼球就知道了：兜風(fēng)的安慰劑樂隊(duì)超越了T-Rex的“20世紀(jì)男孩（20th Century Boy）”，一套富有神秘色彩、強(qiáng)大而華麗的外套——地下絲絨樂隊(duì)的“穿裘皮大衣的維納斯（Venus in Furs）”超越了了Roxy Music的“2HB”“Ladytron”和“Bitter-sweet”。這些家伙是誰？只是山羊皮樂隊(duì)的Bernard Butler和電臺司令樂隊(duì)的Jonny Greenwood的，加上一個Thom Yorke，他們就能用吉他把Bryan Ferry模仿得無人能敵。

——?Stacey Anderson

11.?Repo Man （重生男人）1984

Absolutely nothing about?Repo Man?makes sense—not its magnificently strange, sci-fi, absurdist plot, which blends aliens with punk rock, televangelists with UFO scientists, one-off gags with dry political commentary. And certainly not its unusual journey from utter failure (it was pulled from theaters just a week after its release) to word-of-mouth cult classic. The vehicle of its rescue? A punk soundtrack, one that captured the explosive West Coast hardcore scene at its peak. A movie?saved from commercial oblivion by Black Flag and Fear: That was a new one.

絕對地，《重生男人（Repo Man）》毫無意義。不是指它奇妙的，科幻的，荒誕的情節(jié)，比如它融合了外星人與朋克搖滾，電視福音布道家與不明飛行物科學(xué)家，一次性的噱頭與空泛的政治評論。當(dāng)然也不是說它從完全失?。ㄓ捌顷懺壕€一周后即被撤出）到有口皆碑這一非比尋常的經(jīng)歷。救援車輛？一首朋克配樂展露了西海岸硬核搖滾鼎盛時期的熱烈場面。一部從因Black Flag 和Fear導(dǎo)致的商業(yè)埋沒中拯救出來的電影：這是一部全新的作品。

And then, as the album sales pushed past 50,000, Universal reassessed its peculiar little property and re-released the film in theaters. Now?Repo Man?lives on in the loving mouths of those who quote it endlessly (“I blame society”; “It happens sometimes. People just explode. Natural causes”) and also in its soundtrack’s smart-dumb slam-dancing classics—Suicidal Tendencies’ “Institutionalized”; Black Flag’s “TV Party”; Fear’s “Let’s Have a War”—that saved it from the brink. –Jayson Greene

然后，隨著專輯銷量突破5萬張，環(huán)球公司重新評估其獨(dú)特的價值，并在院線再次發(fā)行?，F(xiàn)在《重生男人（Repo Man）》依然活躍在那些時常引用它的人嘴中（“都怪社會”;“它有時會發(fā)生。人們就是會暴怒。自然原因”）以及它的配樂中那些聰明、笨拙、怪力的舞蹈經(jīng)典：Suicidal Tendencies的“制度化（Institutionalized）”; Black Flag的“電視派對（TV Party）”; Fear樂隊(duì)的“讓我們打一仗（Let’s Have a War）”把它從邊緣拯救了出來。

——? Jayson Greene