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-scores-of-all-time/?page=1

翻譯：ConigliaFolle

校正：Ryan-Chopin

推送：Lynn Liu

20.??Aguirre, Wrath of God 《天譴》?1972

Matching the scope and ambition of a film as bold as Werner Herzog’s?Aguirre, Wrath of God?was no small task, yet?the prog-krautrock band Popol Vuh’s score remains as impactful as Herzog’s images. Rather than attempt to bolster the audacious production and narrative with bombastic strings or dramatic arrangements, the score is restrained. The opening scene, dense with mist and dramatic mountains, is matched in texture by the main theme, which is as immersing and omnipresent as the thick vapor that envelops the landscape. The score is rich in dreamy, droning Moog synthesizer, but the choral sounds come from a custom-made, Mellotron-like instrument?called?a “choir organ.” These two machines collide and interlock to create hypnotic and quietly beautiful arrangements that?let you to sink into the voyage onscreen. Several pieces of music reappear throughout, a creative editing process that adds to the feeling of a never-ending journey unfolding. –Daniel Dylan Wray

制作出配得上維爾納·赫爾佐格的電影《天譴》的目標(biāo)與野心的配樂并不是那么容易的事情，然而德國實(shí)驗(yàn)搖滾（prog-krautrock）樂隊(duì)Popol Vuh的作品沖擊力完全可以和赫爾佐格的電影圖像相契合。然而其配樂并沒有用大膽的制作、爆炸性的弦樂或者戲劇化的編配來支撐這部無所畏懼的作品，反而較為節(jié)制。開場的濃霧和可怖的群山與主題相交織，就像緊緊包裹住風(fēng)景的厚厚的蒸汽，富有浸入性又無處不在。整套配樂中有大量夢幻的慕格電子音樂元素，但是合唱的聲音來自于傳統(tǒng)的樂器，名為“唱詩班伴奏風(fēng)琴”，具有電子琴一般的質(zhì)感。兩種樂器互相碰撞融合，制造出一種催眠又沉靜的編排，使你沉入熒幕之旅。一些曲目在整個(gè)電影中重復(fù)出現(xiàn)，通過創(chuàng)造性的編輯手法增添了旅程逐漸展開又永無止境的感受。

——?Daniel Dylan Wray

19.???? Drive? 《亡命駕駛》2011

When director Nicolas Winding Refn was making?Drive, he had Kraftwerk on his iPod: There was something about the idea of electronic music, he?said, that suited “the mythology of the gunslinger with a car.” The songs that found their way to the movie’s soundtrack bear that out: Slick, ’80s-fueled synth-pop chuggers from Kavinsky and the Chromatics help establish the film’s knowing sense of style, cognizant of its antecedents but not the least bit retro. Cliff Martinez’s original score is also rooted in the electronic music of the ’70s and?’80s; its clean-lined synths and cycling arpeggios are part of a lineage running through acts like Kraftwerk, Vangelis, and Tangerine Dream.

導(dǎo)演尼古拉斯·溫丁·雷弗恩制作《亡命駕駛》的時(shí)候，他的隨身聽里存著發(fā)電站樂隊(duì)（Kraftwerk）的歌曲，他說電子音樂中的某些元素和“開車槍手的奧秘”很相配。而最終成為了電影原聲的歌曲證實(shí)了他這一點(diǎn)：卡文斯基的圓滑而富有80年代風(fēng)格的合成器音樂和半音構(gòu)成創(chuàng)建了電影老練狡猾的風(fēng)格，其中能看到前輩的蛛絲馬跡但毫不落伍?？死锓颉ゑR丁內(nèi)茲創(chuàng)作的原有的配樂也植根于七八十年代的電子音樂；線條清晰的合成器音樂和循環(huán)的琶音配合著發(fā)電站樂隊(duì)、范吉利斯（希臘電影配樂家）與橘夢樂團(tuán)（德國電音樂隊(duì)）的作品，成為了線性連續(xù)的一部分。

Unlike the neon gloss of Kavinsky and the Chromatics, though, Martinez’s score is darker and more ominous. Throbbing metallic pulses play up the film’s heart-in-mouth action sequences, while desolate ambient passages mirror its amoral character sketches. Not long after?Drive’s release, Martinez turned up remixing Plastikman, the most famous alias of the Midwestern techno producer Richie Hawtin. The pairing made sense: Just as Plastikman helped popularize the idea of ambient techno, Martinez’s?Drive?score introduced the idea of ambient electronic music to a public who might never have otherwise opted to listen to the buzz and burble of minimalist synthesizer recordings. –Philip Sherburne

不同于卡文斯基配樂的半音與色彩學(xué)，馬丁內(nèi)茲的配樂顯得更加黑暗，預(yù)示了不吉的征兆。跳動(dòng)的金屬樂脈搏帶動(dòng)了電影中的打戲情節(jié)，孤立的背景音變換也折射了主人公非道德的性格剪影。在《亡命駕駛》上映后不久，馬丁內(nèi)茲就現(xiàn)身為Plastikman（英國電子音樂家）混音，即著名的電子音樂制作人里奇霍廷。兩人的合作自有其道理：Plastikman可以普及“環(huán)境背景電音”（ambient techno），馬丁內(nèi)茲的《亡命駕駛》向大眾引進(jìn)了環(huán)境背景電音這一想法，而他們可能永遠(yuǎn)不會(huì)去聽極簡主義的合成器作品。

—— Philip Sherburne

18.???Solaris?? 《索拉里斯星》? 1972

Director Andrei Tarkovsky’s movie is far less explicit a narrative than its source, the brilliant sci-fi novel by Stanis?aw Lem. Solaris is a remote planet that human explorers have circled for centuries, hoping in vain to make contact with the evidently sentient but inscrutable ocean that covers its surface. Suddenly,?people from the deep recesses of each astronaut’s memory materialize, flesh-and-blood ghosts that the crew call “guests” and that appear to be the planet’s attempts to communicate.

導(dǎo)演安德烈·塔爾科夫斯基的電影遠(yuǎn)比史坦尼斯勞·萊姆的原作要隱晦得多，原作是一部出色的科幻小說。索拉里斯星是一顆人類探索者觀察已久的遙遠(yuǎn)行星，他們希望與行星上有明顯意識而神秘的海洋保持聯(lián)系，但結(jié)果不盡人意。突然，每位宇航員腦中的想法都變成了現(xiàn)實(shí)，有血有肉的幽魂出現(xiàn)了，成為了該行星嘗試與他們溝通的媒介，機(jī)組成員稱他們?yōu)椤翱腿恕薄?/p>

The story behind the score is almost as fantastical. Entrusted not just with scoring the movie but creating “an overall?conceptual idea for all the sound used,” Eduard Artemiev turned to a Soviet synthesizer called the ANS that generates sound by a unique photo-electronic method: Composers “draw” soundwaves which are turned into audio vibrations via a sophisticated system of rotating glass discs and light beams. The ANS supplied a panoply of microtonal intervals and dense polyphonic chords unachievable on other synths at that time. This palette of subtle shades and shimmering drones enabled Artemiev to depict the unsettled atmosphere on the space station, where the guests are driving their hosts out of their wits. But the queasy sound-vapors also suggest thought-waves from Solaris itself penetrating the minds of the astronauts, blindly striving to understand consciousness unfathomably different from its own vast self. –Simon Reynolds

配樂背后的故事也極具科幻色彩。帶著不僅要為電影配樂還要?jiǎng)?chuàng)造一個(gè)“對于音響的總體概念”的想法，愛德華·阿爾捷米列夫找到了一位名叫ANS的蘇聯(lián)電子音樂合成者，他通過一種獨(dú)特的光電方法制造聲音：作曲者會(huì)“畫出”音波，通過一個(gè)復(fù)雜的系統(tǒng)轉(zhuǎn)換成聲波振動(dòng)，系統(tǒng)由旋轉(zhuǎn)的玻璃光盤和光柱組成。ANS開發(fā)了一套復(fù)雜的微音程和密集的復(fù)調(diào)和弦，這在當(dāng)時(shí)其他的合成器上是無法實(shí)現(xiàn)的。

—— Jayson Greene

17.?Mishima: A Life in Four Chapters?? 《三島由紀(jì)夫傳》1985

Paul Schrader’s biopic?Mishima: A Life in Four Chapters?is a Japanese-language portrait of Yukio Mishima, the postwar writer and right-wing nationalist who captivated his nation before meeting a?grisly demise, one that continues to bewilder historians to this day. Philip Glass’ score is not so much preoccupied with Mishima’s extremist ideals as it is with dramatizing the man himself, and the fact that Glass chose to adhere exclusively to Western tonalities only drives home the film’s operatic nature. The minimalist’s signature repetitive style allows him to use other elements, such as dynamics and instrumentation, to illustrate Mishima’s life. “Osamu’s Theme (KYOKO’S HOUSE)” sees the primary string motif played on a jangly electric guitar, reflecting the more flamboyant early nature of his character, while the distinctly militaristic bent of “November 25: ICHIGAYA” drives home the somber nature of Mishima’s final day on Earth.

保羅·施拉德執(zhí)導(dǎo)的傳記電影《三島由紀(jì)夫傳》圍繞著三島由紀(jì)夫展開，他是一位戰(zhàn)后時(shí)期作家，也是右翼愛國主義者，在國家遭到嚴(yán)重毀滅之前使其幸免于難，這一歷史事件直到今天都震撼著史學(xué)家們。菲利普·格拉斯的配樂并不像三島的理想那樣極端，也不著意于將主人公作戲劇化的處理，格拉斯選擇依附于西方調(diào)性這一點(diǎn)使電影的歌劇化風(fēng)格也得到了更好的體現(xiàn)。極簡主義重復(fù)的風(fēng)格使他得以使用其他的元素來講述三島的一生，比如力度變化、配器等等?！皪u修之歌（京子的家）”中我們可以看到第一弦樂主題在叮叮當(dāng)當(dāng)?shù)碾娂献囗?，反映了他早年火焰一般閃耀的性格，明顯更為軍國主義的“11月25日：市谷”也體現(xiàn)了三島在世界上最后一天的陰暗。

While?Mishima?bombed at the box office—being banned in Japan certainly didn’t help—themes from the?score live on, licensed for numerous documentaries and even featuring prominently in?The Truman Show. It remains an important work for Glass, who described it as a turning point in the development of his film-scoring technique. –Noah Yoo

當(dāng)這部電影獲得了爆炸性的票房成功——雖然在日本被禁并不影響——配樂中的生命主題得到了延伸，被使用在多部紀(jì)錄片中，甚至還在《楚門的世界》中閃亮登場。它成為了格拉斯的一部重要作品，他也將它稱為自身電影配樂技巧發(fā)展的重要轉(zhuǎn)折點(diǎn)。

—— Noah Yoo

16.??Eraserhead?? 《橡皮頭》 1977

The sounds featured in David Lynch’s debut?film could easily be placed in both the score and soundtrack category, and yet they remain so?unusual that they arguably don’t belong in either. Lynch and sound designer Alan Splet create a soundscape that plunges you deep inside the film,?where you feel?every?floorboard creak, gust of wind, rumbling smoke stack, churning radiator,?and electrical hiss.?Eraserhead?is the amplification of background noise as its own art, where Lynch and Splet force your attention on sounds that would otherwise be ignored or deemed ugly and grating. The organ music of Fats Waller bleeds into dense atmospheres and clips of crying babies like a ghost from another realm, creating a confusing sonic voyage. Both “ambient” and “industrial” would become more frequently used music terms in the years after?Eraserhead’s release and, over?40 years on, its score?remains a template of experimentation, where the two genres coexist in harmonious discordance. –Daniel Dylan Wray

在大衛(wèi)·林奇的首部電影中的樂聲既可以作為配樂，也可以作為原聲，但它們十分特別，所以也許不歸屬于任何一邊。林奇和聲音設(shè)計(jì)師阿蘭·斯普萊特共同創(chuàng)建了一個(gè)可以讓你深深浸入電影之中的聲場，你可以感受到每一次地板的吱嘎聲，風(fēng)聲，隆隆的煙囪，旋轉(zhuǎn)著的散熱器以及電流的嘶嘶聲。《橡皮頭》是將背景噪聲作為藝術(shù)的集大成者，林奇和斯普萊特強(qiáng)行將觀眾的注意力集中到平時(shí)會(huì)被忽視或者被看作不悅耳的聲音上。Fats Waller的管風(fēng)琴音樂流入濃烈的電影氛圍中，哭泣嬰兒的片段就像從另一個(gè)世界穿梭而來的鬼魂，創(chuàng)設(shè)了一次迷幻的聲音旅行?！断鹌ゎ^》上映后，“環(huán)境”和“工業(yè)”在音樂術(shù)語中被更多地使用，四十多年后的今天，它的配樂依然是實(shí)驗(yàn)音樂的范本，兩種音樂流派在不和諧的和聲中共存。

—— Daniel Dylan Wray

15.??Dead Man? 《離魂異客》1995

For the past 50 years, Neil Young’s primary electric guitar has been the customized 1953 Gibson Les Paul Goldtop he calls “Old Black.” Fans know the guitar’s majestically overdriven tone from classic albums?like?Zuma,?Rust Never Sleeps, and?Ragged Glory. But Old Black is featured in its purest form on the soundtrack for Jim Jarmusch’s hallucinatory western?Dead Man. Young’s low, ominous notes are inseparable from Robby Müller’s striking black-and-white cinematography, lending an elemental pull to the increasingly strange odyssey of William Blake (Johnny Depp) and Nobody (Gary Farmer), Blake’s sardonic Native American guide. Young improvised most of the score, conjuring up dreamy memories of Ennio Morricone’s spaghetti westerns?and?the harsh twang of the “Rawhide” TV show. It’s both an authentic evocation of the American West and an ironic commentary, just like Jarmusch’s film.?–Tyler Wilcox

在過去的五十年中，Neil Young首選的電吉是他定制的1953年Gibson Les Paul Goldtop，他自己把它叫做“Old Black”。粉絲都知道其帶有驅(qū)動(dòng)器效果的純熟聲音出現(xiàn)在了《Zuma》,?《Rust Never Sleeps》,和《Ragged Glory》等專輯里。但是Old Black卻以它最純凈的形式出現(xiàn)在了Jim Jarmusch哈利路亞式的西部片《離魂異客》（Dead Man）中。Neil Young低沉而充滿不祥預(yù)兆的聲音與Robby Müller的黑白電影藝術(shù)互相依存，將William Blake（Johnny Depp扮演）和無名人(Gary Farmer扮演)的傳奇經(jīng)歷推向了高潮，無名人同時(shí)也是頗具諷刺意義的美國原住民向?qū)?。Neil Young即興創(chuàng)作完成了大部分的配樂，同時(shí)插入了Ennio Morricone所創(chuàng)作的意式西部片配樂和電視節(jié)目“Rawhide”中強(qiáng)烈的擊弦聲元素。這是對美國西部片和諷刺評論的真切呼喚，就像是賈木許（Jarmusch）的電影一樣。

——?Tyler Wilcox

14.?? ??The Third Man?? 《黑獄亡魂》 1949

When?The Third Man?hit theaters in 1949, Anton Karas’ zither score was nothing short of radical. In an era dominated by swelling, orchestral film music, here was this strange instrument (sort of like an overgrown pedal steel guitar) making this odd sound (somehow circus-like and mournful at once) being played by an unknown Austrian used to performing at the houses of Viennese wine growers (where he would be compensated with a glass of white and some sausage). In modern terms, it would be like Christopher Nolan enlisting a busking kazoo player from the London Underground.

當(dāng)《黑獄亡魂》于1949年上映時(shí)，Anton Karas’ zither的配樂無疑是十分激進(jìn)的。在當(dāng)時(shí)配樂被宏大的管弦樂支配的大環(huán)境下，那件奇怪的樂器（有點(diǎn)像是過度失真的踏板夏威夷吉他）創(chuàng)造了古怪的聲音（有點(diǎn)馬戲團(tuán)音樂的感覺，又十分悲痛），這種聲音由一位不知名的奧地利人演奏，他從前在維也納的酒吧里表演（他可能會(huì)在那兒來一杯白葡萄酒和幾根香腸）。用稍微時(shí)髦一點(diǎn)的話說，可能是克里斯托弗諾蘭招了一個(gè)在倫敦地鐵吹卡祖笛賣藝的藝人。

But director Carol Reed’s unlikely gamble paid off in more ways than one. Karas’ zither instantly sets?The Third Man?apart from its noir ilk, the instrument’s mischievous twang complementing the movie’s skewed, tragicomic tone. The score was such a hit with audiences that a single featuring its plucky main theme was rushed to market. It quickly sold more than half a million copies in England, a then-unprecedented achievement, and went on to become the third most popular record in America in 1950 (with a cover of the tune nabbing the No. 4 spot as well). Though dismissed as a mere fad at the time, the music of?The Third Man?has endured ever since:?The Beatles?and?the Band?recorded their own versions of the theme, and the Lonely Island sampled it on a 2002?song?about wanting to fuck a stork. Even now, it remains one of the most unmistakable film scores ever made. –Ryan Dombal

但是導(dǎo)演Carol Reed看似不靠譜的賭注卻收到了意外好的效果。Karas的齊特琴一直將《黑獄亡魂》的基調(diào)往遠(yuǎn)離黑色電影的方向拉，樂器淘氣的擊弦聲與電影歪歪斜斜、悲喜劇的風(fēng)格相互補(bǔ)。這首配樂頗受觀眾好評，以至于一首包含著主題的單曲被迅速發(fā)行。它在英國達(dá)成了50余萬的銷量，成績令人意想不到，成為了1950年最流行的單曲（此曲的翻唱版本也達(dá)到了榜單第四的位置）。盡管此電影風(fēng)靡一時(shí)，但是《黑獄亡魂》的配樂卻有著更長久的生命力：披頭士樂隊(duì)錄制了自己版本的主題曲，寂寞孤島樂隊(duì)在2002年發(fā)行的歌曲中使用了該曲的小樣，這首歌曲講述了一個(gè)人想和一只鸛發(fā)生關(guān)系的故事。即使是今天，它依然是最完美無缺的電影配樂之一。

—— Ryan Dombal

13.??Taxi Driver? 《出租車司機(jī)》1976

Martin Scorsese’s?Taxi Driver?depicts a seedy, sick New York through the eyes of Travis Bickle, a man on a mission to wash away the scum he sees staining the streets. Bernard Herrmann’s score—his last ever—taps into the filthy underbelly that Bickle prowls at night in his taxicab. The arrangements are at once dramatic, malevolent, eerie, and romantic, capturing a spirit of the unknown that matches Bickle’s endless cruising. Tom Scott’s profoundly beautiful saxophone solo in the film’s main theme embodies the potential of a city (and person) in conflict with itself. The music is the sound of the metropolis, as projected by Bickle. It ricochets between hope and beauty, desire and despair, romance and violence, all with a tangible atmosphere as thick as the engulfing steam emitting from the vents of the streets. –Daniel Dylan Wray

Martin Scorsese導(dǎo)演的《出租車司機(jī)》描繪了Travis Bickle眼中破爛、病態(tài)的紐約，他的任務(wù)是清除掉街上粘住的口香糖。Bernard Herrmann的配樂——同時(shí)也是他的最后一部配樂作品——在Bickle開著出租車潛行在紐約骯臟的犄角旮旯時(shí)直擊心靈。這種編配十分戲劇化、充滿惡意，怪異且浪漫，描繪了匿名者的內(nèi)心世界，與Bickle無盡的駕駛相匹配。Tom Scott優(yōu)美的薩克斯獨(dú)奏作為電影的主題，擁抱城市的潛力（以及個(gè)人）和自身的沖突與矛盾。音樂是都市之聲，并在主人公的身影下被投射出來。

—— Daniel Dylan Wray

12.?Ghost Dog: The Way of the Samurai? 《鬼狗殺手》1999

Pigeons taking flight are a recurring image in?Ghost Dog: The Way of the Samurai. They ascend at will, leaving the ground?as well as Ghost Dog, a reticent hitman and pigeon-keeper, behind. The birds are one of his few connections to the world beyond contract killings. There is no envy in his eyes as he watches his pigeons lift off, but there is longing, and RZA’s spare score fills the distance between Ghost Dog’s melancholic gaze and the freedom he can’t attain.

鴿子起飛是在《鬼狗殺手》中反復(fù)出現(xiàn)的場景。他們隨意愿起飛，離開地面，鬼狗——一位沉默寡言的殺手，同時(shí)也是一位養(yǎng)鴿人——站在它們身后。這些鴿子是除了殺人契約以外少有的和外界的聯(lián)系。當(dāng)他望著自己的鴿子起飛的時(shí)候眼中并沒有嫉妒，卻有渴望，RZA的配樂填補(bǔ)了鬼狗悲傷的眼神與他所不能得的自由之間的空白。

Skeletal and swaying, RZA’s compositions are hypnotic dirges. Chimes, bells, and guitar plucks drift over brusque kick drums like?spirits over water; dulled gongs and chords echo into chasms of rumbling bass. As Ghost Dog stoically carries out his masterful hits, the score voices his inner peace. His life is a loop but it is?not a bore. The soundtrack to the film is more lively than the score, and features voiceovers from the film and crowd-pleasing Wu-Tang team-ups, but it trades character for action. There can be freedom within constraints, and in his minimal compositions, RZA finds it for Ghost Dog and for himself. –Stephen Kearse

RZA的作品既富有骨架也十分搖擺，有著催眠挽歌的特質(zhì)。鐘聲、鈴聲和吉他的撥弦聲在直進(jìn)的踏板鼓聲上漂浮，如同水上幽魂；單調(diào)的鑼聲與和弦游蕩在隆隆低音的裂隙里。當(dāng)鬼狗堅(jiān)忍地執(zhí)行自己的致命一擊時(shí)，配樂道出了他內(nèi)心的平靜。他的生活是個(gè)循環(huán)卻并不單調(diào)。電影中的音軌比樂譜更為生動(dòng)，伴隨著畫外音和令人叫絕的武術(shù)隊(duì)，從而使人物的性格變得更加形象。其中有著節(jié)制的自由，在RZA極簡主義的創(chuàng)作中，他發(fā)現(xiàn)了最適合鬼狗的音樂，也找回了自己。

—— Stephen Kearse

11.???The Social Network? 《社交網(wǎng)絡(luò)》2010

Trent Reznor and Atticus Ross’ first full-length film score is a masterpiece of gloomy, menacing atmospheres, full of long guitar drones and glitchy, digital textures that capture the turbulent birth of Facebook and its irrevocable shaping of modern society. Drum machines and sequencers set a precise pace on some tracks, while a lonely piano strikes the emotional counterbalance?elsewhere, offering peals of both hope and?sorrow.

Trent Reznor和Atticus Ross第一部完整的電影配樂完成得十分出色，極具陰郁和壓迫感，充斥著漫長的嗡嗡吉他雜音，數(shù)字性的織體展現(xiàn)了Facebook在世界洪流中的誕生，以及它對當(dāng)代社會(huì)不可磨滅的影響。電鼓和時(shí)間調(diào)節(jié)器給一部分音軌定下了準(zhǔn)確的步調(diào)，與此同時(shí)，孤寂的鋼琴達(dá)成了情緒上的平衡，也大聲傾訴了希望和悲傷的情緒。

Reznor has said director David Fincher requested a “synthetic landscape” à la?Blade Runner, and that influence is apparent. Like Vangelis’ masterwork,?The Social Network’s score is a shadowy character that lurks in the backdrop of the film’s most arresting scenes, lending tension to the tedium of start-ups and stockholders. “When we were creating these ideas... we thought, ‘This could be the sound of an asteroid hitting the Earth at the end of humanity,’” Reznor?said?of the score in 2011. He had no idea how right he was. –Noah Yoo

Reznor曾說導(dǎo)演David Fincher要求配樂創(chuàng)設(shè)銀翼殺手一般的“人造景觀”，而這種影響是顯而易見的。就像Vangelis的杰作一樣，《社交網(wǎng)絡(luò)》的配樂有著陰郁的特性埋伏在電影最扣人心弦的幾個(gè)場景背后，使單調(diào)乏味的股市開盤和股票持有者的畫面更加富有緊張感?！爱?dāng)我們創(chuàng)造出這些想法的時(shí)候……我們想，‘這可能是世界末日小行星撞地球的聲音吧，’” Reznor對于他在2011年創(chuàng)作出的配樂如是說道?？伤⒉磺宄约旱挠^點(diǎn)是否確切。

—— Noah Yoo