搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語(yǔ)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：Will Lin，Winnie Hess

校正：Lynn Liu，Ryan-Chopin

推送：Lynn Liu

30.?The Graduate（畢業(yè)生）1967

While filming?The Graduate, director Mike Nichols received a copy of Simon & Garfunkel’s 1966 record?Parsley, Sage, Rosemary and Thyme,?and heard?what he needed to bring his lost-soul characters to life. Nichols’ request was met by skepticism from the folk duo (Paul Simon called the source novel “bad Salinger”) but, in the end, he used two songs from?Parsley?and two from?Sounds of Silence—plus a new one from the pair, “Mrs. Robinson.” Simon & Garfunkel’s music?deepened the alienation felt by the film’s protagonist (Dustin Hoffman) and seemingly everyone else in the film, too.?“The Sounds of Silence” is especially emblematic, used on multiple occasions to channel generational anxiety and uncertain futures, while “Mrs. Robinson” serves as a blithe little ode that has more to do with mourning great men than chasing its alluring title?character. Although Simon & Garfunkel are often given full credit for the soundtrack off the back of that hit, contributions from composer Dave Grusin also provide atmospheric embellishments. Together, they made?The Graduate?one of the first films to be defined largely by its music, and one of the earliest examples of a director curating pre-existing radio-friendly pop for a film. –Quinn Moreland

在拍攝影片《The Graduate (畢業(yè)生)》時(shí)，導(dǎo)演Mike Nichols收到了Simon & Garfunkel組合1966年發(fā)行的唱片的拷貝，這張唱片名為《Parsley，Sage，Rosemary and Thyme》。他在這張專(zhuān)輯中聽(tīng)到了能讓他電影中墮落的角色們蘇醒的元素。Nichols的要求遭到了民謠二重唱的質(zhì)疑（Paul Simon稱(chēng)原著為“bad Salinger”），但最終，他選用了四首歌，兩首來(lái)自專(zhuān)輯《Parsley, Sage, Rosemary and Thyme（香芹、鼠尾草、迷迭香和百里香）》，兩首來(lái)自專(zhuān)輯《Sounds of Silence（寂靜之聲）》，加上一首新歌“Mrs. Robinson（羅賓森太太）”。Simon & Garfunkel的音樂(lè)加深了電影主人公(Dustin Hoffman)的孤獨(dú)感，似乎電影里其他角色也有這個(gè)感覺(jué)。歌曲“The Sounds of Silence（寂靜之聲）”極具象征性，在電影中多處場(chǎng)景有所運(yùn)用，聚焦于一代人的焦慮以及對(duì)未來(lái)的不確定，而歌曲“Mrs. Robinson（羅賓森太太）”作為歡快的頌贊，重點(diǎn)在于對(duì)偉大人物的哀悼，而不是追求魅力無(wú)限的羅賓森太太。盡管Simon & Garfunkel常常因?yàn)槭珍浻羞@首熱單的原聲帶得到稱(chēng)贊，作曲家Dave Grusin在歌曲氛圍上的渲染也功不可沒(méi)。在兩者的共同努力下，《The Graduate (畢業(yè)生)》成為最早一批很大程度上由原聲帶定義的電影之一，也是最早幾個(gè)在電影中采用已發(fā)行且在電臺(tái)大熱的流行樂(lè)的例子。

—— Quinn Moreland

29.??Frances Ha（弗蘭西絲·哈） 2012

In?Frances?Ha, Greta Gerwig and Noah Baumbach’s monochrome dramedy,?Gerwig’s title character?dances across New York streets to David Bowie’s “Modern Love.” The scene is an homage to Leo Carax’s 1986 drama?Mauvais Sang, in which its protagonist?stumbles through the dark streets of Paris to the?song.?But while the original scene is brooding and intense,?Frances Ha’s take is lighthearted and goofy,?capturing the film’s frank portrayal of directionless 20-somethings in New York.?Echoing the French New Wave?tribute?of its cinematography,?Frances Ha?sets its?gleeful millennial moments?to?works?by the venerable French composers Georges Delerue and Antoine Duhamel. And when Frances finally takes a weekend trip to Paris, she wanders around aimlessly to Hot Chocolate’s goopy ’70s funk hit “Every 1’s a Winner.” The film’s eclectic soundtrack mirrors the disparity Between Frances’ current life and her goals: The American pop captures her hardscrabble ambition, while the cinematic French?fare is the effortless stylishness she aspires to. –Michelle Kim

在影片《Frances Ha (弗蘭西絲·哈)》中，Greta Gerwig和Noah Baumbach的黑白喜劇，Gerwig所飾演的主角在紐約大道伴著David Bowie的歌曲“Modern Love（現(xiàn)代愛(ài)情）”舞蹈。這一場(chǎng)景致敬了Leo Carax于1986執(zhí)導(dǎo)的電影《Mauvais Sang (壞痞子)》。電影中主人公伴著音樂(lè)，穿過(guò)巴黎黑暗的街道。原版場(chǎng)景令人感到害怕和緊張，而《Frances Ha (弗蘭西絲·哈)》的場(chǎng)景給人輕松的感覺(jué)，展現(xiàn)了電影對(duì)紐約20多歲年輕人沒(méi)有追求的直白刻畫(huà)。為了呼應(yīng)法國(guó)新浪潮展現(xiàn)的電影制作方法，《Frances Ha (弗蘭西絲·哈)》憑借德高望重的法國(guó)作曲家Georges Delerue和Antoine Duhamel的作品，充分展現(xiàn)了電影中的千禧年時(shí)刻。當(dāng)Frances最終能夠周末去巴黎旅行的時(shí)候，她伴著樂(lè)隊(duì)Hot Chocolate酷勁十足的70年代放克熱單“Every 1’s a Winner（每一位獲獎(jiǎng)?wù)撸痹诮稚下o(wú)目的地閑逛。電影原聲帶融合各種曲風(fēng)，映射了Frances目前的生活和她的目標(biāo)的差別：美國(guó)的流行文化限制了她的貧瘠的野心；而對(duì)于電影般的法式風(fēng)情，是她一直渴望的那種毫不費(fèi)力的時(shí)髦。

—— Michelle Kim

28.?Above the Rim (霹靂硬小子)?1994

A fatal basketball game. A retired basketball player who missed his shot. A young and gifted hothead who needs guidance.?Above the Rim?is a very by-the-numbers sports movie, but it’s focused, never losing sight of its main goal: conveying the glory of basketball. It’s charming, then, that the soundtrack doesn’t care about basketball at all. Released by Death Row Records during the label’s heyday, the soundtrack is a nonstop parade of brash G-funk, horny R&B, and breezy new jack swing. Its blissed-out grooves and hip-rocking arrangements are so removed from the anxious melodrama of the film, it’s kind of cheeky.

一場(chǎng)致命的籃球賽。一位退休的球手投籃時(shí)未命中。一個(gè)正值青年且天資聰穎的急性子需要指導(dǎo)。影片《Above the Rim (霹靂硬小子)》是一部非常講究精準(zhǔn)的體育電影，但它有明確目標(biāo)：展示籃球這項(xiàng)運(yùn)動(dòng)的光芒。原聲帶根本和籃球不搭邊，這很吸引人。在唱片公司鼎盛期，Death Row唱片公司發(fā)行了這張?jiān)晭В晭袷且粋€(gè)又一個(gè)音樂(lè)風(fēng)格的疊加：傲慢的G-funk、欲火中燒的節(jié)奏布魯斯以及活潑的新杰克搖擺。其歡快的節(jié)奏和讓人跟著搖擺的改編與電影講述的令人焦慮的驚險(xiǎn)故事完全不搭。這有點(diǎn)隨便。

The way Death Row stacked the record with an all-star lineup of its own talent—Dr. Dre, Lady of Rage, Tha Dogg Pound, Nate Dogg, Snoop—can give the soundtrack a transactional feel, but the movie slyly benefits from the optics. As West Coast artists blare from the speakers of the main antagonist’s New York club, home, and vehicles, you know that he is playing—and winning—a very different game from the players on the court. The soundtrack highlights that distance, and if you’re seeking respite from the silliness of the movie, it treats you very well. –Stephen Kearse

Death Row唱片公司將旗下的全明星陣容都安排進(jìn)這張專(zhuān)輯，像是Dr. Dre, Lady of Rage, Tha Dogg Pound, Nate Dogg, Snoop. 這一方式給予原聲帶能夠大賣(mài)的感覺(jué)，但這卻也悄悄地幫助了電影。當(dāng)你在對(duì)手在紐約的俱樂(lè)部、家、車(chē)上的揚(yáng)聲器中聽(tīng)到來(lái)自西海岸藝術(shù)家們的演唱，這表明他正在打一場(chǎng)與賽場(chǎng)上的球手迥然不同的比賽，而且勝券在握。原聲帶突出了這種差別，如果你想在荒誕的電影中尋求暫時(shí)的安慰，那原聲帶恰好能給你這種感覺(jué)。

—— Stephen Kearse

27.??Good Will Hunting（心靈捕手）1997

Ben Affleck?once described?the original script of?Good Will Hunting?as having “a very?Beverly Hills Cop,?Midnight Run?sensibility, where the kids from Boston were giving the NSA the slip all the time.” Thank God that died on the vine; a hotshot spy flick (powered by...?math?) would have no room for Robin Williams to give the most compassionate performance of his career, nor any for Elliott Smith to?lend his own heartsick genius to its soundtrack. Alongside a wintry score by Danny Elfman, Smith contributed several lovely tracks from his?album?Either/Or?and also wrote an original one: “Miss Misery,” a husky, farsighted waltz that casts bittersweet echoes down an empty highway, subtly echoing the film while adding new, universal dimensions of yearning. It almost won an Academy Award, but the prize was irrelevant; in its pristine, snowglobe capturing of a too-sensitive soul begging the world’s pardon, “Miss Misery” was Smith’s own perfect equation. –Stacey Anderson

Ben Affleck曾這樣描述影片《Good Will Hunting (心靈捕手)》的原始劇本：極具影片《Beverly Hills Cop (妙探出差)》風(fēng)格，影片《Midnight Run (午夜狂奔)》感情，來(lái)自波士頓的孩子一直在逃避美國(guó)國(guó)家安全局的追蹤。感謝上帝，要不是早期的失敗，這部成績(jī)斐然的間諜電影（。。。數(shù)學(xué)驅(qū)動(dòng)？）本不會(huì)出現(xiàn)Robin Williams職業(yè)生涯最富有同情心的表演，也不會(huì)發(fā)生Elliott Smith在原聲帶中傾注自己的傷感天賦。伴著Danny Elfman創(chuàng)作的冷淡配樂(lè)，Smith從自己的專(zhuān)輯《Either/Or（非此即彼）》選取了一些有愛(ài)的單曲，也創(chuàng)作了一首歌：“Miss Misery（痛苦小姐）”。這是一首嗓音沙啞、有遠(yuǎn)見(jiàn)卓識(shí)的華爾茲，在空曠的高速上撒下喜憂(yōu)參半的回響，不經(jīng)意間配合了電影，同時(shí)又?jǐn)U大了新鮮但普遍的意愿范圍。這首歌差點(diǎn)拿了奧斯卡金像獎(jiǎng)，但這不重要。歌曲“Miss Misery（痛苦小姐）”首次展現(xiàn)了一個(gè)太過(guò)敏感的心靈乞求世界原諒的情景，是Smith自身的完美等式。

26.?A Hard Day’s Night（一夜狂歡）??1964

A Hard Day’s Night?is one of the fastest-selling albums of all time and one of the strongest cases for bands to star in their own flicks. Its inclusion on this list is almost unfair; this was a film created solely to house some of the best songs by one of the best bands in the world. Richard Lester’s slapstick comedy never names the quartet by their name, but it does capture the rabid Beatlemania that followed them across continents: After all, in the opening scene—set to the blissful title track—the band is barely able to board their train to London after being bombarded by fans. The Fab Four keep getting into mischief in this classic get-the-band-to-the-gig flick, with wide-ranging gags mimicking silent film and French New Wave, all soundtracked by jangly Lennon and McCartney jams like “I Should Have Known Better” and “All My Loving.” And then we’re blessed with the promised concert—because why hide the fact that although these boys were charming, it’s really the music that makes this movie. –Kristen Yoonsoo Kim

專(zhuān)輯《A Hard Day’s Night (一夜狂歡)》是史上最快破銷(xiāo)量紀(jì)錄的專(zhuān)輯之一，也是樂(lè)隊(duì)主演關(guān)于自己的電影最有說(shuō)服力的例子之一。以上結(jié)論不太準(zhǔn)確，這也是一部由世上最好的樂(lè)隊(duì)之一僅用一些最好的歌曲創(chuàng)作的電影。Richard Lester的滑稽喜劇從未點(diǎn)名提及四重奏樂(lè)隊(duì)，但確實(shí)產(chǎn)生了偏激的披頭士狂熱，他們跟隨披頭士走遍各洲：最終，在專(zhuān)輯主打歌發(fā)布會(huì)開(kāi)場(chǎng)前，樂(lè)隊(duì)受到粉絲的圍堵，未能登上去往倫敦的火車(chē)。這個(gè)樂(lè)隊(duì)仍然麻煩不斷，在這部經(jīng)典的“讓樂(lè)隊(duì)公開(kāi)演奏”的電影中，導(dǎo)演運(yùn)用各式各樣的笑話(huà)，模仿默片和法國(guó)新浪潮。所有配樂(lè)由Lennon和McCartney創(chuàng)作，例如“I Should Have Known Better（我早該明白）”和“All My Loving（我所有的愛(ài)）”。接著我們?nèi)缭敢詢(xún)旈_(kāi)了音樂(lè)會(huì)，這也是隱藏事實(shí)的原因，盡管這些男孩子有吸引力，但實(shí)際上音樂(lè)成就了這部電影。

—— Kristen Yoonsoo Kim

25.??The Crow《烏鴉》1994

The only things certain in life are death, taxes, and ’90s movie soundtracks peppered with brooding cover songs.?The Crow?was a prototype of the latter, filled with exceptional reinterpretations that would become the urtext of anti-authoritarian mall goths: Rollins Band pound out Suicide’s “Ghostrider,” Pantera rip up Poison Idea’s “The Badge,” Rage Against the Machine?reclaim?Zack de la Rocha’s former hardcore-punk band Inside Out, and we’re treated to maybe the only good Joy Division cover?ever?in Nine Inch Nails’ heart-racing “Dead Souls.” Think of this as the evil cousin of the?Singles?soundtrack, the underbelly of ’90s music, the sound of electronic-industrial noise-rock. Though?The Crow?is now?more of a slice of gothic lore than a memorable movie due to the accidental on-set death of its star, Brandon Lee, its grungy, gloomy cultural relevance owes a great deal to its music. –Jeremy D. Larson

生活中唯一確定的事情就是死亡、稅收和90年代的帶著沉思的電影原聲?！稙貘f》是后者的原型，影片中的特殊而全新的詮釋將成為反獨(dú)裁主義的哥特人口號(hào)?？梢园堰@張?jiān)晭Э醋魇恰秵紊頋h》的姊妹篇，充滿(mǎn)了電音噪聲搖滾，可謂90年代音樂(lè)的薄弱之處。由于主演Brandon Lee在片場(chǎng)的意外死亡，《烏鴉》現(xiàn)在更多算一個(gè)哥特傳說(shuō)，而不是一部令人難忘的電影。其陰郁的文化內(nèi)涵在很大程度上要?dú)w功于電影音樂(lè)。

—— Jeremy D. Larson

24.??McCabe & Mrs. Miller《花村》 1971

Leonard Cohen is sometimes described as the invisible narrator of?McCabe & Mrs. Miller, Robert Altman’s radically reinvented Western. But given that his lyrics are even more oblique than the storyline, Cohen doesn’t elucidate the action so much as glaze it with a layer of symbolism and parable, lending a mythic gravity to the travails of these flawed and ornery characters. Only three Cohen songs appear, all?from the first side of?Songs of Leonard Cohen, his 1968 debut—a record Altman played so often that he replaced the worn-out vinyl repeatedly. They recur throughout the film, weaving in and out of the action, staining it with rich tones of tenderness, regret, gratitude, and?separation that cannot be bridged.

有時(shí)候Leonard Cohen會(huì)被描述成《花村》里看不見(jiàn)的敘述者。導(dǎo)演Robert Altman徹底改造了這部西部片，但考慮到Cohen的歌詞甚至比故事情節(jié)更為隱晦，Cohen的音樂(lè)對(duì)情節(jié)并沒(méi)有進(jìn)行推波助瀾的闡釋?zhuān)窃谄渲刑砑恿艘粚酉笳髦髁x和寓言，給這些有缺陷、性格乖戾的角色的痛苦增添了一種神奇的莊嚴(yán)感。影片里只有三首Cohen的歌，都來(lái)自L(fǎng)eonard Cohen在1968發(fā)行的專(zhuān)輯《The Songs of Leonard Cohen》的第一部分。這些歌曲在整部影片中反復(fù)出現(xiàn)，穿插在各種動(dòng)作之間，給影片渲染了豐富的柔情、遺憾、感激和分離的色彩。

Cohen’s songs also work as aural markers for the main characters. “The Stranger Song,” first heard over the credits, is McCabe; the restless surge of its tremolo acoustic chords suggests a man doomed to drift, uncertain behind his bravado, his existential foundations shaky. “Sisters of Mercy,” despite its title nodding to a Catholic organization of nuns, is about a different kind of succor: It accompanies the arrival of prostitutes, with the psychedelic band Kaleidoscope adding tinkly, turn-of-century textures in its expanded movie version. “Winter Lady” is Mrs. Miller’s theme but also the heartsick voice of McCabe’s thwarted longing for her. Although lines like “I’m just a station on your way/I know I’m not your lover” speak what the characters cannot articulate, Cohen’s songs work as complementary texture; his music sounds just like the misty-memory look that cinematographer Vilmos Zsigmond achieved by?“flash”-treating the film negative. Cohen becomes an inseparable element of the film, as unexpected and thrillingly innovative as the rest of Altman’s vision. –Simon Reynolds

Cohen的歌曲也可以作為主角的聽(tīng)覺(jué)記號(hào)?！癟he Stranger Song”這首歌代表著McCabe，顫音原聲的洶涌澎湃讓人覺(jué)得他注定要隨波逐流，在虛張聲勢(shì)的背后充滿(mǎn)不確定性，他的存在也變得動(dòng)搖。盡管“Sisters of Mercy”是在向天主教修女組織致敬，但它講述的是一種不同的救助:伴隨著妓女的到來(lái)，迷幻樂(lè)隊(duì)Kaleidoscope在其加長(zhǎng)版電影中加入了叮當(dāng)作響的世紀(jì)之交之感。“Winter Lady”算是Mrs. Miller的主題曲，但這也是McCabe壓抑著對(duì)她的深切渴望所發(fā)出的令人心碎的聲音。像“我只是你路途中的一個(gè)站點(diǎn)/我知道我不是你的愛(ài)人”這樣的歌詞表達(dá)了角色無(wú)法表達(dá)的內(nèi)容，而Cohen的歌曲便起到了互補(bǔ)的作用。他的音樂(lè)聽(tīng)起來(lái)就像電影攝影師Vilmos Zsigmond通過(guò)“閃光”處理底片而獲得的朦朧記憶。Cohen的音樂(lè)成為了電影中不可分割的元素，就像導(dǎo)演Altman的其他設(shè)想一樣出人意料，具有創(chuàng)新性。

——Simon Reynolds

23.?Pretty in Pink《紅粉佳人》1986

Across John Hughes’ filmography, it’s clear how much he believes music is essential to the teenage experience—and he best captured the angst of those years with his gloriously moody soundtrack to?Pretty in Pink. Throughout, screenwriter Hughes and director Howard Deutch cleverly chose tracks by British post-punk rockers—including Echo & the Bunnymen, Psychedelic Furs, and Orchestral Manoeuvres in the Dark—to crib their doom-and-gloom attitudes for his characters; in one scene, Morrissey becomes a stand-in for poor Duckie’s internal monologue, amplifying?the boy’s unrequited love for his friend Andie as he mopes around to the Smiths’ “Please, Please, Please Let Me Get What I Want.”

縱觀(guān)John Hughes的電影，可以很明顯的看出，他認(rèn)為音樂(lè)對(duì)青少年的體驗(yàn)至關(guān)重要，而他為《紅粉佳人》所作的富有情感的配樂(lè)，很好地捕捉到了這些青年的焦慮。自始至終，編劇Hughes和導(dǎo)演Howard Deutch都巧妙地選擇了英國(guó)后朋克搖滾歌手的歌曲，包括“Echo & the Bunnymen”、“Psychedelic Furs”和充滿(mǎn)黑暗的“Orchestral Manoeuvres”，他們用這些歌曲來(lái)塑造對(duì)角色的悲觀(guān)態(tài)度。在一個(gè)場(chǎng)景中，Morrissey成了可憐的Duckie內(nèi)心獨(dú)白的替身，在他悶悶不樂(lè)地看著Smith一家說(shuō)“請(qǐng)讓我得到我想要的東西”之時(shí)，借此放大了他對(duì)朋友Andie的暗戀心境。

Pretty in Pink’s key musical moments don’t?just arrive with the film’s emotional highs; pop and new wave is also subtly interwoven?into everyday moments. Suzanne Vega’s “Left of Center” murmurs from the radio as Andie and Duckie are studying, and INXS buzz through record store speakers as Andie tries to play it cool around her crush. By anthologizing the decade’s coolest alternative tracks, and drawing a clear line from them to the heroic problems of youth,?Pretty in Pink’s soundtrack has become an ’80s hipster time capsule, with the ability to spark nostalgia in anyone, no matter when they grew up. –Michelle Kim

《紅粉佳人》的主要音樂(lè)時(shí)刻并不僅僅伴隨著電影情感的高潮到來(lái)，流行音樂(lè)和新浪潮也巧妙地融入在日常生活中。在Andie和Duckie學(xué)習(xí)時(shí)，收音機(jī)里傳來(lái)了Suzanne Vega的“Left of Center”，INXS樂(lè)隊(duì)的聲音通過(guò)音像店的揚(yáng)聲器后聽(tīng)起來(lái)是一股嗡嗡聲，因?yàn)锳ndie試圖在自己喜歡的人身邊保持冷靜。通過(guò)收錄這十年最酷的另類(lèi)歌曲，并將它們與年輕人的英雄問(wèn)題劃清界限，《紅粉佳人》的原聲音樂(lè)已經(jīng)成為80年代潮人的時(shí)間膠囊，無(wú)論他們是什么時(shí)候長(zhǎng)大，都能夠激發(fā)出他們的懷舊情緒。

—— Michelle Kim

22.??GoodFellas《好家伙》 1990

There are three paths a found-music soundtrack can take. Path one is the Tarantino approach: Dredge up beloved obscurities and use them as seasoning, effectively assigning them your own meaning. Path two is the “Stranger Things” option: Take famous songs with pre-existing cultural and emotional weight so heavy, they snap the celluloid and do the hard work for you. And then there’s path three: the Marty Method. Here, you draw from the whole range of rock-era popular music, from Tony Bennett’s olive-oil smooth “Rags to Riches” to Sid Vicious’s camp Sinatra cover “My Way.” You use smash hits burned into every Boomer’s brain, from Bobby Darin’s “Beyond the Sea” to?goddamn “Layla.”

原聲音樂(lè)有三條路可以走，其中一條是Tarantino的方法:找出人們所喜愛(ài)的晦澀之處，把它們用作調(diào)味品，賦予它們你自己的意義。第二是選擇那些“奇怪的事情”:選擇那些原有的文化和情感負(fù)擔(dān)本就沉重的著名歌曲，它們會(huì)定格住膠片，為你的工作增光添彩。第三條路徑是Marty的方法，在這里，你可以欣賞到搖滾時(shí)代流行音樂(lè)的方方面面，從Tony Bennett油滑的“Rags to Riches”到Sid Vicious的“camp”，和Sinatra翻唱的“My Way”。從Bobby Darin的“Beyond the Sea”到出色的“Layla”，每一個(gè)嬰兒潮時(shí)期出生的人腦子里都會(huì)縈繞著一些熱門(mén)歌曲。

But, and this is key,?you’re Martin Scorsese. You have an unrivaled understanding of how sound and vision can be combined in additive fashion while leaving the strength of each component intact. So you use these songs in such unexpected ways (Donovan’s Aquarian anthem “Atlantis” for a vicious beating), or in such unprecedented contexts (the Crystals’ breathless “Then He Kissed Me” as our ticket to the Copacabana, in the most famous tracking shot in film history), that the music shapes the tone of the film without overwhelming it, and vice versa. Thanks to?GoodFellas, “Layla” is the sound of unrequited love?and?mobster corpses in meat trucks, now and forever. –Sean T. Collins

但關(guān)鍵你是Martin Scorsese，你有無(wú)與倫比的理解和方法來(lái)把聲音和視覺(jué)組合在一起，同時(shí)保持各自的效果不變，所以你用這些歌曲的方式如此讓人意想不到,或者說(shuō)用進(jìn)了前所未有的背景中,其中的音樂(lè)基調(diào)沒(méi)有壓倒性帶偏電影氛圍,反之亦然。多虧了《好家伙》這電影，我們得知“Layla”是單相思和暴徒尸體被裝在肉車(chē)上的聲音，現(xiàn)在和將來(lái)都是如此。

——?Sean T. Collins

1.?The Life Aquatic With Steve Zissou（水中生活） 2004

Wes Anderson specializes in confection.?The filmmaker’s worlds are perfectly curated and parallel to our own, where meticulously detailed sets, effects, and wardrobe create deceptively sweet unrealities. His use of music is also pristine: In?The Life Aquatic With Steve Zissou, Anderson channels the drama of David Bowie to tell the story of a burnt-out marine biologist and the characters who inhabit his ship, the Belafonte.

Wes Anderson專(zhuān)拍美好，這位導(dǎo)演所想的世界已被完美地策劃好了，并且和我們自己的世界是平行的，在那里精心細(xì)致的布景、效果和衣柜等都創(chuàng)造了看似甜蜜的不現(xiàn)實(shí)。Anderson對(duì)音樂(lè)的運(yùn)用也很原始，在與Steve Zissou合拍的《水中生活》中，Anderson借助David Bowie的作品，講述了一位精疲力竭的海洋生物學(xué)家和他的“Belafonte”號(hào)船上的人的故事。

The Life Aquatic’s soundtrack includes songs by Joan Baez and the Zombies, and a score from DEVO’s Mark Mothersbaugh, but its heart and soul come from Bowie’s songs, as channeled by Brazilian musician Seu Jorge. Jorge, who plays Belafonte crewman Pelé dos Santos, acts as a one-man Greek chorus in the film, moving it along with his wistful acoustic guitar and calming baritone. The result is a recontextualization of the late rock genius that is quietly powerful. Jorge’s Portuguese cover of “Starman” is folksy where the song was once melodramatic, while his rendition of “Rebel Rebel” adds a shot of cool to the original’s sugary undertones. Similarly, “Five Years,” “Rock N’ Roll Suicide,” and “Life On Mars?” maintain their urgency, even as Jorge softens their edges, for an overall effect that feels like the faint shadow of sadness on a bright summer day. Before he died, Bowie himself?celebrated?Jorge’s covers, saying he’d imbued?the songs with “a new level of beauty.” The film is lucky to have them. –Timmhotep Aku

《水中生活》的原聲帶收錄了Joan Baez和the Zombies的歌曲，以及樂(lè)隊(duì)DEVO的Mark Mothersbaugh的配樂(lè)，但它的核心和靈魂都來(lái)自Bowie的歌曲創(chuàng)作，并由巴西音樂(lè)家Seu Jorge演唱?！癇elafonte”號(hào)船員Pele dos Santos的扮演者Jorge在影片中扮演了一個(gè)希臘合唱團(tuán)獨(dú)唱的角色，伴隨著那充滿(mǎn)渴望的吉他聲和平靜的男中音一起舞動(dòng)，簡(jiǎn)直是對(duì)Bowie這位已故搖滾天才進(jìn)行的重新定位，這是一種無(wú)聲的力量。Jorge用葡萄牙語(yǔ)翻唱的“Starman”非常通俗易懂，因?yàn)橄啾认逻@首歌曾經(jīng)很戲劇化，而他翻唱的“Rebel Rebel”則在原本甜美的基調(diào)上增添了一絲冷清，類(lèi)似的還有“Five Years,” “Rock N’ Roll Suicide,” 和 “Life On Mars?”。即使Jorge軟化了它們的棱角，但他也保持了它們的緊迫感，以達(dá)到一種整體效果，就像明亮夏日里淡淡的悲傷陰影。在去世前，Bowie親自祝賀了Jorge因其翻唱幾近完美，稱(chēng)他為這些歌曲注入了“一種新的美感”，這部電影很幸運(yùn)有他們。

—— Timmhotep Aku