搬運自：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：Tiana.T，Lucia C

校正：Lynn Liu

40.?Brown Sugar（甜心情緣） 2002

The?Brown Sugar?soundtrack is perfect because every time a song plays in the film, it connects directly with Taye Diggs’ outfit. Early on, when we’re meeting his character, Dre—a high-powered A&R man for the definitely-a-scam Millennium Records, wearing his best get-money suit—Mos Def’s “Breakdown” blares imperially. Then, as Diggs begins to realize he’s in love with his childhood friend, Sidney, and pulls out his skintight turtleneck to prepare for some deep thoughts, the soundtrack offers up Erykah Badu and Common’s duet “Love of My Life.” Finally, when Dre wins the love of Sidney, wearing a white sweater fit for a Macy’s ad, in kicks Mos Def’s heartfelt, Kanye West-produced jam “Brown Sugar.” The whole soundtrack is spiritually—and sartorially—aligned with the best of what early-2000s R&B and hip-hop had to offer. –Alphonse Pierre

電影《Brown Sugar（甜心情緣）》的原聲配樂堪稱完美，之所以這么說是因為每次歌曲響起總是跟主演Taye Diggs的造型變化有關(guān)。一開始，我們看到這個角色時，男主角德伊是一個炙手可熱的音樂人，隨著他的搖錢樹——Mos Def的歌曲“Breakdown”名聲大噪，他開始專門制作些歌頌千禧伊始的唱片，漸漸的，德伊開始意識到他愛上了童年的玩伴——希德尼，于是他便脫下他的緊身高領(lǐng)毛衣，陷入深深的思考。此時電影的配樂是Erykah Badu and Common的二重唱“Love Of My Life（我生活中的愛）”。最終，當(dāng)希德尼也愛上德伊的時候，德伊便以白色毛衣的造型在梅西廣告中亮相，此刻背景響起了由Kanye West制作，由Mos Def衷心演唱的“Brown Sugar”。全片的原聲配樂不論是在情感上還是在造型上都展現(xiàn)了21世紀(jì)初期R&B和嘻哈能呈現(xiàn)的最佳效果。

—— Alphonse Pierre

39.??The Last Days of Disco（最后的迪斯科）1998

The nightclub at the heart of Whit Stillman’s film, set in the early ’80s, is a hotbed of drama: girl-on-girl pettiness, sexual psychodramas, and fraudulent schemes. And most of the characters are self-centered, privileged white yuppies. But somehow New York’s most insufferable people still make the city feel intoxicating, especially when their carousing is soundtracked with so many hits. When the film opens with Carol Douglas’ euphoric pop song “Doctor’s Orders,” it is so healing that we momentarily forget how this club—and the entire community it represents—is already doomed. Dancefloor anthems from Chic, Diana Ross, and Sister Sledge drop back-to-back, with all the urgency of a DJ trying to preserve their dying scene for one last night. Though the film was made nearly 20 years after disco’s heyday, its?energy feels both of a time and timeless. Even as it stages disco’s funeral, the film captures that feeling of hearing “Good Times” at the club while shyly sipping on a vodka tonic, pushing off daylight for a little longer. –Kristen Yoonsoo Kim

這部由Whit Stillman執(zhí)導(dǎo)的電影《The Last Days of Disco（最后的迪斯科）》 ，故事發(fā)生在一家八十年代早期的俱樂部，在這里，一場故事悄然發(fā)生。這是一部關(guān)于女人之間為了性虛情假意，勾心斗角的心理劇。影片中的大多數(shù)人物都是以自我為中心，充滿優(yōu)越感的白人雅痞士。但這些討厭的紐約客仍然從某種程度上令這座城市看起來更加紙醉金迷，尤其是在他們痛飲尋歡響起了有力的打擊樂時，這種感覺更甚。電影開場便響起Carol Douglas令人愉悅的流行樂曲“Doctor’s Orders”，治愈人心的配樂以至于讓人短暫忘記了這個俱樂部和俱樂部代表的整個社會是多么的低靡。DJ努力想要保留他們消失的最后一夜的那一幕，在這個舞池上他們贊頌了Chic, Diana Ross和Sister Sledge等那一時代的人。盡管電影是在迪斯科全盛期將近20年后制作的，它迸發(fā)的能量讓人感受到時代消亡的同時，也感受到時間永存。它作為祭奠迪斯科時代的消逝，影片巧妙捕捉了那個時代人們一邊吮著冒泡的伏特加，一邊在俱樂部里聽著”Good Times”，企圖讓白天變得更長一些的感覺。

——?Kristen Yoonsoo Kim

38.?Performance（迷幻演出）1970

In Donald Cammell and Nicolas Roeg’s?Performance, Mick Jagger serves as a cultural readymade, preloaded with associations as the singer of the 1960s’ most dangerous and Dionysian rock band. Fittingly, the soundtrack resembles a parallel-world Rolling Stones album. Producer Jack Nitzsche, an architect of Phil Spector’s Wall of Sound, had also played keyboards on four of the Stones’ peak-period LPs. Singer Merry Clayton, the show-stealing elemental force on “Gimme Shelter,” dominates here with her unique brand of psychedelic, psychotic gospel: jousting with Bernie Krause’s sinister Moog on the title track, humming and moaning with hair-raising intensity on the climactic “Turner’s Murder.” Randy Newman’s rasp and Ry Cooder’s slide guitar align fully with the Stones' sound circa “Honky Tonk Women.” Nitzsche’s own compositions are somewhat slight by comparison, but he does offer a supremely late-’60s decadence title in “Rolls Royce and Acid.” There’s also a terrific turn from Jagger himself on “Memo From Turner,” in which he fuses his own insolent white-blues persona with the psyche of an East London gangster. Roeg would try the pop-star gambit once more with Bowie on?The Man Who Fell to Earth, but while that film vies with?Performance?for Greatest Rock Movie Ever, the film’s soundtrack pales next to its Jagger-infused predecessor. –Simon Reynolds

在Donald Cammell和Nicolas Roeg共同執(zhí)導(dǎo)的電影《Performance》中， Mick Jagger作為20世紀(jì)60年代最令人瘋狂的樂隊主唱，他自身就是文化的符號。與之相應(yīng)的是，電影配樂就像是那個平行世界中滾石樂隊的歌曲。

制片人Jack Nitzsche——Phil Spector的音墻建筑師，他還在滾石巔峰時期的唱片中擔(dān)任了鍵盤手。在歌曲“Gimme Shelter” 中，有著攫取原力的表現(xiàn)的歌手Merry Clayton在這里同樣與她迷幻瘋狂的真理出彩地駕馭了電影配樂：在主音軌上與Bernie Krause的陰森的Moog合成器同臺競技，在“Turner’s Murder”高潮部分中的哼唱、呻吟令人頭皮發(fā)麻。Randy Newmans沙啞粗礪的唱法與Ry Cooder的吉他音完美融合在類似于滾石樂隊 “Honky Tonk Women”的音樂風(fēng)格中。Nitzsche的作曲也偶爾被比較，但是他的確在“Rolls Royce and Acid”中貢獻(xiàn)了60年代后期衰敗的曲風(fēng)。還有Jagger在“Memo From Turner,”中的絕妙轉(zhuǎn)換冗雜了他的白人布魯士的散漫和東倫敦匪幫靈魂的調(diào)子。Roeg也憑The Man On The Earth中與Bowie的合作再一次開始嘗試成為流行歌手。但是要論這部電影與Performance哪一部才是最佳搖滾樂電影的話，它的原聲帶還是混遜色于有Jagger前輩加持的Performance.

——?Simon Reynolds

37.?Eternal Sunshine of the Spotless Mind（暖暖內(nèi)含光）2004

Perennial L.A. cult figure Jon Brion’s?Eternal Sunshine?of the Spotless Mind?score, rich in filigree, has all the hallmarks of his own music and his more pointillist collaborations with Fiona Apple, though the brief cues often pull up agonizingly short of fully realizing that promise. But the bruised heartache that left his?solo album?on the major-label shelf for years was the perfect match for a film that crystallized the impossibility of a perfect love, exploding into its ultimate form with Beck’s devastating cover of the Korgis’ “Everybody’s Got to Learn Sometime.” Even the most invested follower of Brion’s work?would’ve been surprised by his trajectory after this soundtrack, which?elevated him from a fêted figure within?a tight local scene to a go-to collaborator for Kanye West and Spoon. –Laura Snapes

L.A.的狂熱信徒Jon Brion的電影Eternal Sunshine?of the Spotless Mind中極其細(xì)膩的配樂有著他本身音樂的所有獨特之處，更有和Fiona Apple的天作之合。盡管有簡短地被提起說配樂其實并沒能完全達(dá)到期望，但是令人心疼依然是他的專輯多年來的主要標(biāo)簽，并且這一特質(zhì)完美地配合了一部電影，這部電影明確了完美愛情的不可能性。有Beck震撼人心的駕馭能力，這一特質(zhì)在Korgis的Everybody’s Got to Learn Something中爆發(fā)到頂峰。甚至是在Brion的作品中投資最多的人也會被這首配樂帶來的影響所驚訝，這首配樂同時也將他本人從一個只是當(dāng)?shù)赜忻娜宋锾Ц叩揭粋€可以和Kanye West和Spoon的著名音樂人。

——?Laura Snapes

36.?Marie Antoinette（絕代艷后）2006

Being a teenager sucks, especially when your excessive partying manages to piss off an entire nation. That’s the gist of Sofia Coppola’s courtiers-and-Converses film?Marie Antoinette, a pop-art explosion that attempts to view Antoinette’s fraught time on the French throne through the lens of her rushed adolescence. The film’s expertly curated soundtrack channels that teenage essence more effectively than the film itself; alongside selected harpischord sonatas and understated piano, the dystopian majesty of Siouxsie and the Banshees’ “Hong Kong Garden” reigns, an extended string-laden intro adding to the pomp and circumstance. The Cure and the Strokes are present and accounted for, while the Radio Dept.’s gorgeously hazy indie pop perfectly complements the natural-light Approach of cinematographer Lance Acord. Although the soundtrack’s intentional anachronisms fueled the “pop video” criticisms the film initially faced, its embrace of teenage alienation and abandon feels universal. –Larry Fitzmaurice

一個年輕的啃老族，而且尤其是一個因為過多的派對激怒了整個國家的人。沒錯，這就是Sofia Coppola對其有褒有貶的電影Marie Antoinette的主人公。因為流行藝術(shù)的發(fā)展，導(dǎo)演試圖通過Antoinette荒蠻的青春期去重新看待那段她在法國備受擔(dān)憂的時光。電影專業(yè)地運用青年精神的配樂，這甚至比電影本身更具成效。精選的大鍵琴奏鳴曲和低調(diào)的鋼琴聲，每每琴弦聲都渲染了當(dāng)時的浮華環(huán)境，蘇可西與女妖的 “Hong Kong Garden”正式架構(gòu)了一個反烏托邦的朝代。The Cure和the Strokes的音樂也在電影中被呈現(xiàn)， Radio Dept獨立流行樂隊的朦朧曲風(fēng)與攝影師自然燈光的拍攝方法的互補，這同樣也能配合塑造這樣一個時代背景。盡管電影專門聚焦的這樣一個脫離時代的人物，引起了“pop video”批判電影初衷的質(zhì)疑聲，可它還是試圖去擁抱青少年的疏離感和被拋棄的困境。

——?Larry Fitzmaurice?

35.?Withnail and I（我與長指甲） 1987

Following two struggling actors with an unquenchable thirst for drinks and drugs,?Withnail and I?is a British cult favorite that captures the last gasp of London’s swinging?’60s and the hangover after. Music is used sparsely and wisely in the film; the acerbic, caustic, and cripplingly funny dialogue often needs little assistance. When it is employed, it’s brilliant: King Curtis’ live cover of Procol Harum’s “A Whiter Shade of Pale” clogs the screen as densely as the cigarette smoke that fills?our?antiheroes’?apartment, amping up the claustrophobia as the camera pans across a tableau of domestic misery and filth. Jimi Hendrix screeches from the speakers as the pair leaves London, booze firmly in hand; once they’re in the countryside, the original music of David Dundas and Rick Wentworth conjures a more pastoral and melancholic tone. The clash between potent rock and more plaintive acoustic folk captures the main characters’ duality:?Withnail (Richard E. Grant) is all pomp and exuberance, with “I” (Paul McGann) as his sensitive foil. “Withnail’s Theme,” by Dundas and Wentworth, has a fairground quality, woozy and disorienting, mimicking the young wastrel’s constant drunkenness. The entire soundtrack has a similarly intoxicating effect. –Daniel Dylan Wray

主角為兩個生活艱難的、酗酒嗑藥的演員，《Withnail and I（我與長指甲）》是一部英國cult風(fēng)電影，捕捉了倫敦繁華的60年代的尾聲以及那之后的殘余。片中不算多的音樂運用得非常巧妙；那些尖酸、刻薄、極為有趣的對白往往不需要背景音樂的輔助。而當(dāng)音樂出現(xiàn)時，則給人留下深刻印象：King Curtis現(xiàn)場翻唱了Procol Harum的“A Whiter Shade of Pale”，這聽起來就像濃濃的煙味充滿了主角們的公寓，在鏡頭掃過家中絕望與污穢的布置時，加強了幽閉恐懼癥之感。Jimi Hendrix的嘶吼聲在兩個主角手握酒瓶、離開倫敦的時候從音響傳出；而當(dāng)他們到了鄉(xiāng)下時，David Dundas和Rick Wentworth創(chuàng)作的原聲又增添了鄉(xiāng)村、悲傷的氣息。片中強勁的搖滾與傷感的不插電民謠形成的沖突反映了主角們的二元性：Withnail（Richard E. Grant飾）富有激情，而“我”（Paul McGann飾）則是他多愁善感的伙伴。David Dundas和Rick Wentworth 創(chuàng)作的“Withnail’s Theme”有種集市的喧鬧感，令人眩暈，呼應(yīng)了片中那個年輕小混混總是醉酒的狀態(tài)。整張原聲帶都有著這樣迷幻的效果。

—— Daniel Dylan Wray

34.??Kill Bill Vol. 1 & 2（殺死比爾） 2003，2004

Quentin Tarantino is a self-proclaimed vinyl nerd, a collector who often conceptualizes scenes by sorting through his stacks for the perfect sound. His?Kill Bill?films are breathless?acts of pastiche, splicing together interpretations of Blaxploitation, spaghetti Western, martial arts, and even anime into Uma Thurman’s pursuit of vengeance. Likewise, the dual soundtracks serve as sort of auditory hyperlinks, musical keys to Tarantino’s catacomb of references. Both volumes swing wildly, from Luis Bacalov’s somber Old West mix of strings and harmonica to the irrepressible thrust of Isaac Hayes’ “Run Fay Run,” from the pan flute vibes of Gheorghe Zamfir to the funk-rock bombast of Japanese guitarist Tomoyasu Hotei. Bits of dialogue and incidental music from RZA weave these fragments together, turning?the sets into personal listening sessions of Tarantino’s cherished?finds. Nearly two decades on, the results feel prescient of our current curator culture,?in which?you’re allowed an intimate peek?into?a sharp mind. –Grayson Haver Currin

Quentin Tarantino自己承認(rèn)過他是個黑膠唱片迷，作為一個收藏家，他經(jīng)常翻找自己的唱片收藏找出最合適的歌，以此為他的電影場景賦予他設(shè)想的概念。他的《Kill Bill（殺死比爾）》系列充斥著混搭起來的各種元素，拼湊起來黑人剝削電影、意大利式西部片、武術(shù)、甚至動漫，融入Uma Thurman的復(fù)仇之旅。同樣地，兩張原聲帶就像是超鏈接一般，引人進(jìn)入Tarantino的眾多引用元素中。兩張原聲帶都融入了不同風(fēng)格，從Luis Bacalov憂郁的老西部風(fēng)格的弦樂與口琴到Isaac Hayes的“Run Fay Run”難以抑制的活力，從Gheorghe Zamfir的悠揚笛聲到日本吉他手Tomoyasu Hotei張揚的放克搖滾。RZA的對白和配樂將這些電影碎片聯(lián)結(jié)在了一起，令人感到仿佛在聽Tarantino的私人收藏。已經(jīng)過去了近二十年，這樣的原聲效果似乎預(yù)示了如今的展覽文化----人們有機會窺探到有趣的思想。

——?Grayson Haver Currin

33.?Clueless（獨領(lǐng)風(fēng)騷） 1995

If in the summer of 1995, while driving your Jeep to the mall to pick up some knee socks from Contempo Casuals, you tuned into your local modern rock radio station, there was a 90 percent chance you’d hear an artist from the?Clueless?soundtrack.?Spanning meat-and-potatoes alt-rock (Counting Crows, Cracker), ska (the Mighty Mighty Bosstones), Britpop (Supergrass, the Lightning Seeds), pop-punk (the Muffs, the Smoking Popes), and even, in Cher Horowitz’s words, “maudlin” “cry-baby” music (Radiohead! As if!), these 14 tracks embodied the wild, anything-goes, post-Nirvana era when tiny bands suddenly found themselves with major label deals and huge Hollywood film syncs. This collection of songs doesn’t make much sense, but somehow works together perfectly when cocooned inside the delightfully absurd world of the film—just like one of Cher’s outfits. –Amy Phillips

在1995年的夏日，如果你開著吉普車去商場買Contempo Casuals的過膝襪，在途中打開了本地?fù)u滾電臺，你有百分之九十的可能會聽到《Clueless（獨領(lǐng)風(fēng)騷）》的原聲帶中的一位音樂人。這張原聲帶中有最基本的另類搖滾（Counting Crows, Cracker）、斯卡（(the Mighty Mighty Bosstones）、英搖（Supergrass, the Lightning Seeds）、流行朋克（the Muffs, the Smoking Popes），甚至還有----用主角Cher Horowitz的話說----“傷感”又“矯情”的音樂（Radiohead! 好像她說的是真的一樣），這14首歌代表了那個狂野的、什么都可能發(fā)生的后Nirvana時代，小樂隊們一下子被各大廠牌簽約、出現(xiàn)在各種好萊塢電影里。這張原聲帶并沒有什么大意義，但卻完美地適合這個電影中快樂而荒謬的世界----就像Cher的衣服一樣。

——?Amy Phillips

32.?I'm Not There（我不在那兒）2007

I’m Not There?isn’t really a Bob Dylan biopic; it’s more of a kaleidoscopic array of freewheelin’ riffs on a legend. In Todd Haynes’ film, Dylan is played by several different actors, including Richard Gere, Heath Ledger, Christian Bale, and (most memorably) an astoundingly convincing Cate Blanchett, who inhabits the singer’s amphetamine-fueled mid-’60s era with ease. Fittingly,?I’m Not There’s expansive soundtrack?gives a wide range of artists free reign to reimagine Dylan classics and deep cuts. Sonic Youth expertly navigate the enigmatic twists and turns of the title track. Cat Power’s Chan Marshall savors every syllable on a rollicking “Stuck Inside of Mobile With the Memphis Blues Again.”?Willie Nelson?and?Calexico?team up for a haunted rendition of “Se?or (Tales of Yankee Power)” that might even surpass Dylan’s original. Sure, the less said about Jack Johnson’s milquetoast reading of “Mama You’ve Been on My Mind/A Fraction of Last Thoughts on Woody Guthrie,” the better—but overall,?I’m Not There?is a stellar companion to an ambitious film. –Tyler Wilcox

《I’m Not There（我不在那兒）》并不完全是Bob Dylan的傳記片；它更像是五花八門的對傳奇的再創(chuàng)作。在這部Todd Haynes導(dǎo)演的電影中，Dylan由幾個不同的演員扮演，包括Richard Gere、 Heath Ledger、 Christian Bale、還有（最令人印象深刻的）有著驚人說服力的女演員Cate Blanchett，她輕松地還原了Dylan被抑郁癥藥物困擾的60年代中期?！禝’m Not There》的原聲帶讓眾多音樂人有了適當(dāng)?shù)臋C會去改編Dylan的經(jīng)典歌曲。Sonic Youth巧妙地駕馭了同名曲謎一般的轉(zhuǎn)折。Cat Power的Chan Marshall精彩地演繹了歡快版的“Stuck Inside of Mobile With the Memphis Blues Again”的每個音節(jié)。Willie Nelson和Calexico合作了一首改編的“Se?or (Tales of Yankee Power)”，甚至有超過原版的潛力。的確，但Jack Johnson膽小鬼般的翻唱“Mama You’ve Been on My Mind/A Fraction of Last Thoughts on Woody Guthrie”就遠(yuǎn)遠(yuǎn)沒有這么出色了，但是總體上看，《I’m Not There》原聲帶的確為這部出色的電影增光添彩。

——?Tyler Wilcox

31.?Dazed and Confused（年少輕狂）??1993

Set in the hazy purgatory of the last day of middle and high school, Dazed and Confused put smoky, untenable moments of teenage ennui on celluloid. And even if your own awkward adolescence didn’t include cruising around a still-weird Austin in the mid-’70s, the film’s soundtrack lets you ride shotgun in a Chevy Chevelle with the 8-track deck on full blast. Forgoing classic rock fodder—meaning no Appearance of Led Zeppelin’s own “Dazed and Confused”—director Richard Linklater instead highlights the era’s glut of butt-rock, to thrilling results. The soaring, gleeful choruses of Alice Cooper’s “School’s Out” and the Runaways’ “Cherry Bomb” are pheromonal joys, and the soundtrack finds stoned profundity in the grunts of Ted Nugent and Rick Derringer. It even transforms Foghat’s “Slow Ride” into something Approaching a mantra. –Andy beta

《Dazed and Confused（年少輕狂）》描繪了暑假前最后一天煉獄般的混亂景象，將青少年迷亂、稍縱即逝的倦怠感呈現(xiàn)在了膠卷上。而就算你自己莽撞的青春并不包括在70年代中期開著一輛奇怪的奧斯汀牌汽車到處跑，這部電影的原聲帶也能讓你感覺仿佛正開著雪佛蘭西維爾、將音響開到最大音量。導(dǎo)演Richard Linklater放棄了經(jīng)典搖滾音樂----這意味著片中不會有Led Zeppelin那首經(jīng)典的“Dazed and Confused”，他轉(zhuǎn)而運用了那個年代眾多的butt-rock音樂，達(dá)成了令人興奮的效果。Alice Cooper的“School’s Out”以及The Runaways的“Cherry Bomb”高昂而歡快的副歌有著激動人心的愉悅，而Ted Nugent和Rick Derringe的低吼則被賦予了更深奧的意味。這張原聲帶甚至將Foghat的“Slow Ride”變得像咒語一般。

—— Andy beta