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

翻譯：Winnie Hess

校正：Rayn-Chopin

30.The Cook, the Thief, His Wife, and Her Lover《廚師、大盜、他的太太和她的情人》 1989

Peter Greenaway’s elegantly awful masterpiece is the best version of “The Aristocrats” ever told. In a series of seemingly endless camera movements that glide across a feast of violence, nudity, piss, shit, garish colors, and amazing Jean-Paul Gaultier costumes, it chronicles the abuse and humiliation to which a gluttonous, nouveau-riche London gangster played by Michael Gambon subjects everyone in his orbit… until the worm, as it were, finally turns.

Peter Greenaway這部杰作是迄今為止“貴族”最棒的版本了，在一系列看似無(wú)窮無(wú)盡的鏡頭中滑過了暴力、裸體、小便、狗屎和花哨的色彩，以及Jean-Paul Gaultier艷驚四座的服裝，它記錄了一個(gè)貪婪的倫敦黑幫暴發(fā)戶(Michael Gambon飾)對(duì)他身邊每一個(gè)人的虐待和羞辱，最終情節(jié)反轉(zhuǎn)，他受到報(bào)應(yīng)。

The score by British minimalist and frequent Greenaway collaborator Michael Nyman matches the director's commitment to both restrictive formalism and anything-goes maximalist zeal. The genteel funeral march of “Memorial,” for example, evolves into a ludicrous saxophone grind. In “Miserere,” a boy soprano sings at the upper limit of his listeners’ comfort zone.?Yet?right in the middle of it all, there’s “Fish Beach,” a backbreaker of a love theme for the adulterous characters played by Helen Mirren and Alan Howard. Here, the lurid flourishes drop away entirely, leaving behind only the repeated sound of something beautiful and doomed. –Sean T. Collins

英國(guó)極簡(jiǎn)主義者M(jìn)ichael Nyman經(jīng)常與Greenaway合作，他的配樂和該導(dǎo)演對(duì)限制性形式和對(duì)任何事物保有最大熱情的認(rèn)知完全相符和。就比如說，“Memorial”中優(yōu)雅的葬禮進(jìn)行曲演變成了一場(chǎng)可笑的薩克斯管演奏。在“Miserere”中，一個(gè)男孩用尖利刺耳的男童高音唱歌。然而，“Fish Beach”這首歌憑空出現(xiàn)，這是Helen Mirren和Alan Howard飾演的淫亂角色愛情主題片里的一個(gè)突破。在這里，華而不實(shí)的東西完全消失了，留下的只有不斷重復(fù)的聲音和美好的注定。

——?Sean T. Collins

29.?Vertigo《迷魂記》 1958

Alfred Hitchcock’s musical collaborator, Bernard Herrmann,?was?responsible for some of the?most recognizable scores in cinematic history. Some of his best work can be found on Hitchcock’s obsessive thriller?Vertigo, about a man who loses the woman he loves (an enigmatic, platinum-blonde Kim Novak) only to find her plain doppelg?nger (Novak again, this time brunette), whom he grooms to look exactly like his deceased lover. Herrmann’s string-driven, atmospheric accompaniment not only imitates its San Francisco setting—two notes mimicking the sound of fog horns by the Golden Gate Bridge—but it also gracefully, desperately moves through the entire spectrum of emotions, from aching and romantic to urgent and dangerous and tragic. And like the fog that blankets the film, the score shrouds the story with an even thicker air of mystery. –Kristen Yoonsoo Kim

Alfred Hitchcock和Bernard Herrmann創(chuàng)作了電影史上一些最知名的配樂。Hitchcock的驚悚片《迷魂記(Vertigo)》是他最好的作品之一。影片講述的是一個(gè)男人失去了他所愛的女人(神秘感十足且金發(fā)碧眼的Kim Novak飾演)，后來(lái)找了她的一個(gè)替身(Kim Novak再次飾演，這次是黑發(fā)碧眼的Novak)，他把那個(gè)人打扮得和死去的愛人一模一樣。Herrmann大氣的弦樂伴奏，不僅模仿了它處在舊金山的城市背景——兩個(gè)音符模仿了金門大橋上霧笛的聲音，而且還優(yōu)雅而絕望地貫穿了情感的整個(gè)范圍，從痛苦和浪漫到緊急、危險(xiǎn)和悲慘。就像籠罩著整部電影的迷霧一樣，配樂給故事蒙上了更為濃重的神秘色彩。

—— Kristen Yoonsoo Kim

28.??Le Mépris《蔑視》1963

Jean-Luc Godard’s?Le Mépris?(“Contempt”) approaches a frightening question—How does the “delicious complicity” of a marriage die?—with music so gorgeous, it seduces even as it shatters. Amid the stately cliffs of Capri, a?screenwriter (Michel Piccoli) struggles to adapt Homer, abandoning his own wife, Camille (Brigitte Bardot)—the Penelope to his Odysseus—in the process. French New Wave maestro Georges Delerue meets their stormy passions with a symphonic grandeur that befits the backdrop of their war.

Jean-Luc Godard的《蔑視》解決了一個(gè)讓人恐懼的問題:婚姻中“令人愉悅的親密”是如何消逝的？音樂讓愛情如此美妙，即使愛情破碎了，卻仍然充滿誘惑。在卡普里島的懸崖峭壁之間，一位劇作家(Michel Piccoli飾)努力改編荷馬的作品，在這個(gè)過程中他拋棄了自己的妻子Camille(Brigitte Bardot飾)。法國(guó)新浪潮音樂大師Georges Delerue以一種符合戰(zhàn)爭(zhēng)背景的宏大交響樂來(lái)滿足他們暴風(fēng)雨般的激情。

Delerue’s score is an unusually choppy one, with over two dozen tracks of just a few minutes apiece; this was the work of the impressively cranky Godard, who submitted Delerue’s original, lengthy arrangements to a hacksaw. Motifs recycle throughout?Le Mépris, hazy as memories. Delerue’s overture returns often, never losing its adrenalized fear and desire, and “Camille,” Delerue’s most iconic film theme, is an exquisite ghost throughout, almost intolerable in its fragile hope. It sounds like the most beautiful place you’ve yet to visit. –Stacey Anderson

Delerue的配樂異常起伏，有二十多首曲子，每首只有幾分鐘，令人印象深刻的作品是Godard的，他把Delerue最初冗長(zhǎng)的作品進(jìn)行了切割。其主題在《蔑視》中反復(fù)出現(xiàn)，又如同記憶般朦朧。Delerue的前奏曲經(jīng)常出現(xiàn)在電影中，保留了令人興奮的恐懼和欲望，而Delerue最具代表性的電影主題角色“Camille”自始至終都是一個(gè)優(yōu)雅的幽靈，無(wú)法忍受其易碎的希望。這聽起來(lái)會(huì)是你去過的最美的地方。

—— Stacey Anderson

27.?Star Wars Episode V: The Empire Strikes Back《星球大戰(zhàn)2：帝國(guó)反擊戰(zhàn)》 1980

George Lucas’?Star Wars?was an absolute blast—and still is, anytime you’re flipping through channels and catch the Death Star attack run. For the sequel, Lucas and company went a bit deeper, got a bit darker, and added more mystical light and romantic heat. So did Lucas’ go-to composer.

George Lucas的《星球大戰(zhàn)(Star Wars)》絕對(duì)是超級(jí)火爆，到現(xiàn)在依然如此。不管你什么時(shí)候打開電視，都能看到死亡之星的攻擊畫面。在續(xù)集中，Lucas和他的伙伴陷入了更深的黑暗，增加了更多神秘的光線和浪漫的激情。Lucas的首席作曲家也照做無(wú)誤。

Between?Jaws,?Close Encounters of the Third Kind,?Superman, and, of course, that first?Star Wars, John Williams was already responsible for some of the most recognizable film music ever recorded, combining a pop musician’s ear for hooks with a sense of scale commensurate with galaxies far, far away. In?Empire, he expanded the sonic template he established for the original film, creating his richest and most varied set of compositions yet. Foremost among these is “The Imperial March,” the brassily sinister martial theme associated with Darth Vader. “Yoda’s Theme” is its opposite—soft and sweet, its melody seems to slowly levitate. A swoon in musical form, “Han Solo and the Princess” is an intensely romantic theme for that literally tortured love affair.?Empire?is the definitive?Star Wars?score, featuring songs so intrinsic to Lucas’ fictional universe, it’s hard to believe they weren’t there from the start. –Sean T. Collins

在《大白鯊(Jaws)》、《第三類接觸(Close Encounters of the Third Kind)》和《超人(Superman)》，當(dāng)然還有第一部《星球大戰(zhàn)》之中，John Williams已經(jīng)創(chuàng)作了有史以來(lái)最知名的一些電影音樂，他將作為一位流行音樂家對(duì)音樂的敏感和一種與遙遠(yuǎn)星系相稱的尺度感相結(jié)合。在《帝國(guó)（Empire）》中，他擴(kuò)展了原電影的聲音模板，創(chuàng)造了他迄今為止最豐富、最多樣化的曲調(diào)。其中最重要的要屬“The Imperial March”，這首歌的軍事主題與電影角色Darth Vader相關(guān)?！癥oda’s Theme” 柔和而甜美，恰好與之相反，它的旋律似乎在慢慢地飄浮。“Han Solo and the Princess”是一部令人神魂顛倒的浪漫主題的音樂作品，很適合這個(gè)飽受折磨的愛情故事。《帝國(guó)（Empire）》就像是《星球大戰(zhàn)》的最終配樂，其中的歌曲與Lucas虛構(gòu)的宇宙密不可分，讓觀眾很難相信它們從一開始其實(shí)是不存在的。

——?Sean T. Collins

26.?Annihilation《湮滅》 2018

It’s one thing when a score is tasked with carrying the emotion of a small scene, nudging the audience toward the desired effect of the director. But when a score is?asked to carry a wordless, 10-minute pas de deux Between a film’s protagonist and her translucent extraterrestrial clone that serves as the jaw-dropping climax of a surreal sci-fi film, it’s?Annihilation. Geoff Barrow and Ben Salisbury’s score lives in the belly of Alex Garland’s movie, coiling and mutating as the expedition treks deeper into the alien Shimmer. They make use of an otherworldly instrument called a?waterphone?and ground the film’s humanity within a recurring two-note acoustic guitar riff (alongside repeated flashbacks that feature Crosby, Stills & Nash’s angelic “Helplessly Hoping”). As the characters start to unravel and transform, the music undergoes its own mitosis, splitting and blooming until that climactic scene in the lighthouse, when those fog-horn synths develop an entirely new musical language. –Jeremy D. Larson

配樂的任務(wù)可謂是承載一個(gè)小場(chǎng)景的情感，并將觀眾的情緒推向?qū)а菟谕男Ч?。但是一段配樂出現(xiàn)在當(dāng)電影主人翁和她半透明的外星克隆人進(jìn)行的10分鐘的啞巴雙人舞中時(shí)，這就是一部超現(xiàn)實(shí)主義科幻電影最令人震驚的高潮部分了，而這部電影就是《湮滅（Annihilation）》。Geoff Barrow和Ben Salisbury的配樂出現(xiàn)在Alex Garland的電影之中，隨著探險(xiǎn)隊(duì)深入探索外星生命的光芒，配樂不斷地盤旋變化。他們使用了一種叫做水琴的超凡脫俗的樂器，它將電影中的人性融入到反復(fù)出現(xiàn)的雙音符原聲吉他即興段中(還反復(fù)出現(xiàn)了Crosby、Stills & Nash樂隊(duì)天使般的歌曲“Helplessly Hoping”的閃回鏡頭)。隨著角色開始轉(zhuǎn)變，音樂經(jīng)歷了它自己的分裂和重組，直到在燈塔的高潮場(chǎng)景，那些合成霧笛音發(fā)展出一個(gè)全新的音樂語(yǔ)言。

—— Jeremy D.Larson

25.?The Hired Hand 《雇傭之手》 1971

Bruce Langhorne made his name as a guitarist for hire, most famously on?Bringing It All Back Home, Bob Dylan’s?first electric album. (Legend has it that Langhorne also provided the inspiration for “Mr. Tambourine Man.”) But as important as his contributions were to that revolutionary folk-rock record, the guitarist’s true legacy is his score for Peter Fonda’s pastoral anti-western?The Hired Hand. Langhorne overdubbed banjo, Farfisa organ, appalachian dulcimer, and fiddle to create a?sui generis?slice of cosmic Americana. The film’s dazzling opening sequence—a slo-mo, impressionistic montage—is a hypnotic marriage of sight and sound, earthy and psychedelic all at once. “Ending,” meanwhile, is as lonesome as a frontier sunset.?The Hired Hand?wasn’t released as an album until the 2000s, but since then, it’s earned a devoted underground following. In 2017, Scissor Tail Records released?The Hired Hands, a double-disc tribute featuring Lee Ranaldo, Steve Gunn, and other disciples who have fallen under the spell of Langhorne’s singular score. –Tyler Wilcox

Bruce Langhorne 一開始因受雇擔(dān)任吉他手而聞名，最廣為人知的是在Bob Dylan的第一張電子專輯《Bringing It All Back Home（把一切都帶回家中）》中的演奏。（傳說Langhorne在這張專輯里為“Mr. Tambourine Man.”（手鼓先生）這首歌提供了創(chuàng)作靈感）但是，同等重要的還有他對(duì)這張具有變革性的搖滾民謠專輯的貢獻(xiàn)，這位吉他手真正傳奇之處是他為Peter Fonda執(zhí)導(dǎo)的田園風(fēng)情式反西方電影《?The Hired Hand》創(chuàng)作了配樂。Langhorne在配樂中疊加錄制了班卓琴、阿帕拉契揚(yáng)琴和小提琴的聲音，創(chuàng)造了宇宙美洲獨(dú)特的一面。電影令人眼花繚亂的開場(chǎng)片段——一段慢動(dòng)作加上印象派剪輯，這既是一種使人昏昏欲睡的視聽結(jié)合，也是現(xiàn)實(shí)與迷幻的配對(duì)。與此同時(shí)，“Ending（結(jié)局）”一曲，和邊界落日有著同樣的寂寥。直到2000年《?The Hired Hand?》才作為專輯發(fā)行出來(lái)，但自從那時(shí)起，這張專輯已經(jīng)悄然收獲了一波忠誠(chéng)的狂熱粉絲。在2017年，Scissor Tail廠牌公司發(fā)行的《The Hired Hands》，是和Lee Ranaldo, Steve Gunn,還有受Langhorne的配樂影響的其他門徒合作而成的。

——?Tyler Wilcox

24.?Akira 《阿基拉》 1988

Akira?is beloved for its irreverent, cyberpunk spirit, but there’s a keen sense of dread to its hyper-stylized world. Neo-Tokyo isn’t at all new; it’s salvaged, scrapped from ruins. That collision of modernity and near-extinction gives the film a tense, hallucinogenic quality, and sets the tone for the score’s extreme dynamism.

《Akira（阿基拉）》 因其不敬的賽博朋克精神而備受喜愛，但是面對(duì)極度虛擬的世界，不難有一種強(qiáng)烈的恐懼感。Neo-Tokyo（科幻未來(lái)世界動(dòng)畫）已不再是嶄新的，它是狂野的，從廢墟里淘汰出來(lái)的?，F(xiàn)實(shí)和瀕臨滅絕的碰撞，為電影營(yíng)造了一種氛圍，給予其一種5引起幻覺的質(zhì)感，奠定了配樂極具活力的基調(diào)。

Experimental Japanese collective Geinoh Yamashirogumi fills every crevice of the score with sounds familiar and strange, blending choral chants, Balinese percussion, and organs into extravagant compositions that swell into polyrhythmic head rushes and contract into blistering silence. Composed and recorded before the film was animated, the score structures the story and amplifies the excesses of the animation. There’s a constant contrast Between the film’s rich detail—it was the most costly animated movie in Japan’s history at the time—and its delirious imagery, and the score embraces that friction. Evoking the thrills of?Akira?right alongside its horrors, Geinoh Yamashirogumi’s?decadence inspires awe but never comfort. –Stephen Kearse

實(shí)驗(yàn)性日本組合 Geinoh Yamashirogumi用聽起來(lái)熟悉又陌生的混合合唱填充每一首配樂的空隙，巴厘島的打擊樂器，奢華的作曲中加入了管風(fēng)琴的元素，這吞噬了昏頭昏腦的多重節(jié)奏和濃縮成的激烈沉默。電影開拍之前作詞和錄制就已經(jīng)完成，配樂為故事的發(fā)展搭建了框架，擴(kuò)大了動(dòng)漫的限制。在豐富的電影細(xì)節(jié)里，有一種持續(xù)存在的差異——這是那個(gè)時(shí)代里，成本花費(fèi)最高的日本動(dòng)畫電影——還有它狂亂的意象，配樂凸顯出電影中的不和諧因素。激起Akira的不安同時(shí)伴有恐懼， Geinoh Yamashirogumi的衰落引發(fā)了敬畏，但卻成不了欣慰。

—— Stephen Kearse

23.??Casino Royale《皇家賭場(chǎng)》1967

How do you take your Bond? Do you prefer him a stern, cold, remorseless killer? Or do you want him to be rakish, campy, and too busy leering at everything in a skirt to concern himself with geopolitical gamesmanship? Wherever you land on the spectrum, you have the original?Casino Royale?to thank for the choice. The 1967 film was a happy mishegoss of competing superstar egos and screenwriters, a disaster that burned through $12 million (an absurd sum at the time) and featured not one, not two, but?seven?different James Bonds. An incomplete list of writers it took to yield the howlingly incoherent screenplay: Terry Southern, Joseph Heller (yes, that one), Billy Wilder (yes, that one), and, um, Woody Allen. As for the stars parading through it, all of whom chewed the overripe scenery: Peter Sellers, Orson Welles, John Huston, Peter O’Toole, and, yes, Woody Allen again.

你是如何看待你的James Bonds的？你是更喜歡他是一個(gè)苛刻的、冰冷的、殘酷無(wú)情的殺手？還是你想讓他變得瀟灑自如的、裝模作樣，因忙于色瞇瞇地窺探折藏在裙擺下的一切，來(lái)不及用地緣政治學(xué)策略為自己擔(dān)憂？多虧了它的配樂，無(wú)論你著陸于樂譜里的哪一個(gè)角落，你能感受到最原汁原味的 Casino Royale。這部1967年的電影是一場(chǎng)關(guān)于超級(jí)巨星與編劇狂歡的混亂，是一場(chǎng)砸了1200萬(wàn)美金（來(lái)源于當(dāng)時(shí)一個(gè)粗略估計(jì)）的，和不是一兩個(gè)，而是七個(gè)不一樣的James Bonds為主角的災(zāi)難。這是創(chuàng)造了這部巨大且不和邏輯的劇本的不完整作家名單：Terry Southern, Joseph Heller , Billy Wilder ,還有，呃，Woody Allen。正當(dāng)明星們夸夸其談時(shí)，他們開始思量著爛糊了的景色：Peter Sellers, Orson Welles, John Huston, Peter O’Toole, 對(duì)了，還有Woody Allen。

Who else to compose the music for such a booze-soaked, 10-ton cheesecake but Burt Bacharach and Herb Alpert? The score was as extravagant as the movie: Audiophile legend has it that the recording sessions featured such a fancy grade of tape, the engineers buried the needle in the red, producing such a dynamically hot and wide-ranging recording that it was used as a test record for high-performance stereos for years. The vinyl became a vanishingly rare cult object—“I don’t even have a copy,” Bacharach admitted once—and the music on it became a touchstone for a certain kind of knowing bachelor-pad cheese. –Jayson Greene

除了Bacharach和 Herb Alpert，還會(huì)有誰(shuí)會(huì)為這樣一個(gè)酒精味重，甜膩得像10噸芝士蛋糕一樣的電影作曲呢？插曲和電影一樣走奢靡風(fēng)：在音響發(fā)燒友當(dāng)中有這樣一個(gè)傳說，錄制部分最重要的就是花俏分級(jí)的錄音帶，錄音師把唱片針放到黑膠唱片的紅色部分上，產(chǎn)出了一個(gè)如此充滿活力且范圍廣的唱片，這多年來(lái)被用于測(cè)試高效能音響。黑膠唱片成為了一種極少被察覺到的稀有的崇拜——“我甚至沒有一份拷貝”，Bacharach 曾經(jīng)坦誠(chéng)道，在這基礎(chǔ)之上的這首歌，成為了單身漢公寓特定的必需品。

—— Jayson Greene

22.?Rocky《洛奇》 1976

“Here was a movie that is about a loser,” arranger and composer Bill Conti?remembered?of the first?Rocky?film. “I’ve read the script; I know how it ends. He loses. But in the tenth reel, he gets to train for a big fight, and we want to manipulate the audience to think that he can win.” So Conti took the film’s piano theme, which he wrote first—a loping and doleful little motif that tails Sylvester Stallone’s Rocky as he kicks dejectedly around Philadelphia, a loser’s theme—and turned it into a battle hymn. Horns, harps, a drum kit, strings, electric guitar, background singers, an entire goddamn orchestra: All of it lights into you. Suddenly, the sight of a lumpy guy in baggy sweats running up the steps of a Philadelphia museum turns into the ascension of a Greek god. You believe, for a moment, that the pug-ugly bastard can—and must—win.

“這是一部關(guān)于失敗者的電影。”編曲者兼作詞者Bill Conti?回憶起第一部洛奇電影時(shí)這么說道?！拔乙呀?jīng)讀過劇本了，也知道結(jié)局是怎樣的。他失敗了。但是在第十卷，他獲得了一次為一場(chǎng)大戰(zhàn)的訓(xùn)練，然后我們想控制觀眾的想法，讓他們覺得他會(huì)贏。”因此，Conti開始著手寫這部電影的鋼琴主題曲——他首先寫了一個(gè)沉重而悲傷的小主題，Sylvester Stallone飾演的洛奇沮喪地在費(fèi)城踢球，這是一個(gè)失敗者的主題——接著轉(zhuǎn)變?yōu)閼?zhàn)斗的頌歌。圓號(hào)、豎琴、爵士鼓、琴弦、電吉他、背景和聲，還有整個(gè)管弦樂：所有的音樂全都投向你。突然間，那個(gè)穿著寬松運(yùn)動(dòng)服的家伙快速跑上費(fèi)城博物館臺(tái)階的身影，轉(zhuǎn)變成上天的希臘神。那一瞬間，你相信那個(gè)丑陋的混蛋一定會(huì)，也必須會(huì)贏。

The music is so invincible that it has survived a series of sequels that run the gamut from simply “not-as-good” all the way to “hoo, boy.” And when Ryan Coogler rebooted the franchise with 2015’s?Creed, nothing stirred the blood as much as hints of that old Conti score poking its way through the training montage. It is victory music for born losers, and there are no losers when it is playing. –Jayson Greene

這首歌是如此完美，導(dǎo)致它在一系列情節(jié)后，音階從簡(jiǎn)單的“not-as-good” 一直到“hoo, boy.” 的后續(xù)之后延續(xù)了下來(lái)。當(dāng)Ryan Coogler于2015年重啟拍攝《奎迪》時(shí)，沒有什么比老Conti在蒙太奇訓(xùn)練中探索出的配樂方式讓人熱血沸騰。對(duì)于天生的失敗者來(lái)說，這是一首勝利之歌，當(dāng)這首歌響起時(shí)，每個(gè)人都不再是失敗者。

——?Jayson Greene

21.?Phantom Thread《魅影縫匠》2017

Phantom Thread?is a film about the limits of perfection. The pursuit of beauty is solitary and futile; love brings bitterness and disappointment.?Jonny Greenwood’s score is a self-conscious composition to match. There are countless moments of aesthetic bliss that threaten to overwhelm, but never do: The?adagio?“For the Hungry Boy” is rich and dramatic; “Sandalwood I” is textured and lively; “Barbara Rose” has harp and other strings plucked harriedly. It is ambiguous how good any of this should really feel. You cannot live a charmed life forever, the music suggests.

《Phantom Thread（魅影縫匠）》是一部關(guān)于完美極限的電影。對(duì)美的追求一向都是孤獨(dú)又徒然的；愛帶來(lái)苦澀和失望。Jonny Greenwood的配樂是具有自我意識(shí)的作曲。有無(wú)數(shù)的瞬間，審美的極樂有被全盤吞沒的危險(xiǎn)，但這永遠(yuǎn)不會(huì)發(fā)生：柔板 “For the Hungry Boy” 極具戲劇性；“Sandalwood I” 既有神韻又生動(dòng)形象；“Barbara Rose” 是豎琴與其他弦樂的快速撥弦。配樂非常模糊，每個(gè)細(xì)節(jié)都應(yīng)該深刻地感知到。音樂似乎也在暗示著你，你不可能永遠(yuǎn)都過著紙醉金迷的生活。

The main theme, “House of Woodcock,” is the best example of fleeting satisfaction, as its florid motif vanishes just as soon as it peaks.?Its piano is particularly reminiscent of?the main theme to?Lolita, another movie about a pitifully insecure man, with a soundtrack that served as inspiration for Greenwood. The?Phantom Thread?score captures the hope that’s always out of reach, the desire for something more, and the acknowledgment that as you settle back down to reality, you realize that what’s around you is not to be taken for granted. –Matthew Strauss

主題曲“House of Woodcock”是暫時(shí)滿足最好的例子，正如它華麗的主題和影片高潮一樣，來(lái)得快去得也快。它的鋼琴部分讓人不禁回憶起《洛麗塔（Lolita）》的主題曲，《Lolita》講述了一個(gè)可憐且缺乏安全感的男人的故事，其配樂是Greenwood的靈感來(lái)源。Phantom Thread?的音樂把捕捉到了一直難以觸及到的希望，永遠(yuǎn)無(wú)法滿足的欲望，還有你對(duì)回到現(xiàn)實(shí)的承認(rèn)，以及你意識(shí)到把身邊的一切并不是理所應(yīng)當(dāng)?shù)摹?/p>

—— Matthew Strauss