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，Will Lin

校正：Ryan-Chopin，Lynn Liu，Emma.Z

推送：Lynn Liu

10.??Halloween? 《萬圣節(jié)》1978

John Carpenter, the Renaissance man of horror, didn’t just help pioneer the slasher film genre with?Halloween,?he also created one of its most iconic scores. Bernard Herrmann’s climactic, stabbing strings for?Psycho?may have set the tone for scary film composition, but Carpenter’s music chases the listener with the sense of a never-ending nightmare—fitting for its seemingly invincible,?purely evil villain, Michael Myers, who’s?still?stalking and murdering today. It’s the kind of score that confirms that you’re not just being paranoid—there really?is?someone lurking behind you in the shadows. This creeping dread can be found throughout the film, but it’s in the frequently-sampled main theme that fear is most potent, and then it’s multiplied as the sparse melody becomes layered with more piercing synths. Grab a kitchen knife and run. –Kristen Yoonsoo Kim

John Carpenter，作為恐怖電影的開山鼻祖，他不僅僅用《月光光心慌慌》開創(chuàng)了血腥恐怖電影的歷史先河，還制作出了最具代表性的配樂之一。Bernard Herrmann為《驚魂記》所創(chuàng)作的高潮的、尖利的弦樂也許為恐怖電影音樂的創(chuàng)作奠定了基調(diào)，但是Carpenter的音樂給聽者一種噩夢永無止境之感——與看起來不可戰(zhàn)勝的純粹惡棍Michael Myers十分配合，他時至今日還在追蹤殺戮。這種配樂告訴你你不僅僅是在妄想狀態(tài)里——是真的有什么東西在你身后的影子里攢動。這種詭異的恐怖氣氛在電影中隨處可見，但是時常作為采樣的主題中的恐懼是最為明顯的，當(dāng)音符稀疏的旋律伴隨著尖刻的合成器時，這種恐怖會成倍增加。拎上一把菜刀就跑吧。

—— Kristen Yoonsoo Kim

9.????Shaft?? 《黑街神探》 1971

Few films are as inextricably linked to their music as Gordon Parks’?Shaft?is to Isaac Hayes’ compositions. “Theme From Shaft” is so woven into the fabric of?pop culture?that it might invite more parody than reverence now, but nearly 50 years ago,?it?revolutionized how music could be used in film. Before?Shaft, soundtracks were collections of popular songs, while scores were designed to accompany action and dial up drama. Hayes’ take on?Shaft?blended the two approaches, creating an experience that worked in theaters and also on radio and record players—and?in the process, topped?the charts.

很少有電影能像Gordon Parks的《黑街神探》與Isaac Hayes的作品那樣，其功勞與電影中的音樂密不可分?！癟heme From Shaft”深深地與流行文化交織在一起，所以現(xiàn)在這首曲子都有許多拙劣的翻版，缺少對它的致敬。但大約50年前，它徹底改變了音樂在電影中的應(yīng)用方式。在《黑街神探》之前，原聲是流行歌曲的集合，而配樂是為了配合動作和推動劇情發(fā)展而設(shè)計(jì)的。Hayes在《黑街神探》中融合了這兩種方式，創(chuàng)造了一種在影院、電臺和電唱機(jī)里都能完美享受的體驗(yàn)，并在此過程中榮登排行榜榜首。

Though?Shaft?was Hayes’ first film score,?he was uniquely equipped for the task. A multi-instrumentalist, producer, arranger, vocalist, and songwriter, he was one of the architects of the funk and R&B sound of Stax Records, and knew how to create something massive from the ground up. When tasked with dramatizing?Shaft’s scenes, he enlisted his home team—the Bar-Kays, the Isaac Hayes Movement, and the Memphis Strings & Horns—and drew from a palette of styles that told the story of where black music was and where it was going. Jazz, R&B, rock, blues, funk, and nascent disco are all present and vital. The album would cement Hayes as a star and earn him an Oscar for Best Original Song—the first for an African-American composer.?The greatest testament to its impact remains the theme, still?purring in our heads today. –Timmhotep Aku

雖然《黑街神探》是Hayes的第一部電影配樂，但他完全能勝任這項(xiàng)任務(wù)。他是一位精通多門樂器的演奏家、制作人、編曲人、歌手和作曲家，他也是Stax唱片公司放克和R&B之聲的創(chuàng)造者之一，他知道如何從頭開始創(chuàng)造出這樣宏大的東西。他的任務(wù)是將《黑街神探》的場景戲劇化，他召集了他的主要團(tuán)隊(duì)——the Bar-Kays，the Isaac Hayes Movement，以及the Memphis Strings & Horns——用各種風(fēng)格的調(diào)色板描繪出黑人音樂的發(fā)展歷程。爵士樂、R&B、搖滾、布魯斯、放克和新興的迪斯科都是當(dāng)下的流行音樂，也是重要的音樂流派。這張專輯鞏固了Hayes的明星地位，并為他贏得了奧斯卡最佳原創(chuàng)歌曲獎——這是第一位非裔美國作曲家獲此榮譽(yù)。事實(shí)證明，對其影響最大的仍然是它的主題曲，時至今日仍在我們的腦海中回響。

—— Timmhotep Aku

8.??Psycho《驚魂記》1960

“He only finishes a picture 60 percent,” Bernard Herrmann?said?of Alfred Hitchcock. “I have to finish it for him.” The composer worked with Hitchcock on a number of films, and though he may have written a richer score in?Vertigo, nothing?else remains as iconic as?Psycho. You could argue that Herrmann didn’t “finish”?Psycho; he?made?it. Hitchcock must have thought so, too, because he doubled Herrmann’s fee.

“他只完成了60%的電影，” 這是Bernard Herrmann對Alfred Hitchcock的形容。“我必須為他完成這些音樂?！边@位作曲家曾與Hitchcock合作過幾部電影，盡管他在《Vertigo（迷魂記）》中可能寫過更豐富的配樂，但可以說《驚魂記》的配樂就是他的代表之作。你可以說Herrmann沒有“完成”《驚魂記》，可他確實(shí)做到了。Hitchcock肯定也這么想，因?yàn)樗袶errmann的酬金提高了一倍。

Accordingly, people say that?Psycho?invented slasher movies, but really Herrmann did, and he did it with a single string cue. Nothing in the famous shower scene—not the pulling back of the curtain, not the shot of the killer’s knife poised high, and not Janet Leigh’s scream as the knife digs repeatedly into her flesh—cuts as deep as those violin shrieks. Slasher movies, and the gruesome way they play on your nerves, gushed forth from this inciting wound; think of the string screeches as Jason emerging from Camp Crystal Lake at the end of?Friday the 13th, or the stabbing lurches of the?Jaws?theme. They are little pieces of the DNA left in?Psycho’s blood trail. –Jayson Greene

因此，人們說《驚魂記》成就了血腥電影，但實(shí)際上是Herrmann創(chuàng)造的，他用弦樂創(chuàng)造的。在那場著名的淋浴戲中，沒有什么比小提琴尖銳的聲音更讓人揪心了——沒有拉開窗簾的鏡頭，沒有那把刀高高舉起的鏡頭，也沒有在刀不斷捅進(jìn)Janet Leigh的身體時發(fā)出的尖叫聲。血腥電影以及它們刺激你神經(jīng)的可怕方式，從這個刺激的傷口涌出；想想《Friday the 13th（十三號星期五）》的結(jié)尾，Jason從Camp Crystal Lake出來時弦樂尖銳的聲音，或是《Jaws?（大白鯊）》主題曲，它們都能讓你感到心猛地一跳。它們是《驚魂記》里血跡上留下的DNA碎片。

—— Jayson Greene

7.?Ascenseur pour l’échafaud 《通往絞刑架的電梯》1958

Miles Davis recorded the score to Louis Malle’s?Ascenseur pour l’échafaud?(released as?Elevator to the Gallows?in the U.S.) in 1957. Its open-ended modalities point forward to the jazz giant’s groundbreaking 1959 LP?Kind of Blue,?and even to the ghostly proto-ambient atmospherics of?In a Silent Way, released just over a decade later. Malle’s film is a noir thriller, with pitch-black subject matter—adultery, murder, claustrophobia. The bleak, lonely sound of Davis’ muted trumpet matches the stark black-and-white imagery perfectly, and the short, near-fragmentary nature of the compositions allow Davis to break out of the hard bop confines of the 1950s. Taped with a pickup band of Parisian jazzers and the ace drummer Kenny Clarke, Miles’ mostly improvised score provides a sense of almost unbearable tension, whether the musicians are lingering on a doomy, morphine-drip bassline or racing along to the skitter of Clarke’s deft high-hat work. Adding music to film brought out some of Davis’ most inspired and adventurous playing. –Tyler Wilcox

1957年，Miles Davis為Louis Malle的電影《通往絞刑架的電梯》錄制了配樂。它的開放模式指向了這位爵士巨匠于1959年發(fā)行的開創(chuàng)性專輯《Kind of Blue》，甚至指向了10多年后發(fā)行的《In a Silent Way》中幽靈般的原始氛圍。Malle的電影是一部黑色驚悚片，所有主題都是黑暗的——通奸、謀殺、幽閉恐懼癥。Davis柔和的小號發(fā)出了凄涼、孤獨(dú)的聲音，并與黑白分明的畫面完美地契合在一起，而作品短小、近乎零碎的性質(zhì)，讓Davis突破了20世紀(jì)50年代硬式咆勃（Hardbop）的束縛。Miles的音樂大多是即興創(chuàng)作的，與一支由巴黎爵士樂手和王牌鼓手Kenny Clarke組成的臨時樂隊(duì)錄制而成，給人一種難以忍受的緊張感，無論樂手們是在一段憂郁的音樂中徘徊，還是在閃著靈光的低音線中狂奔，還是在Clarke嫻熟的高難度作品中踱步，緊張依舊。在電影中插入音樂使Davis的一些最具靈感和冒險(xiǎn)精神的演奏脫穎而出。

—— Tyler Wilcox

6.????A Clockwork Orange《發(fā)條橙》1971

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Wendy Carlos’ score for?A Clockwork Orange?was designed to disorient. Stanley Kubrick’s film takes place in a dystopian future, and?its main character, the sociopathic youth Alex, is obsessed with the music of Beethoven—the sound of the distant past. Carlos was the perfect composer to articulate this temporal instability; in her massively popular and groundbreaking 1968 album?Switched-On Bach, she showed how ancient music?could be updated with forward-looking electronics. Armed with a battery of synths and the assistance of her regular producer and collaborator Rachel Elkind, Carlos crafted a dense and tonally slippery world that reinforced the essential horror of the film, sometimes by offering creepily cheerful counterpoint. Great art, the film suggests, is just as easily embraced by monsters, and this uneasy irony comes through in both Carlos’ electronic re-imagining of classical themes (“The William Tell Overture,” Beethoven’s?Symphony No. 9)?and in original compositions, like the slowly unfolding and brilliant opener “Timesteps.” Hearing it now, almost 50 years?after?its release, amplifies the record’s confusion in the best possible way. It remains an inscrutable and rewarding puzzle. –Mark Richardson

Wendy Carlos為《發(fā)條橙(Clockwork Orange)》創(chuàng)作的配樂像是故意讓人迷失方向。Stanley Kubrick的電影發(fā)生在一個反烏托邦的未來，它的主角，反社會的年輕人Alex，癡迷于貝多芬的音樂——一種遙遠(yuǎn)的歷史之聲。Carlos作為一位作曲家表達(dá)了這種時間的不穩(wěn)定性，堪稱完美；1968年，她的專輯《Switch - on Bach》廣受歡迎且具有開創(chuàng)性。在這張專輯中，她展示了如何用前瞻性的電子設(shè)備來更新古老的音樂。在制片人兼合作伙伴Rachel Elkind的幫助下，Carlos使用了一系列合成材料，精心打造了一個密集而滑溜的世界，強(qiáng)化了影片的恐怖本質(zhì)，有時還送上令人毛骨悚然的歡快對位。影片暗示，體會偉大的藝術(shù)作品正如輕易與怪物邂逅，這種令人不安的諷刺不僅體現(xiàn)在Carlos對古典主題的電子重構(gòu)中(貝多芬的第九交響曲“The William Tell Overture”)，也體現(xiàn)在原創(chuàng)作品中，比如緩慢展開的精彩開場曲“Timesteps”。在專輯發(fā)行近50年后的今天，再次傾聽也許才是體會整張專輯困惑感的最好方式。但它仍會是一個難以理解且充滿驚喜的謎題。

—— Mark Richardson

5.?The Good, the Bad and the Ugly 《黃金三鏢客》 1966

The flickering two-note coyote bay. The vaulting trumpet fanfare. The click-clack rhythm of horses, wagon wheels, and, later, gargantuan steam engines: Ennio Morricone’s theme for?The Good, the Bad and the Ugly?is a musical metonym for the American West, a cultural artifact as tied to that?mythology as the?Red Rocks of Sedona?and John Wayne. In fact, half a century later, it’s difficult to imagine?high noon?without Morricone’s signature melody.

一閃而過的草原狼吼，小號短曲，四輪馬車發(fā)出的咔嗒聲，以及后來的巨大蒸汽機(jī)：Ennio Morricone為《黃金三鏢客》 （The Good, the Bad and the Ugly）制作的配樂主題采用了美國西部的音樂性轉(zhuǎn)喻手法。這是一個具有文化價值的手工藝品，和紅巖國家公園以及John Wayne一樣具有神話色彩。事實(shí)上，半個世紀(jì)之后，很難想象缺少了Morricone獨(dú)特旋律的《日正當(dāng)中（High Noon）》會是什么樣子。

Sergio Leone intended?his film to be a studied?yet hyperbolic send-up of western films,?in which?a triangle of outlaws outrunning the Civil War (as heard in the immortal lament “The Story of a Soldier”) search for treasure, culminating in a?wonderfully absurd graveyard confrontation. Morricone responded by synthesizing?the genre’s storytelling tropes—insistent motion, arid twang,?outsiders’ impressions of Native American music—into dense?sonic pieces that pull at tension until it snaps and amplify drama until it overflows.?They’ve never been outdrawn. –Grayson Haver Currin

Sergio Leone本意是將其電影打造成一部精心安排且語言夸張、模仿并諷刺西部電影的作品。電影中三名亡命之徒在獨(dú)立戰(zhàn)爭中獲得勝利（正如永恒的挽歌“The Story of a Soldier”所唱的），他們尋找財(cái)富，最后以精彩卻荒謬的墓地博弈結(jié)束。為了配合場景，Morricone將電影普遍敘事主題——持續(xù)的動作、枯燥的撥弦聲、外人對美國本土音樂的印象——融合進(jìn)晦澀的音樂作品，試圖制造沖突，直至突然失控；同時增強(qiáng)戲劇效果，直至效果溢出。沒有什么配樂比這更具吸引力了。

—— Grayson Haver Currin

4.?The Virgin Suicides 《處女之死》 1999

In her filmmaking breakthrough, Sofia Coppola turned Jeffrey Eugenides’ dark, dirty novel?The Virgin Suicides?into a love story of sorts—between teenagers Lux (Kirsten Dunst) and Tripp (Josh Hartnett), and also between?five beautiful, doomed sisters and their haunted admirers. Coppola met her tonal match in the French electropop duo Air, who agreed to write a score as long as they could approach it like an album. The result proved just as bold and cosmic as Air’s classic debut, 1998’s?Moon Safari, but with a stronger air of mystery, vis-à-vis ’70s prog?influences, insistent synths, and cryptic lines of film dialogue. The Lisbon girls are like?a surreal daydream when set to “Playground Love,” featuring an intoxicating sax solo and a drowsy, sexy performance by Phoenix’s Thomas Mars. When that same melody recurs by piano on “Highschool Lover,” its coolness has turned wistful and heavy, consumed by lingering questions the boys are afraid to ask. –Jillian Mapes

Sofia Coppola將Jeffrey Eugenides黑暗且骯臟的小說《處女之死》（The Virgin Suicides）改編成一部講述愛情故事的電影。主人公是青少年Lux（Kirsten Dunst扮演）和Tripp（Josh Hartnett扮演）以及五位美麗但注定結(jié)局悲涼的姐妹和她們魂?duì)繅艨M的追求者。Coppola和法國電子流行樂二重奏組合Air一拍即合，后者同意寫一段配樂，前提是他們要像制作專輯一樣對待這段配樂。果真這段配樂就如Air1998年發(fā)表的經(jīng)典處女?！禡oon Safari》（月亮巡游）那樣大膽且充滿宇宙感。但它與70年代的前衛(wèi)搖滾，持續(xù)不斷的合成器以及具有隱含意義的電影對白相比，更有一種強(qiáng)烈的神秘感。歌曲 “Playground Love（游樂場愛情）”配以令人上癮的薩克斯獨(dú)奏以及Phoenix樂隊(duì)主唱Thomas Mars令人昏睡但卻性感的表演，音樂錄影帶中里斯本女孩就像一個超現(xiàn)實(shí)的白日夢。當(dāng)同一段旋律借由鋼琴曲“Highschool Lover（高中戀人）”再次響起，男孩不敢問的懸而未決的問題使得安靜的旋律變得沉重了。

—— Jillian Mapes

3.??There Will Be Blood 《血色將至》 2007

Starting with a title that promises violence as directly and ominously as?The Texas Chain Saw Massacre—another cinematic nightmare about unsustainable consumption in the American West—writer-director Paul Thomas Anderson treats his adaptation of muckraker Upton Sinclair’s novel?Oil!?as a tale of demonic possession. The demon in question, though, happens to be money. So if Radiohead guitarist Jonny Greenwood’s original music for?There Will Be Blood?sounds like the score for a horror movie, that’s because it is.

電影名稱表明了這部片子就如《德州電鋸殺人狂》（The Texas Chain Saw Massacre）一樣直接預(yù)示著暴力的發(fā)生。后者是另一場銀幕電影的噩夢，講述對美國西部的過度消耗。作者兼導(dǎo)演Paul Thomas Anderson將其改編的扒糞記者Upton Sinclair小說《石油！》（Oil!）視為魔鬼附身的傳說。然而這里所說的魔鬼恰好是金錢。因此，假如Radiohead樂隊(duì)吉他手Jonny Greenwood為電影《血色將至》創(chuàng)作的配樂聽起來更符合恐怖片的氛圍，那是因?yàn)檫@本來就是部恐怖片。

Leadoff track “Open Spaces” is the tell here. Despite long string phrases that evoke the wide landscapes crossed by?the misanthropic oil magnate Daniel Plainview,?the mood is not openness but dread. “Future Markets” and “Proven Lands” clatter and pulse with infernal-engine energy. “Henry Plainview” hums like flies on a pig’s head. Strongest of all, the title track is a two-minute masterpiece of jump scares and screeching cacophony in the lineage of?Psycho?and?The Shining. Greenwood creates a soundtrack for a haunted hotel where the elevator doors gush crude, and the killer’s ax is embedded in the earth itself. –Sean T. Collins

專輯中第一首單曲“Open Spaces（開放空間）”就是指示。盡管一大段樂器的鋪排喚起了影片中遁世的石油大亨Daniel Plainview曾遇見的廣闊風(fēng)景，氣氛仍然幽僻且可怕?！癋uture Markets”和“Proven Lands”伴有引擎能量的鼓點(diǎn)?！癏enry Plainview”哼唱的感覺就像蒼蠅在一只豬頭頂嗡嗡作響。專輯同名曲是一首時長兩分鐘的杰作，采用電影《驚魂記》（Psycho ）和《閃靈》（The Shining ）開創(chuàng)的“突發(fā)驚嚇”以及“驚聲尖叫”的恐怖電影表現(xiàn)手法。Greenwood為一個鬧鬼的旅館創(chuàng)作原聲帶，旅館的電梯門噴出原油，殺手的斧頭插在地里。

—— Sean T. Collins

2.?Under the Skin 《皮囊之下》 2014

Though Mica Levi cites her childhood love of Disney films as an inspiration for her first film score, Under the Skin contains nothing approaching conventional songcraft or leading cues, dwelling instead in unsettling shards of gray. She has also likened the effect of her incessant, microtonal viola-playing to a beehive—though it is more malevolent than that, evoking the way Japanese honeybees swarm around an intruding giant hornet and cook it to death.

盡管Mica Levi將其童年對迪士尼電影的熱愛當(dāng)成她電影配樂處女作的靈感，《皮囊之下》（Under the Skin）卻找不到傳統(tǒng)的歌曲創(chuàng)作藝術(shù)或重要的提示，而是沉湎于令人不安的灰色碎片。她也曾把自己連續(xù)不斷的微分音中提琴演奏的效果比作一個蜂窩，盡管前者比后者更可怕，讓人想到日本蜜蜂圍攻一只入侵的巨型黃蜂，并將其置于死地。

From this menacing shudder emerges leering shrillness and disembowelling slurps, flooding sensations that simulate organs swelling with blood. That sense of simulation is key: Director Jonathan Glazer’s extraterrestrial protagonist is disguised as a human woman unsettled by their emotions, a confusion Levi captures by making her sexiness uncanny. (Fitting, also, that the score was partially inspired by strip club music.) Jonny Greenwood’s work for There Will Be Blood inspired a run of dissonant scores: Under the Skin represents its apex. –Laura Snapes

令人害怕的戰(zhàn)栗產(chǎn)生于淫蕩的尖笑聲以及開膛破肚般的咕嘟聲。不斷涌來的情感模擬充血的器官。這種模擬感是關(guān)鍵：導(dǎo)演Jonathan Glazer刻畫的地外主人公偽裝成一個受情感困擾的人類女性。Levi通過使這名女性的身心美變得奇怪刻畫出了這種困擾。（剛好，配樂的靈感部分來自脫衣舞俱樂部音樂。）Jonny Greenwood為電影《血色將至》創(chuàng)作的作品引領(lǐng)了一大批不和諧音配樂創(chuàng)作：《皮囊之下》的配樂就是其中的代表作。

—— Laura Snapes

1.?Blade Runner 《銀翼殺手》 1982

It’s shocking to consider that?Blade Runner?did not get nominated for the Best Picture Academy Award, or any other major Oscars. Equally bewildering is the fact that Vangelis won Best Original Score for 1981’s conventionally pretty?Chariots of Fire, but wasn’t even honorably mentioned for his far richer contributions to?Blade Runner. Vangelis composed the score live, improvising as scenes from the film unfurled onscreen in his London recording studio. “Everything was composed with the images,” he?said in 2007, adding that “the reason I wrote the score is that I was?very?impressed with this film.” There is a palpable sense of awe trembling through his every keystroke, as well as a subliminal sense of competition—a drive to not only match the majesty before his eyes, but maybe even surpass it.

《銀翼殺手》（Blade Runner）沒得到“奧斯卡最佳影片獎”或其他奧斯卡主要獎項(xiàng)的提名，這讓人非常吃驚。同樣讓人吃驚的是音樂家Vangelis憑借1981年傳統(tǒng)意義上的好片《烈火戰(zhàn)車》（Chariots of Fire）獲得“奧斯卡最佳原創(chuàng)音樂獎”，但甚至沒被提及相比之下他所做貢獻(xiàn)更大的《銀翼殺手》。Vangelis現(xiàn)場譜曲，即興創(chuàng)作，正如電影中他在倫敦錄音室的場景所展示的?！八懈枨怯蓤D片譜成的，”他在2007年說道，并且補(bǔ)充說“我為這部電影創(chuàng)作配樂是因?yàn)槲覍ζ溆∠蠛苌??！彼拿恳淮伟存I都能讓人感到敬畏，潛意識的重復(fù)感是一種驅(qū)動力，不僅與他眼前的莊嚴(yán)相稱，還可能更甚。

Before?Blade Runner, electronic soundtracks for science fiction movies painted the future as cold, sterile, emotionless, as hostile to humanity as Saturn’s liquid hydrogen surface and diamond rainstorms. Vangelis broke with these accumulated clichés, draping?Blade Runner’s scenery with droopy pitch-bent synth tones of unexpected warmth and wetness. From the colossal, thudding pillars of percussion that open the film, through the mystic yearn of “Rachel’s Song” to the climactic twinkles of “Tears in Rain,” everything is drenched in reverb—an effect as atmospheric and seductive as director Ridley Scott’s over-reliance on shadow and drizzle.

《銀翼殺手》之前，為科幻電影創(chuàng)作的電子音樂原聲帶將未來描述成寒冷、無生氣、無情感、敵對人類敵意的世界，如同土星表面散布的液態(tài)氫和鉆石暴風(fēng)雨。Vangelis破除了這些延續(xù)已久的陳規(guī)，用低垂的音倫電子合成器一反常態(tài)的溫暖和潮濕的音色填充《銀翼殺手》的場景。從影片開場打擊樂器巨大、沉悶的核心，通過對歌曲“Rachel’s Song（瑞秋的歌）”的神秘渴望，到激動人心的獨(dú)白“Tears in Rain（雨中的淚水）”，這一切都沉浸在電子混響的音效中。這種音效如同導(dǎo)演Ridley Scott過度依賴陰影和細(xì)雨一樣具有魅力。

It’s impossible to imagine this film without its music, so intertwined are the sounds and the visuals.?Although the movie takes place in a 21st-century Los Angeles teeming with flying cars and huge, animated billboards advertising a fresh start in the off-world colonies, the music is steeped in aching nostalgia as much as disorienting futurity. And that’s just right for a film that, for all its stunning special effects and storyline about androids gone AWOL, is rooted in the archetypes of 1940s film noir and hardboiled detective fiction: Deckard as the cop with the tough exterior and the big soft spot, Rachel equal parts vamp and broken-winged angel. Ghosts of older styles haunt the edges of the score, from jazz and blues to the crooned 1920s pastiche of “One More Kiss, Dear.”

無法想象這部電影缺少音樂會是什么樣子，聽覺和視覺的聯(lián)系是多么緊密啊。盡管電影發(fā)生于21世紀(jì)的洛杉磯，這里充滿了飛車和巨型卡通廣告牌，展示了地球之外聚居地的新生活。音樂還是沉湎于痛苦的懷舊情緒以及迷茫的未來。但這也正是一部電影需要的，因?yàn)樗畜@人的特效和機(jī)器人成為逃兵的故事線深深植根于上世紀(jì)四十年代黑色電影和冷硬派偵探小說的典范：Deckard作為一名警察，外表冷酷，內(nèi)心柔軟；Rachel的角色一半是蕩婦，一半是折翼天使。更古老風(fēng)格的鬼魂常在即將播放配樂的時刻出現(xiàn)，從爵士樂和布魯斯到具有感傷風(fēng)格的上世紀(jì)二十年代集成之作“One More Kiss, Dear（親愛的，再吻我一次）”。

There are also pungent aromas of ersatz exoticism, like the keening quasi-Arabic wails in “Tales of the Future” and the vaguely Eastern cavalcade rhythm of “Animoid Row.” We don’t know quite where or?when?we are with Vangelis’ score, which mingles ancient and modern, East and West—perfectly matching this futuristic West Coast that resembles a Pacific Rim hybrid of Shanghai and Santiago. It’s a tomorrow’s world more vividly imagined than filmgoers had ever before encountered, and Vangelis filled every corner of this space with life as strange and lonely as our own. –Simon Reynolds

電影具有強(qiáng)烈的偽異國風(fēng)情氣息，如同熱情的類阿拉伯語在歌曲“Tales of the Future（傳奇未來）”中的哀號以及歌曲“Animoid Row”中稍稍體現(xiàn)的東方馬隊(duì)節(jié)奏。“我們確實(shí)不知道Vangelis的配樂把我們帶到什么地方，他的配樂混合了古代和現(xiàn)代以及東西方的特點(diǎn)，完美契合處于未來的美國西岸，與囊括上海和圣地亞哥的環(huán)太平洋地區(qū)類似。未來世界比觀眾在電影院見識到的更具想象力、更逼真，Vangelis把這個空間填滿了怪誕而孤獨(dú)的氣息，就像我們每個人都正在經(jīng)歷的生活一樣。

—— Simon Reynolds