搬运自：微信公众号【评论搬一堆】（在原文基础上添加了英语原文与排版调整）

原文链接：https://pitchfork.com/features/lists-and-guides/the-50-best-movie-soundtracks-of-all-time/?page=5

翻译：Xavier，Lynn Liu

校正：Ryan-Chopin，Tyler Smith

推送：Lynn Liu

10.  Pulp Fiction （低俗小说） 1994

The musical universe of Pulp Fiction is as freewheeling and culturally omnivorous as its screenplay: Here is a quintessential ’90s film in which a ’70s disco icon dances the twist in a ’50s-themed burger joint. Quentin Tarantino approached the score of his film the way skillful rap producers approach sampling, digging up and recontextualizing lost gems from the vinyl era, finding a certain crazed intensity in ’60s surf-rock tunes. (In fact, the soundtrack’s commercial success briefly reinvigorated surf music’s prominence in America.)

《Pulp Fiction（低俗小说）》的原声宇宙就如同它的剧本一样肆意自在而又能在文化层面异彩纷呈：一个70年代的迪斯科偶像在50年代主题的汉堡店里热舞的典型90年代电影。Quentin Tarantino完成他的电影配乐就如同一位纯熟的饶舌制作人在处理采样，挖出遗失在黑胶时期的宝贝玩意儿并把它们重新放置在新的时代语境下打磨，搜寻着某种60年代美国冲浪摇滚发疯似的震颤感。

Pulp Fiction’s iconic music cues include Urge Overkill’s cover of “Girl, You’ll Be a Woman Soon” during Mia’s heroin overdose and the Revels’ “Comanche,” with the dash of comic energy it brings to the sadistic pawnshop sequence. Where a lesser filmmaker might have chosen more obvious accompaniment to the Jack Rabbit Slim’s dance-off, Tarantino plays it understated and surreal with Chuck Berry’s 1964 hit “You Never Can Tell.” Like the best compilation soundtracks, Pulp Fiction introduced contemporary audiences to musical gems from the past; before file-sharing and streaming collapsed such barriers, this soundtrack got Gen-X teenagers listening to Dusty Springfield and Ricky Nelson. –Zach Schonfeld

《低俗小说》里经典的音乐符号包括Mia吸食过量海洛因时Urge Overkill翻唱的那首“Girl, You’ll Be a Woman Soon（女孩，你就要成为女人了）”，还有当铺那场施虐戏码里，Revel的“Comanche（科曼切人）”在连续镜头中带来的一阵强烈的喜剧效果。对于Jack Rabbit Slim参加舞蹈比赛的伴奏，昆汀用Chuck Berry 1964年的热门歌曲“You Never Can Tell（你永远无法诉说）”，避重就轻地营造出了一种怪诞的氛围，而大多数导演应该都选不出这么贴切的曲子了。和那些优秀的原声带选集一样，《低俗小说》带着当代的观众领略了那些来自过去的音乐精粹。在文件分享和流媒体打破时代屏障前，这张原声带让千禧年的青少年接触到了Dusty Springfield 和Ricky Nelson.

—— Zach Schonfeld

9.   Help! （救命！） 1965

After the effortless naturalism of A Hard Day’s Night, which mined the Beatles’ charm for low-key yuks and translated the energy of Beatlemania into an extended series of chase scenes, the following year’s high-budget Help! swung in the opposite direction: farcical, forced, and at times offensive in its treatment of an Eastern cult. But the music was another matter. The songs on Help! made subtle but important steps past 1964’s Beatles for Sale and A Hard Day’s Night: tugging at the dimensions of their sound; playing with echo, overdubbing, and stereo separation; and infusing everything with a faint but distinctly modern psychedelic sheen. (Perhaps it’s no surprise that the band spent the entire film shoot in a permanent pot haze.) The American release of the album swapped out the UK version’s seven non-soundtrack songs for instrumentals featured in the film, but it’s the UK release that has become the canonical one, anchored by “Yesterday,” one of the quartet’s most enduring singles. For all intents and purposes, Help! is a soundtrack in name only, but it’s still a fascinating snapshot of the Beatles at a crucial moment in their evolution. –Philip Sherburne

The Beatles（披头士）毫不费力地完成了充满了自然主义的专辑《A Hard Day’s Night（一夜狂欢）》，他们绅士般狂欢的魅力逐渐显现，这股披头士狂热潮最终具化成了一个加长版的追逐戏。而紧接着后一年的大制作专辑《Help!（救命）》则选择了完全相反的方向。肤浅，造作，甚至对于一部东方邪典片来说都有些过于挑衅。不过，其中的音乐就是另外一码事儿了。在他们1964年的音乐作品《Beatles for sale（披头士代售）》以及《一夜狂欢》后，《Help！》的音乐让披头士迈出了微妙而关键的一步：他们拉扯着声音的维度，玩起了回声，叠录和立体声分离的制作技巧，试图将一切都涂上一层细微而极具辨识度的现代迷幻光泽。（大概也能解释了为什么他们整部片子都是呆在锅炉的雾气里拍摄的）。美国发行的版本中用电影中的伴奏带代替了英版的七首非原声歌曲，不过真正经典的也正是这七首歌，而作为这个四人组最耐听单曲之一的“Yesterday(昨日)”更是为整张专辑奠定了基调。尽管从最终目的上看，《Help!》只是一张名义上的原声带，但它仍然是披头士在他们进化道路上关键时刻的一个精彩记录。

——Philip Sherburne

8.  Rushmore (青春年少) 1998

For Wes Anderson, whose formative teenage years coincided with the dawn of MTV, sound and vision are inextricably linked. The writer-director has often employed a music-first approach to filmmaking—finding a song that sets off his synapses and then imagining a scene to it. But he’s not simply typing away to Top 40 hits. Working with his longtime music supervisor Randall Poster, Anderson peppers his offbeat movies with whimsical deep cuts and personal favorites that warm up his deadpan characters. It’s a strategy that has helped him become one of the defining auteurs of his generation, and it never worked better than on his 1998 breakthrough, Rushmore.

Wes Anderson的青春期是和MTV的诞生发展重叠在一块的，这对他后来的成长产生了巨大的影响，在他看来声音与图像从来都是如此地紧密缠绕着。这位作者兼导演总是把音乐第一的原则应用在他的电影制作中——先找到一首震颤到他海马区的音乐，然后在脑海中拼凑与之对应的图像。当然，他可不是光靠着热门榜单上的歌曲就能找对感觉。在与他长期合作的音乐总监Randall Poster的帮助下，安德森用异想天开的切入口和个人偏好来填充他与众不同的电影，后者更是让那些面无表情的角色都有了可爱的一面。这些方法也让他成为可以定义他那个时代的重要艺术家之一，而在1998年的突破之作《Rushmore(青春年少)》中这些技巧的作用则达到了前所未有的高度。

On the surface, Rushmore is a coming-of-age story filled with nerds, bullies, crushes, and handjob jokes. What separates it from movies like American Pie, which came out the following year, is its straight-faced affect, subtle longing, and acute attention to detail: Yes, Rushmore’s main love story involves a 15-year-old shamelessly pining for a schoolteacher, but the boy is haunted by his mother’s passing, and the older woman is still grieving for her dead husband. Similarly, at a glance, the soundtrack seems commonplace, with tracks by classic rock heavies John Lennon and the Kinks, but the song selections are unexpected and deeply felt. Instead of just carpet-bombing a rebellious scene with “My Generation,” Anderson syncs one of the film’s several memorable montages with a portion of the Who’s proggy, multipart epic “A Quick One, While He’s Away.” The addition of obscure British Invasion groups like the Creation and Unit 4 + 2 make his exactitude that much more apparent. Rushmore is a love letter to lost youth, and its soundtrack plays like a well-worn mixtape from a discerning childhood friend. –Ryan Dombal

表面上，《青春年少》是一部充满了书呆子、校霸、暗恋对象和“右手”黄色笑话的成长电影。而让它区别于来年上映的《American Pie（美国派）》一类电影的原因，正是它对方法论的恪守，对微妙的情感表达以及细节的精准关注：对，《青春年少》主要讲的就是一个15岁厚脸皮学生和学校老师纠缠的爱情故事，只不过这个男孩正沉浸在丧母之痛中，而那个老师也还对自己死去的丈夫念念不忘。同样，转过头来品品音乐，这张原声带也显得平庸无常，充填着John Lennon和 the Kinks的经典摇滚歌曲，但是关于歌曲的安排却足够出乎意料且富有感染力。除了在“My Generation（我的时代）”旋律下安插了一段足以惊爆红毯的反叛镜头， Anderson还用一小段the Who带有先锋摇滚特色的多段落史诗歌曲“A Quick One, While He’s Away （趁他走了，来个快的）”来搭配这部电影里几个重要蒙太奇之一的连续镜头。而其他几个英伦入侵的乐队像是“the Creation”和“Unit 4 + 2”更是让他的精准性昭然若揭。《青春年少》是一部献给失落青春的情书，而它的原声带就像是一张陈旧的混录唱片，只不过你还依稀记得它出自你童年品味最好的那个玩伴。

—— Ryan Dombal

7.  Lost in Translation（迷失东京） 2003

When Bill Murray sings a terribly off-key, blundering rendition of Roxy Music’s “More Than This” at karaoke, it is enough to move the listener to tears—and not just because Bryan Ferry’s sweet melody is incorruptible. It’s also due to the auteurist ear Sofia Coppola brings to Lost in Translation, her ability to capture the story’s aching undertones through music. If what’s on the page is Murray drunkenly warbling a glam-rock ballad, the subtext is in the bittersweet song itself, and Scarlett Johansson’s desiring gaze upon him, so penetrating that you can feel it even when she’s out of focus.

当Bill Murray在卡拉OK厅笨拙地唱着跑调版的"More Than This（远不仅此而已）"时，这首来自Roxy Music 的金曲足以让听者们动容落泪。当然不单单是因为Bryan Ferry 那永不过时的甜美旋律，这还要归功于Sofia Coppola为《Lost In Translation (迷失东京）》带来的艺术品味，以及她透过音乐捕捉到故事背后苦痛内质的能力。画面中的Murray醉醺醺地唱着一支魅惑摇滚乐队的抒情恋曲，而歌曲苦乐掺半的名字才是它背后真正的潜台词。Scarlett Johansson对于比利充满爱欲的凝望同样具有摄人心魄的能力，以至于在她失焦的状态下，我们仍然能真切地感受得到。

While Lost in Translation features upbeat, debaucherous moments like Peaches’ “Fuck the Pain Away” and Phoenix’s “Too Young,” the film is remembered for the swirling shoegaze sounds of My Bloody Valentine and Air, accompaniments that turn Tokyo’s glaring neon surroundings into hazy, soft memories, even in the present. Since her 1999 debut, The Virgin Suicides, Coppola has used needle drops to express certain feelings that cannot be articulated, and here, the Jesus and Mary Chain’s reverb-cloaked “Just Like Honey” acts as the ideal romantic declaration in that famously indecipherable final scene. Coppola understands, and cosigns, something powerful in this moment: Sometimes, nothing we can say lives up to the perfect song. –Kristen Yoonsoo Kim

尽管《迷失东京》有着像是“Fuck the Pain Away”（做到忘记痛，Peaches）和“Too Young”（太年轻，Phoenix ）这种骄奢淫逸的瞬间，但能让我们过后回味的仍然是“My Bloody Valentine” 和“Air”这样天旋地转的盯鞋之音，就连东京炫目的霓虹色彩都变得模糊不清，即刻成为最柔软的记忆。从她99年的处女作《The Virgin Suicides（处女之死）》开始，Coppola就时常用"细针掉落"似的声音来表达某种无法言说的感觉，这部电影里，来自Jesus and Mary Chain充满混响的“Just Like Honey（就像那蜂蜜）”就成了电影晦涩结尾最理想的浪漫解码。

—— Kristen Yoonsoo Kim

6. Do the Right Thing （为所应为）1989

Public Enemy’s “Fight the Power” blasts from Radio Raheem’s boombox a whopping 15 times throughout Do the Right Thing. Written for the film, the song is so thoroughly enmeshed in its sweat-drenched fabric that Motown Records could’ve gotten away with looping it for 80 minutes on the soundtrack. But sweltering Brooklyn summers contain multitudes, and Do the Right Thing’s album mirrors the agony and ecstasy streaked across Spike Lee’s masterpiece. Accompanying a montage of Bed-Stuy locals attempting to beat the heatwave that hovers hazily around them, the British reggae group Steel Pulse’s languid “Can’t Stand It” mirrors the humidity; the elastic strains of new jack swing pioneers Teddy Riley and Guy’s “My Fantasy” snap faintly as Do the Right Thing’s aspiring community organizer, Buggin’ Out, schemes to boycott Sal’s Pizzeria. Alongside a gorgeous jazz score conducted and composed by Bill Lee, Spike’s father, the radiant ballads and punchy summer jams on Do the Right Thing’s soundtrack are perfect evocations of city life in the summertime. –Larry Fitzmaurice

在《Do the Right Thing（为所应为）》中，Public Enemy轰隆隆的单曲“Fight the Power（对抗强权）”在影片人物Radio Raheem手里拿着的那台巨大收音机里炸裂了15次之多。这首专门为电影创作的歌曲大肆渲染着它大汗淋漓的特殊质感，以至于摩城唱片不得不在它出品的原声带里把它循环了近80分钟。就像酷热难耐的布鲁克林夏日里发生的乱情杂事一样，《为所应为》的原声专辑也在Spike Lee这部佳作里留下哀痛和狂喜的斑驳痕迹。伴随着Bed-Stuy区的街景蒙太奇，英国雷鬼团体Steel Pulse慢悠悠的小调子“Can’t Stand It（难以忍受）”带来了莫名的幽默气息，试图想将弥漫在他们身边的热浪再激起几个小浪花。新杰克摇摆的先锋Teddy Riley 与Guy的“My Fantasy（我的幻想）”里富有弹性的旋律就像《为所应为》中野心勃勃的团体领导Buggin’ Out一样雷声大雨点小，悄悄密谋着怎样抵制Sal家的披萨店。伴随着由Spike Lee的父亲Bill Lee创作并指导的精妙爵士原声音乐，这些专辑中烂漫的情歌和盛夏小曲成了夏日生活最完美的复现。

——  Larry Fitzmaurice

5. 2001: A Space Odyssey 《2001太空漫游》1968

By the mid-’60s, Stanley Kubrick had risen into the upper echelon of filmmakers, thanks to the provocations of that decade’s Spartacus, Dr. Strangelove, and Lolita. For 2001: A Space Odyssey, he parlayed that cachet into a technologically audacious epic that required construction of an artificial gravity chamber and two years’ toiling over special effects. Still, MGM initially balked at one demand: a soundtrack cobbled together from the classical canon, rather than an original score that would boost marketing efforts and the bottom line.

到了60年代中期，斯坦利·库布里克（Stanley Kubrick）已经晋升到电影制片人的高层，这要归功于那十年斯巴达克斯（Spartacus）、奇爱博士（Dr.Strangelove）和洛丽塔（Lolita）的挑衅。在《2001太空漫游（2001: A Space Odyssey）》中，他把这部电影在塑造成了一部大胆的史诗，大胆尤其体现在技术层面 ——建立一个人工重力舱，花两年的时间研究特效。尽管如此，米高梅（MGM）最初还在某个需求上犹豫不决：他们要的是一首由经典卡农曲拼凑而成的配乐，而不是一首占有市场和反应电影本质的原创配乐。

At first, Kubrick conceded. But then, after watching early footage of his film while blaring the likes of Mahler, he scrapped Alex North’s recorded score at the eleventh hour for the music he’d heard in his head. From the early, thundering repetition of Richard Strauss’ “Also Sprach Zarathustra” and the outer-space waltz of Johann Strauss’ “The Blue Danube” to the existential choral nightmare that is György Ligeti’s “Lux Aeterna,” these songs are now indelibly bound to Kubrick’s scenes of creation and destruction, god and hell, violence and love, as if they were written for the film. The soundtrack is a monument to the importance of artistic vision over executive expectation, a monolith to insisting on an idea when you know it’s right. –Grayson Haver Currin

起初，库布里克让步了。但是，在观看了早期电影片段后，其使用马勒这样的音乐家的作品作为电影配乐，他在最后一刻放弃了他在脑海中听到的Alex North的录音。从电影开始，理查德·施特劳斯的《查拉图斯特拉如是说（Also Sprach Zarathustra）》如雷鸣般重复，约翰·施特劳斯的《蓝色多瑙河（The Blue Danube）》则变演变为了了外太空华尔兹版本，紧接着到了存在主义的合唱梦魇，也就是György Ligeti的《Lux Aeterna》，这些歌曲与库布里克电影场景的塑造密不可分——创造与毁灭、上帝与地狱、暴力与爱，这些音乐就像是为电影而生的一样。这首配乐是一座里程碑，象征着艺术愿景的重要性超过了实际展现出来的效果，也是一部追随本心的巨作 。

—— Grayson Haver Currin

4.  The Harder They Come 《不速之客》1972

Director Perry Henzell’s cult classic The Harder They Come isn’t necessarily a tour de force of storytelling or acting, but it will forever be an important film for what it did for Jamaica and the country’s greatest cultural export: reggae. Starring Jamaican music legend Jimmy Cliff, the film introduced international audiences to the lives and music of the people of the island nation. Its title song, recorded by Cliff for the film, encapsulates the beauty, struggle, and defiance of his character, Ivanhoe “Ivan” Martin, a poor country boy with dreams of stardom. Almost as soon as his dream is realized, it becomes a nightmare, as Ivan goes from a celebrity to an outlaw and, finally, a folk hero. The soundtrack features songs from some of reggae’s premier artists of the time, including Desmond Dekker, the Melodians, and Toots & the Maytals (whose “Do the Reggay” helped coin the genre’s name). Still, Cliff remains the anchor of the album: While songs like Dekker’s “Shanty Town” capture the hardships of Jamaica’s poor, Cliff’s “You Can Get It If You Really Want” adds a glimmer of hope and motivation. Immediately, the world fell under reggae’s spell. –Timmhotep Aku

导演Perry Henzell大火的《The Harder They Come（不速之客）》不一定是一部叙事或表演的杰作，但它会永远是一部重要的电影，因为它为牙买加及这个国家最大的文化出口——雷鬼（Reggae）做出了巨大的贡献。该片由牙买加音乐传奇人物吉米·克里夫（Jimmy Cliff）主演，向全世界观众介绍了这个岛国人民的生活和音乐。克里夫为电影录制主题曲，包含了角色的美丽，斗争及反抗性，Ivanho “Ivan” Martin是本片的主角——一个拥有明星梦的贫穷乡村男孩。他的梦想一实现，这就变成了一场噩梦，Ivan从一个明星变成了一个亡命之徒，最后变成了一个民族英雄。配乐以一些雷鬼乐的顶级艺术家的歌曲为主，包括Desmond Dekker、the Melodians、Toots & the Maytals（这个流派因他们的“Do the Reggay”而得名）。尽管如此，克里夫仍然是这张专辑的重头戏：尽管像Dekker的《Shanty Town》这样的歌曲捕捉了牙买加穷人的艰辛，但克里夫的《You Can Get It If You Really Want》却为之增添了一丝希望和动力。很快，世界就为雷鬼的咒语而沉醉。

——Timmhotep Aku

3. Trainspotting《猜火车》 1996

Trainspotting and its soundtrack mirrored the effects of its narcotic subject matter: a brief high followed by self-annihilating consequences. Danny Boyle’s cheeky addicts inspired an appalling wave of Britflicks peopled by the likes of Guy Ritchie and Vinnie Jones, and the soundtrack’s then-inspired clash of indie and club tracks curdled into an ensuing wave of beery laddiness that still rules certain parts of British culture. And yet this long shadow can’t dim the adrenaline of watching Boyle’s depiction of heroin addiction meet soundtrack compiler Tristram Penna’s song selections: Renton’s sprinting feet pummeling life back into Iggy Pop’s 19-year-old “Lust for Life”; Brian Eno’s “Deep Blue Day” transforming a dive down the worst toilet in the world into a transcendental reverie. David Bowie declined to lend his music—as did Oasis, who, wonderfully, thought the film was literally about train enthusiasts—but Trainspotting benefitted from being turned down by major stars. For Brits, Penna’s resourceful delve beyond the A-list mythologized an era approaching imminent decline, and overseas listeners got a crash course in Anglophile cool. Despite its cultural baggage, the Trainspotting soundtrack endures because—unlike others of the era—it’s ecstatic, not angsty, and captures a generation’s brief flash of blind optimism despite all evidence to the contrary. –Laura Snapes

《猜火车（Trainspotting）》及其原声反映了其致幻主题的影响：短暂的高潮，紧接着是自我毁灭的后果。Danny Boyle厚颜无耻的瘾君子激发了一股令人震惊的浪潮，由Guy Ritchie和 Vinnie Jones这样的英国电影人组成，而当时的原声带则激发了独立音乐和俱乐部音乐的冲突，形成了随后的一阵啤酒味的少女风潮，这仍然统治着英国文化的某些部分。然而，这股浪潮并不能使观众在观看Boyle对海洛因上瘾的描述时产生的兴奋感减退，而原声带作曲家Tristram Penna的歌曲选集满足了这一要求 ：Renton的短跑般的脚步将生活重新打造成Iggy Pop 19岁时的“Lust for Life”；Brian Eno的“Deep Blue Day”将潜水描述成世界上最糟糕的厕所，然后进入一个超然的幻想。David Bowie拒绝把音乐用于电影之中，Oasis同样如此，他们居然认为这部电影实际上是关于火车爱好者的，但是《猜火车》却得益于被主流明星拒绝。对于英国人来说，Penna很足智多谋，她基于头号名单，钻研神话了一个即将衰落的时代，海外听众得到了一个关于亲英潮的速成课程。尽管有着文化的包袱，但《猜火车》的原声带经久不衰，因为它不像那个时代的其他歌曲一样，它让人着迷，而不会让人焦虑，它捕捉到了一代人短暂而盲目乐观的闪现，尽管所有的证据都与这一事实相反。

—— Laura Snapes

2.  Purple Rain《紫雨》1984

In 1983, with two big pop hits to his name—“1999” and “Little Red Corvette”—Prince decided he had to star in a movie from a major studio, with his name above the title. This, he declared, was the only possible way forward. The mere mortals in his orbit, including his manager Bob Cavallo, shrugged and attempted to do his bidding. The result was one of the 10 highest-grossing films of 1984, and watching it still feels like stumbling into Prince’s weird dream as it unfolds. It is, in many ways, a cruel and trashy movie, full of stiff acting and rank misogyny: Women are literally tossed in dumpsters for one-off gags, and even as our sensitive, vulnerable, too-good-for-this world hero, Prince still slaps his girlfriend. He has a profoundly Other presence throughout the film; he wanders through scenes like a genie half-bemused at his own powers. I conjured all of these humans into existence, he seems to be thinking. Now let’s see what I can make them do.

1983年，Prince有两大热门歌曲——“1999”和“Little Red Corvette” ——Prince决定他必须在一个主流工作室的电影中出演，为他的头衔正名。 他宣称，这是唯一可能的前进方向。在他的职业生涯中有一些重要的人，包括他的经理Bob Cavallo，耸耸肩并试图做他的竞标。 结果这部电影是1984年票房收入最高的10部电影中的其中之一，观看它仍然感觉能够进入Prince所呈现的奇怪梦想。 从许多方面来说，这是一部残酷而无用的电影，演技僵硬，充斥着厌女症的气息：女性一言不发地被扔进垃圾箱，甚至作为我们敏感，脆弱，大材小用的世界英雄 ，Prince仍然会打他的女朋友。他在影片中有着深刻的表现力，他像一个被自己力量迷住了一半的精灵一样，徘徊在各个场景中。 我施法让所有这些人类存在于世，他似乎在思考。 现在让我们看看我能让他们做些什么。

What really can be said about a film with “The Beautiful Ones,” “When Doves Cry,” and “Purple Rain” in it? If the surrounding 90 minutes had just been Prince dry-cleaning his scarves, the film would still be a masterpiece by default. Purple Rain is Prince in his prime, at his peak, at his most audacious. It is Prince at his most sensual, his most open and pleading. It is, then, by logical extension, some of the most powerful popular music of the last century, and some of the best we will ever get. That it came alongside a silly, campy picture to enjoy is just a bonus. –Jayson Greene

一部像《The Beautiful Ones》，《When Doves Cry》以及《Purple Rain》的电影到底像表达什么呢?如果这90分钟只是Prince干洗他的围巾那么久，那我们仍会默认这部电影是部杰作。《紫雨》是王子在他的鼎盛时期、巅峰时期，在他最大胆的时候拍摄的。这时候是Prince最感性，最开放和恳求的时候。因此，从逻辑上讲，它是上个世纪最强大的流行音乐之一，也是我们所能听到的最好的音乐之一。它与一部愚蠢而做作的电影放在一起欣赏，只是一个意外收获。

—— Jayson Greene

1. Super Fly《超级苍蝇》1972

When small-time drug dealer Fat Freddie dies in Super Fly, the plot, like the car that strikes him, keeps moving. No one mourns him or inquires about his absence, and his wife, whom he loves dearly, never shows up again. The generous view is that the budget was low and all death is a senseless tragedy; a more realistic outlook is that the Super Fly screenplay is a silly mess. Luckily, in “Freddie’s Dead,” Curtis Mayfield gives Freddie the send-off he deserves. In Mayfield’s hands, Freddie’s death becomes a soulful rumination on the misery that drives the drug trade: the exploitation, the loss, the pain. “Everybody’s used him/Ripped him off and abused him,” Mayfield pleads. These kinds of insights don’t make it into the script, but the soundtrack overflows with them.当小毒贩Fat Freddie死于《超级苍蝇（Super Fly）》时，情节就像撞到他的那辆车一样，一直在前进。没有人哀悼他，没有人问起他的离去，他深爱的妻子再也没有出现过。比较乐观的观点是，这部电影预算很低，所有的死亡都是一场无谓的悲剧，而更现实的观点是，《超级苍蝇》的剧本简直就是一团糟。幸运的是，在“Freddie’s Dead”中，Curtis Mayfield给了Freddie一个他应得的送别。在梅菲尔德的笔下，Freddie的死变为了对毒品交易痛苦的深刻反思:剥削、损失和痛苦。“每个人都在利用他/剥削他，虐待他，” Mayfiel恳求道。然而这些见解并没有出现在剧本中，可电影的配乐却能充分的体现出来这些内容。

Mayfield wrote and recorded the Super Fly soundtrack working from the screenplay and dailies from the film set, and his music is not just a companion; it’s composition as world-building. From the narrow life of Youngblood Priest, a jaded cocaine dealer seeking to exit the game after one last score, Mayfield unfolds multitudes. A few years into his solo career, he was shifting from high-minded soul into rooted funk, and Super Fly catches him in this farsighted nexus; here, he widens the film’s story into a vista of broken relationships, with a portrait of Priest that is as dignified as it is dangerous. On “Pusherman,” wah-wah licks and a bright bassline keep the tone buoyant, as Mayfield catalogs the many voids drugs can fill. “I’m your mama/I’m your daddy/I’m that nigga in the alley,” Mayfield boasts. There’s a deep pride in the smoothness of the pusher’s sell, and Mayfield doesn’t downplay it: “Pusherman” drifts from his lips like smoke on a movie screen, sexy and glamorous.

Mayfield通过电影剧本和样片创作并录制了《超级苍蝇》配乐原声带 ，他的音乐不仅仅是一个陪衬；它是作为世界建构而创作的。Mayfield的音乐中展示了许多的情绪，比如Young blood Priest，一个落魄的毒贩子，想要在干完最后一票后金盆洗手，通过对他有限生活的描写，绘出了众生百态。[2] 在他独奏生涯的几年里，他高尚的灵魂转变为了一个根深蒂固的狂人，而《超级苍蝇》抓住了他这个远见卓识的连结。在这里，他将电影的故事扩展到了一个关系破碎的视野，刻画了Priest庄重而危险的形象。在 “Pusherman”中，哗哗的声音和低音声部伴着一条明亮音调的上扬，正如Mayfield列出许多可以填补的空白。“I’m your mama/I’m your daddy/I’m that nigga in the alley” Mayfield自夸道。“Pusherman”唱出来，就像电影屏幕上的烟雾，性感而迷人。

With Super Fly, Mayfield sought to challenge the script without undermining it, and that tension colors the entire soundtrack. “Freddie’s Dead” is funky and haunting even as it scolds the world that killed Freddie. With gusts of brass, the title track celebrates Priest while also condemning him, seeing the struggle within his hustle—how he is “tryin’ to get over,” as Mayfield coos. Mayfield was both a moralist and an empath; channeling his own experience with drug use, he captures the sweet and the bitter. As he lauds sobriety over the pillowy brass and strings of “No Thing on Me (cocaine Song),” regret seeps through his bliss. “It’s a terrible thing inside/When your natural high has died,” he sings knowingly.

凭借《超级苍蝇》，Mayfield试图在不破坏剧本的前提下挑战剧本，而这种紧张气氛也影响了整个原声带。“Freddie’s Dead”这个词很古怪，甚至在指责杀死这个世界杀了Freddie时也让人难以忘怀。伴着铜管乐器的声音，主题曲在歌颂Priest的时候同时也在谴责他，我们从中能看到他的激烈斗争——他是如何“尝试克服”的，Mayfield嘀咕到。Mayfield既是一个道德家，又是一个移情者；他通过自己的吸毒经历，捕捉到了甜蜜和痛苦。当他为柔和的管乐和弦乐单曲“No Thing on Me (cocaine Song)”称赞自己的清醒时，遗憾从他的幸福感中显露出来。“It’s a terrible thing inside/When your natural high has died”，他故意唱到。

Priest doesn’t at all embody Mayfield’s perfect melding of style with substance—and neither did Fat Freddie, for that matter—but this striking disconnect is largely what makes the Super Fly soundtrack so enduring. In its richness and gravitas and groove, the record imparts what the movie can only sketch. Through Mayfield’s brimming imagination, one-dimensional pulp roles became vessels of guile and verve. It’s an essential listen, and also an act of quiet subversion: a public screening of the unrealized film Mayfield saw in his head. –Stephen Kearse

Priest根本没有体现出Mayfield完美的音乐风格与物质的融合，而Fat Freddie也没有体现出来，就此而言——但这种惊人的脱节很大程度上使《超级苍蝇》原声带能够经久不衰。在它的丰富，庄重和节奏，它的原声带赋予了电影想要刻画的东西。通过Mayfield丰富的想象力，肤浅的浆糊角色立马变得有血有肉。原声带是必须要听的，可以说它悄然颠覆了这部电影：大众所看的电影并不是Mayfield所看到的那样。

——  Stephen Kearse