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：Ryan-Chopin

校正：Queenie.S，Lynn Liu

50. Judgment Night 《夜惊魂》 1993

Judgment Night is a forgettable film about a drug-related murder, but its soundtrack maintains a deserved infamy thanks to its peculiar but effective pairing of rappers and rock groups. The real-life mashups of Sonic Youth and Cypress Hill, Biohazard and Onyx, Slayer and Ice-T were seedy, gruff, and electrifying upon release—but mostly, the overall effect was abrasively odd, heavy with middle-school anarchist lyrics like, “Chaos, chaos, chaos, chaos/Don’t give a fuck!” The soundtrack is like a time capsule from an alternate universe, and you can credit (and blame) it, in part, for rap-rock. –Matthew Schnipper

《夜惊魂》这部影片主要讲述了一起与毒品有关的谋杀案，但它的电影配乐因其独特合作-说唱歌手与摇滚乐队联合-名声大噪、令人印象深刻。摇滚乐队Sonic Youth和说唱歌手Cypress Hill、Biohazard和Onyx、Slayer和Ice-T等现实生活中的混搭组合发行的音乐都带有一丝下流而粗犷，常常令人震撼。然而最主要的是，其音乐的整体效果却很奇异，令人难以置信，充斥着中学生式的无政府主义歌词，比如“Chaos, chaos, chaos, chaos/Don’t give a fuck!（混乱吧、混乱吧、混乱吧、混乱吧/我tm不在乎!）”这张电影原声带就像是来自平行宇宙的时间胶囊，这种说唱摇滚风格给其带来褒贬不一的评价。—— Matthew Schnipper

49.  High Fidelity 《失恋排行榜》2000

To this day, High Fidelity remains Bruce Springsteen’s only acting credit in a film. Sitting at the bedside of Rob Gordon—the film’s record-collecting hero, played with mopey, proto-Seth Cohen narcissism by John Cusack—a muscled ’90s Bruce rips uncharacteristically bluesy riffs on his guitar and gives questionable advice about getting back in touch with your exes. “They’d feel good, maybe,” drawls the Boss. “But you’d feel better.” Here is the ultimate fantasy of music fandom: the artists you love speaking directly to you, about your problems, at the expense of everyone else in the world.

直到今天，《失恋排行榜》仍然是Bruce Springsteen在电影领域中唯一的表演成就。Rob Gordon（由John cusack饰演）在这部电影中扮演一个唱片收集大家，电影中他一脸闷闷不乐，散发着Seth Cohen式自恋气息。而90年代肌肉发达的Bruce坐在Rob Gordon床边，在吉他上弹出了不同寻常的布鲁斯乐段，并就如何与前任联系向Rob Gordon给出了不恰当的建议。“也许他们会感觉很好，”这位老板慢吞吞地说，“但你也会感觉好些。”这正是乐迷们的终极幻想:你喜欢的艺术家们和你面对面谈论你的问题，甚至因此牺牲了世界上其他人的利益。

High Fidelity’s soundtrack was tasked with summarizing this mindset in a tidy 15 tracks, and its curation was apparently one of the most difficult tasks in bringing Nick Hornby’s 1995 book to the screen. The 2000 film succeeds by blending old-school favorites (the Kinks, Elvis Costello, the Velvet Underground) with some of the previous decade’s most promising newcomers (Smog, Stereolab, Royal Trux). With no new music written specifically for the film (other than Jack Black’s in-character rendition of “Let’s Get It On”) it reintroduced the idea of the soundtrack as a lovingly crafted mixtape, a trend that extended toward Garden State and beyond. –Sam Sodomsky

《失恋排行榜》的原声带由15首曲目组成，一气听下来便能感觉上述心态在音乐中的呈现。而这种做法确实是把Nick Hornby发行于1995年的书搬上银幕时最困难的任务之一了。这部2000年的电影成功地融合了守旧派的最爱(如the Kinks, Elvis Costello, The Velvet Underground等音乐人的风格)和这十年最有潜力的新人风格(如音乐人Smog, Stereolab, Royal Trux)。由于没有专门为这部电影创作的新音乐(除了Jack Black在剧中演绎的“Let 's Get It On”)，这部电影重新采用了将精心制作的混音带作为原声带的理念，且这一趋势延伸到了电影《情归新泽西》和其他影片当中。—— Sam Sodomsky

48. The Shining《闪灵》 1980

More than a decade after 2001: A Space Odyssey, director Stanley Kubrick reused a controversial trick. Once again, he scrapped almost all of the score that had been written for his new film, The Shining—this time by synth innovator Wendy Carlos, who had been essential to A Clockwork Orange, and producer/vocalist Rachel Elkind—and used only snatches of their work. In the final cut, their sepulchral electronics are only heard in the early scene where the Torrance family navigates the steep roads to their fateful hotel. Still, it is the defining piece of the film, its familiar lumbering rhythm and simple melody haunted by an unease you can never quite identify. In it, Carlos establishes the essence of the creeping dread that dominates the Overlook Hotel. (The rest of Carlos’ unused score is absolutely worth seeking out, in part to reimagine the ways it might have changed The Shining and in part because it’s terrifying.)

《2001太空漫游》上映十多年后，导演Stanley Kubrick再次做了一个有争议的选择。他再一次放弃了新电影《闪灵》几乎所有已完成的配乐，这些音乐是由合成器创新者Wendy Carlos（曾为电影《发条橙》配乐）和制作人兼歌手Rachel Elkin先制作出的，结果导演只使用了他们作品的一小部分。在最后的剪辑过程中，他们阴森森的电子乐只出现在了Torrance一家在通往改变他们命运的旅馆途中那陡峭道路上的前期场景里。尽管如此，这首配乐仍然是这部电影的关键部分，它那熟悉缓慢的节奏和简单的旋律萦绕着一种你永远无法完全识别到的不安。在影片原声中，Carlos营造了一种笼罩着酒店的俯瞰式的恐怖气氛。(Carlos其他没被使用的音乐绝对值得发掘，一方面是因为它能让你重新审视《闪灵》，另一方面是因为它的确很惊悚。)

For the rest of his film, Kubrick opted for the oversized melodrama of modern Eastern European classical music, with the strains of Krzysztof Penderecki’s shrieking strings and György Ligeti’s orchestral lurches hinting at premonitions and fears left unspoken. Ligeti’s creeping “Lontano” poisons moments that should be playful or even innocent; Béla Bartók’s “Music for Strings, Percussion and Celesta” gives little Danny’s tricycle romps the terror of a sweaty nightmare. But The Shining, to an extent, is about haunted spaces, so Kubrick uses period pieces—most famously, Ray Noble and his Orchestra’s drifting ballroom ballad “Midnight, the Stars, and You”—to pull ghosts into an unraveling present. These pieces become essential props, as symbolic as Jack’s typewriter and as alarming as rivers of blood rushing out of elevators, shaping a latticework of horror that feels as eternal as whatever lurks in Room 237. –Grayson Haver Currin

Kubrick在电影的其余部分选择了现代东欧的古典大型音乐剧，Krzysztof Penderecki尖锐的弦乐和Gyorgy Ligeti的管弦乐，二者充斥着说不出的不详预感和恐惧。Ligeti令人毛骨悚然的曲子“Lontano”毒化了本应有趣且单纯的时刻;Bela Bartok的曲子“Music for Strings, Percussion and Celesta”让小Danny在三轮车骑行中像做噩梦一样汗流浃背，充满了恐惧。《闪灵》在一定程度上讲的是闹鬼，因此Kubrick用了一些历史时期的作品——最著名的是Ray Noble和他的管弦乐队在舞厅里悠哉悠哉的民谣“Midnight, The Stars, and You”，这听起来就像是为鬼魂们准备好了他们喜欢的礼物，迎着他们的到来。这些音乐都是电影必不可少的辅助，就像电影中Jack的打字机一样具有象征意义，也像从电梯里涌出的鲜血一样令人惊恐，它们构成了一个恐怖网络，让人感觉就像你永远都逃离不出潜伏在237号房间里的那些惊悚之物一样。—— Grayson Haver Currin

47. Waiting to Exhale 《待到梦醒时分》 1995

The Waiting to Exhale soundtrack, with its signature soul snares and weightless melodies, is still an essential self-care listen. On it, producer-songwriter Babyface assembled an Avengers team of the most powerful and graceful women in R&B, relaying the film’s themes of female empowerment, individuality, and kinship. It became one of the 15 highest-selling soundtracks of all time, going seven times platinum, and includes a laundry list of moody ’90s hits. The invincible Whitney Houston sounds supremely comfortable paired with Babyface’s soothing drums on “Exhale,” Chaka Khan’s smoky rendition of “My Funny Valentine” shines over the woozy R&B snap-filled melody, and Brandy’s funky “Sittin’ Up in My Room” serves as a youthful dance anthem. The soundtrack is an uplifting and joyful ode to black women’s power and love, especially for themselves. –Alphonse Pierre

《待到梦醒时分》的音乐原声带有其标志性的灵魂乐及其轻盈的旋律，值得你独自一人时聆听。在这部影片中，制作人兼词曲作者Babyface组建了一支由R&B领域中最有力、最优雅的女性构成的复仇者联盟团队，传达了影片中支持女权、发扬个性和赞誉亲情的主题。这张原声带成为史上最畅销的15张原声大碟之一，销量相当于7张白金唱片（700万张上下），其中包括一长串90年代的热门单曲。战无不胜的Whitney Houston创作了曲目“Exhale”，她的歌声与Babyface舒缓的鼓声搭配起来听让人感觉超级舒服；Chaka Khan用烟嗓演唱的“My Funny Valentine”在R&B节奏轻快的旋律中让人眼前一亮；而Brandy时髦的音乐“Sittin ' Up in My Room”是一首青春舞曲。这张原声带不乏振奋人心的颂歌，歌颂黑人女性的力量和爱，尤其是对她们自己的爱。

46. The Wicker Man 《异教徒》1973

The Wicker Man is never what you expect it to be. Like its hero, a Scottish police sergeant trying to find a missing girl in a pagan community, the New York musician Paul Giovanni was a stranger to the old Celtic folkways he was hired to investigate for Robin Hardy’s haunting horror film. His outsider’s ear for both the then-booming British folk scene and its ancient antecedents made the music he composed the ideal mirror for such a twisted journey. The opening song is a tightly harmonized adaptation of Scottish poet Robert Burns’ “The Highland Widow’s Lament,” nearly abrasive in its mournful mountain-air beauty. Sex is a frequent topic for the film and music, rendered in forms both profane (the absolutely filthy drinking song “The Landlord’s Daughter”) and sacred (“Willow’s Song,” the set’s dirty-minded but gorgeous standout). Rousing community singalongs and sparse hymns of ritual sacrifice weave conflicting narratives of their own. It’s a soundtrack that casts strange shadows and remains ungraspable, like a tongue of flame. –Sean T. Collins

《异教徒》绝不是你想象的那么简单。和故事的主人公一样，纽约音乐家Paul Giovanni对古老的凯尔特民间习俗并不熟悉，他受雇为导演Robin Hardy这部杰出的恐怖电影做配乐调查。作为局外人，他用耳朵挖掘了当时蓬勃发展的英国民间场景和它的古老前身，这也使他在这不易的旅程中创作了最理想的音乐。开场曲改编自苏格兰诗人Robert Burns的《The Highland Widow’s Lament(高原寡妇的哀歌)》，但歌曲在凄美的山风映照下显得有些突兀。“性”是电影和音乐中经常出现的主题，以“亵渎篇”(例如带脏标描写酗酒的歌曲“The Landlord’s Daughter”)和“神圣篇”(例如设想肮脏但又华丽突出的“Willow’s Song”)两种形式呈现。大量活泼的社区歌谣和少量的祭祀赞美诗互相交织，叙述着彼此矛盾的故事。这张原声带有些扑朔迷离，并且像火苗一样摇摆不定、难以捉摸。

45. Black Panther 《黑豹》 2018

Before this soundtrack, Kendrick Lamar’s vision of Africa was vague. He endorsed a “Zulu love” and wanted to be adored like Nelson Mandela, but these gestures used Africa as a hazy proxy of blackness. The Black Panther soundtrack gives such ideas more life and dimension, rooting them in the voices and sounds of a fuller African diaspora. Linking artists from Canada, California, South Africa, and the United Kingdom, Kendrick renders blackness as global and multifaceted.

在参与这张原声带专辑制作之前，Kendrick Lamar对非洲的印象很模糊。他赞美着类似“祖鲁人的爱”，希望像Nelson Mandela（曼德拉）那样受到崇敬，但这些姿态也把非洲当作了模糊的黑人象征。《黑豹》的原声带赋予了这些想法充足的生命力和多面的维度，使其更全面地扎根于非裔人民的声音中。Kendrick将来自加拿大、加利福尼亚、南非和英国的艺术家聚集在一起，呈现了一个具有全球性和多面性的黑人文化。

It’s funny that this expansion occurs through a historically corny comic book character now owned by Disney, but that odd backdrop isn’t taken for granted. Superhero comics traffic in wish fulfillment, and imagination is in abundance here. SOB X RBE perform as rowdy anti-heroes; Future villainously celebrates his Sexual conquests with giggly scats; Zacari and Babes Wodumo resolve conflict through sensual dance. The soundtrack falls flat when the ideas are too basic, but the record generally rises to the occasion, positioning Kendrick and the many worlds he links as parts of a brilliant whole. Wakanda is a zany idea, and in Kendrick and co.’s hands, it almost feels real. –Stephen Kearse

有趣的是，这一愿景是通过刻画一个历史上老掉牙的漫画人物来实现的，现在这个角色已归迪斯尼所有，但这个奇怪的人物背景并不是真实存在的。毕竟有关超级英雄漫画的内容总是离不开“愿望实现”，况且创作者的脑洞及想象力极为丰富。（参与原声带的音乐人们也对应了剧中角色）SOB X RBE扮演着粗暴的反英雄角色；Future用嘻嘻哈哈的rap邪恶地庆祝着他成功的性征服；Zacari和Babes Wodumo通过性感的舞蹈来解决冲突。若这些想法平平，其原声带也就会变得平淡无奇，但一张原声带通常会紧跟情节的发展，使Kendrick和他所聚集之作当为一个辉煌整体的一部分。Wakanda（电影中的部落）本身是一个滑稽的想法，但对于Kendrick和（着手于这种原声带的）公司而言，它几乎是真实存在的。

44.  Gummo 《奇异小子》1997

Harmony Korine burst on the film scene in the mid-’90s like a problematic Robert Bresson, obsessed with cinematic voyeurism and heavy metal. The art-house prodigy supposedly cast his debut film in less than an hour “out of, like, Burger Kings and slaughterhouses,” which gives Gummo a very Cassavetes-covered-in-rats feel, and its soundtrack further carved out a niche for Korine’s sublime, nihilistic worldview. Speed riffs and morbid howls from ’90s black, death, and stoner metal cut into the film’s unsettling vérité scenes, but his use of pop music stands out even more. A snippet of Madonna’s “Like a Prayer” blasts as a gawky young boy tapes a bundle of utensils together and “lifts weights” in his basement. The movie ends in the pouring rain while the entirety of Roy Orbison’s “Crying” plays, as a mute boy wearing bunny ears gets kissed in a pool and then holds up a dead cat as a prize for the audience. The song swells magnificently, creating dirtbag art at its finest. –Jeremy D. Larson

90年代中期，Harmony Korine突然出现在电影荧幕上，扮演着一个像问题重重的Robert Bresson的角色，一直痴迷于电影中的窥淫癖和重金属摇滚乐。据推测，这位艺术奇才在不到一个小时的时间里就完成了他的处女作《out of like, Burger Kings and slaughterhouses》，这让《奇异小子》有一种被羞辱的感觉，而它的电影原声音乐进一步为Korine崇高的虚无主义世界观开辟了一片新天地。他熟练地将90年代的黑暗、毁灭感和重金属摇滚乐的快速重复和病态嚎叫嵌入电影中令人不安的场景，但实际上他对流行音乐的运用更加突出。随着Madonna的"Like A Prayer"片段突然响起，一个笨手笨脚的小男孩出现，他把一堆餐具绑在一起，在地下室里“举重”。伴随着Roy Orbison的"Crying"，在一场倾盆大雨中，一个戴着兔子耳朵的哑巴男孩在泳池里被别人亲吻着，随后，他举起一只死猫作为奖品送给观众，影片到此，戛然而止。这首歌气势磅礴，创造了最优秀的垃圾艺术。

43. American Graffiti《美国风情画》 1973

American Graffiti is a hall-of-mirrors of nostalgia, and music guides the experience. George Lucas’ film unfolds over one long night at the end of summer 1962, as high school kids cruise around the streets of Modesto, California, with the radio on, thinking about their futures. The hits they hear—by Buddy Holly, the Beach Boys, Frankie Lymon & the Teenagers, and Chuck Berry—are presented by Wolfman Jack, the legendary disc jockey hosting the show they’re all glued to. These songs mostly date from the mid-to-late ’50s, so by ’62, for the characters in the film, they already carry the ache of time gone by. This longing is echoed and amplified by Lucas, who is looking back on this transitional moment a decade later, when he and his generation of Baby Boomers were about to turn 30.

《美国风情画》是一面怀旧的镜子，同时，其音乐更是引导着这种体验。George Lucas的电影在1962年夏末的一个漫漫长夜中展开，一群高中生开着收音机在加州莫德斯托的街道上游荡，思考着自己的未来。他们所听的这首热门歌曲来自Buddy Holly、the Beach Boys、Frankie Lymon、the Teenagers和Chuck Berry——在剧中都是由Wolfman Jack演唱的，这位传奇的音乐节目主持人主持了人们都非常喜欢的节目。这些歌曲大多是在50年代中后期创作的，所以到1962年，对于电影中的角色来说，它们已经承载了过去岁月的伤痛。这种渴望得到了Lucas的呼应和放大，他回顾了10年后的这个过渡时期——他和他当时那婴儿潮的一代即将步入30岁。

American Graffiti’s soundtrack itself has a yearning eloquence: The two-LP set consists of the songs featured in the film in the order they appear, and it retains Wolfman’s intros and hepcat patter. So it’s not just a collection of songs used or a sampler of timeless hits from the era—it was also a way to relive the experience at home in the pre-VCR era, an audio prompt encouraging your mind to dream the pictures. –Mark Richardson

《美国风情画》的原声音乐本身就有一种令人向往的感染力:两张黑胶唱片中的歌曲在电影中按曲序出现，也保留了Wolfman的开场介绍和爵士音乐家的行话。因此，这张原声带不仅仅是作为被使用的那些曲目或大热单曲的合集，它也重温着在前VCR时代的家中，一个录音带激励着你去大胆构思梦想。

42. Singles 《单身一族》 1992

When one of the most famous songs in “Portlandia” refers to the “dream of the ’90s” being alive in the Pacific Northwest, they’re singing about the dream of Singles. In 1992, Seattle’s grunge scene met an American economic boom, and the earnestness of the era translated into a soundtrack with an edifice of deepness but a heart full of jangle. Surprisingly, among tracks from Pearl Jam, Alice in Chains, and Soundgarden, it’s “Dyslexic Heart” by the Replacements’ Paul Westerberg that stands up as the most memorable—his “na na na” refrain is probably the one that's been stuck in your head for the past 27 years, and deservedly so. –Matthew Schnipper

当《波特兰迪亚》中最著名的某一首歌曲提到“90年代的梦想”在太平洋西北地区活力四射时，他们唱的是便是《单身一族》。1992年，西雅图的垃圾摇滚乐迎来了美国经济的繁荣，使那个时代的真挚转化成了一种音乐，它有着无穷的深度，但其核心却嘈杂无章。令人惊讶的是，在乐队Pearl Jam、Alice in Chains和Soundgarden的众多歌曲中，最令人难忘的是the Replacements乐队成员Paul Westerberg所作的“Dyslexic Heart”，他的歌曲“na na na”的副歌可能会在过去27年里被你一直铭记在心，这也是理所应当的。

41. Midnight Cowboy 《午夜牛郎》1969

Midnight Cowboy’s soundtrack melds original material and pre-existing songs with seamless grace. Much like the film’s two central characters—Jon Voight’s wannabe Sex worker cowboy and Dustin Hoffman’s sickly con artist—they are opposite forces that create an unlikely harmony. Crucially, Harry Nilsson’s “Everybody’s Talkin’,” a cover of Fred Neil’s country folk ballad, bookends the film. In the beginning, the melodic jangle of the guitars captures the optimism and naïveté of a cowboy leaving the South for the big city. Yet the lyrics of escapism and new pastures—“I’m going where the sun keeps shining/Through the pouring rain”—also reflects the character’s final journey as he leaves the city.

《午夜牛郎》的原声带完美地融合了原创歌曲和已发行的歌曲，使得其优雅无比。就像电影中的两个主要角色一样（由Jon Voight扮演的一名想要成为性工作者的牛仔和由Dustin Hoffman扮演的一个病态骗子，他们代表着对立的两方力量，并带来了一种不太可能的融洽感。值得注意的是，Harry Nilsson翻唱自Fred Neil的乡村民谣“Everybody’s Talkin’”为这部电影画上了圆满的句号。从一开始，吉他悦耳的叮当声就衬托着牛仔离开南方去大城市的乐观和天真。然而，透露着逃避主义和渴望新牧场式的歌词（“我要去阳光灿烂的地方/穿过倾盆大雨”）也映衬了主人公离开这座城市会是他最后的旅程。

Likewise, John Barry’s main theme is embedded in the film; its mournful, fragile solo harmonica underscores the pair’s loneliness and detachment as they navigate an unforgiving city. Subtle yet sweeping strings float behind, a far cry from Barry’s bold, striking stringwork in “The James Bond Theme”—instead they appear here as a ghostly presence. During the Warhol party scene, the psychedelic rock of Elephants Memory (who later became John Lennon and Yoko Ono’s backing band) adds another dimension to a soundtrack that is as eclectic as it is singular. –Daniel Dylan Wray

与此同时，John Barry的音乐主题也融入了电影中。它的悲伤，柔弱的独奏口琴突出了两人的孤独和离别，因为他们航行在一个无情的城市中。微妙而飘逸的琴弦，与Barry在歌曲“The James Bond Theme”主题中大胆而引人注目的琴弦相去甚远，相反，这种演奏却像幽灵一样出现在了这里。在Warhol的派对场景中，迷幻的摇滚乐队Elephant’s Memory(后来成为John Lennon和小野洋子的伴奏乐队)为其音乐增添了另一个维度，既兼容不倚又独树一帜。