【搬运译】叉婊Pitchfork评《驾驶我的车》电影原声带 - 2021年OST" 石橋英子

搬运自：网易云音乐专栏【Music Online Zine Courier】（在原文基础上添加了英语原文与排版调整）

翻译：豆目豆科

The Japanese experimental musician’s score for the lauded new film by Ryusuke Hamaguchi possesses a cool remove, mirroring the film’s glacial profundity with organic nuance and contemplative improvisation.

这位日本实验音乐家为滨口龙介这部备受赞誉的新电影所做的配乐有着一种冷静沉稳的剥离感，借以浑然天成的细致偏差以及冥思般深沉的即兴创作来反映影片之冰冷深邃。

Ryusuke Hamaguchi’s Drive My Car is a staggering exploration of grief, betrayal, and acceptance. The loose adaptation of a Haruki Murakami short-story follows Yusuke Kafuku (Hidetoshi Nishijima), a stage actor and director, as he mourns the deaths of his young daughter and his screenwriter wife, Oto (Reika Kirishima). Two years after Oto’s death, Yusuke relocates to Hiroshima where he will direct a production of Anton Chekhov’s “Uncle Vanya.” Upon arrival, he is assigned a quiet female driver named Misaki (Toko Miura). Throughout many long drives in Yusuke’s vintage Red Saab, the two gradually open up about their individual sorrow.

滨口龙介的《Drive My Car》是对悲伤、叛离和接纳的一次惊人的探索。改编自村上春树短篇小说，影片讲述了舞台剧演员兼导演家福悠介（西岛秀俊 饰）正经历着小女儿和他身为编剧的妻子音（雾岛丽香 饰）不幸身故时发生的故事。音死后的两年，家福决定搬到广岛，在那里导演契诃夫的《万尼亚舅舅》。到达后，他遇见了一个沉默寡言的女司机，叫作渡利（三浦透子 饰）。二人在家福的老式红色爱车中渡过的多次长途旅行中，逐渐敞开心扉，袒露他们各自的悲哀。

Now nominated for four Academy Awards, including Best Picture and Best International Film, Drive My Car is a profound masterpiece made all the more entrancing by its score, written by Eiko Ishibashi. The Japanese multi-instrumentalist and composer is best known for her experimental solo work, which ranges from jazz fusion to the imaginative dream pop heard on a recent tribute to a Law & Order character. Like the film’s protagonist, Ishibashi’s score possesses a cool remove and, alongside an ensemble that includes her frequent collaborator Jim O’Rourke, Ishibashi creates a soundtrack that is as moving as the film itself.

《Drive My Car》是一部深刻的杰作，已经揽获四项奥斯卡提名（其中包括最佳影片和最佳国际影片），而由石桥英子创作的配乐使其更加迷人。这位日本多乐器演奏家和作曲家以其实验性独奏作品而闻名，其作品融汇自爵士乐至最近向《Law & Order》中的人物致敬所创作的极富想象力的梦幻流行乐。同影片的主角一样，石桥的配乐有着一种冷静沉着的剥离感。包括同她经常合作的Jim O'Rourke在内，她与其他合奏者一起，共同创作出与影片本身一样动人的配乐。

In the film, Yusuke’s theatrical method requires his cast to internalize the play’s text by running through the script without emotion before they are allowed to begin acting. (Yusuke rehearses his own lines by driving in his car and listening to cassettes of Oto reciting the other characters’ dialogue.) This emphasis on close listening and organic nuance is reflected in Ishibashi’s score, which is structured around variations of two themes, “Drive My Car” and “We’ll Live Through the Long, Long Days, and Through the Long Nights.” The eponymous core theme is set in motion by an opening burst of percussion and tumbling keys imbued with a certain thoughtfulness. This soon evolves into an upbeat and idyllic melody featuring yearning strings and the synthetic squawk of a melodion. However, this whimsical track is not the first piece of music heard by the audience. That would be “We’ll Live Through the Long, Long Days… (Oto),” a ghostly ambient track that abandons the score’s melodicism in favor of stillness, the falling of rain, and the muffled whooshing of passing cars.

在影片中，家福要求他的演员在开始表演之前，要通过不带感情地朗读剧本来内化剧作的文本（家福会在开车过程中听妻子背诵其他角色对话的磁带录音来排练）。这种对仔细聆听和细致精巧偏差的强调也同样反映在石桥的配乐中，并围绕着两首主题曲而衍生变化——“Drive My Car”和“We'll Live Through the Long, Long Days, and Through the Long Nights”。同名主题由一阵打击乐和滚动起伏的键盘中拉开帷幕，极具某种神秘的思辨性。随后很快演变成一个欢快、田园诗般的旋律，这之中夹杂着令人向往的弦乐和合成器的高声部鸣叫。然而，这首异想天开的曲目并非观众在影片中听到的第一首音乐。而是“We'll Live Through the Long, Long Days, and Through the Long Nights (Oto)”，一首幽灵般的氛围乐，摒弃了乐章中的旋律性，取而代之的是寂静、淅淅沥淅的雨声，以及过往车辆低沉的呼啸。

In the same way that Yusuke suggests that a good driver allows their passenger to relax, Ishibashi’s score, even removed from the context of the film, allows the listener to sit back and enjoy the ride. Some of Ishibashi’s contributions suggest the transportive effect of driving in a concrete way. “Drive My Car (Cassette)” opens with a tape being inserted in a deck and the sounds of ambient traffic before it drifts into a pensive piano reverie. Meanwhile, Yusuke’s theme, “Drive My Car (Kafuku),” opens with the squeak of a seat being lowered before spiraling into rumination. “Drive My Car (Misaki)” also begins with an automobile sound as the titular character opens the Saab’s creaky front door and turns on the Saab’s ignition. This interpretation of the theme incorporates tumbling piano notes, brushed drums, and the steady thump of an electric bass; that such a reserved character is bestowed a warm theme underlines the idea that her wall of ice will someday melt, given the correct conditions.

正如家福的建议，一个好的司机能让他们的乘客旅途舒适惬意，石桥的配乐，即使脱离了电影，也能让听众静坐下来享受旅程。石桥的一些作品会采用一种具体的方式来呈现驾驶过程中旅途的不同阶段。“Drive My Car (Cassette)”以一盘磁带被插入卡座夹杂着周遭车水马龙的纷杂开场，随后便漂移到一个低沉、引人遐思的钢琴之中。除此之外，家福的主题曲“Drive My Car (Kafuku)”，以座椅被放下时的吱呀作响开场，再度陷入沉思。“Drive My Car (Misaki)”也以汽车发出的声响开始，主人公渡利打开了萨博车老旧的前门，点火启动。这一主题曲中有着此起彼伏的钢琴音符、雨刷般的鼓声和电贝司的稳定轰鸣声；这样一个矜持的角色被赋予如此一个温馨的主题曲，也暗示了她内心的冰墙终有一天适逢正确的条件便会慢慢融化。

Drive My Car’s second theme, “We’ll Live Through the Long, Long Days, and Through the Long Nights,” is more contemplative than its companion. There is an initial melancholy inflicted by strings so sorrowful that each note wavers like a dying breath. The “... (Saab 900)” version of the theme is the closest the score gets to a car crash: Percussionist Tatsuhisa Yamamoto’s fast and furious playing is layered atop the original theme’s piano melody with interjections of droning electric guitar and crashing cymbals. The arrangement is dusted, again, by vehicular ambience: the beep of a locked car, the slam of a door, and the click of a seatbelt. If the score’s other tracks capture a character or existential statement, “... (Saab 900)” is the titular car’s inner monologue as it drifts, and at one point, narrowly avoids getting side-swiped. “…(And When Our Last Hour Comes We’ll Go Quietly),” whose title is pulled from a soliloquy that arrives at the end of “Uncle Vanya,” features guitar work from O’Rourke that changes lanes from downcast meditation to hypnotic climax smoothly, as if there’s not a single bump in the road. And in its last moments, after a few final piano notes, Ishibashi’s glorious Drive My Car score goes quiet.

《Drive My Car》的第二支主题曲“We'll Live Through the Long, Long Days, and Through the Long Nights”，相较于它的“小伙伴”更为引人深省。由弦乐共鸣引发的阴郁如此的令人忧伤，每个音符都像垂死者的呼吸一样摇摇欲坠。其中“We'll Live Through the Long, Long Days, and Through the Long Nights (Saab 900)”是最接近于车祸的版本：打击乐手山本达久快速而激烈的演奏，在原先的钢琴旋律上层层叠进，同时引入沉闷的电吉他和轰鸣的铙钹。这一安排又再次被车流往来的环境录音所覆盖：开锁时提示的滴滴声、关门时的撞击声和安全带扣紧时的咔哒声。若说“We'll Live Through......”的其他章节都捕捉到一个人物或某种存在，那么“We'll Live Through...... (Saab 900)”则是家福的爱车在行驶图中的内心独白，某一时刻，我们能听到它的车身一侧差点就被剐蹭到。“We'll Live Through...... (And When Our Last Hour Comes We 'll Go quiet)”，其标题源自《万尼亚舅舅》结尾处的独白，在O'Rourke的吉他演奏中，历经低沉的冥想到引人入眠的高潮，顺畅自然，仿佛路途中没有任何颠簸。在最后的时刻，在最后的几个钢琴音符敲响之后，石桥笔下辉煌的《Drive My Car》配乐归于平寂。