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

翻译：Emma.Z，Winnie Hess

校正：Lynn Liu，Nina Wang

40. Jaws《大白鲨》1975

Steven Spielberg’s thriller opens with the destruction of innocence. A young couple run off to the ocean to skinny dip; while the woman waits for her beau, who is engaged in a drunken battle with his trousers, she splashes around in the moonlight. Then, it begins. Dun nun…dun nun…. The girl is a goner. With just two repeating notes, played with increasing urgency by a 19-piece string and horn section, composer John Williams traumatized beachgoers forever and gave cinema’s newest nightmare an unforgettable theme. Never again has a tuba been used for such evil.

史蒂文·斯皮尔伯格的惊悚片开篇就毁灭了天真纯情：一对年轻的夫妇跑到海边去裸泳。当这个女人在月光下边戏水边等男朋友时，她的男朋友正醉醺醺地忙着和他的裤子打架。然后悲剧拉开了序幕。咚…咚…那可怜的女孩死了。作曲家约翰·威廉姆斯用19小节的弦乐和圆号将两个音符不断重复，演奏出了越来越紧迫的节奏，给海滩上的游客留下了永久的创伤，也给这个刚上映的梦魇增添一幕令人难以遗忘的经典镜头。从此以后，再也没有人能用大号演奏出如此邪恶的感觉。

Despite its primal horror, the Jaws theme would not be as effective were it not for the less-ominous orchestrations in the film’s first half, like the swashbuckling “Promenade (Tourists on the Menu)” and the cheerful “Out to Sea.” The idyllic New England summer these moments establish make the devastation of the shark all the more cruel. By the time the film’s crew of Captain Ahabs set sail to kill their aquatic demon once and for all, the score pummels relentlessly, emerging from the sea to wreak havoc. Like Psycho before it, Jaws showed music’s ability to convey terror, chilling viewers to their cores. –Quinn Moreland

尽管这部片子生来惊悚，但若没有前半部分那些平淡而美好的编排，《大白鲨》的主旋律就会落得跟惊心动魄的《散步(菜单上的游客)Promenade (Tourists on the Menu)》和欢快的《出海(Out to Sea)》一样少了一份扣人心弦的感觉。这些时刻营造的新英格兰田园夏日的恬静氛围让鲨鱼带来的毁灭显得尤为残忍。影片中，Ahabs船长的船员们扬帆起航，准备一鼓作气杀死水怪之际，配乐无情地敲打着节奏，预示着“海怪”渐渐浮现和即将到来的浩劫。就像先前的《心理医生》一样，《大白鲨》精妙地展现了音乐的情感张力，让观众们不寒而栗。

—— Quinn Moreland

39.  The Tale of Genji《源氏物语》 1987

The Tale of Genji, written in the 11th century by a noblewoman named Shikibu Murasaki, has been called the world’s first novel. Detailing courtly love in Heian society, the sprawling, seductive book was partially adapted into the 1987 anime film from Gisaburō Sugii. The film may only cover the first few chapters, but the soundtrack from Haruomi Hosono imparts a singular charge.

《源氏物语》被称为世界上第一部小说，由11世纪一位名为紫式部的贵妇所著。这部作品详细介绍了日本平安时代的宫廷爱情，结构经纬交织引人入胜。1987年杉井仪三郎（Gisaburō Sugii）将其部分改编为动画电影。这部电影虽然只涵盖了前几章内容，但細野晴臣(Haruomi Hosono)的配乐也为它平添了几分独特的魅力。

Hosono is a legend in 20th century Japanese music, from his tenure in Yellow Magic Orchestra to his own wide-ranging solo work—but even amid his decades of music, the score for Genji stands apart. His telltale electronics hover in the background as he accentuates koto, drums, and bamboo flute, mixing Japanese court music with ambient into a mix that defies characterization. –Andy Beta

細野晴臣是20世纪日本音乐界的传奇人物。他为《源氏物语》的配乐，不论是放在他与坂本龙一、高桥幸宏组成的Yellow Magic Orchestra活动时期，还是他作曲风格广泛的单飞时期，甚至他几十年的音乐生涯中，都显得与众不同。歌曲融合日本宫廷音乐和氛围音乐，突出表现日式十三弦筝、鼓和竹笛等元素，而电子乐则徘徊在背景中不易察觉。

—— Andy Beta 

38. Once Upon a Time in America《美国往事》 1984

Ennio Morricone has created more than 500 film scores, including works for some of the greatest westerns of all time. But perhaps none are as gorgeous and emotionally resonant as Once Upon a Time in America. Before James Woods became a pro-MAGA Twitter ideologue and Robert De Niro a guy willing to take a fat paycheck for Dirty Grandpa, the two starred together in Sergio Leone’s astonishing crime epic chronicling a lifetime of friendship and Betrayal among Jewish mobsters. Morricone’s score—especially its sweeping centerpiece, “Deborah’s Theme”—contributes greatly to the film’s tone of wistfulness and loss. (Seriously, try playing “Deborah’s Theme” as accompaniment to any mundane activity—folding laundry, eating Doritos—and your life will suddenly feel like a profound meditation on squandered glory.) In addition to the main orchestral theme, the score boasts some rousing speakeasy jazz (much of the film takes place during Prohibition) and an ominous pan flute refrain performed by Gheorghe Zamfir, the same flute master from the Karate Kid soundtrack. –Zach Schonfeld

Ennio Morricone配乐过的电影超过500部，其中包括一些有史以来最伟大的西部片。但也许再也没有一部电影，能像《Once Upon a Time in America（美国往事）》那样精彩绝伦感人至深。影片讲述了一段犹太黑帮之间友谊与背叛交织一生的传奇故事。尽管James Woods后来成为了支持MAGA（Make America Great Again，让美国再次伟大）的推特理论家， Robert De Niro为拿高薪而出演《下流祖父》，但两人一同主演的这部由Sergio Leone执导的影片堪称一部令人震惊的犯罪史诗。

Morricone的配乐——尤其是画龙点睛的一笔“Deborah’s Theme（黛博拉之歌）”——极大地烘托了影片伤感与失落之情。(说实在的，你要是平时边听《黛博拉之歌》边干点什么——比如叠衣服、吃玉米片——你就会突然感觉像是对挥霍的荣耀进行了一场深思。)除了主要的管弦乐之外，配乐还包括一些活泼的地下酒吧爵士乐(电影的大部分情节发生在禁酒时期)，以及由《小子难缠》原声带中的排箫大师Gheorghe Zamfir演奏的不祥的排箫。

—— Zach Schonfeld

37. Walkabout《小姐弟荒原历险》 1971

In Nicolas Roeg’s film, two British children stranded in the outback are rescued and guided back to “civilization” by an indigenous Australian boy—scare quotes around the C-word, for Walkabout is a rhapsodic elegy for nature and our lost innocence. Because there’s only sporadic dialogue (Roeg described the script as “a 14-page prose poem”) and the six-year-old brother and his teenage sister have been brought up in typically post-imperial stiff-upper-lip fashion, nearly all the emotional eloquence in the movie is supplied by the score. Waltjingu Bandilil’s eerie didgeridoo and Karlheinz Stockhausen’s disorienting tape-piece Hymnen conjure the unknowable majesty of the arid landscape and its scorching extremes of weather. But it’s veteran film composer John Barry who establishes the prevailing mood with his piercingly poignant orchestrations. A stirring choral theme redolent of a school song, “The Children” evokes the simple-hearted hope and accepting obedience with which kids face the world. The horn fanfares of “The Journey” conjure a storybook-adventure air, mirroring the way that the youngest child in particular processes his predicament. Above all, there’s the gently devastating, recurring main theme, a patient pulse of harpsichord over which wistful woodwinds pipe and tender violins soar and swoop. –Simon Reynolds

在Nicolas Roeg的电影中，两个身困内陆的英国孩子被一个澳大利亚土著男孩拯救并引导回到了“文明”的世界——《Walkabout（小姐弟荒原历险）》充斥着青春的荷尔蒙气息，是一首歌颂自然和纯真过往的狂想挽歌。由于只有零星的对话(Roeg将剧本描述为“14页的散文诗”)，六岁的弟弟和他十几青春期的姐姐又是在典型后帝国时代的严肃氛围中长大的，所以电影中几乎所有的情感表达都必须依靠配乐。Waltjingu Bandilil怪异的迪吉里杜管和Karlheinz Stockhausen迷惘的磁带作品《Hymnen（赞歌）》唤起了人们对于干旱地区及其酷热天气无以言表的敬畏。但正是资深电影作曲家John Barry用他那深入人心的管弦乐烘托了最适合的氛围。《The Children（孩子们）》是一首活泼的合唱，带有校园歌曲的味道，唤起了孩子们对于这个世界单纯的希望和顺从。《The Journey（旅程）》的喇叭声营造出一种故事书里的冒险气氛，反映了最小的这个孩子面对困境的处理方法。最重要的是，这是一段全然温柔又反复回响在人们耳畔主旋律。舒缓的羽管键琴旋律，越过默然的木管乐器和轻柔的小提琴，在琴弦上呼啸而过。

—— Simon Reynolds

36. Anatomy of a Murder《桃色血案》1959

At one point in the lively 1959 legal drama Anatomy of a Murder, a small-town woman caught up in a homicide case questions her lawyer’s taste in records. “Aren’t lawyers supposed to like music?” responds the weary attorney, played by James Stewart. She shoots back: “Well, not that kind of music!” She’s talking about jazz, which was just beginning to be used in movies at the time, and Duke Ellington’s work on Anatomy of a Murder marked the first time a black composer wrote a full-length score for a major film. In an interview, the legendary bandleader made his intentions clear. “I’m not playing semi-classical stuff or symphonic music,” he said. “It’s strictly Duke Ellington music.”

在1959年生动的法律剧《Anatomy of a Murder（桃色血案）》中，一个来自小镇的女人卷入了一起凶杀案，她对律师的审美提出了质疑。“难道律师不应该喜欢音乐吗?” James Stewart饰演的律师疲惫地回答道。她反驳道:“嗯，不是这种音乐!”她说的是当时刚刚开始在电影中使用的爵士乐， Duke Ellington (艾灵顿公爵)的《桃色血案》是黑人作曲家首次为一部重要电影创作完整的配乐。在一次采访中，这位传奇乐队指挥明确表达了自己的观点：“我不是在演奏半古典音乐或交响乐，”他说，“这完全是艾灵顿公爵的音乐。”

So it is. In the late ’50s, Ellington was enjoying a career renaissance, and his score features the sort of swinging, big-band tunes he made his name on decades prior. But most effective are the more somber compositions that add depth to Anatomy’s explicit-for-the-time story, which revolves around an ethically murky case of rape, jealousy, murder, and the vagaries of the law. The film is famously ambiguous, smudging the line Between hero and villain, and Ellington and his orchestra’s improvisations work best when they achingly tug at that sense of reasonable doubt. –Ryan Dombal

所以就是这样。在50年代末，Ellington正享受着职业生涯的第二春。他的配乐以摇摆不定的大爵士乐队曲调为特色，早在几十年前他就以这种曲调而闻名。但最令人印象深刻的还是那些更加忧郁的作品，它们为《桃色血案》的故事增加了深度。它围绕着一起毫无道德的强奸案、嫉妒、谋杀和法律的变幻莫测展开。这部电影以其高超的模糊手法而著名，它模糊了英雄和恶棍之间的界限。而艾灵顿和乐队的演奏又在他们痛苦挣扎于合理怀疑时，起到了画龙点睛的作用。

—— Ryan Dombal

35. Ceddo 《局外人》 1977

In the late ’70s, the Cameroonian saxophonist Manu Dibango was already legendary on dancefloors for his disco-defining 1972 hit “Soul Makossa,” which would go on to form the basis of Michael Jackson’s “Wanna Be Startin’ Somethin’.” But in 1977, Dibango reached across borders and genres to score the Senegalese director Ousmane Sembène’s film Ceddo. Sembène’s unflinching historical films often looked at atrocities from Senegal’s history and, like past works of his, Ceddo was banned in his country. No doubt the film’s grim portrayal of Islam and Christianity in past centuries had something to do with it, showing how these religions feasted on the slave trade, turning human beings into commodities. Buoying such grim imagery is Dibango’s music: His sax and vibraphone mingle with piano, guitar, and drums to create a highlight of ’70s African cinema, revealing Dibango to be a diverse and deeply funky composer. –Andy Beta

在70年代末，喀麦隆萨克斯手Manu Dibango凭借1972年发布的一首经典迪斯科曲目“Soul Makossa（灵魂马库萨）”成为了舞台上的传奇人物。之后Michael Jackson的歌“Wanna Be Startin’ Somethin’（想做点什么）”就是在这首歌的调子上做出来的。但是在1977年，Dibango跨越了国界和流派，为塞内加尔导演Ousmane Sembène的电影《局外人》配乐。Sembène的历史题材电影向来无所顾忌，他经常拍塞内加尔历史上的暴行，而就像过去的作品一样，《局外人》也被塞内加尔当局禁了。毫无疑问，这和电影对过去几个世纪伊斯兰教和基督教的残酷描绘脱不开关系，电影展示了这些宗教将人类商品化，进行奴隶贸易谋利的过程。Dibango的音乐将这种意象展现出来，他的萨克斯和电颤琴还有钢琴、吉他、鼓点混杂在一起，创造出了70年代非洲电影的一大亮点，这也显示出了作曲家Dibango的多元、时髦。

—— Andy Beta

34. Breakfast at Tiffany’s 《蒂凡尼的早餐》 1961

In Breakfast at Tiffany’s, Audrey Hepburn portrays a “very lovely, very frightened girl” who escapes to New York to reinvent herself. While Hepburn’s performance of Holly Golightly is enchanting, it is arguably Henry Mancini’s score that most effectively conjures the romance, loneliness, and mystique of the city. Mancini captures all sides of New York, from champagne-soaked parties soundtracked by peacocking big bands to the sultry allure of its seedy underworld.

在《蒂凡尼的早餐》中，Audrey Hepburn塑造了一个“非常迷人却又脆弱”，跑到纽约重塑自我的女孩角色。没有什么比Hepburn扮演的Holly Golightly更迷人，也没有什么比Henry Mancini的配乐更能唤起这座城市的浪漫、孤独和神秘感。Mancini捕捉到了纽约的方方面面，从有着喧闹的乐队演奏和摆满香槟的派对到肮脏地下世界的迷人诱惑，各式各样，应有尽有。

The heart of Breakfast at Tiffany’s is indisputably “Moon River,” which captures Holly’s longing for love and adventure. Though instrumental and choral renditions of the song bookend the film, the most enduring version is sung by the untrained Hepburn on her character’s fire escape, hair in a wrap and guitar in hand. Featuring lyrics penned by Hollywood songwriter Johnny Mercer, Hepburn’s performance of “Moon River” aches with a genuine wistfulness that transcends the film itself. –Quinn Moreland

毫无疑问，“Moon River（月亮河）”是影片《蒂凡尼的早餐》的核心，它捕捉到了Holly对爱情和刺激的渴望。尽管这首歌的纯音乐版本和合唱版本为电影画上了圆满结尾，但最为经典的还是Hepburn演技青涩时扮演的Holly裹着头巾，拿着吉他在逃生窗边唱的版本。这首由好莱坞词曲作家Johnny Mercer作词的“Moon River（月亮河）”在Hepburn真情实感的演绎下超出了电影本身的境界。

33. La Planète Sauvage 《原始星球》 1973

Whether you perceive La Planète Sauvage’s strange allegory of giant, blue-skinned Draags and their enslaved, human-sized pet Oms on the planet of Ygam as imparting a lesson in racism, human rights, or animal rights, this early-’70s animated flick continues to mystify first-graders and grad-school vapers alike. But the film’s real genius was in tapping Serge Gainsbourg’s arranger/composer Alain Goraguer for the soundtrack, before he pivoted away from child-friendly fare into scoring French porn. Full of flummoxing wah-wah guitar, ethereal choirs, breathy horns, psychedelic Mellotron, and crisp breakbeats, this score has inspired beat-heads like J Dilla, DJ Shadow, Madlib, and Flying Lotus while also powering tracks for Mac Miller, Big Pun, and Capone-N-Noreaga. Surreal, forlorn, and funky in equal measure, La Planète Sauvage continues to draw generations of producers and rappers into its gravitational field. –Andy Beta

《原始星球》中有巨人、蓝皮肤人种、还有他们奴役的类人型的宠物Oms，有人认为这些奇怪的角色给人们上了种族主义、人权、动物权益这么一课，但不管人们怎么想，事实是：一年级小学生也好研究生也罢都没太看懂这部70年代早期的动画电影。

这部影片最妙的地方在于配乐出自Serge Gainsbourg的编曲Alain Goraguer之手，之后Alain Goraguer从儿童题材转向了法国情色片。这首歌充满了凌乱的吉他声、缥缈的教堂合唱声、低微的喇叭声、迷幻的电子琴、清脆的破碎节拍，激发了J Dilla、DJ Shadow、Madlib和Flying Lotus等重量级歌手的灵感，同时也为Mac Miller、Big Pun和Capone-N-Noreaga提供了作曲的头绪。时髦、绝望、超现实，《原始星球》就这样吸引着一代又一代的制作人和饶舌歌手。

—— Andy Beta

32. Sicario 《边境杀手》2015

The Stephen Hawking biopic The Theory of Everything made the Oscars take notice of Jóhann Jóhannsson as a blockbuster composer, but it was the late experimental musician’s score for Denis Villeneuve’s Sicario, released the following year, that proved he could smuggle truly unsettling sounds into Hollywood. Sicario is one of those FBI drug-bust thrillers in which the tension maintains a steady simmer; you can’t always tell when the action is about to go down because the heroes spend so much time riding around in SUVs. Jóhannsson’s score is particularly good in these moments: With its pounding timpani crescendos, venomous string strikes, and deft use of atmospheric dynamics that zoom in and out, the music is a clear sign of not just the danger that looms but the pure evil embodied by the film’s drug-lord villains. The effect is well captured by “Convoy,” a composition that hums along anxiously before swarming up at once and surrounding each side in a different kind of instrumental chaos. When the chase finally dies down, the mood is eerily still: They’ll be back. –Jillian Mapes

Stephen Hawking的传记《万物理论》让奥斯卡评委们注意到了Jóhann Jóhannsson这位重量级作曲家，但真正证明他能让搅乱人心音乐杀入好莱坞的，是次年他为Denis Villeneuve的《边境杀手》制作的配乐。《边境杀手》是讲述美国联邦调查局(FBI)侦破毒品案的惊悚片之一，影片中紧张的气氛持续不断，英雄们一直在开SUV，你根本无法预测战斗什么时候才会结束。Jóhannsson的配乐在这些场景中非常出色：伴随着震耳欲聋的鼓声，琴弦的敲击，以及对大气动态的灵活运用，音乐清楚地展现出影片中时隐时现的危险和毒枭恶棍的邪恶。这种效果在“护卫队”(Convoy)中得到了很好的体现，这首配乐表现出集结前的焦急，且在表现战斗双方的紧张时运用了不同的乐器。当追逐终于平息下来时，气氛却出奇地平静:它们会回来的。

—— Jillian Mapes

31. Merry Christmas, Mr. Lawrence 《圣诞快乐，劳伦斯先生》 1983

The Japanese composer Ryuichi Sakamoto, a member of the electronic band Yellow Magic Orchestra, would go on to win an Oscar for his work on Bernardo Bertolucci’s The Last Emperor, but his first toe-dip into cinema was Merry Christmas, Mr. Lawrence. Japanese director Nagisa Ôshima’s English-language feature starred David Bowie as a handsome British major in a prisoner-of-war camp, and costarred Sakamoto himself as a guard. Sakamoto’s famous piano ballad starts with notes as pure and gentle as raindrops, a friendly reprieve from the World War II backdrop and an antidote for his initially militant character (who, not surprisingly, eventually becomes enamored with Bowie’s Jack Celliers). Even when the song escalates into a battle anthem, the humanistic melody still shines through. –Kristen Yoonsoo Kim

日本作曲家坂本龙一（Ryuichi Sakamoto）是电音乐队Yellow Magic Orchestra的成员，他为Bernardo Bertolucci执导的《末代皇帝》的配乐曾获奥斯卡奖。坂本与电影界的缘分始于《圣诞快乐》。这部英语影片由日本导演大岛渚（Nagisa Oshima）执导，主演David Bowie饰演一个战俘营里饰演一名英俊的英国少校，坂本则饰演一名警卫。坂本这首著名的钢琴民谣以雨点般纯净温柔的音符开始，是对二战背景的友好缓和，也是对他最初好战性格的一剂解药。(不足为奇，他最终迷上了Bowie的Jack Celliers)。即使这首歌升级为战歌，旋律中仍然闪耀着人文主义。

—— Kristen Yoonsoo Kim