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：Winnie Hess，Tiana.T

校正：Lynn Liu

50. Crouching Tiger, Hidden Dragon《卧虎藏龙》 2000

A landmark of Asian cinema, Crouching Tiger, Hidden Dragon was the result of close collaboration Between composer Tan Dun and director Ang Lee. Alongside famed cellist Yo-Yo Ma, Dun and Lee worked for four years to conceptualize a movie that would introduce Western audiences to martial arts as a historical form, rather than simply violent entertainment. Just as the film bridged the East and West—it remains the top-grossing foreign film of all time in the U.S.—Dun’s breathtaking score melds elements of his upbringing and traditional Chinese instrumentation with the classical training he received later in America.

作为亚洲电影的里程碑，《卧虎藏龙》的成功离不开作曲家谭盾与导演李安的合作。谭盾、李安还有著名大提琴家马友友三个人花了四年时间去构思这部电影，《卧虎藏龙》将武术作为一种历史形态呈现给西方观众，而不仅仅是暴力娱乐。这部电影连接了东西方，并且它是美国有史以来票房最高的外国电影。谭盾惊艳的配乐里融入了他个人的成长要素，还有中国传统乐器以及他之后在美国所接受的古典音乐的训练。

The star here is Yo-Yo Ma; Dun would probably agree, as he’s called him the “spiritual glue” of the writing process. His performances breathe elegance across the entire score, and in the film, his percussive thumps and pizzicato strums are interspersed brilliantly Between punches and kicks. The most powerful moment comes in “Yearning of the Sword,” where Ma’s cello concedes center stage to a Chinese erhu, a sorrowful two-stringed instrument. The two trade melodies, highlighting their distinctive timbral differences before eventually reaching a wistful harmony. –Noah Yoo

说马友友是点睛之笔的话，谭盾大概会很赞同，因为谭盾说马友友是写作过程中的“心灵粘合剂”。马友友的表演在整个配乐中都散发出优雅的气息，在电影中，他的重音和拨奏巧妙地穿插在拳打脚踢之中。最震撼人心时刻应该出现在 “思慕青冥剑”奏响时，马友友地大提琴与中国二胡（一种听起来很悲伤地两弦乐器）交织演奏。这两种美妙的旋律，在充分展现了音色上的差异之后，最终达到了和谐。

—— Noah Yoo

49. Trouble Man《黑手煞星》 1972

As Curtis Mayfield’s Super Fly and Isaac Hayes’ Shaft took Blaxploitation soundtracks to new heights, Marvin Gaye also found his groove in film music. The Trouble Man score serves the gun-toting, fist-flying, cheesy dialogue-spouting movie just fine, with its smooth grooves cushioning the action, and Gaye’s lyrics amplifying the bullish attitude of the lead character, but it’s most potent as a standalone listen.

柯蒂斯·梅菲尔德(Curtis Mayfield)的《超级苍蝇》和艾萨克·海耶斯(Isaac Hayes)的《铁杆神探Shaft》将黑人电影的配乐水平推到了一个新的高度，马文·盖伊(Marvin Gaye)也在电影音乐中找到了自己的最佳状态。《黑手煞星》的配乐一般会在某些场景之中听到，比如持枪行凶、拳打脚踢、虚伪对话之类的，流畅的节奏缓冲了这些动作画面，Gaye的歌词充分展现了主角自信乐观的心态，但是单听的话更有体会。

Trouble Man was released Between the politically charged What’s Going On and the sexually driven Let’s Get It On, finding Gaye at his artistic peak. The score is largely instrumental with suave horns, funky grooves, pulsing synthesizer, and sparse drums. Yet even when removed from its visual context, the music remains inherently cinematic. Gaye is so reserved with his own vocal contributions that when they soar through the honeyed instrumentations, they greet you like a long-lost friend. Gaye clearly took his role as producer seriously; he holds back his voice and lets the studio sing instead. –Daniel Dylan Wray

在发布《黑手煞星》前后，Gaye相继发布了充满政治性的《近来可好》（What’s Going On）和有着性冲动意味的《让我们继续》（Let’s Get It On）两张专辑，而他也达到了音乐生涯的巅峰。曲子里混杂着浩大的乐声，有温软的号声，时髦的律动，脉冲合成器声还有一些稀疏的鼓声。即使不看画面，透过音乐也能知道电影在演些什么，因为音乐自身就是有电影画面感的。当他的嗓音穿透乐器声时，Gaye对他的人声有所保留，这就像是久违朋友的问候。Gaye对于自己制片人的身份很重视，他压住自己的声音，而让作品说话。

—— Daniel Dylan Wray

48. Teesri Manzil《第三层楼》1966

Composer Rahul Dev Burman racked up over 250 film credits in his lifetime, making him one of the most prolific artists in the already bustling Bollywood factory. One of his most enduring scores is also one of his earliest: his crackling collaboration with director Vijay Anand for 1966’s Teesri Manzil, a Hitchcock-like thriller that remains one of Bollywood’s best-loved films. It marked the first time that Burman and Anand collaborated, a partnership that would last into the ’80s.

作曲家拉胡尔·德夫·伯曼(Rahul Dev Burman)一生为250多部电影作曲，这使他成为宝莱坞中最多产的艺术家之一。他最经典的，同时也是他最早的作品之一，是1966年他与导演维贾伊·阿南德(Vijay Anand)合作的希区柯克风格的惊悚片《第三层楼》(Teesri Manzil)，这部电影是宝莱坞最受欢迎的电影之一。而这也是Burman和Anand第一次合作，此后他们的合作关系一直持续到80年代。

With Teesri Manzil, Burman paired Indian cinema’s lavish orchestrations with surf music’s whiplash guitar, then added rock’n’roll’s rollicking sax and booming backbeat. Burman also deployed iconic playback singers like Mohammed Rafi and Asha Bhosle to duet on the film’s biggest numbers. With dizzying choreography set against surreal set pieces, songs like “Oh Haseena Zulfon Waali” and “Aaja Aaja” remain beloved in India to this day. –Andy Beta

在《第三层楼》中，伯曼将印度电影里丰富的管弦乐和冲浪音乐中摇摆的吉他声结合起来，同时加以摇滚乐的欢快萨克斯声和强烈的基础节奏。伯曼还安排了像穆罕默德·拉菲和亚沙·博斯勒这样受大众欢迎的歌手在这部电影的原声带中进行二重唱。令人眼花缭乱的编舞与超现实主义的布景相映成趣，像《Oh Haseena Zulfon Waali》和《Aaja Aaja》等歌曲至今仍深受印度人民的喜爱。

—— Andy Beta

47. Batman《蝙蝠侠》 1989

In his score for Tim Burton’s Batman, Danny Elfman starts somewhere appropriate for our hero: the minor key. The composer’s iconic “The Batman Theme” is fortissimo in all the right ways, with thunderous drums and a brass section so brash, it would make Mahler blush. It’s riveting and, most importantly, not at all menacing; it's just a bit dark, nodding subtly to Bruce Wayne’s antihero tendencies without taking him too seriously or squashing the invigorating feeling of watching him save the day. 

在为蒂姆•伯顿(Tim Burton)的《蝙蝠侠》(Batman)配乐中，丹尼•埃尔夫曼(Danny Elfman)从一个适合英雄的地方开始创作:小调。这位作曲家的代表性作品《蝙蝠侠主题》(The Batman Theme)在所有方面堪称杰作，强有力的鼓声，急促的铜管乐合奏，可能马勒都会自愧不如。这音乐引人入胜，最重要的是，一点也不来势汹汹，只是有点暗黑的感觉，而这巧妙地迎合了布鲁斯·韦恩(Bruce Wayne)的反英雄倾向，既没有把他太当回事，也没有扼杀他拯救世界那种令人振奋的感觉。

“The Batman Theme” is also pure fun, befitting a story about an unhinged rich man who spends his free time spying on people from a cave. The playfulness shows up elsewhere in the film, such as when Elfman uses “Photos/Beautiful Dreamer” to soundtrack the Joker’s gleeful destruction, or turning the Joker’s demented rooftop dance with Vicki Vale into a “Waltz to the Death.” In contrast to the grim tendencies of Christopher Nolan’s Batman reboot—complete with a joyless, orchestral score by Hans Zimmer—Danny Elfman shows that a superhero movie is at its best when it’s a thrilling, snappy spectacle. –Matthew Strauss

《蝙蝠侠主题》也很有趣，很适合用来讲述一个精神失常的阔佬用空闲时间在山洞里监视别人的故事，这种滑稽在影片的其他地方也有所体现，比如艾夫曼用“Photos/Beautiful Dreamer（照片/美丽的梦想家）”为小丑大快人心的毁灭配乐，或者把小丑在屋顶上与薇姬·维尔疯狂的舞蹈变成“死亡华尔兹（Waltz to the Death）”。但是与克里斯托弗·诺兰(Christopher Nolan)执导的《蝙蝠侠:卷土重来》(Batman rebooe)中的冷酷倾向形成鲜明对比的是，丹尼·埃尔夫曼(danny Elfman)展示了一部超级英雄电影的最佳之处就在于其中那些激动人心的场面。

46. The Pink Panther《粉红豹》 1963

Spry, swinging, and just a shade louche, “The Pink Panther Theme” perfectly sums up the kind of detective movie that jokes, “Take your filthy hands off my asp.” Its horns squeal like a Fiat burning rubber; the iconic, ascending saxophone lead, originally slurred out by the great Plas Johnson, winks and twists like mod headscarves floating through air. Henry Mancini, one of the greatest film composers of the 20th century, brought irrepressible joys to his score, lighting Peter Sellers’ slapstick Inspector Clouseau with another layer of wry mischief; the light, refined lounge pop of “Champagne and Quail” befits his upper-crust world, while the brassy “The Tiber Twist” has a noir underbelly to pair with all that hip-shaking. Mancini already had some silver-screen classics under his belt by The Pink Panther—including “Moon River” and “Theme From Hatari!”—but this captures him entranced by the glamorous lives onscreen and celebrating what makes them effusively, wonderfully alive. –Stacey Anderson

欢脱摇摆，只是阴郁颓废，《粉红豹主题》完美地总结了这类搞笑的侦探电影:“把你的脏手从我屁股上拿开。“号声就像燃烧的橡胶菲亚特一样，那代表性的、不断上升的萨克斯声，一开始被大师普拉斯·约翰逊(Plas Johnson)含糊地奏出来，时而眨眼，时而扭动，就像飘在空中的时髦头巾。亨利·曼奇尼(Henry Mancini)是20世纪最伟大的电影作曲家之一，他的音乐中充满了压抑不住的欢快，同时用另一种讽刺的恶作剧塑造了彼得·塞勒斯(Peter Sellers)笔下的闹剧《糊涂大侦探（Inspector Clouseau）》;《Champagne and Quail)》里轻松优雅的休闲流行音乐很适合上流社会，而刺耳的《The Tiber Twist》中，人物身穿黑色热裤，与抖臀的动作相呼应。除了《粉红豹》之外，曼奇尼还创作了一些经典的银屏之作，包括《Moon River》和《Theme From Hatari!》。但这让他沉醉于对银幕上迷人生活，赞美着那些让他们充满激情、精彩活着的事物。

—— Stacey Anderson

45.  Les Stances à Sophie 1971

In 1969, the Art Ensemble of Chicago relocated to Paris, where they hypnotized the film director Moshé Mizrahi in concert. Struck by “the way they attacked music, like they could do anything they wanted,” he asked them to score his adaptation of Les Stances à Sophie by the French feminist novelist Christiane Rochefort. The result is often jarringly at odds with the film’s visuals, pulling attention from screen to speaker and stealing scenes, but their riotous work succeeds in capturing the push-pull dynamics and clashing philosophies of the central couple, a sexually liberated woman and her more uptight husband. The recording features Fontella Bass (singer of the R&B hit “Rescue Me”) on the memorable “Thème De Yoyo,” which melds her infectious vocals, explosive Can-like drums, silky bass-led funk, and detonating brass. The score blazes with such vitality and momentum that the music’s legacy eclipses the largely forgotten film. –Daniel Dylan Wray

1969年，芝加哥艺术团搬去了巴黎，他们在那里举办了一场音乐会，电影导演Moshé Mizrahi对他们自由不羁的音乐着了迷。他说：“他们演奏音乐的方式给人一种他们可以为所欲为的感觉。”随后，Moshé Mizrahi邀请他们为他即将拍摄的电影做配乐，这部电影改编自法国女权作家Christiane Rochefort所著的同名小说《Les Stances à Sophie》。但合作并没有那么顺利，他们常常因为电影的视觉效果产生激烈的分歧，因为配乐过度分散了观众对于视觉享受。尽管如此，他们大胆的合作还是成功了，完美地呈现出一个提倡性自由的女人和一个拘谨保守的丈夫之间的感情纠葛和冲突。电影配乐由Fontella Bass（R&B大热曲目”Rescue Me”）演唱，融合了她极具感染力的声线，爆裂的鼓声，丝绸般的贝斯主音，还有炸裂的号声，四者更唱迭合迸发出炽热的激情活力。如此成功的配乐无疑使这部快被遗忘的电影本身黯然失色。

—— Daniel Dylan Wray

44. Jackle 《第一夫人》2016

In not much time, Mica Levi has made a name for herself as a master of cacophonous anxiety. After scoring the eerie extraterrestrial film Under the Skin, she brought that disquiet to Pablo Larraín’s Jackie, starring Natalie Portman as the grieving First Lady in the days after JFK’s assassination. Levi elevates the film out of conventional biopic territory with its dreamlike, frightening ambience; her strings sound ominously off, as if someone has accidentally landed on the wrong note, and the entire score doubles down on that pebble-in-the-shoe feeling. The musical Camelot plays a big role in the film, most notably in the scene where the newly widowed Jackie drinks wine alone in the White House. But overall, Levi’s creeping strings provide the minor-key backbone for this snapshot of a woman in mourning as the world watches her. –Kristen Yoonsoo Kim

Mica Levi因为用不和谐乐音表现焦虑而一举成名。在给科幻惊悚片《皮囊之下》配乐之后，她把那种独特的表现形式带到了Pablo Larraín的电影《第一夫人》中，Natalie Portman在片中饰演第一夫人在美国前总统约翰肯尼迪遇刺后的四天内的伤痛经历。Levi通过打造梦一般可怕的气氛突破了传统传记片的表达方式，也使电影进一步升华。琴弦声的骤停往往预兆着不详的发生，就好像有人突然间要在某个错误的调子出现。整体的配乐更是加深了这种令人坐立难安的感觉。音乐剧《Camelot（卡蒙洛）》在影片中起了很大作用，尤其是第一夫人刚成为寡妇后在白宫独酌红酒的这一幕。但是总体而言，Levi让人起鸡皮疙瘩的琴弦声让人们从另一层面捕捉到这个女人如何在全世界关注下哀悼其丈夫的这一故事主线。

—— Kristen Yoonsoo Kim

43. Koyaanisqatsi 1982

Director Godfrey Reggio has never wanted to say what Koyaanisqatsi is about, to pinpoint the message behind his precisely edited slipstream of time-lapse beauty and stunning slow-motion. Juxtaposing the ancient majesty of nature with the mechanized might of human endeavor, Koyaanisqatsi is either an environmentalist’s nightmare or an industrialist’s ode to invention and conquest, depending on how you see the world. Philip Glass’ overwhelming score, which runs largely uninterrupted for the length of the film, is a similar litmus test: During “The Grid,” do you connect with the perfectly controlled voices or the pulsing synthesizers? Is “Slo Mo People” the sound of existential satisfaction or anguish, “Prophecies” a clarion call to action or a dream for the future? Ultimately, is Koyaanisqatsi a celebration of what we have done or a lamentation of what we will do? A microcosm of a million moving parts, Glass’ score makes everything feel important and urgent, with enormous dynamic sweeps and interwoven melodies that seem to multiply and surround you, giving you no choice but to at least consider the questions he and Reggio raise. Koyaanisqatsi marked the start of Glass’ career as a major film composer, but it also helped redefine how tightly bound film and sound can be, and how much they can say together. –Grayson Haver Currin

导演Godfrey Reggio不会告诉我们电影《Koyaanisqatsi》讲了什么，也不会指明在他精心设计的延时和慢动作展现出的优美景象背后的含义。导演将自然的原始壮阔与工业社会人类所创造的一切放在一起，并不是为了呈现环境被破坏的噩梦，也不是为了赞颂工业文明的创造与征服，它所传达的思想全在于观众的怎么看待这个世界。

Philip Glass压倒性气势的配乐贯穿全片，就像是石蕊实验：在听”The Grid”时，你有没有理解那些完美演绎的嗓音和脉冲合成器声？”Slo Mo People”有没有表达出真实的满足和悲伤？”Prophecies”是呼吁行动的号角还是对未来的梦？最后，影片究竟是在歌颂我们所做的一切，还是在悲痛我们即将做的呢？无数个触动人心的片段实际就是影片的缩影，众多穿梭的音频和交织的旋律簇拥包围着你，这让影片中的一切都更加急迫，使你无从选择，只能思考影片中所探讨的问题。《Koyaanisqatsi》 开启了Glass作为专业电影作曲家的职业道路，同时也重新定义了电影和配乐之间的关联的紧密性，还有它们共同呈现出的最高境界。

—— Grayson Haver Currin

42. Suspiria《阴风阵阵》 1977

Italian prog-rock band Goblin’s score for Dario Argento’s Suspiria is routinely exalted by horror connoisseurs and electronic music producers alike. Suspiria nostalgia reached an all-time high in 2018 when founding Goblin member Claudio Simonetti led a tour performing the score to screenings of the film; also, none other than Thom Yorke filled Goblin’s shoes onscreen, providing music for a chilly, cerebral Suspiria remake by Luca Guadagnino. But what an unlikely candidate for hushed reverence: The original picture is gloriously over-the-top and irreverent, with its intentionally cartoonish color scheme, stiffly dubbed dialogue, and lurid occult violence.

意大利前卫摇滚乐队Goblin为Dario Argento的电影《suspiria（阴风阵阵）》的配乐，不出所料，受到了恐怖电影爱好者和电子音乐制作人一致好评。人们怀念经典《Suspiria》的浪潮在2018年达到了新高，创立Goblin的乐队成员Claudio Simonetti在巡演中表演了这些经典的电影配乐，同时，导演Luca Guadagnino翻拍了这部恐怖却理智的电影，Thom Yorke为这部电影制作了配乐，但仍不能代替Goblin在这部电影的地位。但是在传达某些寂静的敬畏方面，Goblin似乎并不是一个合适的人选：1977年版的电影过于夸张、不敬，刻意使用了一些卡通的配色，违和的配音对话和毫无美感的暴力。

Goblin’s score heaps on the gaudy extravagance and visceral thrills. From The Exorcist-like bells to Halloween-presaging synths, funked-out guitar to prim harpsichord, trippy tabla to creepy screams, all is fair game so long as it’s suitably wild. These days, synthesizers and cinema are no longer strange bedfellows, and “cult classics” have graduated to become simply “classics,” but Goblin’s work on Suspiria still sounds wonderfully deranged. –Marc Hogan

Goblin的配乐堆砌了华而不实的艳俗和发自肺腑的兴奋。从类似于《驱魔人》的铃声到《月光光心慌慌》中有所预示的合成器声，放克式的吉他旋律到规矩的大键琴，迷幻的手鼓再到毛骨悚然的尖叫，只要这些狂野适可而止，这绝对是一场公平的游戏。近年来，合成器和电影院不再只是奇怪的陪衬，而且被狂热崇拜的“地下经典”也变成了仅仅是“经典”，但是Goblin在《Suspiria》中的配乐听起来仍叫人为之疯狂。

41. Blue Velvet《蓝丝绒》 1986

“You fucking get that thing, man. There are 27 zillion songs in the world. I don’t want one of them. I want this song,” David Lynch told producer Fred Caruso. He was talking about This Mortal Coil’s ethereal masterpiece “Song to the Siren,” which he envisioned as the backdrop for a crucial scene in his film Blue Velvet, a surreal mystery bound up in straitjacketed camp—a kind of claustrophobic Norman Rockwell nightmare.

“嘿，你必须搞到这个东西，这世上有数不清的歌，可我一首都不想要，我只想要这一首。“David Lynch（大卫·林奇）对制片人Fred Caruso说。他所指的这首歌正是This Mortal Coil的杰作”Song To The Siren”，他想这首歌能在他的电影《蓝丝绒》中的关键一幕做背景音乐，这一幕涉及到营地之下被紧紧包裹着的那超现实主义秘密，有点类似于患了幽闭恐惧症的Norman Rockwell做的噩梦。

Lynch didn’t get the song. Instead, the director tasked Angelo Badalamenti, a young composer he had hired as Isabella Rossellini’s vocal coach, with creating a replacement. It “should be a song that floats on the sea of time,” Lynch told him. And that’s exactly what Badalamenti came up with in “Mysteries of Love,” in which a then-unknown singer named Julee Cruise coos coolly over beatific synth pads. (The title and lyrics were Lynch’s.) Badalamenti’s score for the film—the first of many he would compose for Lynch—proves perfectly suited to the director’s sneaky visual style, encompassing lounge jazz, sinister atmospheres, and winking twists on cinematic convention. The “Main Title” theme, repeated frequently, slices back and forth, pawing at the spongy ground: Like the film’s narrative itself, it progresses haltingly, two steps forward, one step back, unleashing unimaginable darkness as it burrows deep into the subconscious. –Philip Sherburne

但Linch最终还是没能得到那首歌，他把这项工作交给了Angelo Badalamenti，Badalamenti一名年轻的作曲家，曾被Linch聘为Isabella Rossellini的声乐指导。Linch让他创作一首代替品，告诉他这首歌“应该呈现一种在时间之海漂流的感觉”。那确实就是Badalamenti在“Mysteries of Love”中想出的，在那首歌中名叫Julee Cruise的无名歌手在合成音色的衬托下冷冷地低语。（标题和歌词都出自Linch）这部电影最终采用的配乐是Badalamenti第一次给Linch创作的作品。最终，这首配乐的确完美吻合了导演怪诞的视觉风格。这正是慵懒爵士，阴森气氛和电影中离奇转折的精妙融合。“Main Title”在片中反复出现：就像电影在自己叙事一样，它进展得很慢——两步向前，一步向后，慢慢揭示了那些不为人知的黑暗。

—— Philip Sherburne