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：Emma.Z

校正：WhitneyL，Tyler Smith

推送：Lynn Liu

20.  O Brother, Where Art Thou? (逃狱三王) 2000

O Brother, Where Art Thou? is a work of subversive American mythology, a hero’s hapless journey through the Depression-era South in search of love, companionship, and the promise of meager loot. Based very loosely on The Odyssey, the Coen Brothers’ film shapes a saga from national perils (like recalcitrant racism) and promises (like the thrill of still-wild spaces), building a fable from the vaporous allure of the American Dream. The Coens needed the music to match the saga, so they reached back to the rural sounds of the South, black and white, and recaptured this essence with mostly modern voices. T-Bone Burnett outfitted a Nashville studio with antediluvian recording technology, like vintage microphones arranged in specific decades-old patterns, and used it to capture a murderers’ row of bluegrass, blues, and country stars in perfect form—first Emmylou Harris, Gillian Welch, and Alison Krauss lilting through a wicked lullaby, then septuagenarian bluegrass legend Ralph Stanley staring down death without blinking.

《O Brother, Where Art Thou？（逃狱三王）》是一部颠覆美国神话的作品，讲述了一个英雄在大萧条时期，去往南方寻找爱情、友谊和微薄战利品的不幸旅程。科恩兄弟的这部电影很大程度上是根据《The Odyssey (奥德赛)》改编的，包括从国家危难(比如顽固的种族主义)到承诺(比如寂静的蛮荒空间带来的紧张气氛)。他们塑造了一个靠着美国梦虚无缥缈的魅力构造出的传奇。科恩兄弟需要合适的音乐来为这部传奇故事增色，所以他们回归到了南方的乡村音乐，走到黑人与白人之间，并用现代唱法重现了乡村音乐的精妙。T-Bone Burnett在那什维尔的工作室配备了老式录音设备，比如一些有着特殊年代样式的古董麦克风，并用它完美地记录了《超级情报员麦汉（a murderers’ row）》中的蓝草音乐、布鲁斯和一些乡村音乐明星——首先是Emmylou Harris, Gillian Welch和Alison Krauss旋律轻快且抑扬顿挫的摇篮曲，然后是毫不犹豫地凝视着死亡的，年近古稀的蓝草音乐传奇人物Ralph Stanley。

A stunning commercial success, the O Brother soundtrack launched a new folk renaissance, in part because its deep roots offered a soothing sense of national connection in the dawning era of post-9/11 anxiety. Like the film, these songs collectively map a land of great trouble and hope, documenting the highs and lows of a very ordinary epic—people of constant sorrow, beset by violent cases of moaning blues and beaten by wicked authority figures, looking for a little pleasure now and the promise of eternity later. –Grayson Haver Currin

《O Brother, Where Art Thou？（逃狱三王）》的配乐在商业上取得了惊人的成功，并开启了一场新的民间文艺复兴。其部分原因在于，在后9/11焦虑时代到来之前，这些音乐深厚的文化根基让人们感受到了与国家紧密相连的亲切感。像这部电影一样，这些歌曲共同勾勒出了一个充满问题同时又饱含希望的国家，记录着一部平凡史诗的起起落落——极易悲伤的人们、遭受暴力事件后忧伤的蓝调音乐、受到邪恶的权威人物打压，寻找短暂的欢乐和永恒的承诺。

—— Grayson Haver Currin

19.    This Is Spinal Tap(摇滚万岁)  1984

“The invention of languages is the foundation,” wrote literature professor and Lord of the Rings demiurge J.R.R. Tolkien to his publisher in 1955. “The ‘stories’ were made rather to provide a world for the languages than the reverse.” Bilbo, Frodo, Gollum, Gandalf, the Ring: They all exist so the good professor would have people to speak with in Elvish.

“有基础才能发明语言”文学教授、《指环王》作者J.R.R. Tolkien在1955年给出版商的信中如是写道。“我写的这些‘故事’，与其说是为一个世界创造了语言，不如说是给语言提供了一个合理的背景。”Bilbo, Frodo, Gollum, Gandalf, the Ring：他们都是存在的，这样教授才可以用上精灵语来聊天。

Given their blacklight-poster pretentiousness, David St. Hubbins, Nigel Tufnel, and Derek Smalls—the members of the imaginary, past-their-prime English heavy-metal band Spin̈al Tap—are no doubt Lord of the Rings devotees. But the real-life actor-musicians Michael McKean, Christopher Guest, and Harry Shearer, plus their co-writer and director Rob Reiner, are more in tune with Tolkien’s chicken-and-egg sensibility than their rock ‘n’ roll creations ever could be. In tracks like the dunderheaded epic “Stonehenge,” the redudantly-titled groupie paean “Tonight I’m Gonna Rock You Tonight,” and the low-end-driven (in every sense) ass anthem “Big Bottom,” they created mockumentary pastiches of arena metal so fully formed, they feel able to support an entire world on their spandex-clad shoulders. From Middle-earth to “Hello, Cleveland,” the song remains the same. –Sean T. Collins

考虑到他们blacklight-poster自命不凡, David St. Hubbins，Nigel Tufnel和Derek Smalls，当然他们都是虚构的人物，来自过气重金属乐队Spinal Tap。毫无疑问他们都是指环王爱好者。但现实生活中的演员兼音乐家Michael McKean、Christopher Guest和Harry Shearer，以及他们的联合编剧兼导演Rob Reiner，都比他们的摇滚作品更符合托尔金的“先有鸡还是先有蛋”的情感。比如愚蠢的史诗 “巨石阵（Stonehenge）”，冗长的乐队赞歌“今夜我将震撼你（Tonight I’m Gonna Rock You Tonight）”，以及(从各方面来说)低俗的屁股歌“大屁股（Big Bottom）”，他们创造了看似完全成熟的带有金属感的假纪录片,他们觉得自己套着氨纶衣服的肩膀能支撑起整个世界。从中土世界到“你好，克利夫兰（Hello, Cleveland）”，这些歌始终如一。

——Sean T. Collins

18.  Love Jones(爱琼斯) 1997

Love Jones remains Theodore Witcher’s sole directing credit, despite being a high point of late-’90s African-American cinema (and remaining in heavy rotation on Bet come Valentine’s Day). Its silken, seductive soundtrack also has its own firm place in the pantheon: A deft blend of lovers’ hip-hop, honeyed R&B, and smoldering jazz, it effortlessly segues from Minnie Riperton and Wyclef Jean to John Coltrane and Duke Ellington. At a time when most movie soundtracks paired two new songs with a heap of filler, every selection here adds to the consummate whole, from the unquenchable desire of Groove Theory’s “Never Enough” to the spare caresses of Cassandra Wilson’s “You Move Me.” Unhurried yet assured, each musical moment from Love Jones feels—as Lauryn Hill purrs at one point—like “fingertips on the small of my back.” –Andy Beta

抛开“90年代末非裔美国电影的巅峰之作”的这一高度评价，《爱琼斯（Love Jones ）》维护了Theodore Witcher独立导演作品的声望(在情人节到来之前，该片仍在大量上映)。它柔软诱人的原声音乐使它在万神殿中也有自己的一席之地：它巧妙地融合了情侣嘻哈、甜美的R&B和沉闷的爵士乐，并且轻松地无缝衔接了Minnie Riperton、Wyclef Jean、John Coltrane和Duke Ellington。当大多数电影配乐都惯用两首新歌搭配一堆填充物之类操作的时候，这部作品当中的每一个选择都能为整体添彩：从Groove Theory“永不满足(Never Enough)”中那种不可抑制的渴望，到Cassandra Wilson“你打动了我(You Move Me)”中过剩的爱恋之情。从容而自信，每一个音乐时刻都来自于琼斯对爱的感觉——就像Lauryn Hill在某一点上发出的咕噜声——仿佛“指尖轻抚着我的后背”。

—— Andy Beta

17.  The Sheltering Sky(遮蔽的天空) 1990

The Sheltering Sky, Paul Bowles’ 1949 novel, offers a sweeping metaphor for the human condition, pinning its protagonists against the vastness of the Sahara Desert and beneath the unforgiving, all-seeing heavens: together yet hopelessly alone, unreachable by others and unknowable even to themselves. Whatever the failures in Bernardo Bertolucci’s accompanying film—its exoticism, its melodrama—it’s beautiful to look at, and Ryuichi Sakamoto’s score fits it perfectly. The wistful main theme, perpetually twisting and rising like a dust devil, is appropriately tragic, even a little indulgent, though other passages can be atonal, jarring, and as prickly as its characters (especially John Malkovich’s Port). The rest of the soundtrack rounds out the film’s world with songs from the Algerian raï singer Chaba Zahouania, traditional music from Tunisia and Burundi, and jazz period pieces from American vibraphonist Lionel Hampton and French singer Charles Trenet. The latter’s contribution, “Je Chante,” is a jaunty 1955 romp with a perennial cheer that stands starkly at odds with the bleakness of the film, and it’s precisely that incongruity that makes the soundtrack so engaging. –Philip Sherburne

Paul Bowles 1949年出版的小说《遮蔽的天空(The Sheltering Sky)》之中对人类的处境的隐喻意义深远。他将主人公们置于浩瀚无垠的撒哈拉沙漠之中，置于毫无人情、毫无遮蔽的苍穹之下：两人在一起，绝望又孤独，与外界失联，甚至自己也不了解所处的环境。无论Bernardo Bertolucci的电影配图有多失败——异国情调、惊险故事——这看起来都是非常美的。Ryuichi Sakamoto的配乐也与之完美契合。渴望是主题，它像沙尘暴一样不断地盘旋、上升，还有适时的悲剧，甚至有些许放纵。尽管有些段落的配乐是无调性的，非常刺耳，就像剧中角色一样刺痛人心(尤其是John Malkovich饰演的 Port)。电影的其他配乐包括阿尔及利亚rai歌手Chaba Zahouania的歌曲、突尼斯和布隆迪的传统音乐，以及美国电颤琴演奏家Lionel Hampton和法国歌手Charles Trenet的爵士乐片段。后者提供了“我的赞歌(Je Chante)”。这是1955年的一部欢快的轻喜剧，经久不衰的愉悦与影片的阴郁格格不入。也正是这种不协调的美感让本片的原声如此引人入胜。

—— Philip Sherburne

16. Boogie Nights(不羁夜) 1997

Despite its shag carpets, disco-dancing montages, and abundance of gold chains on chest hair, there’s nothing kitschy about Boogie Nights. Director Paul Thomas Anderson is thoroughly empathetic in his treatment of the film’s striving, struggling San Fernando Valley misfits as they navigate the turbulent adult film industry of the late-’70s and ’80s. The film’s despair is pure and uncut, and its soundtrack is just as fantastically on-the-nose. Eric Burdon and War’s tiki-bar-tastic “Spill the Wine” pairs perfectly with a pool party, and the vocal eruptions that dot the Chakachas’ “Jungle Fever”—a song so erotically tinged that the BBC once banned it—are apropos in a film in which the characters’ livelihoods are dedicated to the art of the climax. The biggest curveball arrives in the form of Night Ranger’s “Sister Christian,” a coming-of-age hair-rock anthem recast to add tension to a drug deal gone terribly, explosively wrong. Like the rest of Boogie Nights’ groovy, neon-lit soundtrack, it’s not ironic in the slightest, instead fitting with the ease and comfort of a pair of exquisitely tailored bell-bottoms. –Larry Fitzmaurice

尽管有松软的地毯，迪斯科舞曲蒙太奇，胸毛上很多的金项链，但《不羁夜（Boogie Nights）》一点也不俗气。导演Paul Thomas Anderson对这部电影中苦苦挣扎却格格不入的“圣费尔南多谷（San Fernando Valley）”地处理非常感性，因为这个过程就像上世纪70年代末和80年代他们在成人电影行业中艰难前行。这部电影的绝望是纯粹且未加修饰的，它的配乐有着恰到好处的美妙。Eric Burdon & War的夏威夷风情酒吧风的“把酒洒了（Spill the Wine）”配上完美的泳池派对，再加上 Chakachas的“丛林热（Jungle Fever）”的声音爆发——一首如此有情色意味的歌曲，甚至一度受到了BBC的抵制。而当它出现在电影里，主角的生计就是献身于高潮的艺术，这就非常合适。最让人意料不到的，是《夜巡(Night Ranger)》中的“修女克里斯蒂安(Sister Christian)”的出现形式。这是一首成年摇滚歌曲的翻唱，却成功为一桩糟糕透顶的毒品交易增添了紧张气氛。就像《不羁夜(Boogie Nights)》中其余几首如霓虹闪烁般美妙的歌曲一样，这首歌毫无讽刺意味，反而是与一条剪裁精致、舒适的喇叭裤相得益彰。

—— Timmhotep Aku

15.  20th Century Women（二十世纪女人） 2016

Mike Mills’ 20th Century Women follows single mother Dorothea, her teenage son Jamie, and their makeshift family as they struggle to find their place in a rapidly changing world. Set in Santa Barbara in 1979, amid the booming West Coast punk scene, music is the medium through which these characters find connection and meaning. A needle drop on the Raincoats’ debut single, “Fairytale in the Supermarket,” leads to a discussion on what happens when one’s passions are greater than their ability; the band’s raw musical freedom also spurs Dorothea to consider her own insecurities. Abbie, an artsy young boarder, tries to impart wisdom on Jamie, bringing him to clubs and making him mixtapes of feminist punk and glam rock. Dorothea, whose preferred oldies like Louis Armstrong and Benny Goodman also sprinkle the soundtrack, attempts to understand her son by listening to Black Flag and Talking Heads: “What is he saying?” she asks of the former before genuinely enjoying the latter. As 20th Century Women proves, a soundtrack can be as crucial as dialogue in creating a movie’s core relationships. –Quinn Moreland

Mike Mills的《20世纪的女人（20th Century Women）》讲述了单身母亲Dorothea、她十几岁的儿子Jamie和她们颠沛流离的小家庭，在这个瞬息欲变的世界里努力生存的故事。故事发生在1979年的圣巴巴拉。当时西海岸朋克风盛行，是音乐让这些爱好者们找到了信念和归属感。“超市里的童话(Fairytale in the Supermarket)”是the Raincoats的首张单曲。这首歌的发行引发了一场讨论：当一个人的热情超过了能力时会发生什么。乐队所展现的，关乎音乐的强烈自由感也促使Dorothea开始审视自己不稳定的生活。Abbie，一个搞艺术的年轻寄宿校学生，费尽心思地传授给Jamie一些别样的经验。她把他带到俱乐部，把他变成了女权主义朋克和华丽摇滚的追随者。 Dorothea喜欢听那些Louis Armstrong和Benny Goodman之类的老歌，它们同样穿插在原声当中。但为了了解她的儿子，她也听Black Flag和Talking Heads的 “他在说什么？（What is he saying?）”，尽管前者对她来说更加受用。正如《20世纪的女人（20th Century Women）》所证实的那样，在构成电影核心关系时，配乐和对话同样重要。

—— Quinn Moreland

14.   Apocalypse Now（现代启示录） 1979

Gatefold sleeves, according to earlier generations’ wisdom, were perfect for rolling joints on. All but the most stalwart stoners might have thought twice, though, before skinning up to the double-LP soundtrack to Francis Ford Coppola’s Apocalypse Now. From the very start—which is, ironically, the Doors’ “The End,” overlaid with the ominous throb of helicopter rotors—the 96-minute album takes a journey as dark as that of Martin Sheen’s Captain Benjamin L. Willard, who ventures deep into the Vietnamese jungle for an ill-fated showdown with Marlon Brando’s Colonel Kurtz. Unlike conventional soundtrack albums, this one mostly foregoes actual musical selections, save a few exceptions (the Doors, Wagner’s fittingly apocalyptic “The Ride of the Valkyries”). Instead, it follows the film’s narrative with a meandering mix of dialogue scraps, jungle noises, and firefights. The results are a bleakly hallucinogenic document of the ’70s. –Philip Sherburne

根据前人的智慧，门襟套筒非常适合滚动接头。不过，除了最顽固的瘾君子，所有人在听Francis Ford Coppola的《现代启示录(Apocalypse Now)》的双LP（密纹唱片）原声带之前，都会再三思虑。讽刺的是，从一开始，the Doors的“结尾（The End）”就用不详的节奏掩盖住了直升机螺旋桨的轰鸣声。这张96分钟的专辑就像Martin Sheen饰演的上校Benjamin L. Willard一样阴暗。他冒险深入越南丛林，与Marlon Brando饰演的上校Kurtz一决雌雄。有别于传统的原声专辑，除了少数几个例外：大门乐队和瓦格纳恰如其分的末日启示——“女武神的骑行”，这一部分大多放弃了实际的音乐选择。相反，它遵循了电影的叙事进程，并且其中混杂着人物对白的只言片语、丛林里的噪音和交火声。这张专辑的问世也在七十年代留下了阴郁而迷幻的一笔。

——Philip Sherburne

13.  Friday (星期五) 1995

In the ’90s, South Central Los Angeles was a cultural hotbed, setting trends in both fashion and music. With their script for Friday, Ice Cube and DJ Pooh made an adventure out of a mundane day in the neighborhood, bringing their community’s style and attitude to the big screen. Fittingly, the film’s soundtrack is a time capsule of essential gangsta rap, G-funk, and soul. Dr. Dre’s “Keep Their Heads Ringin’” incorporates the signature synths and speaker-rattling drum kicks crucial to the city’s music. Ice Cube’s own “Friday” stands in as the tough-talking credo of his characters, Craig and Smokey, as they try only to survive. The soundtrack doesn’t limit itself to L.A., though, grabbing Houston’s Scarface for “Friday Night,” an outsider’s perspective about the overwhelming amount of women he encounters in the L.A. streets. The final touch is wrangling an original cut from the Isley Brothers, “Tryin’ to See Another Day,” about just living another 24 hours—or, even Better, to the “daaaaamn” weekend. –Alphonse Pierre

在90年代，洛杉矶中南部是一个文化摇篮，这里的时尚和音乐都引领着潮流。拿着《星期五（Friday）》的剧本，Ice Cube和DJ Pooh在一个平凡的日子里，在附近进行了一次冒险，并把他们社区独特的风格和观念呈现在了大屏幕上。恰好这部电影的配乐包含了不可或缺的黑帮说唱，G-funk和灵魂音乐。Dr. Dre的“保持头脑清醒（Keep the Heads Ringin）”融合了对这座城市标志性音乐至关重要的合成器和扬声器鼓点。Ice Cube自己的“ 星期五（Friday） ”代表着他的角色，Craig 和Smokey，坚定且唯一的信条——生存。尽管如此，但电影的配乐并不局限于洛杉矶，因为“ 星期五之夜（Friday Night） ”抓住了休斯顿的《疤面煞星（Scarface）》，一个局外人对于他在洛杉矶街头遇到的大量女性的想法。最后一次接触是与Isley Brothers就原始剪辑问题的争吵，从关于再活24小时的“试着看到新的一天（Tryin’ to See Another Day）”到或者效果更好的“糟~~糕”的周末。

—— Alphonse Pierre

12.  Velvet Goldmine（天鹅绒金矿） 1998

Velvet Goldmine helped itself to such generous plates of David Bowie’s life story, it’s surprising director Todd Haynes didn’t name his hero’s band the Scorpions From Jupiter. Goldmine’s glam-rock preener Brian Slade—a volatile, god-mode hedonist played by Jonathan Rhys-Meyers—has a hell of a time in late-’70s Britain, scandalizing its press and delighting its teens with his bisexual bed-hopping, superheroic drug consumption, and glittery stage spectacles. Slade’s trysts with the Iggy Pop avatar Curt Wild, played by Ewan McGregor, are the film’s highlights—not least because, two years after Trainspotting, McGregor still had yet to embrace the concept of pants.

《天鹅绒金矿（Velvet Goldmine）》向观众们讲述了David Bowie一箩筐的平生逸闻，但令人惊讶的是导演Todd Haynes竟然没有把他的“英雄”的乐队命名为Scorpions From Jupiter。影片中Jonathan Rhys-Meyers扮演的华丽摇滚歌手Brian Slade，是一个喜怒无常，神模式的享乐主义者。70年代末他在英国度过了一段极其让媒体大跌眼镜的时期，并且他双性恋的性取向、众多花边新闻、超级英雄药物以及强大的舞台表现力，都让青少年们津津乐道。Slade与Ewan McGregor饰演的Iggy Pop之间的暧昧关系也是影片一大亮点。但也不只局限于此，因为当两年后《猜火车（Trainspotting）》上映时，观众们发现McGregor依然没有理解那个叫做“裤子”的东西。

Bowie was no fan of this celluloid fan-fic—he barred his songs from appearing in the film—but Velvet Goldmine fared just fine with a squad of his friends and admirers. Shiny original dance tracks from Pulp and Shudder to Think crib the Major Tom era, with familiar Brian Eno and Lou Reed cuts lending deeper pathos. Perhaps not surprisingly for a film of such naked adoration, the soundtrack shines brightest in its covers: Placebo take a mighty, sneering spin through T-Rex’s “20th Century Boy,” and a mysterious, formidable glam outfit called Venus in Furs cover Roxy Music’s “2HB,” “Ladytron,” and “Bitter-sweet.” Who were these guys? Just Suede’s Bernard Butler and Radiohead’s Jonny Greenwood on guitar—plus one Thom Yorke, doing the best Bryan Ferry imitation in the universe. –Stacey Anderson

Bowie本人并不喜欢这种塑料粉丝创作，并且拒绝提任何他的歌曲作为电影配乐。但《天鹅绒金矿（Velvet Goldmine）》在他的粉丝和朋友之间反响良好。从Pulp and Shudder到Think crib the Major Tom时代的闪亮原创舞曲，熟悉的Brian Eno和Lou Reed削减了更深层的伤痛。也许对于一部裸体崇拜电影来说并不奇怪。配乐如何，封面夺不夺人眼球就知道了：兜风的安慰剂乐队超越了T-Rex的“20世纪男孩（20th Century Boy）”，一套富有神秘色彩、强大而华丽的外套——地下丝绒乐队的“穿裘皮大衣的维纳斯（Venus in Furs）”超越了了Roxy Music的“2HB”“Ladytron”和“Bitter-sweet”。这些家伙是谁？只是山羊皮乐队的Bernard Butler和电台司令乐队的Jonny Greenwood的，加上一个Thom Yorke，他们就能用吉他把Bryan Ferry模仿得无人能敌。

—— Stacey Anderson

11. Repo Man （重生男人）1984

Absolutely nothing about Repo Man makes sense—not its magnificently strange, sci-fi, absurdist plot, which blends aliens with punk rock, televangelists with UFO scientists, one-off gags with dry political commentary. And certainly not its unusual journey from utter failure (it was pulled from theaters just a week after its release) to word-of-mouth cult classic. The vehicle of its rescue? A punk soundtrack, one that captured the explosive West Coast hardcore scene at its peak. A movie saved from commercial oblivion by Black Flag and Fear: That was a new one.

绝对地，《重生男人（Repo Man）》毫无意义。不是指它奇妙的，科幻的，荒诞的情节，比如它融合了外星人与朋克摇滚，电视福音布道家与不明飞行物科学家，一次性的噱头与空泛的政治评论。当然也不是说它从完全失败（影片登陆院线一周后即被撤出）到有口皆碑这一非比寻常的经历。救援车辆？一首朋克配乐展露了西海岸硬核摇滚鼎盛时期的热烈场面。一部从因Black Flag 和Fear导致的商业埋没中拯救出来的电影：这是一部全新的作品。

And then, as the album sales pushed past 50,000, Universal reassessed its peculiar little property and re-released the film in theaters. Now Repo Man lives on in the loving mouths of those who quote it endlessly (“I blame society”; “It happens sometimes. People just explode. Natural causes”) and also in its soundtrack’s smart-dumb slam-dancing classics—Suicidal Tendencies’ “Institutionalized”; Black Flag’s “TV Party”; Fear’s “Let’s Have a War”—that saved it from the brink. –Jayson Greene

然后，随着专辑销量突破5万张，环球公司重新评估其独特的价值，并在院线再次发行。现在《重生男人（Repo Man）》依然活跃在那些时常引用它的人嘴中（“都怪社会”;“它有时会发生。人们就是会暴怒。自然原因”）以及它的配乐中那些聪明、笨拙、怪力的舞蹈经典：Suicidal Tendencies的“制度化（Institutionalized）”; Black Flag的“电视派对（TV Party）”; Fear乐队的“让我们打一仗（Let’s Have a War）”把它从边缘拯救了出来。

——  Jayson Greene