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：ConigliaFolle

校正：Ryan-Chopin

推送：Lynn Liu

20.  Aguirre, Wrath of God 《天谴》 1972

Matching the scope and ambition of a film as bold as Werner Herzog’s Aguirre, Wrath of God was no small task, yet the prog-krautrock band Popol Vuh’s score remains as impactful as Herzog’s images. Rather than attempt to bolster the audacious production and narrative with bombastic strings or dramatic arrangements, the score is restrained. The opening scene, dense with mist and dramatic mountains, is matched in texture by the main theme, which is as immersing and omnipresent as the thick vapor that envelops the landscape. The score is rich in dreamy, droning Moog synthesizer, but the choral sounds come from a custom-made, Mellotron-like instrument called a “choir organ.” These two machines collide and interlock to create hypnotic and quietly beautiful arrangements that let you to sink into the voyage onscreen. Several pieces of music reappear throughout, a creative editing process that adds to the feeling of a never-ending journey unfolding. –Daniel Dylan Wray

制作出配得上维尔纳·赫尔佐格的电影《天谴》的目标与野心的配乐并不是那么容易的事情，然而德国实验摇滚（prog-krautrock）乐队Popol Vuh的作品冲击力完全可以和赫尔佐格的电影图像相契合。然而其配乐并没有用大胆的制作、爆炸性的弦乐或者戏剧化的编配来支撑这部无所畏惧的作品，反而较为节制。开场的浓雾和可怖的群山与主题相交织，就像紧紧包裹住风景的厚厚的蒸汽，富有浸入性又无处不在。整套配乐中有大量梦幻的慕格电子音乐元素，但是合唱的声音来自于传统的乐器，名为“唱诗班伴奏风琴”，具有电子琴一般的质感。两种乐器互相碰撞融合，制造出一种催眠又沉静的编排，使你沉入荧幕之旅。一些曲目在整个电影中重复出现，通过创造性的编辑手法增添了旅程逐渐展开又永无止境的感受。

—— Daniel Dylan Wray

19.     Drive  《亡命驾驶》2011

When director Nicolas Winding Refn was making Drive, he had Kraftwerk on his iPod: There was something about the idea of electronic music, he said, that suited “the mythology of the gunslinger with a car.” The songs that found their way to the movie’s soundtrack bear that out: Slick, ’80s-fueled synth-pop chuggers from Kavinsky and the Chromatics help establish the film’s knowing sense of style, cognizant of its antecedents but not the least bit retro. Cliff Martinez’s original score is also rooted in the electronic music of the ’70s and ’80s; its clean-lined synths and cycling arpeggios are part of a lineage running through acts like Kraftwerk, Vangelis, and Tangerine Dream.

导演尼古拉斯·温丁·雷弗恩制作《亡命驾驶》的时候，他的随身听里存着发电站乐队（Kraftwerk）的歌曲，他说电子音乐中的某些元素和“开车枪手的奥秘”很相配。而最终成为了电影原声的歌曲证实了他这一点：卡文斯基的圆滑而富有80年代风格的合成器音乐和半音构成创建了电影老练狡猾的风格，其中能看到前辈的蛛丝马迹但毫不落伍。克里夫·马丁内兹创作的原有的配乐也植根于七八十年代的电子音乐；线条清晰的合成器音乐和循环的琶音配合着发电站乐队、范吉利斯（希腊电影配乐家）与橘梦乐团（德国电音乐队）的作品，成为了线性连续的一部分。

Unlike the neon gloss of Kavinsky and the Chromatics, though, Martinez’s score is darker and more ominous. Throbbing metallic pulses play up the film’s heart-in-mouth action sequences, while desolate ambient passages mirror its amoral character sketches. Not long after Drive’s release, Martinez turned up remixing Plastikman, the most famous alias of the Midwestern techno producer Richie Hawtin. The pairing made sense: Just as Plastikman helped popularize the idea of ambient techno, Martinez’s Drive score introduced the idea of ambient electronic music to a public who might never have otherwise opted to listen to the buzz and burble of minimalist synthesizer recordings. –Philip Sherburne

不同于卡文斯基配乐的半音与色彩学，马丁内兹的配乐显得更加黑暗，预示了不吉的征兆。跳动的金属乐脉搏带动了电影中的打戏情节，孤立的背景音变换也折射了主人公非道德的性格剪影。在《亡命驾驶》上映后不久，马丁内兹就现身为Plastikman（英国电子音乐家）混音，即著名的电子音乐制作人里奇霍廷。两人的合作自有其道理：Plastikman可以普及“环境背景电音”（ambient techno），马丁内兹的《亡命驾驶》向大众引进了环境背景电音这一想法，而他们可能永远不会去听极简主义的合成器作品。

—— Philip Sherburne

18.   Solaris   《索拉里斯星》  1972

Director Andrei Tarkovsky’s movie is far less explicit a narrative than its source, the brilliant sci-fi novel by Stanisław Lem. Solaris is a remote planet that human explorers have circled for centuries, hoping in vain to make contact with the evidently sentient but inscrutable ocean that covers its surface. Suddenly, people from the deep recesses of each astronaut’s memory materialize, flesh-and-blood ghosts that the crew call “guests” and that appear to be the planet’s attempts to communicate.

导演安德烈·塔尔科夫斯基的电影远比史坦尼斯劳·莱姆的原作要隐晦得多，原作是一部出色的科幻小说。索拉里斯星是一颗人类探索者观察已久的遥远行星，他们希望与行星上有明显意识而神秘的海洋保持联系，但结果不尽人意。突然，每位宇航员脑中的想法都变成了现实，有血有肉的幽魂出现了，成为了该行星尝试与他们沟通的媒介，机组成员称他们为“客人”。

The story behind the score is almost as fantastical. Entrusted not just with scoring the movie but creating “an overall conceptual idea for all the sound used,” Eduard Artemiev turned to a Soviet synthesizer called the ANS that generates sound by a unique photo-electronic method: Composers “draw” soundwaves which are turned into audio vibrations via a sophisticated system of rotating glass discs and light beams. The ANS supplied a panoply of microtonal intervals and dense polyphonic chords unachievable on other synths at that time. This palette of subtle shades and shimmering drones enabled Artemiev to depict the unsettled atmosphere on the space station, where the guests are driving their hosts out of their wits. But the queasy sound-vapors also suggest thought-waves from Solaris itself penetrating the minds of the astronauts, blindly striving to understand consciousness unfathomably different from its own vast self. –Simon Reynolds

配乐背后的故事也极具科幻色彩。带着不仅要为电影配乐还要创造一个“对于音响的总体概念”的想法，爱德华·阿尔捷米列夫找到了一位名叫ANS的苏联电子音乐合成者，他通过一种独特的光电方法制造声音：作曲者会“画出”音波，通过一个复杂的系统转换成声波振动，系统由旋转的玻璃光盘和光柱组成。ANS开发了一套复杂的微音程和密集的复调和弦，这在当时其他的合成器上是无法实现的。

—— Jayson Greene

17. Mishima: A Life in Four Chapters   《三岛由纪夫传》1985

Paul Schrader’s biopic Mishima: A Life in Four Chapters is a Japanese-language portrait of Yukio Mishima, the postwar writer and right-wing nationalist who captivated his nation before meeting a grisly demise, one that continues to bewilder historians to this day. Philip Glass’ score is not so much preoccupied with Mishima’s extremist ideals as it is with dramatizing the man himself, and the fact that Glass chose to adhere exclusively to Western tonalities only drives home the film’s operatic nature. The minimalist’s signature repetitive style allows him to use other elements, such as dynamics and instrumentation, to illustrate Mishima’s life. “Osamu’s Theme (KYOKO’S HOUSE)” sees the primary string motif played on a jangly electric guitar, reflecting the more flamboyant early nature of his character, while the distinctly militaristic bent of “November 25: ICHIGAYA” drives home the somber nature of Mishima’s final day on Earth.

保罗·施拉德执导的传记电影《三岛由纪夫传》围绕着三岛由纪夫展开，他是一位战后时期作家，也是右翼爱国主义者，在国家遭到严重毁灭之前使其幸免于难，这一历史事件直到今天都震撼着史学家们。菲利普·格拉斯的配乐并不像三岛的理想那样极端，也不着意于将主人公作戏剧化的处理，格拉斯选择依附于西方调性这一点使电影的歌剧化风格也得到了更好的体现。极简主义重复的风格使他得以使用其他的元素来讲述三岛的一生，比如力度变化、配器等等。“岛修之歌（京子的家）”中我们可以看到第一弦乐主题在叮叮当当的电吉他上奏响，反映了他早年火焰一般闪耀的性格，明显更为军国主义的“11月25日：市谷”也体现了三岛在世界上最后一天的阴暗。

While Mishima bombed at the box office—being banned in Japan certainly didn’t help—themes from the score live on, licensed for numerous documentaries and even featuring prominently in The Truman Show. It remains an important work for Glass, who described it as a turning point in the development of his film-scoring technique. –Noah Yoo

当这部电影获得了爆炸性的票房成功——虽然在日本被禁并不影响——配乐中的生命主题得到了延伸，被使用在多部纪录片中，甚至还在《楚门的世界》中闪亮登场。它成为了格拉斯的一部重要作品，他也将它称为自身电影配乐技巧发展的重要转折点。

—— Noah Yoo

16.  Eraserhead   《橡皮头》 1977

The sounds featured in David Lynch’s debut film could easily be placed in both the score and soundtrack category, and yet they remain so unusual that they arguably don’t belong in either. Lynch and sound designer Alan Splet create a soundscape that plunges you deep inside the film, where you feel every floorboard creak, gust of wind, rumbling smoke stack, churning radiator, and electrical hiss. Eraserhead is the amplification of background noise as its own art, where Lynch and Splet force your attention on sounds that would otherwise be ignored or deemed ugly and grating. The organ music of Fats Waller bleeds into dense atmospheres and clips of crying babies like a ghost from another realm, creating a confusing sonic voyage. Both “ambient” and “industrial” would become more frequently used music terms in the years after Eraserhead’s release and, over 40 years on, its score remains a template of experimentation, where the two genres coexist in harmonious discordance. –Daniel Dylan Wray

在大卫·林奇的首部电影中的乐声既可以作为配乐，也可以作为原声，但它们十分特别，所以也许不归属于任何一边。林奇和声音设计师阿兰·斯普莱特共同创建了一个可以让你深深浸入电影之中的声场，你可以感受到每一次地板的吱嘎声，风声，隆隆的烟囱，旋转着的散热器以及电流的嘶嘶声。《橡皮头》是将背景噪声作为艺术的集大成者，林奇和斯普莱特强行将观众的注意力集中到平时会被忽视或者被看作不悦耳的声音上。Fats Waller的管风琴音乐流入浓烈的电影氛围中，哭泣婴儿的片段就像从另一个世界穿梭而来的鬼魂，创设了一次迷幻的声音旅行。《橡皮头》上映后，“环境”和“工业”在音乐术语中被更多地使用，四十多年后的今天，它的配乐依然是实验音乐的范本，两种音乐流派在不和谐的和声中共存。

—— Daniel Dylan Wray

15.  Dead Man  《离魂异客》1995

For the past 50 years, Neil Young’s primary electric guitar has been the customized 1953 Gibson Les Paul Goldtop he calls “Old Black.” Fans know the guitar’s majestically overdriven tone from classic albums like Zuma, Rust Never Sleeps, and Ragged Glory. But Old Black is featured in its purest form on the soundtrack for Jim Jarmusch’s hallucinatory western Dead Man. Young’s low, ominous notes are inseparable from Robby Müller’s striking black-and-white cinematography, lending an elemental pull to the increasingly strange odyssey of William Blake (Johnny Depp) and Nobody (Gary Farmer), Blake’s sardonic Native American guide. Young improvised most of the score, conjuring up dreamy memories of Ennio Morricone’s spaghetti westerns and the harsh twang of the “Rawhide” TV show. It’s both an authentic evocation of the American West and an ironic commentary, just like Jarmusch’s film. –Tyler Wilcox

在过去的五十年中，Neil Young首选的电吉是他定制的1953年Gibson Les Paul Goldtop，他自己把它叫做“Old Black”。粉丝都知道其带有驱动器效果的纯熟声音出现在了《Zuma》, 《Rust Never Sleeps》,和《Ragged Glory》等专辑里。但是Old Black却以它最纯净的形式出现在了Jim Jarmusch哈利路亚式的西部片《离魂异客》（Dead Man）中。Neil Young低沉而充满不祥预兆的声音与Robby Müller的黑白电影艺术互相依存，将William Blake（Johnny Depp扮演）和无名人(Gary Farmer扮演)的传奇经历推向了高潮，无名人同时也是颇具讽刺意义的美国原住民向导。Neil Young即兴创作完成了大部分的配乐，同时插入了Ennio Morricone所创作的意式西部片配乐和电视节目“Rawhide”中强烈的击弦声元素。这是对美国西部片和讽刺评论的真切呼唤，就像是贾木许（Jarmusch）的电影一样。

—— Tyler Wilcox

14.     The Third Man   《黑狱亡魂》 1949

When The Third Man hit theaters in 1949, Anton Karas’ zither score was nothing short of radical. In an era dominated by swelling, orchestral film music, here was this strange instrument (sort of like an overgrown pedal steel guitar) making this odd sound (somehow circus-like and mournful at once) being played by an unknown Austrian used to performing at the houses of Viennese wine growers (where he would be compensated with a glass of white and some sausage). In modern terms, it would be like Christopher Nolan enlisting a busking kazoo player from the London Underground.

当《黑狱亡魂》于1949年上映时，Anton Karas’ zither的配乐无疑是十分激进的。在当时配乐被宏大的管弦乐支配的大环境下，那件奇怪的乐器（有点像是过度失真的踏板夏威夷吉他）创造了古怪的声音（有点马戏团音乐的感觉，又十分悲痛），这种声音由一位不知名的奥地利人演奏，他从前在维也纳的酒吧里表演（他可能会在那儿来一杯白葡萄酒和几根香肠）。用稍微时髦一点的话说，可能是克里斯托弗诺兰招了一个在伦敦地铁吹卡祖笛卖艺的艺人。

But director Carol Reed’s unlikely gamble paid off in more ways than one. Karas’ zither instantly sets The Third Man apart from its noir ilk, the instrument’s mischievous twang complementing the movie’s skewed, tragicomic tone. The score was such a hit with audiences that a single featuring its plucky main theme was rushed to market. It quickly sold more than half a million copies in England, a then-unprecedented achievement, and went on to become the third most popular record in America in 1950 (with a cover of the tune nabbing the No. 4 spot as well). Though dismissed as a mere fad at the time, the music of The Third Man has endured ever since: The Beatles and the Band recorded their own versions of the theme, and the Lonely Island sampled it on a 2002 song about wanting to fuck a stork. Even now, it remains one of the most unmistakable film scores ever made. –Ryan Dombal

但是导演Carol Reed看似不靠谱的赌注却收到了意外好的效果。Karas的齐特琴一直将《黑狱亡魂》的基调往远离黑色电影的方向拉，乐器淘气的击弦声与电影歪歪斜斜、悲喜剧的风格相互补。这首配乐颇受观众好评，以至于一首包含着主题的单曲被迅速发行。它在英国达成了50余万的销量，成绩令人意想不到，成为了1950年最流行的单曲（此曲的翻唱版本也达到了榜单第四的位置）。尽管此电影风靡一时，但是《黑狱亡魂》的配乐却有着更长久的生命力：披头士乐队录制了自己版本的主题曲，寂寞孤岛乐队在2002年发行的歌曲中使用了该曲的小样，这首歌曲讲述了一个人想和一只鹳发生关系的故事。即使是今天，它依然是最完美无缺的电影配乐之一。

—— Ryan Dombal

13.  Taxi Driver  《出租车司机》1976

Martin Scorsese’s Taxi Driver depicts a seedy, sick New York through the eyes of Travis Bickle, a man on a mission to wash away the scum he sees staining the streets. Bernard Herrmann’s score—his last ever—taps into the filthy underbelly that Bickle prowls at night in his taxicab. The arrangements are at once dramatic, malevolent, eerie, and romantic, capturing a spirit of the unknown that matches Bickle’s endless cruising. Tom Scott’s profoundly beautiful saxophone solo in the film’s main theme embodies the potential of a city (and person) in conflict with itself. The music is the sound of the metropolis, as projected by Bickle. It ricochets between hope and beauty, desire and despair, romance and violence, all with a tangible atmosphere as thick as the engulfing steam emitting from the vents of the streets. –Daniel Dylan Wray

Martin Scorsese导演的《出租车司机》描绘了Travis Bickle眼中破烂、病态的纽约，他的任务是清除掉街上粘住的口香糖。Bernard Herrmann的配乐——同时也是他的最后一部配乐作品——在Bickle开着出租车潜行在纽约肮脏的犄角旮旯时直击心灵。这种编配十分戏剧化、充满恶意，怪异且浪漫，描绘了匿名者的内心世界，与Bickle无尽的驾驶相匹配。Tom Scott优美的萨克斯独奏作为电影的主题，拥抱城市的潜力（以及个人）和自身的冲突与矛盾。音乐是都市之声，并在主人公的身影下被投射出来。

—— Daniel Dylan Wray

12. Ghost Dog: The Way of the Samurai  《鬼狗杀手》1999

Pigeons taking flight are a recurring image in Ghost Dog: The Way of the Samurai. They ascend at will, leaving the ground as well as Ghost Dog, a reticent hitman and pigeon-keeper, behind. The birds are one of his few connections to the world beyond contract killings. There is no envy in his eyes as he watches his pigeons lift off, but there is longing, and RZA’s spare score fills the distance between Ghost Dog’s melancholic gaze and the freedom he can’t attain.

鸽子起飞是在《鬼狗杀手》中反复出现的场景。他们随意愿起飞，离开地面，鬼狗——一位沉默寡言的杀手，同时也是一位养鸽人——站在它们身后。这些鸽子是除了杀人契约以外少有的和外界的联系。当他望着自己的鸽子起飞的时候眼中并没有嫉妒，却有渴望，RZA的配乐填补了鬼狗悲伤的眼神与他所不能得的自由之间的空白。

Skeletal and swaying, RZA’s compositions are hypnotic dirges. Chimes, bells, and guitar plucks drift over brusque kick drums like spirits over water; dulled gongs and chords echo into chasms of rumbling bass. As Ghost Dog stoically carries out his masterful hits, the score voices his inner peace. His life is a loop but it is not a bore. The soundtrack to the film is more lively than the score, and features voiceovers from the film and crowd-pleasing Wu-Tang team-ups, but it trades character for action. There can be freedom within constraints, and in his minimal compositions, RZA finds it for Ghost Dog and for himself. –Stephen Kearse

RZA的作品既富有骨架也十分摇摆，有着催眠挽歌的特质。钟声、铃声和吉他的拨弦声在直进的踏板鼓声上漂浮，如同水上幽魂；单调的锣声与和弦游荡在隆隆低音的裂隙里。当鬼狗坚忍地执行自己的致命一击时，配乐道出了他内心的平静。他的生活是个循环却并不单调。电影中的音轨比乐谱更为生动，伴随着画外音和令人叫绝的武术队，从而使人物的性格变得更加形象。其中有着节制的自由，在RZA极简主义的创作中，他发现了最适合鬼狗的音乐，也找回了自己。

—— Stephen Kearse

11.   The Social Network  《社交网络》2010

Trent Reznor and Atticus Ross’ first full-length film score is a masterpiece of gloomy, menacing atmospheres, full of long guitar drones and glitchy, digital textures that capture the turbulent birth of Facebook and its irrevocable shaping of modern society. Drum machines and sequencers set a precise pace on some tracks, while a lonely piano strikes the emotional counterbalance elsewhere, offering peals of both hope and sorrow.

Trent Reznor和Atticus Ross第一部完整的电影配乐完成得十分出色，极具阴郁和压迫感，充斥着漫长的嗡嗡吉他杂音，数字性的织体展现了Facebook在世界洪流中的诞生，以及它对当代社会不可磨灭的影响。电鼓和时间调节器给一部分音轨定下了准确的步调，与此同时，孤寂的钢琴达成了情绪上的平衡，也大声倾诉了希望和悲伤的情绪。

Reznor has said director David Fincher requested a “synthetic landscape” à la Blade Runner, and that influence is apparent. Like Vangelis’ masterwork, The Social Network’s score is a shadowy character that lurks in the backdrop of the film’s most arresting scenes, lending tension to the tedium of start-ups and stockholders. “When we were creating these ideas... we thought, ‘This could be the sound of an asteroid hitting the Earth at the end of humanity,’” Reznor said of the score in 2011. He had no idea how right he was. –Noah Yoo

Reznor曾说导演David Fincher要求配乐创设银翼杀手一般的“人造景观”，而这种影响是显而易见的。就像Vangelis的杰作一样，《社交网络》的配乐有着阴郁的特性埋伏在电影最扣人心弦的几个场景背后，使单调乏味的股市开盘和股票持有者的画面更加富有紧张感。“当我们创造出这些想法的时候……我们想，‘这可能是世界末日小行星撞地球的声音吧，’” Reznor对于他在2011年创作出的配乐如是说道。可他并不清楚自己的观点是否确切。

—— Noah Yoo