【搬运译】Pitchfork评电影原声带《Charlie's Angels》《霹雳娇娃（电影原声带）》

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）

翻译：Ivory Ye

校正：Ryan-Chopin

排版：Ryan-Chopin

Ariana Grande executive produces the latest entry into the pop-camp franchise, but the collection feels warmed over, too glossy, and only remedially empowering.

由Ariana Grande担纲制作人的这张电影原声带，融入了流行和坎普元素，但风格老套，内容浮华，仅能起到抚慰情感之用。

Pop music shows up in prominent and irreverent ways within the Charlie’s Angels universe. The original TV show’s brassy theme song is as indelible as the image of the franchise’s three detectives in silhouette, and the campy film reboot in 2000 used a wealth of inspired syncs: a high-flying alleyway battle set to the Prodigy; Sam Rockwell shimmying in his evil lair to Pharoahe Monch; even Cameron Diaz doing the whitest Soul Train routine of all time to Sir Mix-A-Lot. That lovable version of the crime-fighting Angels, of course, also brought about “Independent Women (Part 1),” Destiny’s Child’s inescapable tie-in empowerment anthem that became the longest-running No. 1 of that year and the group’s most successful crossover single ever.

在《Charlie’s Angels（霹雳娇娃)》影片中，流行音乐登台方式不同常规，十分亮眼。原版电视剧中低沉的主题音乐亦如三位女侦探的背影难以忘怀。2000年重启版电影风格古怪搞笑，大量镜头受音乐启发，与之同步进行：高空巷战与Prodigy相衬；在藏身处Sam Rockwell的希米舞呼应Pharoahe Monch，甚至Cameron Diaz也从白人的视角重现了Soul Train的经典动作，致敬Sir Mix-A-Lot。当然，对抗邪恶势力的天使们惹人疼爱，搭配Destiny’s Child的《Independent Woman (Part 1)》出场。这首标志性的颂歌不仅是当年在榜首停留最久的单曲，也是该组合最受欢迎的转型单曲。

It’s an inevitably long shadow for Ariana Grande, who enters the fray this month by executive producing the soundtrack for an Elizabeth Banks-directed update coming to theaters. Brought in to represent “not just the theme of the movie but the audience,” Grande is a natural fit for 2019’s Angels, with enough effortless charm and cultural cachet to hold court over the soundtrack’s assembly of high-wattage, all-women guest stars. Yet for all of its promise in the wake of Grande’s slinky, accomplished thank u, next earlier this year, Charlie’s Angels instead smooths over any and all hard edges, opting for big-budget pop grabs and glossy filler that undermine the impressive lineup of talent.

对Ariana Grande而言，本月无疑是痛苦、漫长的。因为Elizabeth Banks执导的影片即将上映，而由她负责的电影原声带也进入了马不停蹄的制作阶段。她不愧是2019版《霹雳娇娃》原声带的最佳人选，如愿展现影片主旨的同时，也传达了观众心声。潇洒自如的魅力以及乐坛声望，足以使观众的目光从音乐或全女星阵容聚焦于她一人。尽管今年早些时候发布的《thank u, next（谢谢你，下一个）》风格柔媚、才华横溢，颇具成功之势，但高成本制作的《霹雳娇娃》原声带华而不实，削减了歌曲的强硬风格以及豪华阵容的震撼力。

Grande addresses the “Independent Women” elephant head-on with “Don’t Call Me Angel,” a drab pop collaboration between herself, Miley Cyrus, and Lana Del Rey. With a narcotized delivery and hammering metallic bells, “Don’t Call Me Angel” will absolutely be forgotten in each artists’ respective discographies within the year, and for good reason: Where Destiny’s Child organically drew on female empowerment by speaking directly to a generation of working women and encouraging them to command authority, Grande’s song slings demands exclusively at men in its confounding bid for control. It’s only empowering at the most remedial level.

在Grande眼中，《Independent Women》就像头大象，迎面撞击她和Miley Cyrus、Lana Del Rey合作的流行歌曲《Don’t Call Me Angel（别叫姐天使）》。后者表演风格令人麻木，金属铃铛的敲击声毫无新鲜感，无疑会被淡忘在三位歌手的年度作品集中。此外，虽然两首歌都表达了要加强女性权力的呼声，但Destiny’s Child直面职业女性，鼓励她们把握主权，而Grande则把需求统统抛向男性。相比之下，后者仅起到了疗伤的效果。

The balmier pop-R&B cut “Bad to You,” with Grande regulars Normani and Nicki Minaj, coasts on better chemistry and Normani’s swooning voice, plus some outsized Max Martin production. Nevertheless, with Minaj sleepwalking through her verse and lyrics that once again exclusively chide male partners, it barely rises above mid-tier. The rest of Grande’s braintrust of collaborators fare better: Victoria Monét joins her for the trappy “Got Her Own,” bouncing featherlight vocal runs off each other like they’re in a round of badminton. And “How I Look on You,” Grande’s only solo feature, is a self-reflexive dark pop highlight, ripped through with a sluggish guitar line, trap snares, and sharp rejoinders to a character who finds her star power more appealing than her personality. It may be microwaved thank u, next, but it’s still a solid reminder of Grande’s songwriting finesse when she isn’t mobbed by guests.

《Bad to You》兼具流行和蓝调元素，能抚慰心灵。它由Grande和老搭档Normani、Nicki Minaj共同演绎。三人碰撞出别样的火花，Normani醉人的嗓音以及Max Martin宏伟的制作使这首歌好评如潮。可是，在主歌和歌词部分Minaj再次把矛头指向男同胞，使得歌曲勉强处于中上水平。Grande同其他搭档演绎的作品更为精彩：她与Victoria Monét一同演唱《Got Her Own》，两人轻柔的嗓音相互映衬，如同羽毛球一来一回。她的独唱曲目《How I Look on You》是首美妙绝伦的黑暗流行乐。缓慢的吉他，trap风格的军鼓以及对内心世界的探寻一气呵成，表达了主人公对自身的清晰认知：人气高于个性。这首歌或许是低配版的《thank you, next》，但它仍强有力地展现出Grande在没有观众时高超的作曲能力。

Because for as stacked as the Angels tracklist is, listening to it in full feels unhinged: There’s “Nobody,” a forgettable house-pop song with Chaka Khan that somehow bears zero relation to “Ain’t Nobody” and which not even Khan herself can bother feigning excitement for. It’s as doomed as an obligatory EDM-lite remix of Donna Summer’s “Bad Girls,” or the overproduced squad feature that opens the album with literal fanfare, “How It’s Done,” which finds Kash Doll and Stefflon Don trying their best under Kim Petras’ big, shouty chorus. That kind of keyed-up energy that spans the soundtrack might be electrifying—or at least make some sense—during an action sequence in the film. On its own, it just scans as low-grade exhausting.

尽管这张原声带曲目丰富，但一次性听完会产生错乱之感。首先Grande和Chaka Khan合唱的浩室曲风歌曲《Nobody》平淡无奇，和《Ain’t Nobody（没有人）》无相通之处，甚至Khan本人也对此毫无兴趣，这注定了它难以风靡开来。类似的还有我们意料之中用了EDM混音演绎的Donna Summer作品《Bad Girls（坏女孩）》，以及专辑开头为了达到“号角齐鸣”效果制作过度的《How It’s Done》。从中你能听出Kash Doll和Stefflon Don在Kim Petras高亢嘈杂的背景声中努力地合唱。结合影片的动作镜头，这股激昂的能量或许能让你热血沸腾，至少它是符合电影情节的。但仅听歌曲本身，容易让人产生疲惫之感。

The most vexing aspect of this Charlie’s Angels soundtrack is that the levity and camp at the heart of the series never comes into focus. The truth is that Grande is a perfect choice for the film and its audience: a bona fide pop idol, wunderkind, and businesswoman with a sharp sense of humor and a cohort of multitalented women in her inner circle—all elements that could have led to an artfully playful soundtrack that breathed new life into an iconic, female-fronted, big-budget action machine. But with an outcome this ordinary, it just sounds like Grande is cashing in.

《霹雳娇娃》原声带最迷惑的点在于幽默和坎普的核心风格始终没有突显。对影片和观众而言，Grande确实是最佳人选：流行偶像、天后以及企业家的多重身份，天生的幽默感，多才多艺的女性搭档。这些特质本该使唱片美妙动人，富含趣味，为这部以女性引领的大制作动作电影带来新的活力。但就现在这个极其普通的成品来看，Grande好像只顾着赚钱了。