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：Tiana.T，Lucia C

校正：Lynn Liu

40. Brown Sugar（甜心情缘） 2002

The Brown Sugar soundtrack is perfect because every time a song plays in the film, it connects directly with Taye Diggs’ outfit. Early on, when we’re meeting his character, Dre—a high-powered A&R man for the definitely-a-scam Millennium Records, wearing his best get-money suit—Mos Def’s “Breakdown” blares imperially. Then, as Diggs begins to realize he’s in love with his childhood friend, Sidney, and pulls out his skintight turtleneck to prepare for some deep thoughts, the soundtrack offers up Erykah Badu and Common’s duet “Love of My Life.” Finally, when Dre wins the love of Sidney, wearing a white sweater fit for a Macy’s ad, in kicks Mos Def’s heartfelt, Kanye West-produced jam “Brown Sugar.” The whole soundtrack is spiritually—and sartorially—aligned with the best of what early-2000s R&B and hip-hop had to offer. –Alphonse Pierre

电影《Brown Sugar（甜心情缘）》的原声配乐堪称完美，之所以这么说是因为每次歌曲响起总是跟主演Taye Diggs的造型变化有关。一开始，我们看到这个角色时，男主角德伊是一个炙手可热的音乐人，随着他的摇钱树——Mos Def的歌曲“Breakdown”名声大噪，他开始专门制作些歌颂千禧伊始的唱片，渐渐的，德伊开始意识到他爱上了童年的玩伴——希德尼，于是他便脱下他的紧身高领毛衣，陷入深深的思考。此时电影的配乐是Erykah Badu and Common的二重唱“Love Of My Life（我生活中的爱）”。最终，当希德尼也爱上德伊的时候，德伊便以白色毛衣的造型在梅西广告中亮相，此刻背景响起了由Kanye West制作，由Mos Def衷心演唱的“Brown Sugar”。全片的原声配乐不论是在情感上还是在造型上都展现了21世纪初期R&B和嘻哈能呈现的最佳效果。

—— Alphonse Pierre

39.  The Last Days of Disco（最后的迪斯科）1998

The nightclub at the heart of Whit Stillman’s film, set in the early ’80s, is a hotbed of drama: girl-on-girl pettiness, sexual psychodramas, and fraudulent schemes. And most of the characters are self-centered, privileged white yuppies. But somehow New York’s most insufferable people still make the city feel intoxicating, especially when their carousing is soundtracked with so many hits. When the film opens with Carol Douglas’ euphoric pop song “Doctor’s Orders,” it is so healing that we momentarily forget how this club—and the entire community it represents—is already doomed. Dancefloor anthems from Chic, Diana Ross, and Sister Sledge drop back-to-back, with all the urgency of a DJ trying to preserve their dying scene for one last night. Though the film was made nearly 20 years after disco’s heyday, its energy feels both of a time and timeless. Even as it stages disco’s funeral, the film captures that feeling of hearing “Good Times” at the club while shyly sipping on a vodka tonic, pushing off daylight for a little longer. –Kristen Yoonsoo Kim

这部由Whit Stillman执导的电影《The Last Days of Disco（最后的迪斯科）》 ，故事发生在一家八十年代早期的俱乐部，在这里，一场故事悄然发生。这是一部关于女人之间为了性虚情假意，勾心斗角的心理剧。影片中的大多数人物都是以自我为中心，充满优越感的白人雅痞士。但这些讨厌的纽约客仍然从某种程度上令这座城市看起来更加纸醉金迷，尤其是在他们痛饮寻欢响起了有力的打击乐时，这种感觉更甚。电影开场便响起Carol Douglas令人愉悦的流行乐曲“Doctor’s Orders”，治愈人心的配乐以至于让人短暂忘记了这个俱乐部和俱乐部代表的整个社会是多么的低靡。DJ努力想要保留他们消失的最后一夜的那一幕，在这个舞池上他们赞颂了Chic, Diana Ross和Sister Sledge等那一时代的人。尽管电影是在迪斯科全盛期将近20年后制作的，它迸发的能量让人感受到时代消亡的同时，也感受到时间永存。它作为祭奠迪斯科时代的消逝，影片巧妙捕捉了那个时代人们一边吮着冒泡的伏特加，一边在俱乐部里听着”Good Times”，企图让白天变得更长一些的感觉。

—— Kristen Yoonsoo Kim

38. Performance（迷幻演出）1970

In Donald Cammell and Nicolas Roeg’s Performance, Mick Jagger serves as a cultural readymade, preloaded with associations as the singer of the 1960s’ most dangerous and Dionysian rock band. Fittingly, the soundtrack resembles a parallel-world Rolling Stones album. Producer Jack Nitzsche, an architect of Phil Spector’s Wall of Sound, had also played keyboards on four of the Stones’ peak-period LPs. Singer Merry Clayton, the show-stealing elemental force on “Gimme Shelter,” dominates here with her unique brand of psychedelic, psychotic gospel: jousting with Bernie Krause’s sinister Moog on the title track, humming and moaning with hair-raising intensity on the climactic “Turner’s Murder.” Randy Newman’s rasp and Ry Cooder’s slide guitar align fully with the Stones' sound circa “Honky Tonk Women.” Nitzsche’s own compositions are somewhat slight by comparison, but he does offer a supremely late-’60s decadence title in “Rolls Royce and Acid.” There’s also a terrific turn from Jagger himself on “Memo From Turner,” in which he fuses his own insolent white-blues persona with the psyche of an East London gangster. Roeg would try the pop-star gambit once more with Bowie on The Man Who Fell to Earth, but while that film vies with Performance for Greatest Rock Movie Ever, the film’s soundtrack pales next to its Jagger-infused predecessor. –Simon Reynolds

在Donald Cammell和Nicolas Roeg共同执导的电影《Performance》中， Mick Jagger作为20世纪60年代最令人疯狂的乐队主唱，他自身就是文化的符号。与之相应的是，电影配乐就像是那个平行世界中滚石乐队的歌曲。

制片人Jack Nitzsche——Phil Spector的音墙建筑师，他还在滚石巅峰时期的唱片中担任了键盘手。在歌曲“Gimme Shelter” 中，有着攫取原力的表现的歌手Merry Clayton在这里同样与她迷幻疯狂的真理出彩地驾驭了电影配乐：在主音轨上与Bernie Krause的阴森的Moog合成器同台竞技，在“Turner’s Murder”高潮部分中的哼唱、呻吟令人头皮发麻。Randy Newmans沙哑粗砺的唱法与Ry Cooder的吉他音完美融合在类似于滚石乐队 “Honky Tonk Women”的音乐风格中。Nitzsche的作曲也偶尔被比较，但是他的确在“Rolls Royce and Acid”中贡献了60年代后期衰败的曲风。还有Jagger在“Memo From Turner,”中的绝妙转换冗杂了他的白人布鲁士的散漫和东伦敦匪帮灵魂的调子。Roeg也凭The Man On The Earth中与Bowie的合作再一次开始尝试成为流行歌手。但是要论这部电影与Performance哪一部才是最佳摇滚乐电影的话，它的原声带还是混逊色于有Jagger前辈加持的Performance.

—— Simon Reynolds

37. Eternal Sunshine of the Spotless Mind（暖暖内含光）2004

Perennial L.A. cult figure Jon Brion’s Eternal Sunshine of the Spotless Mind score, rich in filigree, has all the hallmarks of his own music and his more pointillist collaborations with Fiona Apple, though the brief cues often pull up agonizingly short of fully realizing that promise. But the bruised heartache that left his solo album on the major-label shelf for years was the perfect match for a film that crystallized the impossibility of a perfect love, exploding into its ultimate form with Beck’s devastating cover of the Korgis’ “Everybody’s Got to Learn Sometime.” Even the most invested follower of Brion’s work would’ve been surprised by his trajectory after this soundtrack, which elevated him from a fêted figure within a tight local scene to a go-to collaborator for Kanye West and Spoon. –Laura Snapes

L.A.的狂热信徒Jon Brion的电影Eternal Sunshine of the Spotless Mind中极其细腻的配乐有着他本身音乐的所有独特之处，更有和Fiona Apple的天作之合。尽管有简短地被提起说配乐其实并没能完全达到期望，但是令人心疼依然是他的专辑多年来的主要标签，并且这一特质完美地配合了一部电影，这部电影明确了完美爱情的不可能性。有Beck震撼人心的驾驭能力，这一特质在Korgis的Everybody’s Got to Learn Something中爆发到顶峰。甚至是在Brion的作品中投资最多的人也会被这首配乐带来的影响所惊讶，这首配乐同时也将他本人从一个只是当地有名的人物抬高到一个可以和Kanye West和Spoon的著名音乐人。

—— Laura Snapes

36. Marie Antoinette（绝代艳后）2006

Being a teenager sucks, especially when your excessive partying manages to piss off an entire nation. That’s the gist of Sofia Coppola’s courtiers-and-Converses film Marie Antoinette, a pop-art explosion that attempts to view Antoinette’s fraught time on the French throne through the lens of her rushed adolescence. The film’s expertly curated soundtrack channels that teenage essence more effectively than the film itself; alongside selected harpischord sonatas and understated piano, the dystopian majesty of Siouxsie and the Banshees’ “Hong Kong Garden” reigns, an extended string-laden intro adding to the pomp and circumstance. The Cure and the Strokes are present and accounted for, while the Radio Dept.’s gorgeously hazy indie pop perfectly complements the natural-light Approach of cinematographer Lance Acord. Although the soundtrack’s intentional anachronisms fueled the “pop video” criticisms the film initially faced, its embrace of teenage alienation and abandon feels universal. –Larry Fitzmaurice

一个年轻的啃老族，而且尤其是一个因为过多的派对激怒了整个国家的人。没错，这就是Sofia Coppola对其有褒有贬的电影Marie Antoinette的主人公。因为流行艺术的发展，导演试图通过Antoinette荒蛮的青春期去重新看待那段她在法国备受担忧的时光。电影专业地运用青年精神的配乐，这甚至比电影本身更具成效。精选的大键琴奏鸣曲和低调的钢琴声，每每琴弦声都渲染了当时的浮华环境，苏可西与女妖的 “Hong Kong Garden”正式架构了一个反乌托邦的朝代。The Cure和the Strokes的音乐也在电影中被呈现， Radio Dept独立流行乐队的朦胧曲风与摄影师自然灯光的拍摄方法的互补，这同样也能配合塑造这样一个时代背景。尽管电影专门聚焦的这样一个脱离时代的人物，引起了“pop video”批判电影初衷的质疑声，可它还是试图去拥抱青少年的疏离感和被抛弃的困境。

—— Larry Fitzmaurice 

35. Withnail and I（我与长指甲） 1987

Following two struggling actors with an unquenchable thirst for drinks and drugs, Withnail and I is a British cult favorite that captures the last gasp of London’s swinging ’60s and the hangover after. Music is used sparsely and wisely in the film; the acerbic, caustic, and cripplingly funny dialogue often needs little assistance. When it is employed, it’s brilliant: King Curtis’ live cover of Procol Harum’s “A Whiter Shade of Pale” clogs the screen as densely as the cigarette smoke that fills our antiheroes’ apartment, amping up the claustrophobia as the camera pans across a tableau of domestic misery and filth. Jimi Hendrix screeches from the speakers as the pair leaves London, booze firmly in hand; once they’re in the countryside, the original music of David Dundas and Rick Wentworth conjures a more pastoral and melancholic tone. The clash between potent rock and more plaintive acoustic folk captures the main characters’ duality: Withnail (Richard E. Grant) is all pomp and exuberance, with “I” (Paul McGann) as his sensitive foil. “Withnail’s Theme,” by Dundas and Wentworth, has a fairground quality, woozy and disorienting, mimicking the young wastrel’s constant drunkenness. The entire soundtrack has a similarly intoxicating effect. –Daniel Dylan Wray

主角为两个生活艰难的、酗酒嗑药的演员，《Withnail and I（我与长指甲）》是一部英国cult风电影，捕捉了伦敦繁华的60年代的尾声以及那之后的残余。片中不算多的音乐运用得非常巧妙；那些尖酸、刻薄、极为有趣的对白往往不需要背景音乐的辅助。而当音乐出现时，则给人留下深刻印象：King Curtis现场翻唱了Procol Harum的“A Whiter Shade of Pale”，这听起来就像浓浓的烟味充满了主角们的公寓，在镜头扫过家中绝望与污秽的布置时，加强了幽闭恐惧症之感。Jimi Hendrix的嘶吼声在两个主角手握酒瓶、离开伦敦的时候从音响传出；而当他们到了乡下时，David Dundas和Rick Wentworth创作的原声又增添了乡村、悲伤的气息。片中强劲的摇滚与伤感的不插电民谣形成的冲突反映了主角们的二元性：Withnail（Richard E. Grant饰）富有激情，而“我”（Paul McGann饰）则是他多愁善感的伙伴。David Dundas和Rick Wentworth 创作的“Withnail’s Theme”有种集市的喧闹感，令人眩晕，呼应了片中那个年轻小混混总是醉酒的状态。整张原声带都有着这样迷幻的效果。

—— Daniel Dylan Wray

34.  Kill Bill Vol. 1 & 2（杀死比尔） 2003，2004

Quentin Tarantino is a self-proclaimed vinyl nerd, a collector who often conceptualizes scenes by sorting through his stacks for the perfect sound. His Kill Bill films are breathless acts of pastiche, splicing together interpretations of Blaxploitation, spaghetti Western, martial arts, and even anime into Uma Thurman’s pursuit of vengeance. Likewise, the dual soundtracks serve as sort of auditory hyperlinks, musical keys to Tarantino’s catacomb of references. Both volumes swing wildly, from Luis Bacalov’s somber Old West mix of strings and harmonica to the irrepressible thrust of Isaac Hayes’ “Run Fay Run,” from the pan flute vibes of Gheorghe Zamfir to the funk-rock bombast of Japanese guitarist Tomoyasu Hotei. Bits of dialogue and incidental music from RZA weave these fragments together, turning the sets into personal listening sessions of Tarantino’s cherished finds. Nearly two decades on, the results feel prescient of our current curator culture, in which you’re allowed an intimate peek into a sharp mind. –Grayson Haver Currin

Quentin Tarantino自己承认过他是个黑胶唱片迷，作为一个收藏家，他经常翻找自己的唱片收藏找出最合适的歌，以此为他的电影场景赋予他设想的概念。他的《Kill Bill（杀死比尔）》系列充斥着混搭起来的各种元素，拼凑起来黑人剥削电影、意大利式西部片、武术、甚至动漫，融入Uma Thurman的复仇之旅。同样地，两张原声带就像是超链接一般，引人进入Tarantino的众多引用元素中。两张原声带都融入了不同风格，从Luis Bacalov忧郁的老西部风格的弦乐与口琴到Isaac Hayes的“Run Fay Run”难以抑制的活力，从Gheorghe Zamfir的悠扬笛声到日本吉他手Tomoyasu Hotei张扬的放克摇滚。RZA的对白和配乐将这些电影碎片联结在了一起，令人感到仿佛在听Tarantino的私人收藏。已经过去了近二十年，这样的原声效果似乎预示了如今的展览文化----人们有机会窥探到有趣的思想。

—— Grayson Haver Currin

33. Clueless（独领风骚） 1995

If in the summer of 1995, while driving your Jeep to the mall to pick up some knee socks from Contempo Casuals, you tuned into your local modern rock radio station, there was a 90 percent chance you’d hear an artist from the Clueless soundtrack. Spanning meat-and-potatoes alt-rock (Counting Crows, Cracker), ska (the Mighty Mighty Bosstones), Britpop (Supergrass, the Lightning Seeds), pop-punk (the Muffs, the Smoking Popes), and even, in Cher Horowitz’s words, “maudlin” “cry-baby” music (Radiohead! As if!), these 14 tracks embodied the wild, anything-goes, post-Nirvana era when tiny bands suddenly found themselves with major label deals and huge Hollywood film syncs. This collection of songs doesn’t make much sense, but somehow works together perfectly when cocooned inside the delightfully absurd world of the film—just like one of Cher’s outfits. –Amy Phillips

在1995年的夏日，如果你开着吉普车去商场买Contempo Casuals的过膝袜，在途中打开了本地摇滚电台，你有百分之九十的可能会听到《Clueless（独领风骚）》的原声带中的一位音乐人。这张原声带中有最基本的另类摇滚（Counting Crows, Cracker）、斯卡（(the Mighty Mighty Bosstones）、英摇（Supergrass, the Lightning Seeds）、流行朋克（the Muffs, the Smoking Popes），甚至还有----用主角Cher Horowitz的话说----“伤感”又“矫情”的音乐（Radiohead! 好像她说的是真的一样），这14首歌代表了那个狂野的、什么都可能发生的后Nirvana时代，小乐队们一下子被各大厂牌签约、出现在各种好莱坞电影里。这张原声带并没有什么大意义，但却完美地适合这个电影中快乐而荒谬的世界----就像Cher的衣服一样。

—— Amy Phillips

32. I'm Not There（我不在那儿）2007

I’m Not There isn’t really a Bob Dylan biopic; it’s more of a kaleidoscopic array of freewheelin’ riffs on a legend. In Todd Haynes’ film, Dylan is played by several different actors, including Richard Gere, Heath Ledger, Christian Bale, and (most memorably) an astoundingly convincing Cate Blanchett, who inhabits the singer’s amphetamine-fueled mid-’60s era with ease. Fittingly, I’m Not There’s expansive soundtrack gives a wide range of artists free reign to reimagine Dylan classics and deep cuts. Sonic Youth expertly navigate the enigmatic twists and turns of the title track. Cat Power’s Chan Marshall savors every syllable on a rollicking “Stuck Inside of Mobile With the Memphis Blues Again.” Willie Nelson and Calexico team up for a haunted rendition of “Señor (Tales of Yankee Power)” that might even surpass Dylan’s original. Sure, the less said about Jack Johnson’s milquetoast reading of “Mama You’ve Been on My Mind/A Fraction of Last Thoughts on Woody Guthrie,” the better—but overall, I’m Not There is a stellar companion to an ambitious film. –Tyler Wilcox

《I’m Not There（我不在那儿）》并不完全是Bob Dylan的传记片；它更像是五花八门的对传奇的再创作。在这部Todd Haynes导演的电影中，Dylan由几个不同的演员扮演，包括Richard Gere、 Heath Ledger、 Christian Bale、还有（最令人印象深刻的）有着惊人说服力的女演员Cate Blanchett，她轻松地还原了Dylan被抑郁症药物困扰的60年代中期。《I’m Not There》的原声带让众多音乐人有了适当的机会去改编Dylan的经典歌曲。Sonic Youth巧妙地驾驭了同名曲谜一般的转折。Cat Power的Chan Marshall精彩地演绎了欢快版的“Stuck Inside of Mobile With the Memphis Blues Again”的每个音节。Willie Nelson和Calexico合作了一首改编的“Señor (Tales of Yankee Power)”，甚至有超过原版的潜力。的确，但Jack Johnson胆小鬼般的翻唱“Mama You’ve Been on My Mind/A Fraction of Last Thoughts on Woody Guthrie”就远远没有这么出色了，但是总体上看，《I’m Not There》原声带的确为这部出色的电影增光添彩。

—— Tyler Wilcox

31. Dazed and Confused（年少轻狂）  1993

Set in the hazy purgatory of the last day of middle and high school, Dazed and Confused put smoky, untenable moments of teenage ennui on celluloid. And even if your own awkward adolescence didn’t include cruising around a still-weird Austin in the mid-’70s, the film’s soundtrack lets you ride shotgun in a Chevy Chevelle with the 8-track deck on full blast. Forgoing classic rock fodder—meaning no Appearance of Led Zeppelin’s own “Dazed and Confused”—director Richard Linklater instead highlights the era’s glut of butt-rock, to thrilling results. The soaring, gleeful choruses of Alice Cooper’s “School’s Out” and the Runaways’ “Cherry Bomb” are pheromonal joys, and the soundtrack finds stoned profundity in the grunts of Ted Nugent and Rick Derringer. It even transforms Foghat’s “Slow Ride” into something Approaching a mantra. –Andy beta

《Dazed and Confused（年少轻狂）》描绘了暑假前最后一天炼狱般的混乱景象，将青少年迷乱、稍纵即逝的倦怠感呈现在了胶卷上。而就算你自己莽撞的青春并不包括在70年代中期开着一辆奇怪的奥斯汀牌汽车到处跑，这部电影的原声带也能让你感觉仿佛正开着雪佛兰西维尔、将音响开到最大音量。导演Richard Linklater放弃了经典摇滚音乐----这意味着片中不会有Led Zeppelin那首经典的“Dazed and Confused”，他转而运用了那个年代众多的butt-rock音乐，达成了令人兴奋的效果。Alice Cooper的“School’s Out”以及The Runaways的“Cherry Bomb”高昂而欢快的副歌有着激动人心的愉悦，而Ted Nugent和Rick Derringe的低吼则被赋予了更深奥的意味。这张原声带甚至将Foghat的“Slow Ride”变得像咒语一般。

—— Andy beta