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

校正：Rayn-Chopin

30.The Cook, the Thief, His Wife, and Her Lover《厨师、大盗、他的太太和她的情人》 1989

Peter Greenaway’s elegantly awful masterpiece is the best version of “The Aristocrats” ever told. In a series of seemingly endless camera movements that glide across a feast of violence, nudity, piss, shit, garish colors, and amazing Jean-Paul Gaultier costumes, it chronicles the abuse and humiliation to which a gluttonous, nouveau-riche London gangster played by Michael Gambon subjects everyone in his orbit… until the worm, as it were, finally turns.

Peter Greenaway这部杰作是迄今为止“贵族”最棒的版本了，在一系列看似无穷无尽的镜头中滑过了暴力、裸体、小便、狗屎和花哨的色彩，以及Jean-Paul Gaultier艳惊四座的服装，它记录了一个贪婪的伦敦黑帮暴发户(Michael Gambon饰)对他身边每一个人的虐待和羞辱，最终情节反转，他受到报应。

The score by British minimalist and frequent Greenaway collaborator Michael Nyman matches the director's commitment to both restrictive formalism and anything-goes maximalist zeal. The genteel funeral march of “Memorial,” for example, evolves into a ludicrous saxophone grind. In “Miserere,” a boy soprano sings at the upper limit of his listeners’ comfort zone. Yet right in the middle of it all, there’s “Fish Beach,” a backbreaker of a love theme for the adulterous characters played by Helen Mirren and Alan Howard. Here, the lurid flourishes drop away entirely, leaving behind only the repeated sound of something beautiful and doomed. –Sean T. Collins

英国极简主义者Michael Nyman经常与Greenaway合作，他的配乐和该导演对限制性形式和对任何事物保有最大热情的认知完全相符和。就比如说，“Memorial”中优雅的葬礼进行曲演变成了一场可笑的萨克斯管演奏。在“Miserere”中，一个男孩用尖利刺耳的男童高音唱歌。然而，“Fish Beach”这首歌凭空出现，这是Helen Mirren和Alan Howard饰演的淫乱角色爱情主题片里的一个突破。在这里，华而不实的东西完全消失了，留下的只有不断重复的声音和美好的注定。

—— Sean T. Collins

29. Vertigo《迷魂记》 1958

Alfred Hitchcock’s musical collaborator, Bernard Herrmann, was responsible for some of the most recognizable scores in cinematic history. Some of his best work can be found on Hitchcock’s obsessive thriller Vertigo, about a man who loses the woman he loves (an enigmatic, platinum-blonde Kim Novak) only to find her plain doppelgänger (Novak again, this time brunette), whom he grooms to look exactly like his deceased lover. Herrmann’s string-driven, atmospheric accompaniment not only imitates its San Francisco setting—two notes mimicking the sound of fog horns by the Golden Gate Bridge—but it also gracefully, desperately moves through the entire spectrum of emotions, from aching and romantic to urgent and dangerous and tragic. And like the fog that blankets the film, the score shrouds the story with an even thicker air of mystery. –Kristen Yoonsoo Kim

Alfred Hitchcock和Bernard Herrmann创作了电影史上一些最知名的配乐。Hitchcock的惊悚片《迷魂记(Vertigo)》是他最好的作品之一。影片讲述的是一个男人失去了他所爱的女人(神秘感十足且金发碧眼的Kim Novak饰演)，后来找了她的一个替身(Kim Novak再次饰演，这次是黑发碧眼的Novak)，他把那个人打扮得和死去的爱人一模一样。Herrmann大气的弦乐伴奏，不仅模仿了它处在旧金山的城市背景——两个音符模仿了金门大桥上雾笛的声音，而且还优雅而绝望地贯穿了情感的整个范围，从痛苦和浪漫到紧急、危险和悲惨。就像笼罩着整部电影的迷雾一样，配乐给故事蒙上了更为浓重的神秘色彩。

—— Kristen Yoonsoo Kim

28.  Le Mépris《蔑视》1963

Jean-Luc Godard’s Le Mépris (“Contempt”) approaches a frightening question—How does the “delicious complicity” of a marriage die?—with music so gorgeous, it seduces even as it shatters. Amid the stately cliffs of Capri, a screenwriter (Michel Piccoli) struggles to adapt Homer, abandoning his own wife, Camille (Brigitte Bardot)—the Penelope to his Odysseus—in the process. French New Wave maestro Georges Delerue meets their stormy passions with a symphonic grandeur that befits the backdrop of their war.

Jean-Luc Godard的《蔑视》解决了一个让人恐惧的问题:婚姻中“令人愉悦的亲密”是如何消逝的？音乐让爱情如此美妙，即使爱情破碎了，却仍然充满诱惑。在卡普里岛的悬崖峭壁之间，一位剧作家(Michel Piccoli饰)努力改编荷马的作品，在这个过程中他抛弃了自己的妻子Camille(Brigitte Bardot饰)。法国新浪潮音乐大师Georges Delerue以一种符合战争背景的宏大交响乐来满足他们暴风雨般的激情。

Delerue’s score is an unusually choppy one, with over two dozen tracks of just a few minutes apiece; this was the work of the impressively cranky Godard, who submitted Delerue’s original, lengthy arrangements to a hacksaw. Motifs recycle throughout Le Mépris, hazy as memories. Delerue’s overture returns often, never losing its adrenalized fear and desire, and “Camille,” Delerue’s most iconic film theme, is an exquisite ghost throughout, almost intolerable in its fragile hope. It sounds like the most beautiful place you’ve yet to visit. –Stacey Anderson

Delerue的配乐异常起伏，有二十多首曲子，每首只有几分钟，令人印象深刻的作品是Godard的，他把Delerue最初冗长的作品进行了切割。其主题在《蔑视》中反复出现，又如同记忆般朦胧。Delerue的前奏曲经常出现在电影中，保留了令人兴奋的恐惧和欲望，而Delerue最具代表性的电影主题角色“Camille”自始至终都是一个优雅的幽灵，无法忍受其易碎的希望。这听起来会是你去过的最美的地方。

—— Stacey Anderson

27. Star Wars Episode V: The Empire Strikes Back《星球大战2：帝国反击战》 1980

George Lucas’ Star Wars was an absolute blast—and still is, anytime you’re flipping through channels and catch the Death Star attack run. For the sequel, Lucas and company went a bit deeper, got a bit darker, and added more mystical light and romantic heat. So did Lucas’ go-to composer.

George Lucas的《星球大战(Star Wars)》绝对是超级火爆，到现在依然如此。不管你什么时候打开电视，都能看到死亡之星的攻击画面。在续集中，Lucas和他的伙伴陷入了更深的黑暗，增加了更多神秘的光线和浪漫的激情。Lucas的首席作曲家也照做无误。

Between Jaws, Close Encounters of the Third Kind, Superman, and, of course, that first Star Wars, John Williams was already responsible for some of the most recognizable film music ever recorded, combining a pop musician’s ear for hooks with a sense of scale commensurate with galaxies far, far away. In Empire, he expanded the sonic template he established for the original film, creating his richest and most varied set of compositions yet. Foremost among these is “The Imperial March,” the brassily sinister martial theme associated with Darth Vader. “Yoda’s Theme” is its opposite—soft and sweet, its melody seems to slowly levitate. A swoon in musical form, “Han Solo and the Princess” is an intensely romantic theme for that literally tortured love affair. Empire is the definitive Star Wars score, featuring songs so intrinsic to Lucas’ fictional universe, it’s hard to believe they weren’t there from the start. –Sean T. Collins

在《大白鲨(Jaws)》、《第三类接触(Close Encounters of the Third Kind)》和《超人(Superman)》，当然还有第一部《星球大战》之中，John Williams已经创作了有史以来最知名的一些电影音乐，他将作为一位流行音乐家对音乐的敏感和一种与遥远星系相称的尺度感相结合。在《帝国（Empire）》中，他扩展了原电影的声音模板，创造了他迄今为止最丰富、最多样化的曲调。其中最重要的要属“The Imperial March”，这首歌的军事主题与电影角色Darth Vader相关。“Yoda’s Theme” 柔和而甜美，恰好与之相反，它的旋律似乎在慢慢地飘浮。“Han Solo and the Princess”是一部令人神魂颠倒的浪漫主题的音乐作品，很适合这个饱受折磨的爱情故事。《帝国（Empire）》就像是《星球大战》的最终配乐，其中的歌曲与Lucas虚构的宇宙密不可分，让观众很难相信它们从一开始其实是不存在的。

—— Sean T. Collins

26. Annihilation《湮灭》 2018

It’s one thing when a score is tasked with carrying the emotion of a small scene, nudging the audience toward the desired effect of the director. But when a score is asked to carry a wordless, 10-minute pas de deux Between a film’s protagonist and her translucent extraterrestrial clone that serves as the jaw-dropping climax of a surreal sci-fi film, it’s Annihilation. Geoff Barrow and Ben Salisbury’s score lives in the belly of Alex Garland’s movie, coiling and mutating as the expedition treks deeper into the alien Shimmer. They make use of an otherworldly instrument called a waterphone and ground the film’s humanity within a recurring two-note acoustic guitar riff (alongside repeated flashbacks that feature Crosby, Stills & Nash’s angelic “Helplessly Hoping”). As the characters start to unravel and transform, the music undergoes its own mitosis, splitting and blooming until that climactic scene in the lighthouse, when those fog-horn synths develop an entirely new musical language. –Jeremy D. Larson

配乐的任务可谓是承载一个小场景的情感，并将观众的情绪推向导演所期望的效果。但是一段配乐出现在当电影主人翁和她半透明的外星克隆人进行的10分钟的哑巴双人舞中时，这就是一部超现实主义科幻电影最令人震惊的高潮部分了，而这部电影就是《湮灭（Annihilation）》。Geoff Barrow和Ben Salisbury的配乐出现在Alex Garland的电影之中，随着探险队深入探索外星生命的光芒，配乐不断地盘旋变化。他们使用了一种叫做水琴的超凡脱俗的乐器，它将电影中的人性融入到反复出现的双音符原声吉他即兴段中(还反复出现了Crosby、Stills & Nash乐队天使般的歌曲“Helplessly Hoping”的闪回镜头)。随着角色开始转变，音乐经历了它自己的分裂和重组，直到在灯塔的高潮场景，那些合成雾笛音发展出一个全新的音乐语言。

—— Jeremy D.Larson

25. The Hired Hand 《雇佣之手》 1971

Bruce Langhorne made his name as a guitarist for hire, most famously on Bringing It All Back Home, Bob Dylan’s first electric album. (Legend has it that Langhorne also provided the inspiration for “Mr. Tambourine Man.”) But as important as his contributions were to that revolutionary folk-rock record, the guitarist’s true legacy is his score for Peter Fonda’s pastoral anti-western The Hired Hand. Langhorne overdubbed banjo, Farfisa organ, appalachian dulcimer, and fiddle to create a sui generis slice of cosmic Americana. The film’s dazzling opening sequence—a slo-mo, impressionistic montage—is a hypnotic marriage of sight and sound, earthy and psychedelic all at once. “Ending,” meanwhile, is as lonesome as a frontier sunset. The Hired Hand wasn’t released as an album until the 2000s, but since then, it’s earned a devoted underground following. In 2017, Scissor Tail Records released The Hired Hands, a double-disc tribute featuring Lee Ranaldo, Steve Gunn, and other disciples who have fallen under the spell of Langhorne’s singular score. –Tyler Wilcox

Bruce Langhorne 一开始因受雇担任吉他手而闻名，最广为人知的是在Bob Dylan的第一张电子专辑《Bringing It All Back Home（把一切都带回家中）》中的演奏。（传说Langhorne在这张专辑里为“Mr. Tambourine Man.”（手鼓先生）这首歌提供了创作灵感）但是，同等重要的还有他对这张具有变革性的摇滚民谣专辑的贡献，这位吉他手真正传奇之处是他为Peter Fonda执导的田园风情式反西方电影《 The Hired Hand》创作了配乐。Langhorne在配乐中叠加录制了班卓琴、阿帕拉契扬琴和小提琴的声音，创造了宇宙美洲独特的一面。电影令人眼花缭乱的开场片段——一段慢动作加上印象派剪辑，这既是一种使人昏昏欲睡的视听结合，也是现实与迷幻的配对。与此同时，“Ending（结局）”一曲，和边界落日有着同样的寂寥。直到2000年《 The Hired Hand 》才作为专辑发行出来，但自从那时起，这张专辑已经悄然收获了一波忠诚的狂热粉丝。在2017年，Scissor Tail厂牌公司发行的《The Hired Hands》，是和Lee Ranaldo, Steve Gunn,还有受Langhorne的配乐影响的其他门徒合作而成的。

—— Tyler Wilcox

24. Akira 《阿基拉》 1988

Akira is beloved for its irreverent, cyberpunk spirit, but there’s a keen sense of dread to its hyper-stylized world. Neo-Tokyo isn’t at all new; it’s salvaged, scrapped from ruins. That collision of modernity and near-extinction gives the film a tense, hallucinogenic quality, and sets the tone for the score’s extreme dynamism.

《Akira（阿基拉）》 因其不敬的赛博朋克精神而备受喜爱，但是面对极度虚拟的世界，不难有一种强烈的恐惧感。Neo-Tokyo（科幻未来世界动画）已不再是崭新的，它是狂野的，从废墟里淘汰出来的。现实和濒临灭绝的碰撞，为电影营造了一种氛围，给予其一种5引起幻觉的质感，奠定了配乐极具活力的基调。

Experimental Japanese collective Geinoh Yamashirogumi fills every crevice of the score with sounds familiar and strange, blending choral chants, Balinese percussion, and organs into extravagant compositions that swell into polyrhythmic head rushes and contract into blistering silence. Composed and recorded before the film was animated, the score structures the story and amplifies the excesses of the animation. There’s a constant contrast Between the film’s rich detail—it was the most costly animated movie in Japan’s history at the time—and its delirious imagery, and the score embraces that friction. Evoking the thrills of Akira right alongside its horrors, Geinoh Yamashirogumi’s decadence inspires awe but never comfort. –Stephen Kearse

实验性日本组合 Geinoh Yamashirogumi用听起来熟悉又陌生的混合合唱填充每一首配乐的空隙，巴厘岛的打击乐器，奢华的作曲中加入了管风琴的元素，这吞噬了昏头昏脑的多重节奏和浓缩成的激烈沉默。电影开拍之前作词和录制就已经完成，配乐为故事的发展搭建了框架，扩大了动漫的限制。在丰富的电影细节里，有一种持续存在的差异——这是那个时代里，成本花费最高的日本动画电影——还有它狂乱的意象，配乐凸显出电影中的不和谐因素。激起Akira的不安同时伴有恐惧， Geinoh Yamashirogumi的衰落引发了敬畏，但却成不了欣慰。

—— Stephen Kearse

23.  Casino Royale《皇家赌场》1967

How do you take your Bond? Do you prefer him a stern, cold, remorseless killer? Or do you want him to be rakish, campy, and too busy leering at everything in a skirt to concern himself with geopolitical gamesmanship? Wherever you land on the spectrum, you have the original Casino Royale to thank for the choice. The 1967 film was a happy mishegoss of competing superstar egos and screenwriters, a disaster that burned through $12 million (an absurd sum at the time) and featured not one, not two, but seven different James Bonds. An incomplete list of writers it took to yield the howlingly incoherent screenplay: Terry Southern, Joseph Heller (yes, that one), Billy Wilder (yes, that one), and, um, Woody Allen. As for the stars parading through it, all of whom chewed the overripe scenery: Peter Sellers, Orson Welles, John Huston, Peter O’Toole, and, yes, Woody Allen again.

你是如何看待你的James Bonds的？你是更喜欢他是一个苛刻的、冰冷的、残酷无情的杀手？还是你想让他变得潇洒自如的、装模作样，因忙于色眯眯地窥探折藏在裙摆下的一切，来不及用地缘政治学策略为自己担忧？多亏了它的配乐，无论你着陆于乐谱里的哪一个角落，你能感受到最原汁原味的 Casino Royale。这部1967年的电影是一场关于超级巨星与编剧狂欢的混乱，是一场砸了1200万美金（来源于当时一个粗略估计）的，和不是一两个，而是七个不一样的James Bonds为主角的灾难。这是创造了这部巨大且不和逻辑的剧本的不完整作家名单：Terry Southern, Joseph Heller , Billy Wilder ,还有，呃，Woody Allen。正当明星们夸夸其谈时，他们开始思量着烂糊了的景色：Peter Sellers, Orson Welles, John Huston, Peter O’Toole, 对了，还有Woody Allen。

Who else to compose the music for such a booze-soaked, 10-ton cheesecake but Burt Bacharach and Herb Alpert? The score was as extravagant as the movie: Audiophile legend has it that the recording sessions featured such a fancy grade of tape, the engineers buried the needle in the red, producing such a dynamically hot and wide-ranging recording that it was used as a test record for high-performance stereos for years. The vinyl became a vanishingly rare cult object—“I don’t even have a copy,” Bacharach admitted once—and the music on it became a touchstone for a certain kind of knowing bachelor-pad cheese. –Jayson Greene

除了Bacharach和 Herb Alpert，还会有谁会为这样一个酒精味重，甜腻得像10吨芝士蛋糕一样的电影作曲呢？插曲和电影一样走奢靡风：在音响发烧友当中有这样一个传说，录制部分最重要的就是花俏分级的录音带，录音师把唱片针放到黑胶唱片的红色部分上，产出了一个如此充满活力且范围广的唱片，这多年来被用于测试高效能音响。黑胶唱片成为了一种极少被察觉到的稀有的崇拜——“我甚至没有一份拷贝”，Bacharach 曾经坦诚道，在这基础之上的这首歌，成为了单身汉公寓特定的必需品。

—— Jayson Greene

22. Rocky《洛奇》 1976

“Here was a movie that is about a loser,” arranger and composer Bill Conti remembered of the first Rocky film. “I’ve read the script; I know how it ends. He loses. But in the tenth reel, he gets to train for a big fight, and we want to manipulate the audience to think that he can win.” So Conti took the film’s piano theme, which he wrote first—a loping and doleful little motif that tails Sylvester Stallone’s Rocky as he kicks dejectedly around Philadelphia, a loser’s theme—and turned it into a battle hymn. Horns, harps, a drum kit, strings, electric guitar, background singers, an entire goddamn orchestra: All of it lights into you. Suddenly, the sight of a lumpy guy in baggy sweats running up the steps of a Philadelphia museum turns into the ascension of a Greek god. You believe, for a moment, that the pug-ugly bastard can—and must—win.

“这是一部关于失败者的电影。”编曲者兼作词者Bill Conti 回忆起第一部洛奇电影时这么说道。“我已经读过剧本了，也知道结局是怎样的。他失败了。但是在第十卷，他获得了一次为一场大战的训练，然后我们想控制观众的想法，让他们觉得他会赢。”因此，Conti开始着手写这部电影的钢琴主题曲——他首先写了一个沉重而悲伤的小主题，Sylvester Stallone饰演的洛奇沮丧地在费城踢球，这是一个失败者的主题——接着转变为战斗的颂歌。圆号、竖琴、爵士鼓、琴弦、电吉他、背景和声，还有整个管弦乐：所有的音乐全都投向你。突然间，那个穿着宽松运动服的家伙快速跑上费城博物馆台阶的身影，转变成上天的希腊神。那一瞬间，你相信那个丑陋的混蛋一定会，也必须会赢。

The music is so invincible that it has survived a series of sequels that run the gamut from simply “not-as-good” all the way to “hoo, boy.” And when Ryan Coogler rebooted the franchise with 2015’s Creed, nothing stirred the blood as much as hints of that old Conti score poking its way through the training montage. It is victory music for born losers, and there are no losers when it is playing. –Jayson Greene

这首歌是如此完美，导致它在一系列情节后，音阶从简单的“not-as-good” 一直到“hoo, boy.” 的后续之后延续了下来。当Ryan Coogler于2015年重启拍摄《奎迪》时，没有什么比老Conti在蒙太奇训练中探索出的配乐方式让人热血沸腾。对于天生的失败者来说，这是一首胜利之歌，当这首歌响起时，每个人都不再是失败者。

—— Jayson Greene

21. Phantom Thread《魅影缝匠》2017

Phantom Thread is a film about the limits of perfection. The pursuit of beauty is solitary and futile; love brings bitterness and disappointment. Jonny Greenwood’s score is a self-conscious composition to match. There are countless moments of aesthetic bliss that threaten to overwhelm, but never do: The adagio “For the Hungry Boy” is rich and dramatic; “Sandalwood I” is textured and lively; “Barbara Rose” has harp and other strings plucked harriedly. It is ambiguous how good any of this should really feel. You cannot live a charmed life forever, the music suggests.

《Phantom Thread（魅影缝匠）》是一部关于完美极限的电影。对美的追求一向都是孤独又徒然的；爱带来苦涩和失望。Jonny Greenwood的配乐是具有自我意识的作曲。有无数的瞬间，审美的极乐有被全盘吞没的危险，但这永远不会发生：柔板 “For the Hungry Boy” 极具戏剧性；“Sandalwood I” 既有神韵又生动形象；“Barbara Rose” 是竖琴与其他弦乐的快速拨弦。配乐非常模糊，每个细节都应该深刻地感知到。音乐似乎也在暗示着你，你不可能永远都过着纸醉金迷的生活。

The main theme, “House of Woodcock,” is the best example of fleeting satisfaction, as its florid motif vanishes just as soon as it peaks. Its piano is particularly reminiscent of the main theme to Lolita, another movie about a pitifully insecure man, with a soundtrack that served as inspiration for Greenwood. The Phantom Thread score captures the hope that’s always out of reach, the desire for something more, and the acknowledgment that as you settle back down to reality, you realize that what’s around you is not to be taken for granted. –Matthew Strauss

主题曲“House of Woodcock”是暂时满足最好的例子，正如它华丽的主题和影片高潮一样，来得快去得也快。它的钢琴部分让人不禁回忆起《洛丽塔（Lolita）》的主题曲，《Lolita》讲述了一个可怜且缺乏安全感的男人的故事，其配乐是Greenwood的灵感来源。Phantom Thread 的音乐把捕捉到了一直难以触及到的希望，永远无法满足的欲望，还有你对回到现实的承认，以及你意识到把身边的一切并不是理所应当的。

—— Matthew Strauss