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楼主 |
这是最近时代周刊评出的一份单子中关于原声的部分。两位影评家各自评出了5份作品，很显然这是带有很浓的个人色彩的评选，不能用全面公正等标尺来衡量他们的胃口。我想这样的消息我们且姑妄观之，聊备参考。
RICHARD SCHICKEL:
《侠盗罗宾汉》 The Adventures of Robin Hood: Erich Wolfgang Korngold was the greatest of Hollywood's many romantic composers—let's give a grateful nod here to Max Steiner, Franz Waxman, Miklos Rosza Jerry Goldsmith and Elmer Bernstein—and this is Korngold at his best—excitable, cheeky, yet always romantically caring.
《公民凯恩》 Citizen Kane: It's impossible to choose a single Bernard Herrmann score as his best. His was a protean talent, embracing every genre, but with a peculiar gift for illuminating psychotic behavior (Hangover Square, Psycho, Taxi Driver). Let his contribution to everyone's favorite great movie, Citizen Kane, represent everything that was wonderful about this most daring of Hollywood's musical sophisticates—his gift for blending major and minor chords (not to mention electronic music and sound effects), his skill with pastiche (the fake opera excerpts he composed for the film) and above all, his ironic spirit.
（总算他们没有忘记老莫。）《黄昏三镖客》 The Good, the Bad and the Ugly: Moaning chorales, electric guitars, brass bands, the occasional twang of a Jew's Harp; Ennio Morricone, vastly expanded the movie composer's instrumental and tonal palate and this is but one of his several ear-bending, mind-expanding masterworks.
《劳拉》Laura: Forget, if you can, the pop song derived from David Raksin's theme. Concentrate, instead, on the plaintive, permanently haunting variations he created for the film itself. It is largely his score that lifts this otherwise limited movie beyond its genre limits. Lest we forget: this is something great scores sometimes accomplish.
《岸上风云》On the Waterfront: Leonard Bernstein only wrote one film score, but it is a haunting masterpiece, seamlessly blending modernist tropes with the darker hues of late romantic melody, which he also loved. In a curious way this movie summarizes his tastes and strengths as a composer and as a conductor-proselytizer for Twentieth Century music.
RICHARD CORLISS:
Fred Astaire and Ginger Rogers at RKO: When Fred and Ginger paired for nine song-and-dance films in the 30s, the top pop composers of the day (which means, pretty much, the best of all time) lined up to provide them with great tunes. This two-CD set contains irrefutable evidence that Irving Berlin, Jerome Kern, Cole Porter and the Gershwins did some of their most lingering work for Ginger and Fred. It contains all 30 numbers from their RKO couplings, plus four from Fred's solo effort A Damsel in Distress and the Arlen-Mercer "One for My Baby" from The Sky's the Limit. Need more convincing? Here's just a taste of the playlist: "Night and Day," "Cheek to Cheek," "The Way You Look Tonight," "Nick Work If You Can Get It," "They All Laughed," "Let's Call the Whole Thing Off," "They Can't Take That Away from Me." Case closed.
《金臂人》The Man With the Golden Arm: For Otto Preminger's film about a Chicago card dealer (Frank Sinatra) who falls victim to heroin addiction, then tries to get the monkey off his back, Elmer Bernstein came up with a powerful, pioneering concoction of cool jazz, big band and the Hollywood symphonic style. The score sets a bunch of moods—tension, anxiety, the grand swagger of being a cool guy in a tough town—with varied orchestrations and memorable melodies. How memorable? I haven't seen the film (also highly recommended) in 30 years, yet a half-dozen tunes from Bernstein's score still lodge in my brain. I'm humming one now and—without the aid of any drug—man, do I feel juiced!
《夏日之恋》Jules et Jim: Movie romance has no better friend than Georges Delerue. As scores became brasher and brassier, or clanged with rock chords, Delerue stuck to his plangent melodies. He was the house composer, the engaging sound and soaring soul, of the French New Wave; his music ornamented films by Jean-Luc Godard, Alain Resnais, Claude Chabrol, Jacques Doniol-Valcroze, Philippe De Broca (18 collaborations!) and Francois Truffaut—most spectacularly in Shoot the Piano Player and this eternally beguiling triangle tale. The score accompanies, and often carries, Jeanne Moreau through her affairs with best buddies Jules (Oskar Werner) and Jim (Henri Serre). But the indelible musical moment may be when Moreau sings a charming folkish tune, "Le tourbillon," as its composer Boris Bassiak plays guitar.
《南方公园》South Park: Bigger, Longer & Uncut: Kids might sneak a play of this soundtrack for the kick of hearing four-letter words rarely put to music. But adults, especially those who grew up on Broadway melodies, love the South Park movie score for its fond, roguish evocations of songs from Oklahoma, Fiddler on the Roof and Les Miserables. Parker's not-so-secret sin is that—virtually alone among heterosexuals under 50—he loves the grand ambitions and soaring chords of the old songs. He stashes versions of them in the TV episodes of South Park (who can forget Cartman's rousingly lurid gospel number "Body of Christ"?) and, abetted by super-arranger Marc Shaiman, packed a dozen fabulous parodies into the movie. Actually, parody schmarody. These are terrific songs—the finest, sassiest full movie musical score since the disbanding of the Freed Unit at MGM.
《玫瑰》Roja:Though he is renowned as the preeminent composer of modern Bollywood, A.R. Rahman was born and still works in Madras, 1,000 miles south of Bombay. His Tamil compatriot, the writer-director Mani Ratnam, yanked him out of jingle-writing to compose his first full score for Roja (The Rose) the tale of a woman whose lover is kidnapped by terrorists. Through this grim political parable, Rahman laced some spectacular melodies that not only serve the drama, they create their own[EM]as in the duet ballads "Yeh Haseen Vadiyan" and "Roja Jaaneman," which first are grounded in recitative, then suddenly ascend into celestial melody. This astonishing debut work parades Rahman's gift for alchemizing outside influences until they are totally Tamil, totally Rahman. He plays with reggae and jungle rhythms, fiddles with Broadway-style orchestrations, runs cool variations on Morricone's scores for Italian westerns.
[B][/B]
[此贴子已经被作者于2005-5-31 15:48:45编辑过] |
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光阴的眼中
你我只是一段插曲
当明天成为昨天
昨天成为记忆的片段
内心的平安那才是永远 |
2005/5/31 15:08:18 |
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