布罗克斯顿评说莫里康内 MB-012-112

乔纳森·布罗克斯顿（Jonathan Broxton）的原始评论

编剧兼导演昆汀·塔伦蒂诺的第六部电影《无耻混蛋》是一部有态度的二战电影。故事发生在冲突最激烈的欧洲大陆，布拉德·皮特饰演奥尔多·雷恩，他是一个犹太裔美国士兵精锐排的领导人，他们自称为“混蛋”，他们积极寻找并野蛮地杀害尽可能多的德国军人，目的是在部队中制造恐惧和不和。他的对手是汉斯·兰达（克里斯托夫·华尔兹饰），他是一名残忍无情的党卫军军官，也被称为“犹太猎人”，当唯一的幸存者，一个名叫肖珊娜（梅兰妮·洛朗饰）的年轻女孩在纳粹宣传片的首映式上开始密谋暗杀希特勒时，他谋杀了一个年轻的法国犹太家庭的行为再次困扰着他。

对塔伦蒂诺来说，不同寻常的是，他积极寻找作曲家埃尼奥·莫里康内（Ennio Morricone）为他的电影配乐，但由于他与朱塞佩·托纳托雷（Giuseppe Tornatore）电影《巴里亚》（Baarìa）的配乐时间冲突，无法获得他的服务。取而代之的是，他做了他一直做的事情：用 60 年代和 70 年代欧洲邪教电影和亵渎电影的奢华临时曲目为电影配乐。很难以传统的方式判断配乐，因为这不是传统的配乐，但任何喜欢这里介绍的作曲家的作品或塔伦蒂诺的混搭配乐的人，仍然可能会找到很多乐趣。

埃尼奥·莫里康内 （Ennio Morricone） 的四个剪辑来自电影 The Big Gundown、Revolver 和 Allonsanfàn，让您了解如果莫里康内被聘请来编写整部电影，他会写出什么样的配乐; 其中很多是紧张的、意大利面条式的西部音乐，带有汪汪的吉他、鲜明的木管乐器写作，以及非常规的合唱和声乐表演，这些都是他在 1960 年代大部分时间里的作品的特征。“投降”的提示具有相当史诗般的广阔范围，“Un Amico”具有浪漫的欧洲流行音乐风格，而“Rabbia e Tarantella”则从断断续续的钢琴主题慢慢构建为辉煌、广阔的管弦乐进行曲，具有极大的天赋、能量和令人难忘。奇怪的是，《The Big Gundown》中的“The Verdict”毫不掩饰地摘录了贝多芬的《A小调Bagatelle》（“FürElise”），在这种情况下非常令人毛骨悚然。

查尔斯·伯恩斯坦（Charles Bernstein）的“白色闪电”（White Lightning）是一首很酷的西部律动曲，带有更多笨拙的吉他和空洞的人声，也出现在《杀死比尔》的配乐中，显然是塔伦蒂诺的最爱。詹尼·费里奥（Gianni Ferrio）的“一元银元”（One Silver Dollar）也采用了莫里康内西部模式，尽管带有突出的口琴独奏，使其具有出乎意料的法国轻柔。雅克·卢西耶（Jacques Loussier）在《太阳之暗》（Dark of the Sun）中的主旋律采用了不寻常的音阶和节奏装置来营造一种令人不安的情绪，而拉洛·希弗林（Lalo Schifrin）在凯利的《英雄》（Kelly's Heroes）中的“Tiger Tank”则具有一种残酷的、由铜管主导的咆哮感。还有几首歌曲，从比利·普雷斯顿（Billy Preston）在“屠杀”（Slaughter）中的放克人声，到大卫·鲍伊（David Bowie）的迷幻“猫人”（Cat People），甚至还有几首在此期间录制并由扎拉·利安德（Zarah Leander），莉莲·哈维（Lilian Harvey）和威利·弗里奇（Willy Fritsch）演唱的德语沙龙歌曲。

这一切都非常非常规、不合时宜和自我参照，但这就是塔伦蒂诺的思维方式，无论是作为导演还是作为这部电影音乐基调的创造者; 作为传统的配乐，尽管有来自莫里康内和希弗林等人的优秀音乐，但对于乐迷来说，它可能太奇怪了，无法欣赏，但作为塔伦蒂诺思想的一瞥，它非常迷人。

等级： ***1/2

曲目列表：

• 《阿拉莫》中的夏日绿叶 [迪米特里·蒂奥姆金] （1：55）
• “The Big Gundown”[埃尼奥·莫里康内]的判决 （1：14）
• 《白色闪电》中的主标题 [查尔斯·伯恩斯坦] （2：55）
• “屠杀”中的屠杀 [比利·普雷斯顿] （4：24）
• “The Big Gundown”中的投降 [Ennio Morricone] （2：48）
• “Blood for a Silver Dollar”中的一枚银元 [Gianni Ferrio] （2：05）
• Davon Geht Die Welt Nicht Unter from “Die Große Liebe” [Bruno Balz and Michael Jary， performed by Zarah Leander] （2：06）
• The Man With the Big Sombrero from “Hi Diddle Diddle” [Phil Boutelje and Foster Carling， 由 Michael Andrew 和 Samantha Shelton 演唱] （1：50）
• Ich Wollt Ich Wär Ein Huhn from “Glückskinder” [Hans-Fritz Beckmann 和 Peter Kreuder，由 Lilian Harvey 和 Willy Fritsch 演唱] （2：45）
• 主旋律出自“Dark of the Sun” [Jacques Loussier] （3：11）
• 《猫人》中的猫人（灭火）[David Bowie] （4：10）
• 《Kelly's Heroes》中的Tiger Tank [Lalo Schifrin] （1：17）
• 《左轮手枪》中的Un Amico [Ennio Morricone] （2：35）
• 拉比亚·塔兰泰拉（Rabbia e Tarantella）来自“Allonsanfàn”[Ennio Morricone]（3：53）

片长：37分08秒

A Band Apart / 华纳兄弟 WB520377 （2009）

Original Review by Jonathan Broxton

Writer-director Quentin Tarantino’s sixth film, Inglourious Basterds is a World War II movie with attitude. Set in mainland Europe at the height of the conflict, it stars Brad Pitt as Aldo Raine, the leader of a crack platoon of Jewish-American soldiers who have dubbed themselves ‘the Basterds’, and who actively seek out and savagely kill as many German servicemen as possible, with the intent of creating fear and discord amongst the troops. His opposing number is Hans Landa (Christoph Waltz), a cruel and ruthless SS officer also known as ‘The Jew Hunter’, whose actions in murdering the family of a young Franco-Jewish family comes back to haunt him when the only survivor, a young girl named Shosanna (Mélanie Laurent), embarks on a plot to assassinate Hitler at the premiere of a Nazi propaganda film.

Unusually for Tarantino, he actively sought out composer Ennio Morricone to score his film, but was unable to secure his services due to a scheduling conflict with his score for the Giuseppe Tornatore film Baarìa; instead, he did what he always does: score the film with a lavish temp-track from cult European and blaxploitation movies from the 60s and 70s. It’s difficult to judge the soundtrack in a conventional way, as this is not a conventional soundtrack, but anyone who enjoys the work of the composers featured here, or of Tarantino’s mix-and-match soundtracks, are still likely to find plenty to enjoy.

Ennio Morricone’s four cuts, which come from the films The Big Gundown, Revolver and Allonsanfàn, give you an idea of the kind of score Morricone would have written had he been hired to write the entire thing; a lot of it is the nervous, spaghetti-western inspired music with the twangy guitars, stark woodwind writing, and the unconventional choral and vocal performances that characterized his output throughout much of the 1960s. The “Surrender” cue has a quite epic and expansive scope, and “Un Amico” has a romantic Euro-pop sweep, while “Rabbia e Tarantella” slowly builds from a staccato piano motif into a glorious, expansive orchestral march of great flair, energy and memorability. Curiously, “The Verdict” from The Big Gundown features an undisguised excerpt from Beethoven’s Bagatelle in A Minor (“Für Elise”) that is quite eerie in this context.

Charles Bernstein’s “White Lightning”, a cool western groove with more twangy guitars and hollow-sounding vocal scats, also featured on the Kill Bill soundtrack and is clearly a Tarantino favorite. Gianni Ferrio’s “One Silver Dollar” is also in the Morricone western mode, albeit with a prominent harmonica solo that gives it an unexpectedly appropriate French lilt. Jacques Loussier’s main theme from Dark of the Sun employs unusual meters and rhythmic devices to create an unsettling mood, while Lalo Schifrin’s “Tiger Tank” from Kelly’s Heroes has a dominant sense of brutal, brass-led bluster. There are also several songs, from Billy Preston’s funkadelic vocals on “Slaughter”, to David Bowie’s psychedelic “Cat People”, and even a couple of German-language salon songs recorded in the period and performed by Zarah Leander, Lilian Harvey and Willy Fritsch.

It’s all very unconventional, anachronistic and self-referential, but it’s the way Tarantino thinks, both as a director and as a creator of the musical tone of this films; as a conventional soundtrack, and despite the presence of excellent music from the likes of Morricone and Schifrin, it’s likely too bizarre for score fans to appreciate, but as a glimpse into the mind of Tarantino it’ quite fascinating.

Rating: ***½

Track Listing:

• The Green Leaves of Summer from “The Alamo” [Dimitri Tiomkin] (1:55)
• The Verdict from “The Big Gundown” [Ennio Morricone] (1:14)
• Main Title from “White Lightning” [Charles Bernstein] (2:55)
• Slaughter from “Slaughter” [Billy Preston] (4:24)
• The Surrender from “The Big Gundown” [Ennio Morricone] (2:48)
• One Silver Dollar from “Blood for a Silver Dollar” [Gianni Ferrio] (2:05)
• Davon Geht Die Welt Nicht Unter from “Die Große Liebe” [Bruno Balz and Michael Jary, performed by Zarah Leander] (2:06)
• The Man With the Big Sombrero from “Hi Diddle Diddle” [Phil Boutelje and Foster Carling, performed by Michael Andrew and Samantha Shelton] (1:50)
• Ich Wollt Ich Wär Ein Huhn from “Glückskinder” [Hans-Fritz Beckmann and Peter Kreuder, performed by Lilian Harvey and Willy Fritsch] (2:45)
• Main Theme from “Dark of the Sun” [Jacques Loussier] (3:11)
• Cat People (Putting Out the Fire) from “Cat People” [David Bowie] (4:10)
• Tiger Tank from “Kelly’s Heroes” [Lalo Schifrin] (1:17)
• Un Amico from “Revolver” [Ennio Morricone] (2:35)
• Rabbia e Tarantella from “Allonsanfàn” [Ennio Morricone] (3:53)

Running Time: 37 minutes 08 seconds

A Band Apart/Warner Bros. WB520377 (2009)