搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-50-best-movie-scores-of-all-time/?page=1

翻譯：Emma.Z，Winnie?Hess

校正：Lynn Liu，Nina?Wang

40.?Jaws《大白鯊》1975

Steven Spielberg’s thriller opens with the destruction of innocence. A young couple run off to the ocean to skinny dip; while?the woman waits for her beau, who is engaged in a drunken battle with his trousers,?she splashes around in the moonlight. Then, it begins.?Dun nun…dun nun….?The girl is a goner. With just two repeating notes, played with increasing urgency by a 19-piece string and horn section, composer John Williams traumatized beachgoers forever and gave cinema’s newest nightmare an unforgettable theme. Never again has a tuba been used for such evil.

史蒂文·斯皮爾伯格的驚悚片開(kāi)篇就毀滅了天真純情：一對(duì)年輕的夫婦跑到海邊去裸泳。當(dāng)這個(gè)女人在月光下邊戲水邊等男朋友時(shí)，她的男朋友正醉醺醺地忙著和他的褲子打架。然后悲劇拉開(kāi)了序幕。咚…咚…那可憐的女孩死了。作曲家約翰·威廉姆斯用19小節(jié)的弦樂(lè)和圓號(hào)將兩個(gè)音符不斷重復(fù)，演奏出了越來(lái)越緊迫的節(jié)奏，給海灘上的游客留下了永久的創(chuàng)傷，也給這個(gè)剛上映的夢(mèng)魘增添一幕令人難以遺忘的經(jīng)典鏡頭。從此以后，再也沒(méi)有人能用大號(hào)演奏出如此邪惡的感覺(jué)。

Despite its primal horror, the?Jaws?theme would not be as effective?were it not for the less-ominous orchestrations in the film’s first half, like the swashbuckling “Promenade (Tourists on the Menu)” and the cheerful “Out to Sea.” The idyllic New England summer these moments establish make the devastation of the shark all the more cruel. By the time the film’s crew of Captain Ahabs set sail to kill their aquatic demon once and for all, the score pummels relentlessly, emerging from the sea to wreak havoc. Like?Psycho?before it,?Jaws?showed music’s ability to convey terror, chilling viewers to their cores.?–Quinn Moreland

盡管這部片子生來(lái)驚悚，但若沒(méi)有前半部分那些平淡而美好的編排，《大白鯊》的主旋律就會(huì)落得跟驚心動(dòng)魄的《散步(菜單上的游客)Promenade (Tourists on the Menu)》和歡快的《出海(Out to Sea)》一樣少了一份扣人心弦的感覺(jué)。這些時(shí)刻營(yíng)造的新英格蘭田園夏日的恬靜氛圍讓鯊魚(yú)帶來(lái)的毀滅顯得尤為殘忍。影片中，Ahabs船長(zhǎng)的船員們揚(yáng)帆起航，準(zhǔn)備一鼓作氣殺死水怪之際，配樂(lè)無(wú)情地敲打著節(jié)奏，預(yù)示著“海怪”漸漸浮現(xiàn)和即將到來(lái)的浩劫。就像先前的《心理醫(yī)生》一樣，《大白鯊》精妙地展現(xiàn)了音樂(lè)的情感張力，讓觀眾們不寒而栗。

—— Quinn Moreland

39.??The Tale of Genji《源氏物語(yǔ)》?1987

The Tale of Genji, written in the?11th century by a noblewoman named Shikibu Murasaki, has been called the world’s first novel. Detailing courtly?love in Heian society, the sprawling, seductive book was partially adapted into the 1987 anime film from Gisaburō Sugii. The film may only cover the first few chapters, but the soundtrack from Haruomi Hosono imparts a singular charge.

《源氏物語(yǔ)》被稱(chēng)為世界上第一部小說(shuō)，由11世紀(jì)一位名為紫式部的貴婦所著。這部作品詳細(xì)介紹了日本平安時(shí)代的宮廷愛(ài)情，結(jié)構(gòu)經(jīng)緯交織引人入勝。1987年杉井儀三郎（Gisaburō Sugii）將其部分改編為動(dòng)畫(huà)電影。這部電影雖然只涵蓋了前幾章內(nèi)容，但細(xì)野晴臣(Haruomi Hosono)的配樂(lè)也為它平添了幾分獨(dú)特的魅力。

Hosono is a legend in 20th century Japanese music, from his tenure in Yellow Magic Orchestra to his own wide-ranging solo work—but even?amid his decades of music, the score for Genji stands apart. His telltale electronics hover in the background as he accentuates koto, drums, and bamboo flute, mixing Japanese court music with ambient into a mix that defies characterization. –Andy Beta

細(xì)野晴臣是20世紀(jì)日本音樂(lè)界的傳奇人物。他為《源氏物語(yǔ)》的配樂(lè)，不論是放在他與坂本龍一、高橋幸宏組成的Yellow Magic Orchestra活動(dòng)時(shí)期，還是他作曲風(fēng)格廣泛的單飛時(shí)期，甚至他幾十年的音樂(lè)生涯中，都顯得與眾不同。歌曲融合日本宮廷音樂(lè)和氛圍音樂(lè)，突出表現(xiàn)日式十三弦箏、鼓和竹笛等元素，而電子樂(lè)則徘徊在背景中不易察覺(jué)。

—— Andy Beta?

38.?Once Upon a Time in America《美國(guó)往事》?1984

Ennio Morricone has created more than 500 film scores, including works for some of the greatest westerns of all time. But perhaps none are as gorgeous and emotionally resonant as?Once Upon a Time in America. Before James Woods became a pro-MAGA Twitter ideologue and Robert De Niro a guy willing to take a fat paycheck for?Dirty Grandpa, the two starred together in Sergio Leone’s astonishing crime epic chronicling a lifetime of friendship and Betrayal among Jewish mobsters. Morricone’s score—especially its sweeping centerpiece, “Deborah’s Theme”—contributes greatly to the film’s tone of wistfulness and loss. (Seriously, try playing “Deborah’s Theme” as accompaniment to any mundane activity—folding laundry, eating Doritos—and your life will suddenly feel like a profound meditation on squandered glory.) In addition to the main orchestral theme, the score boasts some rousing speakeasy jazz (much of the film takes place during Prohibition) and an ominous pan flute refrain performed by Gheorghe Zamfir, the same flute master from the?Karate Kid?soundtrack. –Zach Schonfeld

Ennio Morricone配樂(lè)過(guò)的電影超過(guò)500部，其中包括一些有史以來(lái)最偉大的西部片。但也許再也沒(méi)有一部電影，能像《Once Upon a Time in America（美國(guó)往事）》那樣精彩絕倫感人至深。影片講述了一段猶太黑幫之間友誼與背叛交織一生的傳奇故事。盡管James Woods后來(lái)成為了支持MAGA（Make America Great Again，讓美國(guó)再次偉大）的推特理論家， Robert De Niro為拿高薪而出演《下流祖父》，但兩人一同主演的這部由Sergio Leone執(zhí)導(dǎo)的影片堪稱(chēng)一部令人震驚的犯罪史詩(shī)。

Morricone的配樂(lè)——尤其是畫(huà)龍點(diǎn)睛的一筆“Deborah’s Theme（黛博拉之歌）”——極大地烘托了影片傷感與失落之情。(說(shuō)實(shí)在的，你要是平時(shí)邊聽(tīng)《黛博拉之歌》邊干點(diǎn)什么——比如疊衣服、吃玉米片——你就會(huì)突然感覺(jué)像是對(duì)揮霍的榮耀進(jìn)行了一場(chǎng)深思。)除了主要的管弦樂(lè)之外，配樂(lè)還包括一些活潑的地下酒吧爵士樂(lè)(電影的大部分情節(jié)發(fā)生在禁酒時(shí)期)，以及由《小子難纏》原聲帶中的排簫大師Gheorghe Zamfir演奏的不祥的排簫。

—— Zach Schonfeld

37.?Walkabout《小姐弟荒原歷險(xiǎn)》 1971

In Nicolas Roeg’s film, two British children stranded in the outback are rescued and guided back to “civilization” by an indigenous Australian boy—scare quotes around the C-word, for?Walkabout?is a rhapsodic elegy for nature and our lost innocence. Because there’s only sporadic dialogue (Roeg described the script as “a 14-page prose poem”) and the six-year-old brother and his teenage sister have been brought up in typically post-imperial stiff-upper-lip fashion, nearly all the emotional eloquence in the movie is supplied by the score. Waltjingu Bandilil’s eerie didgeridoo and Karlheinz Stockhausen’s disorienting tape-piece?Hymnen?conjure the unknowable majesty of the arid landscape and its scorching extremes of weather. But it’s veteran film composer John Barry who establishes the prevailing mood with his piercingly poignant orchestrations. A stirring choral theme redolent of a school song, “The Children” evokes the simple-hearted hope and accepting obedience with which kids face the world. The horn fanfares of “The Journey” conjure a storybook-adventure air, mirroring the way that the youngest child in particular processes his predicament. Above all, there’s the gently devastating, recurring main theme, a patient pulse of harpsichord over which wistful woodwinds pipe and tender violins soar and swoop. –Simon Reynolds

在Nicolas Roeg的電影中，兩個(gè)身困內(nèi)陸的英國(guó)孩子被一個(gè)澳大利亞土著男孩拯救并引導(dǎo)回到了“文明”的世界——《Walkabout（小姐弟荒原歷險(xiǎn)）》充斥著青春的荷爾蒙氣息，是一首歌頌自然和純真過(guò)往的狂想挽歌。由于只有零星的對(duì)話(Roeg將劇本描述為“14頁(yè)的散文詩(shī)”)，六歲的弟弟和他十幾青春期的姐姐又是在典型后帝國(guó)時(shí)代的嚴(yán)肅氛圍中長(zhǎng)大的，所以電影中幾乎所有的情感表達(dá)都必須依靠配樂(lè)。Waltjingu Bandilil怪異的迪吉里杜管和Karlheinz Stockhausen迷惘的磁帶作品《Hymnen（贊歌）》喚起了人們對(duì)于干旱地區(qū)及其酷熱天氣無(wú)以言表的敬畏。但正是資深電影作曲家John Barry用他那深入人心的管弦樂(lè)烘托了最適合的氛圍?！禩he Children（孩子們）》是一首活潑的合唱，帶有校園歌曲的味道，喚起了孩子們對(duì)于這個(gè)世界單純的希望和順從。《The Journey（旅程）》的喇叭聲營(yíng)造出一種故事書(shū)里的冒險(xiǎn)氣氛，反映了最小的這個(gè)孩子面對(duì)困境的處理方法。最重要的是，這是一段全然溫柔又反復(fù)回響在人們耳畔主旋律。舒緩的羽管鍵琴旋律，越過(guò)默然的木管樂(lè)器和輕柔的小提琴，在琴弦上呼嘯而過(guò)。

—— Simon Reynolds

36.?Anatomy of a Murder《桃色血案》1959

At one point in the lively 1959 legal drama?Anatomy of a Murder, a small-town woman caught up in a?homicide case questions her lawyer’s taste in records. “Aren’t lawyers supposed to like music?” responds the weary attorney, played by James Stewart. She shoots back: “Well, not?that?kind of music!”?She’s talking about?jazz, which was just beginning to be used in movies at the time, and Duke Ellington’s work on?Anatomy of a Murder?marked the first time a black composer wrote a full-length score for a major film. In an interview, the legendary bandleader made his intentions clear. “I’m not playing semi-classical stuff or symphonic music,” he said. “It’s strictly Duke Ellington music.”

在1959年生動(dòng)的法律劇《Anatomy of a Murder（桃色血案）》中，一個(gè)來(lái)自小鎮(zhèn)的女人卷入了一起兇殺案，她對(duì)律師的審美提出了質(zhì)疑?！半y道律師不應(yīng)該喜歡音樂(lè)嗎?” James Stewart飾演的律師疲憊地回答道。她反駁道:“嗯，不是這種音樂(lè)!”她說(shuō)的是當(dāng)時(shí)剛剛開(kāi)始在電影中使用的爵士樂(lè)， Duke Ellington (艾靈頓公爵)的《桃色血案》是黑人作曲家首次為一部重要電影創(chuàng)作完整的配樂(lè)。在一次采訪中，這位傳奇樂(lè)隊(duì)指揮明確表達(dá)了自己的觀點(diǎn)：“我不是在演奏半古典音樂(lè)或交響樂(lè)，”他說(shuō)，“這完全是艾靈頓公爵的音樂(lè)?！?/p>

So it is. In the late ’50s, Ellington was enjoying a career renaissance, and his score features the sort of swinging, big-band tunes he made his name on decades prior. But most effective are the more somber compositions?that add depth to?Anatomy’s explicit-for-the-time story, which revolves around an ethically murky case of rape, jealousy, murder, and the vagaries of the law. The film is famously ambiguous, smudging the line Between hero and villain, and Ellington and his orchestra’s improvisations work best when they achingly tug at that sense of reasonable doubt. –Ryan Dombal

所以就是這樣。在50年代末，Ellington正享受著職業(yè)生涯的第二春。他的配樂(lè)以搖擺不定的大爵士樂(lè)隊(duì)曲調(diào)為特色，早在幾十年前他就以這種曲調(diào)而聞名。但最令人印象深刻的還是那些更加憂(yōu)郁的作品，它們?yōu)椤短疑浮返墓适略黾恿松疃?。它圍繞著一起毫無(wú)道德的強(qiáng)奸案、嫉妒、謀殺和法律的變幻莫測(cè)展開(kāi)。這部電影以其高超的模糊手法而著名，它模糊了英雄和惡棍之間的界限。而艾靈頓和樂(lè)隊(duì)的演奏又在他們痛苦掙扎于合理懷疑時(shí)，起到了畫(huà)龍點(diǎn)睛的作用。

——?Ryan Dombal

35.?Ceddo 《局外人》 1977

In the late ’70s, the Cameroonian saxophonist Manu Dibango was already legendary on dancefloors for his disco-defining 1972 hit “Soul Makossa,” which would go on to form the basis of Michael Jackson’s “Wanna Be Startin’ Somethin’.” But in 1977, Dibango reached across borders and genres to score the Senegalese director Ousmane Sembène’s film?Ceddo. Sembène’s unflinching historical films often looked at atrocities from Senegal’s history and, like past works?of his,?Ceddo?was banned in his country.?No doubt the film’s grim portrayal of Islam and Christianity in past centuries had something to do with it, showing how these religions feasted on the slave trade, turning human beings into commodities. Buoying such grim imagery is Dibango’s music: His sax and vibraphone mingle with piano, guitar, and drums to create a highlight of ’70s African cinema, revealing Dibango to be a diverse and deeply funky composer. –Andy Beta

在70年代末，喀麥隆薩克斯手Manu?Dibango憑借1972年發(fā)布的一首經(jīng)典迪斯科曲目“Soul?Makossa（靈魂馬庫(kù)薩）”成為了舞臺(tái)上的傳奇人物。之后Michael?Jackson的歌“Wanna?Be?Startin’?Somethin’（想做點(diǎn)什么）”就是在這首歌的調(diào)子上做出來(lái)的。但是在1977年，Dibango跨越了國(guó)界和流派，為塞內(nèi)加爾導(dǎo)演Ousmane?Sembène的電影《局外人》配樂(lè)。Sembène的歷史題材電影向來(lái)無(wú)所顧忌，他經(jīng)常拍塞內(nèi)加爾歷史上的暴行，而就像過(guò)去的作品一樣，《局外人》也被塞內(nèi)加爾當(dāng)局禁了。毫無(wú)疑問(wèn)，這和電影對(duì)過(guò)去幾個(gè)世紀(jì)伊斯蘭教和基督教的殘酷描繪脫不開(kāi)關(guān)系，電影展示了這些宗教將人類(lèi)商品化，進(jìn)行奴隸貿(mào)易謀利的過(guò)程。Dibango的音樂(lè)將這種意象展現(xiàn)出來(lái)，他的薩克斯和電顫琴還有鋼琴、吉他、鼓點(diǎn)混雜在一起，創(chuàng)造出了70年代非洲電影的一大亮點(diǎn)，這也顯示出了作曲家Dibango的多元、時(shí)髦。

—— Andy Beta

34.?Breakfast at Tiffany’s 《蒂凡尼的早餐》 1961

In?Breakfast at Tiffany’s, Audrey Hepburn portrays a “very lovely, very frightened girl” who escapes to New York to reinvent herself. While Hepburn’s performance of Holly Golightly is enchanting, it is arguably Henry Mancini’s score that most effectively conjures the romance, loneliness, and mystique of the city. Mancini captures all sides of New York, from champagne-soaked parties soundtracked by peacocking big bands to the sultry allure of its seedy underworld.

在《蒂凡尼的早餐》中，Audrey?Hepburn塑造了一個(gè)“非常迷人卻又脆弱”，跑到紐約重塑自我的女孩角色。沒(méi)有什么比Hepburn扮演的Holly?Golightly更迷人，也沒(méi)有什么比Henry?Mancini的配樂(lè)更能喚起這座城市的浪漫、孤獨(dú)和神秘感。Mancini捕捉到了紐約的方方面面，從有著喧鬧的樂(lè)隊(duì)演奏和擺滿(mǎn)香檳的派對(duì)到骯臟地下世界的迷人誘惑，各式各樣，應(yīng)有盡有。

The heart of?Breakfast at Tiffany’s?is?indisputably “Moon River,” which?captures Holly’s longing for love and adventure. Though instrumental and choral renditions of the song bookend the film, the most enduring version is sung by the untrained Hepburn on her character’s fire escape, hair in a wrap and guitar in hand. Featuring lyrics penned by Hollywood songwriter Johnny Mercer, Hepburn’s performance of “Moon River” aches with a genuine wistfulness that transcends the film itself. –Quinn Moreland

毫無(wú)疑問(wèn)，“Moon?River（月亮河）”是影片《蒂凡尼的早餐》的核心，它捕捉到了Holly對(duì)愛(ài)情和刺激的渴望。盡管這首歌的純音樂(lè)版本和合唱版本為電影畫(huà)上了圓滿(mǎn)結(jié)尾，但最為經(jīng)典的還是Hepburn演技青澀時(shí)扮演的Holly裹著頭巾，拿著吉他在逃生窗邊唱的版本。這首由好萊塢詞曲作家Johnny?Mercer作詞的“Moon?River（月亮河）”在Hepburn真情實(shí)感的演繹下超出了電影本身的境界。

33.?La Planète Sauvage 《原始星球》 1973

Whether you perceive?La Planète Sauvage’s strange allegory of giant, blue-skinned Draags and their enslaved, human-sized pet Oms on the planet of Ygam as imparting a lesson in racism, human rights, or animal rights, this early-’70s animated flick continues to mystify first-graders and grad-school vapers alike. But the film’s real genius was in tapping Serge Gainsbourg’s arranger/composer Alain Goraguer for the soundtrack, before he pivoted away from child-friendly fare into scoring French porn. Full of flummoxing wah-wah guitar, ethereal choirs, breathy horns, psychedelic Mellotron, and crisp breakbeats, this?score?has inspired beat-heads like J Dilla, DJ Shadow, Madlib, and Flying Lotus while also powering tracks for Mac Miller, Big Pun, and Capone-N-Noreaga. Surreal, forlorn, and funky in equal measure,?La Planète Sauvage?continues to draw generations of producers and rappers into its gravitational field. –Andy Beta

《原始星球》中有巨人、藍(lán)皮膚人種、還有他們奴役的類(lèi)人型的寵物Oms，有人認(rèn)為這些奇怪的角色給人們上了種族主義、人權(quán)、動(dòng)物權(quán)益這么一課，但不管人們?cè)趺聪?，事?shí)是：一年級(jí)小學(xué)生也好研究生也罷都沒(méi)太看懂這部70年代早期的動(dòng)畫(huà)電影。

這部影片最妙的地方在于配樂(lè)出自Serge?Gainsbourg的編曲Alain?Goraguer之手，之后Alain?Goraguer從兒童題材轉(zhuǎn)向了法國(guó)情色片。這首歌充滿(mǎn)了凌亂的吉他聲、縹緲的教堂合唱聲、低微的喇叭聲、迷幻的電子琴、清脆的破碎節(jié)拍，激發(fā)了J?Dilla、DJ?Shadow、Madlib和Flying?Lotus等重量級(jí)歌手的靈感，同時(shí)也為Mac?Miller、Big?Pun和Capone-N-Noreaga提供了作曲的頭緒。時(shí)髦、絕望、超現(xiàn)實(shí)，《原始星球》就這樣吸引著一代又一代的制作人和饒舌歌手。

—— Andy Beta

32.?Sicario 《邊境殺手》2015

The Stephen Hawking biopic?The Theory of Everything?made the Oscars take notice of Jóhann Jóhannsson as a blockbuster composer, but it was the late experimental musician’s score for Denis Villeneuve’s?Sicario, released the following year, that proved he could smuggle truly unsettling sounds into Hollywood.?Sicario?is one of those FBI drug-bust thrillers in which the tension maintains a steady simmer; you can’t always tell when the action is about to go down because the heroes spend so much time riding around in SUVs. Jóhannsson’s score is particularly good in these moments: With its pounding timpani crescendos, venomous string strikes, and deft use of atmospheric dynamics that zoom in and out, the music is a clear sign of not just the danger that looms but the pure evil embodied by the film’s drug-lord villains. The effect is well captured by “Convoy,” a composition that hums along anxiously before swarming up at once and surrounding each side in a different kind of instrumental chaos. When the chase finally dies down, the mood is eerily still: They’ll be back. –Jillian Mapes

Stephen?Hawking的傳記《萬(wàn)物理論》讓奧斯卡評(píng)委們注意到了Jóhann?Jóhannsson這位重量級(jí)作曲家，但真正證明他能讓攪亂人心音樂(lè)殺入好萊塢的，是次年他為Denis?Villeneuve的《邊境殺手》制作的配樂(lè)?！哆吘硽⑹帧肥侵v述美國(guó)聯(lián)邦調(diào)查局(FBI)偵破毒品案的驚悚片之一，影片中緊張的氣氛持續(xù)不斷，英雄們一直在開(kāi)SUV，你根本無(wú)法預(yù)測(cè)戰(zhàn)斗什么時(shí)候才會(huì)結(jié)束。Jóhannsson的配樂(lè)在這些場(chǎng)景中非常出色：伴隨著震耳欲聾的鼓聲，琴弦的敲擊，以及對(duì)大氣動(dòng)態(tài)的靈活運(yùn)用，音樂(lè)清楚地展現(xiàn)出影片中時(shí)隱時(shí)現(xiàn)的危險(xiǎn)和毒梟惡棍的邪惡。這種效果在“護(hù)衛(wèi)隊(duì)”(Convoy)中得到了很好的體現(xiàn)，這首配樂(lè)表現(xiàn)出集結(jié)前的焦急，且在表現(xiàn)戰(zhàn)斗雙方的緊張時(shí)運(yùn)用了不同的樂(lè)器。當(dāng)追逐終于平息下來(lái)時(shí)，氣氛卻出奇地平靜:它們會(huì)回來(lái)的。

—— Jillian Mapes

31.?Merry Christmas, Mr. Lawrence 《圣誕快樂(lè)，勞倫斯先生》 1983

The Japanese composer Ryuichi Sakamoto, a member of the electronic band Yellow Magic Orchestra, would go on to win an Oscar for his work on Bernardo Bertolucci’s?The Last Emperor, but his first toe-dip into cinema?was?Merry Christmas, Mr. Lawrence.?Japanese director Nagisa ?shima’s English-language feature starred David Bowie as a handsome British major in a prisoner-of-war camp, and costarred Sakamoto himself as a guard. Sakamoto’s famous piano ballad starts with notes as pure and gentle as raindrops, a friendly reprieve from the World War II backdrop and an antidote for his initially militant character (who, not surprisingly, eventually becomes enamored with Bowie’s Jack Celliers). Even when the song escalates into a battle anthem, the humanistic melody still shines through. –Kristen Yoonsoo Kim

日本作曲家坂本龍一（Ryuichi?Sakamoto）是電音樂(lè)隊(duì)Yellow?Magic?Orchestra的成員，他為Bernardo?Bertolucci執(zhí)導(dǎo)的《末代皇帝》的配樂(lè)曾獲奧斯卡獎(jiǎng)。坂本與電影界的緣分始于《圣誕快樂(lè)》。這部英語(yǔ)影片由日本導(dǎo)演大島渚（Nagisa?Oshima）執(zhí)導(dǎo)，主演David?Bowie飾演一個(gè)戰(zhàn)俘營(yíng)里飾演一名英俊的英國(guó)少校，坂本則飾演一名警衛(wèi)。坂本這首著名的鋼琴民謠以雨點(diǎn)般純凈溫柔的音符開(kāi)始，是對(duì)二戰(zhàn)背景的友好緩和，也是對(duì)他最初好戰(zhàn)性格的一劑解藥。(不足為奇，他最終迷上了Bowie的Jack?Celliers)。即使這首歌升級(jí)為戰(zhàn)歌，旋律中仍然閃耀著人文主義。

——?Kristen Yoonsoo Kim