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打破:在橘子梦想的小偷得分40周年

开口十分钟Michael Mann’s "Thief“仍然是电影历史上最具影响力的序列之一。灵感来自他在哈希尔的类似集合件”rififi.“和”Topkapi“,这是一种几乎沉默的序列,它在其视觉和眼镜组件中是突破性的。曼达和电影院唐纳德·托伦设想一个夜间城市景观的棱角,我们t streets, and sinister neon lighting. We watch as Frank (James Caan)他的职业盗贼的紧身船员穿透办公室,并使用高科技齿轮闯入安全。(弗兰克只偷了冰或金钱。)弗兰克和他的船员的精确度被曼恩的方向镜像。展示我们从不担心任何被捕获的人都有如此的信心。

该序列通过电子分数从Tangerine Dream. An outfit out of Germany, Tangerine Dream was a product of the “krautrock.“ 和PROG ROCK.movements. Bands like Kraftwerk, King Crimson, and Yes expanded the pop song form. Songs like Yes’ “Heart of the Sunrise” and King Crimson’s “21st世纪的Schizoid人“是膨胀的。他们的长乐曲不介绍会有微妙的变化。(聆听和惊叹于肯定的前三分钟'“Heart of the Sunrise。“) Building off these early innovations, Tangerine Dream specialized in synth-pop symphonies that washed over the listener. The first movie score they composed was for威廉弗里德金’s 1977 remake of “恐惧的工资,“Retitled”巫师。“这是一个很好的分数,区分电影,但它并没有像“小偷”这样的标记。

分数的核心是史诗“金刚石日记”,在开口序列中听到十分分钟的件。它从一个简单的单个合成器注释开始,并在层上快速添加层,用张力和节奏流动。当弗兰克裂缝打开安全的时候,音乐略微加速了它的节奏。像LED Zeppelin的“MOBY DICK这样的歌曲一样,乐队的扩展乐器堵塞与歌曲等歌曲之间的区别在于橘子梦想的群体工作很少有音乐的任何变化。果酱被设计为特定音乐家的展示。这首歌很快就变成单调,一票。橘子梦想的音乐不是那么。在一点时,当弗兰克在驾驶时灯光点燃一根香烟时,得分的枢轴关键变化是发出的。该得分的前方,推进节奏被夜间驾驶的前进运动镜像。

The other great track comes toward the end when Frank, backed into a corner, decides he must burn everything to the ground to regain his freedom. “Dr. Destructo” is a menacing piece of synth-rock, complete with a strutting beat that acts like a countdown to annihilation. The final track—the only non-Tangerine Dream piece in the main score—is aCraig Safan.题为“对抗的作品”,一个悲伤的提示,信号发出了坦率地放弃了多少坦率,以便自由。(曼恩想要粉红弗洛伊德的“舒适地麻木”,但无法获得权利;野生船的作品听起来像诉讼近似。)

Audiences didn’t know what to make of "Thief" or its score"—Mann’s film was not a financial success, and Tangerine Dream’s score was nominated for Worst Movie Score at the Razzies. But the long arc of movie history validates the both director and the band. Released nine months before “Chariots of Fire,” a film with an Oscar-winning synth score by Vangelis that was more upbeat and inspirational, “Thief” broke down the doors for synth scores in mainstream film, and had a ripple effect on the rest of pop music.

“小偷”得分的直接影响可以在收音机上听到乐队,如发型100和Duran Duran的“里约这样的歌曲”(尤其是它的大综合介绍)。新订单将橘子梦的合成节奏变为包围舞蹈节拍。像“蓝色星期一”这样的歌曲有一个渗透的节拍,回忆起橘子梦想和早期的Kraftwerk。但是最成功的成功装备受到橘梦的影响是愚蠢的朋克,其最近宣布解散在音乐界的一个洞。它们的合成流行音乐,恍惚和迪斯科和迪斯科舞厅的结合创造了一旦原装和复古的声音。像“世界各地”的歌曲和“再次”谈到了一个时代的愿景,但是技术已经过剩但人类仍然存活。(是否有惊喜他们为“Tron遗留”的分数?)


至于橘子梦,他们成为臀部,转到电影作曲家短暂的时刻。作家/董事Paul Brickman.used their music as score for his suburban-teen capitalist satire “Risky Business.” Released in the backwash of countless brainless, sexist teen sex comedies, “Risky Business” was a sharp-edged Reagan-era update of “The Graduate,” set, like “Thief,” in Chicago, with its main location the sort of suburban mansion where罗伯特·帕斯基’s Leo might lord it over his subordinates. The score—particularly a track entitled “Love on a Train”—elevated the movie out of the teen-sex comedy basement and gave it an artsy cache. Even the song selections had an art-rock sensibility. Pieces like Talking Heads’ “Swamp” and Prince’s “D.M.S.R.” fit in with the Tangerine Dream score. But the movie’s best song selection isPhil Collins’ “In the Air Tonight,” a synth-pop rock ballad that is startlingly of a piece with the work of Tangerine Dream. (It’s probably no coincidence that it was prominently used in the 1984 pilot for “Miami Vice,” a cop drama executive produced by Michael Mann.)

之后,橘梦的电影评分效果较差。他们的分数Mark Lester'1984年Stephen King适应“Firestarter”是令人喜怒无常的乐趣,但有点熟悉。当他们完成替换分数时Ridley Scott’s “Legend” (displacing杰瑞金史,其原始得分在欧洲播放了印刷品)很清楚好莱坞继续前进。

令人惊讶的是,曼诺再次使用橘子梦,“保持” - 一架商用牌,几乎记忆一会儿 - 但他确实继续使用合成绩。在“曼霍尔,“Composer Michael Rubini的令人难以忘怀的分数,被综合摇滚轨道更加强调,就像红色的“心跳”和王子搬运工一样强烈。在电影的延长高潮期间,师父迅速进入,这是康复的孙子,铁蝴蝶的“in-a-gadda-da-vida”。对于他的史诗警察和劫匪戏剧“热量”,曼恩将更具更实验的声音。那个合成管弦乐分数由Elliot Goldenthal,但大部分分数来自Brian Eno,Moby和U2 Side Projecters的喜欢的先前录制的曲目。

Mann的“加热”中最具标志性的音乐是eno的“力量标记”,这是一个以核心银行赫斯特评分的电子打击件。像“钻石日记”一样,从开放的喉咙序列“小偷”,轨道传达前向动作。Moby的Synth-Rock磨床“新黎明淡化”用作侦探Vincent Hanna的序言(艾尔·帕西诺)面对大师小偷尼尔麦考秀(Robert DeNiro) right before they have a cup of coffee. The final piece of music is even better, Moby’s “God Moving Over the Face of the Waters.” It comes after a cat-and-mouse shoot-out between Hanna and McCauley and the two men share a moment of acceptance and understanding. Its piano-driven orchestration has an almost ethereal quality, as if suggesting something spiritual has passed between the two men. It’s the Dream-iest of all the tracks in the film.

And what about Tangerine Dream? Their popularity grew because of their scores for “Thief” and “Risky Business, two scores that meant they would always have sell-out shows around the world. (The group still performs from time to time, although founding member Edgar Froese passed in 2015.) Like most things that are original and innovative, the majority of the imitations are bad. Although synth scores have enjoyed a resurgence in the past decade, as evidenced by everything from Netflix’s “Stranger Things” to “驾驶” to the documentary “阿波罗11.“和总监 - 音乐家John Carpenter’s live appearances, the recent film that has displayed the most intriguing affinity for “Thief” is the Safdie brothers’ “Uncut Gems。“更多的角色研究比犯罪故事,电影明星亚当·桑德勒作为赌博瘾君子和钻石推销员的职业生涯封顶性能,试图通过制作越来越大的赌注来抹去他的债务。合成管弦乐分数Daniel Lopatinjacked up the film’s already considerable anxiety level. As in “Thief,” its constant presence infuses the movie’s so-called quiet scenes with tension. It’s a dream of things to come.

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