關(guān)于 海上鋼琴師 最唯美的音樂(lè)原聲 最感人的鋼琴師靈魂
我想影片的成功所在就是把我們心中的另一個(gè)唯美的自我藝術(shù)化，他放大了純潔靈魂以及我們心靈深處的自由。至今無(wú)法忘記1900那孤獨(dú)卻不頹廢的眼神，無(wú)辜，彷徨，令人同情。說(shuō)同情1900，我們真沒(méi)有資格，疲憊的奔波于這個(gè)紙醉金迷物欲橫流的世界，拷問(wèn)自己靈魂的深處，我們?yōu)榱耸裁炊睿覀冊(cè)趺椿?，又是什么支撐著自己，可以沒(méi)有信仰，但必須要有信念。
?？偸禽d滿了回憶的，無(wú)論它是快樂(lè)的，希望或不堪回首……
《The Legend Of 1900 海上鋼琴師》敘述了一位誕生于海上的音樂(lè)奇才，精彩不凡且極富爭(zhēng)議的一生。為《The Legend Of 1900 海上鋼琴師》操刀配樂(lè)的是世界電影界著名和資深的意大利最具風(fēng)格的作曲家 Ennio Morricone 埃尼奧·莫里康內(nèi)，從處女作《法西斯分子》到1997年的《西西里的美麗傳說(shuō)》，這位大師參與制作的各國(guó)電影配樂(lè)已不下400部了，故被音樂(lè)界冠以最多產(chǎn)的作曲家美譽(yù)?，F(xiàn)時(shí)已經(jīng)是70多歲高齡的他，仍擁有豐富的創(chuàng)作靈感和素材，在《The Legend Of 1900 海上鋼琴師》里，大師以鋼琴為主配合適當(dāng)?shù)墓芟覙?lè)和室內(nèi)樂(lè)創(chuàng)作出音色醉人、旋律優(yōu)美和風(fēng)格雋永的迷人樂(lè)章。
在《The Legend Of 1900 海上鋼琴師》里，大師以鋼琴為主配合適當(dāng)?shù)墓芟覙?lè)和室內(nèi)樂(lè)創(chuàng)作出音色醉人、旋律優(yōu)美和風(fēng)格雋永的迷人樂(lè)章。其中隨性的爵士音符隨處可見，出彩的配樂(lè)表現(xiàn)出這張大碟決不流俗的態(tài)度。同時(shí)這張?jiān)暣蟮€請(qǐng)來(lái) Amedeo Tommasi、Gilda Butta 等鋼琴獨(dú)奏家，演繹 Jelly Roll Morton 及 Scott Joplin 等散拍樂(lè)名家的代表作品。原聲大碟中，1900在滑動(dòng)的鋼琴的上彈奏、與爵士樂(lè)大師斗法機(jī)巧跳脫，精妙無(wú)比，尤其是他透過(guò)舷窗看到暗戀情人即興創(chuàng)作的那一曲《Playing Love》，更是溫婉細(xì)膩如喁喁私語(yǔ)，被公推為全片最動(dòng)人樂(lè)章。全專輯最具吸引力的當(dāng)屬 Ennio Morricone 埃尼奧·莫里康內(nèi) 與前 Pink Floyd 樂(lè)隊(duì)大將 Rogers Waters 以及重?fù)u滾樂(lè)隊(duì) Van Helen 的當(dāng)家吉他手 Edward Van Helen，三巨頭首度合作的電影主題曲《Lost Boys Calling 失去的呼喚》，悠遠(yuǎn)飄渺，增添幾許傳奇深度。世紀(jì)末回首世紀(jì)初葉最動(dòng)人的海洋傳奇巨作已經(jīng)誕生。
精彩臺(tái)詞
“陸上的人喜歡尋根問(wèn)底，虛度了大好光陰。冬天憂慮夏天的姍姍來(lái)遲，夏天則擔(dān)心冬天的將至。所以他們不停四處游走，追求一個(gè)遙不可及、四季如夏的地方—我并不羨慕。”
Why why why why why... I think land people waste a lot of time wondering why. Winter comes they can't wait for summer; summer comes they're living drilled of winter. That's why you're never tired of travelling, with chasing some place far away, where there's always summer. That doesn't sound like a good bet to me.
“所有那些城市，你就是無(wú)法看見盡頭。盡頭？拜托！拜托你給我看它的盡頭在哪？當(dāng)時(shí)，站在舷梯向外看還好。我那時(shí)穿著大衣，感覺(jué)也很棒，覺(jué)得自己前途無(wú)量，然后我就要下船去。放心！完全沒(méi)問(wèn)題！可是，阻止了我的腳步的，并不是我所看見的東西，而是我所無(wú)法看見的那些東西。你明白么？我看不見的那些。在那個(gè)無(wú)限蔓延的城市里，什么東西都有，可惟獨(dú)沒(méi)有盡頭。根本就沒(méi)有盡頭。我看不見的是這一切的盡頭，世界的盡頭。”
“All that city. You just couldn't see the end to it. The end? Please? You please just show me where it ends? It was all very fine on that gangway. And I was grand too, in my overcoat. I cut quite a figure. And I was getting off. Guaranteed. There was no problem. It wasn't what I saw that stopped me, Max. It was what I didn't see. You understand that? What I didn't see. In all that sprawling city there was everything except an end. There was no end. What I did not see was where the whole thing came to an end. The end of the world... ”
“鍵盤有始有終，你確切知道 88 個(gè)鍵就在那兒，錯(cuò)不了。它并不是無(wú)限的，而音樂(lè)，才是無(wú)限的。你能在鍵盤上表現(xiàn)的音樂(lè)是無(wú)限的，我喜歡這樣，我能輕松應(yīng)對(duì)。 ! ”
“Take a piano. The keys begin, the keys end. You know there are eightyeight of them, nobody can tell you any different. They are not infinite. You are infinite. And on these keys the music that you can make is infinite. I like that. That I can live by. ”
“你把我推到舷梯上然后扔給我一架有百萬(wàn)琴鍵的鋼琴，百萬(wàn)千萬(wàn)的沒(méi)有盡頭的琴鍵，那是事實(shí)，max，它們沒(méi)有盡頭。那鍵盤是無(wú)限延伸的。然而如果琴鍵是無(wú)限的，那么在那架琴上就沒(méi)有你能彈奏的音樂(lè)，你坐錯(cuò)了地方，那是上帝的鋼琴。”
“You get me up on that gangway and you're rolling out in front of me a keyboard of millions of keys, millions and billions of keys that never end, and that's the truth, Max. That they never end. That keyboard is infinite. And if that keyboard is infinite, then on that keyboard there is no music you can play. You're sitting on the wrong bench. That's God's piano. ”
“天??！你……你看過(guò)那些街道嗎？?jī)H僅是街道，就有上千條！你下去該怎么辦？你怎么選擇其中一條來(lái)走？怎么選擇“屬于你自己的”一個(gè)女人，一棟房子，一塊地，或者選擇一道風(fēng)景欣賞，選擇一種方法死去。 ”
“Christ! Did, did you see the streets? Just the streets… There were thousands of them! And how do you do it down there？How do you choose just one? One woman, one house, one piece of land to call your own, one landscape to look at, one way to die... ”
“那個(gè)世界好重，壓在我身上。你甚至不知道它在哪里結(jié)束，你難道從來(lái)不為自己生活在無(wú)窮選擇里而害怕得快崩潰掉嗎？”
“All that world is weighing down on me, you don't even know where it comes to an end, and aren't you ever just scared of breaking apart at the thought of it? The enormity of living it? ”
“我是在這艘船上出生的，整個(gè)世界跟我并肩而行，但是，行走一次只攜帶兩千人。這里也有欲望，但不會(huì)虛妄到超出船頭和船尾。你用鋼琴表達(dá)你的快樂(lè)，但音符不是無(wú)限的。我已經(jīng)習(xí)慣這么生活。”
“I was born on this ship, and the world passed me by, but two thousand people at a time. And there were wishes here,but never more than fit between prow and stern. You played out your happiness, but on a piano that was not infinite. I learned to live that way. ”
“陸地？陸地對(duì)我來(lái)說(shuō)是一艘太大的船，一個(gè)太漂亮的女人，一段太長(zhǎng)的旅行，一瓶太刺鼻的香水，一種我不會(huì)創(chuàng)作的音樂(lè)。我永遠(yuǎn)無(wú)法放棄這艘船，不過(guò)幸好，我可以放棄我的生命。反正沒(méi)人記得我存在過(guò)，而你是例外，max，你是唯一一個(gè)知道我在這里的人。你是唯一一個(gè)，而且你最好習(xí)慣如此。原諒我，朋友，我不會(huì)下船的。”
“Land? Land is a ship too big for me. It's a woman too beautiful; it's a voyage too long, a perfume too strong. It's a music I don't know how to make. I could never get off this ship. At best, I can step off my life. After all, I don't exist for anyone. You're an exception, Max, you're the only one who knows I'm here. You're a minority, and you better get used to it. Forgive me, my friend, but I'm not getting off.”
