THE ROMANTIC RADIOHEAD Radiohead的浪漫
IN THE PAST
decade, Radiohead’s lead guitarist Jonny Greenwood has discovered a new career as a film composer, writing original scores for films such as The Master, Norwegian Wood and You Were Never Really Here. Inspired by the avant garde works of Polish composer Krzysztof Penderecki, Greenwood’s film scores are transcendent, haunting and often unsettling.
Phantom Thread is the fourth film Greenwood has scored for director Paul Thomas Anderson, who gave the musician his first shot at it with There Will Be Blood. Greenwood’s powerfully minimalist work on that film contributed greatly to a stylistic shift for Anderson, who went from making Robert Altman-esque ensemble opuses such as Boogie Nights and
Magnolia to developing a unique auteur style. Anderson and Greenwood have since become one of the greatest ongoing collaborations in arthouse cinema today.
Phantom Thread, however, is nothing like the duo’s previous works. Set in 1950s England, the romantic drama is about a dressmaker (Daniel Day-Lewis) and his push-and-pull relationship with a waitress he has fallen in love with ( Vicky Krieps). More in the vein of his work on Norwegian Wood than There Will Be Blood, Phantom Thread’s soundtrack (which earned Greenwood a long overdue Oscar nomination) is a richly ethereal work that perfectly matches Anderson’s lavish depiction of high society.
The titular theme song – played in four different variations, ranging from a simple piano version to a full-blown orchestrated rendition performed by the Royal Philharmonic Orchestra – is at once elegant and ominous. The film’s other theme song – The House of Woodcock – is a romantic piece that plays like a beautiful waltz. There’s still a hint of the Greenwood his fans know and love with Barbara Rose – backed with Philip Glass-esque plucked strings – and the Penderecki-esque Boletus Felleus.
Like his peer Anderson, the greatest thing about Greenwood’s film scores is the musician’s ability to constantly surprise. With Phantom Thread, he has delivered his most sumptuous and most romantic work to date.
在過去十年， Radiohead 的主音結他手
Jonny Greenwood開創出另一番事業，就是以電影配樂師的身份為《大師》、《挪威的森林》、《獨行煞星》等電影編寫原創音樂。Greenwood 受波蘭作曲家Krzysztof Penderecki的前衛作品啟發，電影配樂同樣超凡脫俗、繞樑三日，使人聽後念念不忘。
《霓裳魅影》是Greenwood 與導演
Paul Thomas Anderson 第四度合作的電影， Anderson 執導的《黑金風雲》將
Greenwood首度帶入電影配樂的領域；而
Greenwood 為該片創作出風格強烈的簡約音樂，則為 Anderson 電影風格上的轉型埋下重要伏筆。Anderson的電影逐漸由
Robert Altman那種人物群像的形式，如《一舉成名》和《人生交叉剔》，慢慢發展出屬於自己的獨特風格。此後，二人成為當今藝術電影界中一對無懈可擊的拍檔。
不過，《霓裳魅影》有別於二人以往合作的作品。這個以1950年代英倫為背景的愛情故事，描繪由Daniel DayLewis 飾 演 的 服 裝 設 計 師，與Vicky Krieps飾演的年輕女侍應Alma之間若 即 若 離 的 曖 昧 關 係。Greenwood為《霓裳魅影》創作的配樂，若與《黑金風雲》及《挪威的森林》比較，風格更接近後者，亦令他獲得遲來的奧斯卡提名。他編寫的音樂優雅脫俗，與Anderson悉心描繪的上流社會，配合得天衣無縫。
跟戲名同名的電影主題曲有四重變奏，由簡單的鋼琴獨奏，到皇家愛樂樂團 演繹的管弦樂演奏，都是在優雅溫柔中帶點惴惴不安；另一首主題音樂〈The House of Woodcock〉，則有如一首浪漫而典雅的華爾滋。至於插曲〈Barbara Rose〉中運用的撥弦方式，風格類似走簡約主義風格的Philip Glass，而〈Boletus Felleus〉則帶有Penderecki 的色彩；即使如此，樂迷仍可感受到他們熟悉且鍾愛的Greenwood 風格。
Greenwood的電影配樂最出色之處，跟他的拍檔Anderson一樣，能夠不斷帶來驚喜。而《霓裳魅影》則可說是他迄今最瑰麗，亦是最浪漫的配樂作品。