镜子面具 电影原声

《镜子面具》是平面绘图大师达夫·麦克基恩执导的第一部剧情长片，影片中充满了变化多端的平面蒙太奇，真人与动画相互融合，诡异、妖冶如梦境般光怪陆离的画面令人难以拒绝。影片在风格上和宫崎骏的电影有很多相似之处，儿童梦境题材，故事意境深远，想像力丰富，只是麦克基恩对剧情的把握能力还稍有不足，故事节奏被淹没在如天花般绚烂的画面中。
和麦克基恩共同编剧的英国作家尼尔·盖曼更是一代奇才，他是现代十大顶级后现代主义作家之一，他的作品大部份都是奇幻小说，曾为DC公司创作漫画系列《睡魔》的剧本，并此一共获得9次动漫产业奖和一世界奇幻奖的最佳短篇小说奖。2001年，他的奇幻长篇小说《美国众神》（AmericanGods）赢得了奇幻小说界最有名的雨果奖和星云奖，以及恐怖小说界的最高荣誉布莱姆·斯托克奖， 2003、2004年，他又先后凭《卡罗兰》和《绿字的研究》两度斩获雨果奖，成为奇幻文学界最炙手可热的作家。
从片名可以解读出影片的主题，魔法世界中每个人都有“面具”，强调有生命即有面具，如同每个人脸上的喜怒哀乐，那是别人眼中的自己，而“镜子”则是自己观察自己，镜子有时的确能看到真实的实像，但是当镜子倾斜45度时，镜子中的就是假像，而形状不规则的镜子更是折射出千变万化的假像，影片通过强调“镜子” 和“面具”，试图说明一切都是假像，只有主人公内心认定的世界是真的，她可以把生活当做一场梦，也可以把一场梦当做生活，甚至自己都未必是自己。很深奥，暂且不论，对于影片来说，无论奇幻、科幻、写实、纪录，都只是一场视觉的游戏。
来源：虾米
Movie critics are almost universal in their acclaim of the visual (if not storytelling) achievement of writer Neil Gaiman and first-time director Dave McKean's MirrorMask. The sets and animation designs are derived from McKean's distinctively imaginative illustrations: the result is as overpowering as it is quirky.
A quirky film demands a quirky soundtrack - and that's just what moviegoers get with Iain Ballamy's rich, eclectic score.
A saxophonist best known to European music-lovers, Ballamy teams up with Ashley Slater to arrange and orchestrate his compositions. It's a long soundtrack - over 74 minutes - with songs as short as 30 seconds, one that's over 10 minutes; with the rest being quick hits of a minute or two.
Ballamy clearly has a love of Gypsy music and Eastern European folk styles, as evidenced in "Sock Puppets/Flyover," "Circus Overture," "Spanish Web," "Leaving the City," "Fish Street," "My Waltz for Newk" and the funny, double-time "Rabbit Band." Here listeners are exposed to invigorating combinations of accordion, brass, percussion and saxophone.
But it's not all Gypsy music. Among the variety of offerings is "Running for the Bus," a placid vignette with guitar and bass; "Abandoned Hall," which begins tentatively with strings and chimes, and gradually morphs into an urgent, atonal blend of synthetic sounds, plunky bass, with a sinister sound effect like a snake's rattle; and "Arresting Helena," with its plinky strings and exotic percussion (a perfect accompaniment for the rushing, spindle-legged creatures who take Helena to see the White Queen).
Speaking of which, "The White Queen Sleeps" features languid, watery bells - and we hear vocals for the first time (courtesy of Norwegian trumpeter Arve Henriksen).
"The Library" pairs jazzy sax with a cimbalom (a sort of Gypsy xylophone). The cimbalom returns in "Butterfingers." Ballamy plays a wood flute, complemented by programmed effects in "The Myth of Creation." There's more jazz/Gypsy hybridization in "Looking through the Window."
Two of the most powerful tracks are "Giants Orbiting" (eerie, frightening, with a sound like a swarm of giant bees attacking - perfectly suited for the mysterious and wonderful scene in the movie for which it was written) and "Monkeybirds," another dramatic piece, a backdrop to the film's strange, seat-of-your-pants chase scene.
"Mrs. Bagwell's Rhumba" is a fun, over-the-top piece, with Henricksen using a crazed, mock-operatic voice.
There are a number of downright lovely tracks, including "Dream Park/Meeting in a Dream" (featuring trumpet and cello), "Conjuring a Dome" (trumpet and voice), "A New Life" (a New Agey, jazzy tune with vocals by Josefine Cronholm), "A Rather Tense Dinner Party" (with its echoing piano) and "If I Apologized" (a nice duet with Josefine Cronholm and Ashley Slater that sounds like something Sade might have done).
"Meeting the Sphinx and Dark Queen" is an odd, ethereal, jazzy tune. "In the Dark Forest" is a doleful cello piece. "Betrayed!" is another stand-out piece featuring trilling strings; dark, moody, and unnerving.
Perhaps the strangest song in the whole film is Josefine Cronholm's quirky clockwork cover of "Close to You," the 1970s hit by The Carpenters. It's used during the scene in which Helena undergoes temptation to the dark side.
The ten-minute montage "Discoveries/Fight or Flight?/Goodbye Evil Helena" starts out like something escaping a music box, morphing into an insistent orchestral arrangement with a big, blaring climax.
The prime audience for MirrorMask: Original Motion Picture Soundtrack will be hardcore Gaimanites who see this film multiple times, and those who see the film just once and fall in love with its confusing "Alice in Wonderland meets Salvador Dali" visual vibe. If Gaiman/McKean partner for another such film, they could do much worse than rehiring Iain Ballamy.
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