英语翻译
Quentin Tarantino wraps up his dizzy double-dose of martial arts film tribute cum informed paean to junk cinema with the throw-it-all-against-wall abandon that´s become his cliched trademark,if not necessarily his true strength as a filmmaker.That sensibility has long informed his quirky,world-pop savvy soundtracks as well,though this chapter´s collection gratifyingly sacrifices a dollop of eclecticism in favor of a little more focused nuance.Revolving loosely around a decidedly international,free-floating axis of Latin rhythm (Chingon´s "Malaguena Salerosa," the flamenco-demento of Lole Y Manuel´s "Tu Mira") and Western twang,Tarantino´s choices include Morricone both familiar (The Good,the Bad and Ugly´s evocative "Il Tramonto") and less so (Il mercenario´s "l´arena," "A Silhoutte of Doom"),fellow Roman film scorer Luis Bacalov´s slinky,guitar-driven "The Summertime Killer" and a couple disparate slices of Americana by country legend Johnny Cash and rockabilly loose cannon Charlie Feathers.The director´s pop fare covers less adventuresome territory,though Malcolm McLaren´s trip-hop take on the Zombie´s British Invasion chestnut "She´s Not There" somehow seems all-of-a-piece with the retro groove of Shivaree´s "Goodnight Moon" and melodramatic kitsch of Japanese actress Meiko Kaji´s "Urami Bushi." It´s all interspersed with excerpts of Tarantino-penned dialog from the film,snippets that only inspire an even greater admiration for his adventurous taste as musical compiler/supervisor.