|
The
soundtrack and the scene
|
音乐和场景（简译）
|
| 01
NEW ATTACK (NUOVO ATTENTATO) (2:58)
Russian author
Dostoyevsky learns about an impending anarchist attack from one
of his fans. Upon hearing that his novels have been formative
in the philosophy of these terrorists, he feels somewhat responsible
— which is expertly captured by this nervous cue.
|
01 新的攻击(2:58)
俄罗斯作家陀斯妥耶夫斯基听到关于即将发生的无政府主义者攻击的消息，而这些无政府主义者是一个他的作品爱好者。当得知他的小说已经形成了这些恐怖分子的理念，他觉得有点责任
- 这是从这个不安的消息中带来的。
|
| 02
PAINFUL ETERNITY (DOLOROSAMENTE SEMPRE) (2:50)
In the aftermath
of a terrorist attack, a mournful theme emerges while a mother
is mourning her innocent child lost in the senseless violence.
It's also the perfect time for revealing the title of the movie.
|
02 永远的痛苦
(2:50)
在恐怖袭击发生后，悲伤的主题出现，这是一个母亲在哀悼她的在毫无意义的暴力中失去的无辜的孩子。它揭示了影片的标题。
|
| 03
THE PUBLISHER (L'EDITORE) (2:14)
Waiting to
learn more about his supposedly insane follower, Dostoyevsky travels
to an insane asylum to meet the enigmatic Gusiev. His nervous
waiting in the hall is colored by this cue and the distant cry
of the local inmates.
|
03 出版者（2:14），为了更多地了解他的所谓疯狂的追随者，陀思妥耶夫斯基前往精神病院去回见那个谜一般的人物丘塞夫。他在大厅里紧张等待着，远处传来那里病人的哭泣。 |
| 04
PAINFUL LOVE I (DOLOROSAMENTE AMORE I) (4:14)
A flashback
to the past recalls Dostoyevsky’s previous run-in with the law
as he got arrested due to the contents of his writings. The lengthy
cue covers the author’s arrest and trial while he is forced to
listen to the number of fabricated crimes he’s charged with.
|
04 使我痛苦的爱
(4:14)
在一个闪回场景中，陀思妥耶夫斯基回忆起由于他的著作中的内容而被逮捕的往事。他被捕和受审，并被迫听取大量被捏造的罪行。
|
| 05
INTERVIEW (COLLOQUIO) (3:32)
Gusiev is
summoned to testify against his fellow anarchists; while the inmate
tries to buy some time by pretending to be insane, Morricone’s
music predicts he can’t fool the authorities for long.
|
05 会面（3:32）
丘塞夫被传唤去面对他的无政府主义者伙伴，而犯人试图通过伪装成精神病人来拖延时间。莫里康内的音乐预言他不能欺骗当局太久。
|
| 06
A STORY (UNA STORIA) (3:42)
Dostoyevsky
meets an inspector in order to explain his side of the anarchist
plot. The discussion reveals that both men have their own methods
to stop the terrorists: Dostoyevsky favors rationality while the
investigator is leaning towards good old fashioned police work.
|
06 历史（3:42），陀思妥耶夫斯基会见检察官，以解释他身边的无政府主义者的阴谋。讨论表明，双方都有自己的方法来阻止恐怖分子：陀思妥耶夫斯基希望理性对待，而检察官则倾向于传统的警察方法。 |
| 07
PAINFUL LOVE II (DOLOROSAMENTE AMORE II) (3:47)
This is Morricone's
love theme for Dostoyevsky’s relationship with his stenographer,
Anna. The professional relationship turns more intimate in one
of the author’s more vulnerable moments when he confesses that
he prefers a female stenographer to a male one.
|
07 使我痛苦的爱II（3:47）
这是莫里康内的爱情主题，它是为了陀思妥耶夫斯基和他的速记员安娜之间的关系。在他承认和男性速记员相比他更喜欢一个女速记员的时候，职业的关系使得在作家易受攻击的时刻他们更加亲密。
|
08 IN THE UNDERGROUND (NEL SOTTERRANEO) (4:05)
Realizing
that he's been fed false information in order to fool the police,
Dostoyevsky tries to right the wrong with a daring escape. The
action cue underscoring the elderly writer’s last attempt to stop
the terrorists while jumping across rooftops is wonderfully melodramatic.
|
08 在地下（4:05）
一个大胆的逃亡者一直在使用虚假信息以骗过警察，陀思妥耶夫斯基试图纠正他的错误。一个老年作家从屋顶跳过的的惊人情节，强调他为了阻止恐怖分子而作的最后一次努力。
|
| 09
AFTER THE MEETING (DOPO L'INCONTRO) (4:38)
The beautiful
anarchist leader Alexandra has a logical reasoning for the attacks
and confronts Dostoyevsky with his own quotes in order to point
out the righteousness of their mission. The tense cue underscoring
the strained meeting is a wonderful expression of the author’s
moral defeat.
|
09 会议以后（4:38）
无政府主义的领袖亚历山德拉对于他们的使命有他自己的论证他有合乎逻辑的推理来攻击和对抗陀思妥耶夫斯基。紧张的会议表达了作家的道德溃败。
|
| 10
SIBERIA (2:09)
Singer Paola
Cecchi performs on this track while Dostoyevsky has nervous flashbacks
to his times in the Siberian labor camps. Instead of depicting
the harsh surroundings, Morricone focuses on the unbreakable human
spirit with this music.
|
10 西伯利亚（2时09分）
在一个闪回镜头中陀思妥耶夫斯基紧张地回忆起他在西伯利亚劳改营的生活，这时歌手帕乌拉切基演唱了这首歌曲。莫里康内以反映坚不可摧的人文精神的音乐来取代对那种恶劣的环境的描写。
|
| 11
FOR THREE (PER TRE) (1:46)
The program
is rounded out by one more track that seems to have been recorded
for the album only (its slate number M0 indicates it had no specific
place in the film).
|
11 关于三（1:46）
这个曲目用一个多轨圈出，它似乎仅仅被记录到这个专辑（它的M0号码表示它在影片中没有明确的地方）
|
| 12
PURSUED (INSEGUITO) (2:11)
The anarchists
set a trap for their latest target and Dostoyevsky furiously tries
to reach the intended victim before he could enter an Orthodox
church already prepared for the attack.
|
12 追求（2:11）
无政府主义者们为了他们最新的目标精心设下了一个圈套。在陀思妥耶夫斯基可能进入一个已经准备发起攻击的东正教堂之前，他在不顾一切的地试图接触到预定的受害者。
|
| 13
THE FLAG (LA BANDIERA) (1:08)
Morricone
provided original music for Dostoyevsky’s arrival to witness the
anarchist plot and the nightmarish explosion of a church – but
this musical highlight was omitted from the film and got replaced
with Orthodox source music.
|
13 旗帜（1:08）
为了陀思妥耶夫斯基到达去见证无政府主义者的阴谋和一座教堂的噩梦般的爆炸 莫里康内提供了这首原创音乐-
但这个音乐的亮点被电影省略了，它被东正教的音乐所取代。
|
| 14
SHOT (FUCILATO) (4:20)
The sight
of a carriage in the rain conjures a shadowy figure with suitably
eerie suspense strings covering the unlikely vision. The second
half of the cue is more fragmented, underscoring Gusiev’s echoing
words before the writer collapses on the staircase in an epileptic
fit.
|
14 射击（4:20）
在雨中马车的视线中浮现出一个阴森恐怖的模糊身影。下半段的线索更加分散。当作家由于癫痫发作而在一个楼梯上病倒以前，强调了丘塞夫回应
|
| 15
ON THE RIVER (SUL FIUME) (4:13)
After witnessing
a violent protest by the workers, Dostoyevsky gives them his piece
of mind by reminiscing about his times in Siberia. The change
to the flashback is underscored with a hypnotic cue that introduces
the author’s darkest period in life.
|
15 在河上（4:13）
目睹了工人的暴力抗议以后，陀思妥耶夫斯基通过回忆他在西伯利亚的生活给他们以自己的一片心意。接着闪回到一个催眠状态，引入了作家的最黑暗时期的生活。
|
| 16
FOR MY FATHER (A MIO PADRE) (8:44)
Dostoyevsky
wanders back to his Siberian memories and recall a highly symbolic
event – letting a bird of prey back to nature. The bird of freedom
closes the movie as the music soars over the end credits.
|
16 为了我的父亲（8:44）
陀思妥耶夫斯基徘徊在他对西伯利亚的记忆之中。并且想起一个极具象征意义的事件--让一支猛禽回归自然。电影在自由的飞鸟场景中结束。昂扬的音乐伴随着片尾的全部演职员表。
|
