繁體中文
服部良一1907年生於大阪，為泥塑玩偶工匠之子，家中有兩姊兩妹，家境清貧。他六歲參加教會合唱團，開始認識管風琴等西洋樂器；十六歲加入為鰻魚店宣傳的「出雲屋少年音樂隊」，三年後加入大阪交響樂團吹雙簧管，其音樂才能獲樂團指揮伊曼紐．梅特賞識，私人教授西洋音樂理論，服部一生視其為恩師。他二十四歲首度獲唱片公司聘為作曲家，五年後轉職哥倫比亞公司。1938年他開始為東寶的電影作曲，首部為《鐵腕都市》（1938），其後有《支那之夜》（1940）、《我的鶯》（滿映／東寶，1943）等；他為《支那之夜》譜寫的《蘇州夜曲》由李香蘭主唱，成為其代表作之一。1938年他以慰問團團員身份赴上海，認識陳歌辛、梁樂音、黎錦光及姚敏等音樂家。戰後他曾為白光主演的日本電影《戀愛蘭燈》（1951）作曲，白光以日語主唱；其後因亦徒亦友的姚敏關係再與香港結緣，參與《女秘書艷史》（1960）、《野玫瑰之戀》（1960）、《香港之夜》（1961）、《小兒女》（1963）及《教我如何不想她》（1963）等國際電影懋業有限公司電影的音樂工作，與姚敏合作的《野玫瑰之戀》尤為代表。1968年他為井上梅次在邵氏兄弟（香港）有限公司執導的首四部電影作曲，包括《香江花月夜》（1967）、《諜網嬌娃》（1967）、《青春鼓王》（1967）、《花月良宵》（1968）。姚敏1967年去世後，服部感到香港電影取向已變，便再沒到香港參與電影音樂工作。他於1993年逝世，有「日本布基之父」之稱。
English
Ryoichi Hattori, born in Osaka in 1907, was the son of a poor clay-doll maker. He joined a church choir at six and began to learn Western instruments, entered a band that publicised an eel shop at sixteen and three years later was recruited by the Osaka Symphony Orchestra as an oboist, where the conductor Emmanuel Metter recognised his talent and gave him private lessons in Western music theory; Hattori called him his lifelong mentor. Hired as a composer by a record company at twenty-four, he joined Columbia five years later, and from 1938 wrote for Toho's films, first credited on Iron Wrist City (1938), followed by China Night (1940) and My Nightingale (1943). His Suzhou Serenade for China Night, sung by Li Xianglan, became one of his best-known songs. Visiting Shanghai with a comfort delegation in 1938, he met musicians including Chen Gexin, Liang Leyin, Li Jinguang and Yao Min. After the war he composed for the Japanese film The Lantern of Love (1951), starring Bai Guang, who sang in Japanese, and later, through his friendship with Yao Min, worked in Hong Kong on films for Motion Picture and General Investment such as Miss Secretary (1960), The Wild, Wild Rose (1960), A Night in Hong Kong (1961), Father Takes a Bride (1963) and Because of Her (1963), The Wild, Wild Rose being a landmark of their collaboration. In 1968 he composed for the first four films Umetsugu Inoue directed for Shaw Brothers, including Hong Kong Nocturne and King Drummer (both 1967). After Yao Min died in 1967, feeling local cinema had changed, Hattori stopped working on Hong Kong film music. He died in 1993, remembered as the father of Japanese boogie.
