Readers and staffers recommend the most memorable use of songs in movie scenes. To submit your own, with a brief explanation of why it’s so effective and why you love it so much, please email email@example.com.
Okay, [like Miami Vice and Southland,] this isn’t a movie, but Breaking Bad is arguably the most cinematic TV show ever, and it’s almost like the whole plot was written around this montage being the musical punchline of the entire series—or is it just me? It’s just me, isn’t it? Oh well, really great sequence anyway.
An even more brilliant use of a song in Breaking Bad was the very last one, in the very last scene, starting with the opening lyric, “Guess I got what I deserved”:
(Track of the Day archive here. Pre-Notes archive here. Submit via hello@.)
I saw your Miami Vice/“In the Air Tonight” note and immediately thought of this: The opening scene of the pilot of the NBC/TNT show Southland and its amazing use of “School" by Supertramp. (I grew up listening to Supertramp and their album Crime of the Century was always my favourite.) This scene is even further into the TV arena than Miami Vice, so it might fall outside your boundaries for the cinema series, but it’s something that has always stuck with me. It’s rookie cop Ben Sherman’s first day on the job, and he is doing crowd control at a homicide scene:
The show used the haunting harmonica opening from the first track “School,” played over top of low-frame-rate shaky cam footage with no sound, quick-cutting among the confused throng of people around the scene. The producers cut out the song’s lyrics, jumping right to the instrumental break in the middle of the first verse. As the music builds to the child’s playground scream, the music cuts out to show an onlooking woman screaming instead, which jolts Sherman awake to what’s going on around him. Thus, while Sherman has graduated from the academy, this homicide is his first day at school.
(Track of the Day archive here. Pre-Notes archive here. Submit via hello@.)
Gary in Saskatchewan, our serial contributor to the cinema series, delivers another solid track: Danny Elfman’s orchestral “Ice Dance” in Edward Scissorhands. (Full instrumental version here.) As Gary puts it, “This scene captures a brief moment of magic before everything falls apart.”
Once, on a flight from Australia, I watched three Wes Anderson films back-to-back and gave myself a bad migraine. But can you blame me? Clever and whimsical, Wes Anderson’s music choices are as colorful and precisely-exacted as his cinematography. One of my favorite examples is the scene in Royal Tenenbaums where Richie meets his adopted sister Margot at a bus station (also, he’s secretly in love with her).
“These Days” has a strange story behind it. Although the song was first released in 1967 by singer Nico, she didn’t write it. Instead, it was plucked from a demo that 16-year old Jackson Browne recorded and sent in to the same publishing label. Browne went on to release his own version of it, six years later. Nico’s cover, with its addition of strings, has an lush urgency to it that Browne’s version doesn’t convey, but nevertheless, it’s his lyrics that make the heart of the song.
Maybe it’s the slow-motion of Margot Tenenbaum stepping down from that funny green bus in her fur coat, or Browne’s young lyrics, or Nico’s deep croon. Whatever it is, in this film, the song drops us right in the middle of an indie romance. It’s a tribute to capturing that gut-punch, unable-to-breath moment—you know, the one when you really see someone you love for the first time.
Another reader, Noam, adds: “The fragility of the music and characters matches perfectly. It’s a perfect scene.”
Speaking of the fragility of those two characters, Margot and Richie, a subsequent scene shows Richie shaving his head and beard and then calmly slitting his wrists. It’s a dark complement to the scene above because Richie is in psychological turmoil over his love for Margot and discovers that she’s been sleeping with his best friend and a string of other men. The wrist-cutting scene is all the more macabre because Elliott Smith’s “Needle in the Hay” is playing in the background. Smith died in 2003—two years after the release of Royal Tenebaums—from knife wounds to the chest that were likely self-inflicted. But even without that tragic irony, the song selection for Richie’s scene was fitting given Smith’s long, well-known struggle with depression.
Update from reader Tim, who cheers things up a bit:
When I saw your “These Days” headline, I immediately thought it referred to this gem by English singer-writer-artist Ron Sexsmith (no, for real, that’s his name). Same title, different song, but it would have worked at least as well as the Nico in Tenenbaums.
Even better, here’s reader Nathan:
A nice rejoinder to the darkness of Nico’s “These Days” is Drake’s surprisingly lighthearted cover of the song, an under-the-radar pre-Views leak. Drake’s take borders on silly, but its wistfulness actually ends up capturing his Views-era M.O. in a way that much of his actual album does not. “I had a lover / It’s so hard to risk another these days” just works better than “Wonder if they’re second guessin' their decisions / I hate the number 2, that shit is unforgiven.”
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A reader, Christian, keeps our cinema series alive with The Righteous Brothers closing out Top Gun:
You can crack jokes all day about this movie’s comic-book politics and repressed sexuality, but if you can sit through it and not feel something as the freeze-frame end titles begin, I don’t understand you:
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I was looking at some of your recent “Track of the Day” movie scenes. Thanks for these nuggets of beauty and inspiration. I was reminded of The Diving Bell and the Butterfly, a film about the former editor at French Vogue who suffered a massive stroke and ended up suffering from Locked-in Syndrome, where he could hear and understand all that was going on around him but unable to communicate in any way except by blinking his eye.
There is a scene in the film where he is remembering back to a trip he took to the city of Lourdes with his mistress. They are driving in a convertible and her hair is flailing in the wind while the opening guitar riffs of U2’s “Ultraviolet (Light my Way)” is playing and the camera is positioned as if the viewer is in the back seat.
I will never forget that scene. It’s such a powerful combination of image and sound that elicit freedom and movement from a man trapped in his own body. It is one of the most visually stunning moments in cinema for me and also an awesome song.
(Track of the Day archive here. Submit via hello@.)
The movie Billy Elliot (UK, 2000) is about a boy in a coal-mining town in northern England who wants to become a professional ballet dancer. (The movie was adapted into a musical.) His goal does not go over well with his family or in his town, especially given the setting during the bitter coal miners’ strike of 1984-85. Billy’s frustrations come to a head in a dance scene:
The song is The Jam’s Town called Malice, itself a hard-hitting expression of frustration. (It was #1 on the British charts when it was released in 1982.) It’s a wonderful scene, even out of context. The volume is a bit low in the video, so crank it up.
Billy Elliot is played by Jamie Bell, and the only other film I’ve seen him in—and I coincidentally just saw it a few weeks ago—is Nymphomaniac, the deeply dark 2013 psychosexual study from Lars von Trier. Bell plays a baby-faced professional sadist known as K, and he lets out his aggression with a riding crop rather than tap shoes. The film is pretty forgettable, but the casting choice is canny.
(Track of the Day archive here. Submit via hello@)
A reader, Joseph, calls the soundtrack to Antonia Bird’s Ravenous “one of the most under-appreciated scores of all time, not surprising for a gory dark comedy about cannibalism in the American west”:
The film itself deserves more credit than is generally warranted for its bitter, bloody takedown of 19th century American imperialism and manifest destiny, but honestly the music is some of the most dramatic and hilarious that I think has ever been set to moving image. Yes, the music itself is funny. It is also bone-chillingly suspenseful in other moments, seamlessly blending both Americana and horror-film idioms.
In this clip you get a sense of just how good it is at building the tension of the scene, followed by a desperately needed catharsis that is delivered by an amazing fiddle and banjo-fueled chase, only briefly glimpsed here.
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The latest reader entry for our cinema series comes from Al Berg:
From the movie The Doctor, Laurie Anderson singing “Strange Angels” perfectly captures the heightened sensibility and wonder of life as death approaches:
If, like me, you haven’t seen the movie yet, here’s part of the synopsis to better understand the scene:
Dr Jack MacKee is a successful surgeon at a leading hospital. He and his wife have all the trappings of success, although Jack works such long hours that he rarely has time to see their son and has become somewhat emotionally dead to his wife. His “bedside manner” with his patients, in many cases seriously ill, is also quite lacking. [...]
Returning home from a dinner party, Jack has a coughing fit. His wife Anne is shocked when he coughs up blood all over her and the car. In an examination, Jack has a sample of a growth removed from his throat. The biopsy comes back positive for cancer. [...] As Jack experiences life as a patient, there comes a clearer understanding of the emotionally void hospitals, some doctors, and his own colleagues can display. He befriends June Ellis, a fellow cancer patient who has an inoperable brain tumor.
(Track of the Day archive here. Submit via hello@)
Adèle (Vanessa Paradis) is a 22-year-old woman whose life seems to have been a long series of miscalculations; she’s never had much luck with love, life, or career, and is standing on a bridge overlooking the Seine one night, contemplating suicide, when she’s approached by a man named Gabor (Daniel Auteuil). Gabor announces he’s a knife-thrower who needs a new human target for his act. Would Adèle be interested?
Gary points to an incredibly tense, sensual scene from the film:
Here’s another song [Marianne Faithfull’s “Who Will Take My Dreams Away?] that is now inseparable in my head from the scene it accompanied—and that’s exactly what should happen with a good film editor:
The sensuality and sadness of the song enhances those elements in this scene of two damaged people: a woman who had nothing left to live for, and a man who wants just one more shot at redemption. Both are helping each other to move on.
If you have a favorite scene from a film that entwines a song in a really artful way—even if you’ve already submitted one—please send it our way, along with any thoughts you may have on its meaning: firstname.lastname@example.org. Update from reader Al Berg:
Gary’s great pick of a Marianne Faithfull song reminds me of one of my favorites: Marianne singing “The Ballad of Lucy Jordan,” which perfectly fit the tale of the heroine, played wonderfully by Susan Anspach in the quirky film Montenegro. The story is about a bored housewife who ditches her mundane world and cuts loose with a free-loving band of characters. The song was also appropriately used in Thelma and Louise.
A reader brilliantly blends our cover-song series and our cinema series by noting an emotionally complex and devastating scene from director Tomas Alfredson:
I can’t think of a cinematic cover song better-deployed than Julio Iglesias’s disco-fied version of Charles Trenet’s “La Mer” at the end of 2011’s Tinker, Tailor, Soldier, Spy.
Those who have read the book or seen the film or the classic BBC/Alec Guinness series will understand the tortured love-hate, self-or-country dynamics at work in the scene. Those who haven’t … will need to in order to fully appreciate it! The scene is way too layered and complex to summarize. Suffice it to say that the wistful, nostalgic lyrics, contrasted with Iglesias’s jauntily triumphant treatment of the tune, perfectly match that complex dynamic, as well as the larger story arc: the downfall, redemption, and return of loyal English spymaster George Smiley to his beloved Circus (MI6), seen at the very end.
And in every way, led by the music but extending to the coloration and the wide shots, the scene breaks cleanly with the beautifully brooding, dark, discordant, claustrophobic film that preceded it. If you’ve ever wondered just how much “design” contributes to the emotional feel and weight of a great film, this engaging look at TTSS's palette and patterning is a fascinating primer.
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No series on the artful use of songs in cinema would be complete without the haunting violin of composer Clint Mansell, performed by the Kronos Quartet, which stalks the tragic characters of Requiem For a Dream throughout the film and culminates in this closing montage:
His impact in a short period of time has been revolutionary, and his resounding victory means he can remake the country.
The Britain that has emerged today is different from the one that came before, its old political map erased, its economic model upended, its prospects uncertain—even its very unity in doubt. The Britain built by Tony Blair is gone, fatally undermined by David Cameron’s Brexit referendum and now swept away in a provincial tide of support for Boris Johnson’s Conservatives.
To understand the scale of what has happened, remember that less than four years ago, Johnson was still London’s mayor and undecided about whether to back Leave or Remain in the referendum; Cameron was prime minister, with the first Conservative majority in more than 20 years; and Britain’s economy was among the most dynamic in Europe. A poll carried out the day before Johnson announced that he supported Brexit showed Remain running 15 percentage points ahead of Leave.
American conservatives who find themselves identifying with Putin’s regime refuse to see the country for what it actually is.
Sherwood Eddy was a prominent American missionary as well as that now rare thing, a Christian socialist. In the 1920s and ’30s, he made more than a dozen trips to the Soviet Union. He was not blind to the problems of the U.S.S.R., but he also found much to like. In place of squabbling, corrupt democratic politicians, he wrote in one of his books on the country, “Stalin rules … by his sagacity, his honesty, his rugged courage, his indomitable will and titanic energy.” Instead of the greed he found so pervasive in America, Russians seemed to him to be working for the joy of working.
Above all, though, he thought he had found in Russia something that his own individualistic society lacked: a “unified philosophy of life.” In Russia, he wrote, “all life is focused in a central purpose. It is directed to a single high end and energized by such powerful and glowing motivation that life seems to have supreme significance.”
Feeling out of step with the mores of contemporary life, members of a conservative-Catholic group have built a thriving community in rural Kansas. Could their flight from mainstream society be a harbinger for the nation?
Half an hour down the highway from Topeka, Kansas, not far from the geographic center of the United States, sits the town of St. Marys. Like many towns in the region, it is small, quiet, and conservative. Unlike many towns in the region, it is growing. As waves of young people have abandoned the Great Plains in search of economic opportunity, St. Marys has managed to attract families from across the nation. The newcomers have made the radical choice to uproot their lives in pursuit of an ideological sanctuary, a place where they can raise their children according to values no longer common in mainstream America.
In pronouncing the outspoken quarterback’s career dead, the league underscored its own unwillingness to let players exercise their own power.
When the NFL commissioner, Roger Goodell, declared yesterday that the league had “moved on” from the embattled quarterback Colin Kaepernick, the finality of Goodell’s tone answered the question about whether Kaepernick would ever play professional football again.
Kaepernick became persona non grata in the National Football League after the 2016 season, during which he protested police violence against African Americans by kneeling during the national anthem. The league then spent more than two years trying to make him go away, but seemed to relent by scheduling a workout for him last month in Atlanta. But that proposed session didn’t happen on the NFL’s terms, and Goodell, in his first public comments about the matter, implied yesterday that Kaepernick had blown his last chance.
Labour’s crushing loss in the British election poses a stark question about its future: Will Corbynism survive without Corbyn?
Minutes after last night’s exit poll indicated that Boris Johnson’s Conservatives would win an 86-seat majority, a friend turned to me and said: “The Tories just won the 2024 election.” This was not merely a defeat for Labour and its left-wing leader, Jeremy Corbyn—it was an annihilation. The party, which has been in opposition since 2010, now faces another decade out of government.
When Corbyn was elected Labour leader four years ago, he was often compared to Michael Foot, who led the party to a crushing defeat in 1983 against Margaret Thatcher. Back then, Foot’s left-wing manifesto was described as “the longest suicide note in history.” Corbyn’s manifesto was nearly three times as long, and even less successful: he has led Labour to its worst showing since 1935. “In the past hundred years no opposition has lost seats after 9 years in opposition. None,” observed the former Labour adviser Torsten Bell.
The rise of the left could have gone much worse for the Democrats.
Even though the polls always suggested the likelihood of Jeremy Corbyn’s defeat in yesterday’s British elections, his continued presence as the head of the Labour Party filled me with a great sense of foreboding. The local press excavated from Corbyn’s not-so-distant past videos that revealed him to be, at best, indifferent to anti-Semitism: as he vouched for the moral character of an imam who had accused Jews of drinking the blood of children; as he championed a mural artist who’d painted a cabal of hook-nosed bankers; as he accused Zionists of lacking “English irony.” When confronted with these statements—there are plenty more—he tended to express irritation rather than contrition.
A venerable political party that poses as the enemy of racism was suddenly and demonstrably rife with it. From the other side of the Atlantic, it was hard not to entertain the anxiety that something similar might plausibly happen here, and soon: In the leftward shift of the Democratic Party, a strain of Corbynism might implant itself.
Big Tobacco claims to have created a safer cigarette. Is unleashing it a big mistake?
Updated at 5:58 p.m. ET on December 12, 2019
A glass-walled bastion of minimalism in a retail mall in Atlanta is the first of its kind in the United States. It looks like an Apple Store, but with a bouncer. You have to be 21 or older to enter. If you want to buy what’s inside, you must be a cigarette smoker. Or at least, you must tell the salesperson that you’re a cigarette smoker.
The store’s product is an electrified cylinder to be kept in your pocket. Branded “IQOS,” which is widely believed to be an acronym for “I Quit Original Smoking,” the device is the first in what’s expected to be a new class known as “heated tobacco” or “heat not burn” products.* They’re not vaping or smoking, but another way of inhaling the addictive stimulant nicotine.
Choosing to treat Trump-related cases as normal, even when there are signs of a national emergency, is a choice.
At its simplest level, the impeachment of President Donald Trump looks like a collision between the legislative and executive branches of government. In that fight, each side is trying to defend its prerogatives as it sees them: For Congress (or at least the Democratic-led House), this includes the power to appropriate foreign aid, and the power to conduct oversight; for the executive branch, this means the power to make foreign policy as it sees fit, and to protect its internal deliberations.
What is missing from this portrait is the crucial role of the third branch of government, the judiciary, which has powerfully shaped the impeachment process by declining to exercise its prerogatives, rather than defending then. By choosing to treat the current moment as business as usual, federal courts have effectively removed themselves from the process. In effect, that has dictated what arguments can be mounted in the impeachment fight and what witnesses Congress, and the public, can hear—narrowing and obscuring the case against Trump.
The shared phone was a space of spontaneous connection for the entire household.
My tween will never know the sound of me calling her name from another room after the phone rings. She'll never sit on our kitchen floor, refrigerator humming in the background, twisting a cord around her finger while talking to her best friend. I'll get it, He's not here right now, and It's for you are all phrases that are on their way out of the modern domestic vernacular. According to the federal government, the majority of American homes now use cellphones exclusively. “We don't even have a landline anymore,” people began to say proudly as the new millennium progressed. But this came with a quieter, secondary loss—the loss of the shared social space of the family landline.
“The shared family phone served as an anchor for home,” says Luke Fernandez, a visiting computer-science professor at Weber State University and a co-author of Bored, Lonely, Angry, Stupid: Feelings About Technology, From the Telegraph to Twitter. “Home is where you could be reached, and where you needed to go to pick up your messages.” With smartphones, Fernandez says, “we have gained mobility and privacy. But the value of the home has been diminished, as has its capacity to guide and monitor family behavior and perhaps bind families more closely together.”
Steve Chabot, a House Republican who helped lead his party's impeachment fight against Bill Clinton, explains why he’s unconvinced by the Democrats’ case against Trump.
President Donald Trump is on the verge of becoming the first president to be impeached by the House in more than two decades. A lot has changed in Congress since that time, but Steve Chabot, a Republican representative from Ohio, is still around.
Back then, he was one of the House Republicans tapped as an impeachment manager to prosecute the case against Bill Clinton in the Senate. Now he has been a prominent voice complaining about the process against Trump from his seat on the House Judiciary Committee, and he told me he sees no reason why this impeachment should happen at all.
Chabot’s argument: Not everything Trump did was ideal, but “Democrats have lowered the bar on what constitutes an impeachable offense.” He said he doesn’t think they have made anywhere close to a solid case against Trump, even with the deliberately narrow set of articles of impeachment they chose.