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 firstname.lastname@example.org.
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.”
(Track of the Day archive here. Earlier archive here. Submit via hello@)
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:
(Track of the Day archive here. Earlier archive here. Submit via hello@.)
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.
(Track of the Day archive here. Submit via hello@)
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: email@example.com. 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.
(Track of the Day archive here. Submit via hello@)
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:
“Our boyfriends, our significant others, and our husbands are supposed to be No. 1. Our worlds are backward.”
Kami West had been dating her current boyfriend for a few weeks when she told him that he was outranked by her best friend. West knew her boyfriend had caught snatches of her daily calls with Kate Tillotson, which she often placed on speaker mode. But she figured that he, like the men she’d dated before, didn’t quite grasp the nature of their friendship. West explained to him, “I need you to know that she’s not going anywhere. She is my No. 1.” Tillotson was there before him, and, West told him, “she will be there after you. And if you think at any point that this isn’t going to be my No. 1, you’re wrong.”
If West’s comments sound blunt, it’s because she was determined not to repeat a distressing experience from her mid-20s. Her boyfriend at that time had sensed that he wasn’t her top priority. In what West saw as an attempt to keep her away from her friend, he disparaged Tillotson, calling her a slut and a bad influence. After the relationship ended, West, 31, vowed to never let another man strain her friendship. She decided that any future romantic partners would have to adapt to her friendship with Tillotson, rather than the other way around.
The pandemic has revealed that higher education was never about education.
American colleges botched the pandemic from the very start. Caught off guard in the spring, most of them sent everyone home in a panic, in some cases evicting students who had nowhere else to go. School leaders hemmed and hawed all summer about what to do next and how to do it. In the end, most schools reopened their campuses for the fall, and when students returned, they brought the coronavirus along with them. Come Labor Day, 19 of the nation’s 25 worst outbreaks were in college towns, including the University of Mississippi in Oxford, Iowa State in Ames, and the University of Georgia in Athens. By early October, the White House Coronavirus Task Force estimated that as many as 20 percent of all Georgia college students might have become infected.
Where the desperation of late-stage meritocracy is so strong, you can smell it
Photo illustrations by Pelle Cass
Updated at 10:03 a.m. ET on October 19, 2020.
To make the images that appear in this story, the photographer Pelle Cass locked his camera onto a tripod for the duration of an event, capturing up to 1,000 photographs from one spot. The images were then layered and compiled into a single digital file to create a kind of time-lapse still photo.
Image above: Cornell versus Dartmouth, women’s lacrosse, October 2019
On paper, Sloane, a buoyant, chatty, stay-at-home mom from Fairfield County, Connecticut, seems almost unbelievably well prepared to shepherd her three daughters through the roiling world of competitive youth sports. She played tennis and ran track in high school and has an advanced degree in behavioral medicine. She wrote her master’s thesis on the connection between increased aerobic activity and attention span. She is also versed in statistics, which comes in handy when she’s analyzing her eldest daughter’s junior-squash rating—and whiteboarding the consequences if she doesn’t step up her game. “She needs at least a 5.0 rating, or she’s going to Ohio State,” Sloane told me.
The process—which one expert described as “witchcraft”—could lead to thousands of legitimate ballots being thrown out.
George Mangeni registered to vote as soon as he became a U.S. citizen in 2015. Mangeni, who immigrated from Kenya, always makes sure to cast a ballot in the suburbs of Columbus, Ohio, where he lives.
“It’s just something you do,” he told me. “You are given an opportunity to select people who make influence over your lives, and so it’s important you have a voice.”
This spring, with COVID-19 ravaging Ohio, he decided to cast his vote in the primary elections by mail for the first time. The instructions were straightforward enough, especially for a network engineer like Mangeni: He applied for a ballot, received it, marked it up, signed it, and prepared to submit it. As he got ready to post his ballot, though, Mangeni felt a pang and took a photograph of it. “I had a sinking feeling that something would happen,” he recalled. “I was like, I hope it gets counted.” But he sent the ballot to the board of elections, and didn’t worry about it any more.
When it comes to foreign policy, the president’s most important characteristic is not amorality or a lack of curiosity; it is naïveté.
To Donald Trump’s critics, four years of posturing has left him exposed for all the world to see. The president hasn’t made America great again, they argue; he has made it weaker than it’s ever been: disrespected, ridiculed, and now even pitied, as it struggles to grapple with the coronavirus pandemic. He has failed to rebalance relations with China, failed to deal with North Korea, failed to end the endless wars in the Middle East, failed to cow Iran, failed to stop European free-riding, and even failed to improve relations with Russia. And that’s before one considers his record of undercutting or destroying international treaties on climate change, trade, and nuclear weapons.
To Trump’s supporters, this is manifestly unfair. The president has, for them, finally reversed Barack Obama’s weakness: He has reinforced red lines, put America first, ripped up bad deals, corralled allies to pay more for their own defense, led the global change in attitude against China, defeated the Islamic State, and kept the United States out of any new wars. Add to that deals in the Middle East to normalize ties with Israel and the new line of communication with Pyongyang, and the world, they say, is now a safer place, and one that is better for American workers. If he has ruffled feathers and offended people along the way, so be it.
Totally Under Control delivers a damning—and essential—report card on the White House’s mismanagement of the pandemic.
Given the ongoing nature of the pandemic, it may seem senseless to make a two-hour film that looks back on how the coronavirus ran rampant in the U.S. And yet, Totally Under Control—from the Oscar-winning writer-director Alex Gibney and his co-directors, Ophelia Harutyunyan and Suzanne Hillinger—not only documents the chaos of 2020 with clear-eyed precision, but also successfully argues for its own existence.
Filmed in secret over five months, Totally Under Control (streaming on Hulu) uses news footage and interviews with experts and government whistleblowers to show how the administration missed each opportunity to either stop the virus from arriving in the U.S. or prevent its spread. The filmmakers present these events in rapid, blow-by-blow succession, lending the doc an urgency that contrasts with the languid federal response to the pandemic. The result is a film that—unlike 76 Days, the moving and intimate documentary on the lockdown in Wuhan, China, made without talking heads—feels shocking to watch in retrospect for its crisp frankness. Viewers may have grown numb to the constant churn of distressing news and learned to stomach the administration’s failure to contain the virus. But Totally Under Control refuses to look away, and being reminded of how many warnings went unheeded is unnerving.
QAnon has become a linchpin of far-right media—and the effort to preemptively delegitimize the election.
Whether President Donald Trump wins or loses, some version of QAnon is going to survive the election. On the day of the vice-presidential debate between Mike Pence and Kamala Harris, the individual or group known as “Q” sent out a flurry of posts. “ONLY THE ILLUSION OF DEMOCRACY,” began one. “Joe 30330—Arbitrary?—What is 2020 [current year] divided by 30330? Symbolism will be their downfall,” read another, darkly hinting at satanic numerology in Joe Biden’s campaign text-messaging code. Vague, foreboding messages that could mean anything or nothing—these are the hallmarks of QAnon, the far-right conspiracy theory, built around Q’s postings on internet message boards, in which Trump is heroically battling a global cabal of devil-worshipping pedophiles. But something noteworthy lurked in Q’s final post of the night: “SHADOW PRESIDENT. SHADOW GOVERNMENT. INFORMATION WARFARE. IRREGULAR WARFARE. COLOR REVOLUTION. INSURGENCY.”
People of faith should embody moral and intellectual integrity.
In public, Donald Trump has spoken in glowing terms about his evangelical supporters, calling them“warriors on the frontiers defending American freedom,” people who are “incredible” and “faithful,” a bulwark against assorted moral evils.
But behind the scenes, as TheAtlantic’sMcKay Coppins recently reported, “many of Trump’s comments about religion are marked by cynicism and contempt, according to people who have worked for him. Former aides told me they’ve heard Trump ridicule conservative religious leaders, dismiss various faith groups with cartoonish stereotypes, and deride certain rites and doctrines held sacred by many of the Americans who constitute his base.”
Trump “mocks evangelicals behind closed doors,” Republican Senator Ben Sasse recently told his constituents.
The Third Amendment gets little attention in modern discourse, but its history hints at an intriguing new way to think about whether the public has a right to be free from infection.
Ever since state governors began implementing stay-at-home orders to contain the coronavirus pandemic, protesters have resisted such safety measures under the belief that they violate constitutionally guaranteed liberties. Proposals to mandate mask wearing have collided with allegations of First Amendment violations. Orders to close gun stores have clashed with concerns about Second Amendment freedoms. But a profound historical counter-vision to these ideas about “individual liberty” can be found in one of the most neglected and underappreciated corners of the Bill of Rights: the Third Amendment.
“No soldier,” the amendment reads, “shall, in time of peace be quartered in any house, without the consent of the owner, nor in time of war, but in a manner to be prescribed by law.” Federal courts have rarely invoked it, and in 2015 even rejected a Third Amendment claim against police officers’ occupation of a house. Now the subject of memes, the amendment, in the words of the legal historian Morton Horwitz, is an “interesting study in constitutional obsolescence.”
To a great many people in this country, my son deserves to die in prison. To another great many, Kyle Rittenhouse deserves the same fate. Neither outcome is just.
Kyle Rittenhouse, the 17-year-old who was charged with shooting and killing two people during protests in Kenosha, Wisconsin, is just a year older than my son was when he was convicted of murder and sentenced to life without the possibility of parole. To a great many people in this country, my son deserves to die in prison. To another great many, Rittenhouse deserves the same fate. Neither outcome is just.
What Rittenhouse is accused of doing is abhorrent. While thousands rose up to protest police violence in the aftermath of the shooting of Jacob Blake, Rittenhouse’s response was to arm himself and travel to a city not his own, out of a professed desire to defend businesses and private property. As protesters and counterprotesters clashed, eyewitness accounts and video footage suggest that he shot one man, killing him, and when protesters ran after him, he shot two others, killing one.