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.”
(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: 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:
The U.S. may end up with the worst COVID-19 outbreak in the industrialized world. This is how it’s going to play out.
Three months ago, no one knew that SARS-CoV-2 existed. Now the virus has spread to almost every country, infecting at least 446,000 people whom we know about, and many more whom we do not. It has crashed economies and broken health-care systems, filled hospitals and emptied public spaces. It has separated people from their workplaces and their friends. It has disrupted modern society on a scale that most living people have never witnessed. Soon, most everyone in the United States will know someone who has been infected. Like World War II or the 9/11 attacks, this pandemic has already imprinted itself upon the nation’s psyche.
A global pandemic of this scale was inevitable. In recent years, hundreds of health experts have written books, white papers, and op-eds warning of the possibility. Bill Gates has been telling anyone who would listen, including the 18 million viewers of his TED Talk. In 2018, I wrote a story for The Atlantic arguing that America was not ready for the pandemic that would eventually come. In October, the Johns Hopkins Center for Health Security war-gamed what might happen if a new coronavirus swept the globe. And then one did. Hypotheticals became reality. “What if?” became “Now what?”
How the coronavirus travels through the air has become one of the most divisive debates in this pandemic.
As the coronavirus pandemic continues, many people are now overthinking things they never used to think about at all. Can you go outside? What if you’re walking downwind of another person? What if you’re stuck waiting at a crosswalk and someone is there? What if you’re going for a run, and another runner is heading toward you, and the sidewalk is narrow? Suddenly, daily mundanities seem to demand strategy.
Much of this confusion stems from the shifting conversation around the pandemic. Thus far, the official line has been that the new coronavirus, SARS-CoV-2, could be transmitted only through close contact with infected people or contaminated surfaces. But recently, news reports have suggested that the coronavirus can spread through the air. After 60 choir members in Washington State rehearsed together, 45 fell sick, even though no one seemed symptomatic at the time. Now people who were already feeling cooped up are worrying about going outside. Many state guidelines are ambiguous, and medical advice can muddy matters further. When the writer Deborah Copaken came down with COVID-19 symptoms, her doctor chided her for riding her bike through New York City a week earlier. Going outside in the city wasn’t safe, the physician implied, with “viral load everywhere.”
America’s political dysfunction is rooted not in ideological polarization, but in the Republican Party’s conviction that it alone should be allowed to govern.
Updated at 4:06 p.m. ET on April 1, 2020.
Deep into the worst economic crisis since the Great Depression, Republican leaders had one question for President Barack Obama, as his administration sought nearly $1 trillion in funds from Congress: How are you going to pay for this?
The unemployment rate was greater than 7 percent in January 2009, and would rise above 8 percent by February. Mitch McConnell, then the Senate minority leader, insisted, “The question is not doing nothing versus doing something,” but “the appropriateness of an almost $1 trillion spending bill to address the problem.”
Others in his caucus made similar points. “If you believe this is a good process to spend $800 billion, we’re on different planets,” Lindsey Graham, the Republican senator from South Carolina, declared. Chuck Grassley of Iowa complained that “the package's massive government spending and long-term entitlement commitments … will leave the next generation with trillion dollar deficits.” Lamar Alexander of Tennessee demanded, “Should we ask every American family to increase their $531,000 debt in order to spend money for a stimulus package to try to restart the economy?”
Across the country, social distancing is morphing from a public-health to political act. The consequences could be disastrous.
For Geoff Frost, the first sign of the coronavirus culture war came last weekend on the golf course. His country club, located in an affluent suburb of Atlanta, had recently introduced a slew of new policies to encourage social distancing. The communal water jugs were gone, the restaurant was closed, and golfers had been asked to limit themselves to one person per cart. Frost, a 43-year-old Democrat, told me the club’s mix of younger liberals and older conservatives had always gotten along just fine—but the guidelines were proving divisive.
At the driving range, while Frost and his like-minded friends slathered on hand sanitizer and kept six feet apart, the white-haired Republicans seemed to delight in breaking the new rules. They made a show of shaking hands, and complained loudly about the “stupid hoax” being propagated by virus alarmists. When their tee times were up, they piled defiantly into golf carts, shoulder to shoulder, and sped off toward the first hole.
The extent of Oscar Health’s work on coronavirus testing hasn’t been previously reported.
On March 13, President Donald Trump promised Americans they would soon be able to access a new website that would ask them about their symptoms and direct them to nearby coronavirus testing sites. He said Google was helping.
That wasn’t true. But in the following days, Oscar Health—a health-insurance company closely connected to Trump’s son-in-law, Jared Kushner—developed a government website with the features the president had described. A team of Oscar engineers, project managers, and executives spent about five days building a stand-alone website at the government’s request, an Oscar spokesperson told The Atlantic. The company even dispatched two employees from New York to meet in person with federal officials in Washington, D.C., the spokesperson said. Then the website was suddenly and mysteriously scrapped.
China warned Italy. Italy warned us. We didn’t listen. Now the onus is on the rest of America to listen to New York.
In the emergency-department waiting room, 150 people worry about a fever. Some just want a test, others badly need medical treatment. Those not at the brink of death have to wait six, eight, 10 hours before they can see a doctor. Those admitted to the hospital might wait a full day for a bed.
I am an emergency-medicine doctor who practices in both Manhattan and Queens; at the moment, I’m in Queens. Normally, I love coming to work here, even though in the best of times, my co-residents and I take care of one of New York City’s most vulnerable, underinsured patient populations. Many have underlying illnesses and a language barrier, and lack primary care.
The coronavirus outbreak may last for a year or two, but some elements of pre-pandemic life will likely be won back in the meantime.
Updated at 4:40 ET on March 30, 2020.
The new coronavirus has brought American life to a near standstill, closing businesses, canceling large gatherings, and keeping people at home. All of those people must surely be wondering: When will things return to normal?
The answer is simple, if not exactly satisfying: when enough of the population—possibly 60 or 80 percent of people—is resistant to COVID-19 to stifle the disease’s spread from person to person. That is the end goal, although no one knows exactly how long it will take to get there.
There are two realistic paths to achieving this “population-level immunity.” One is the development of a vaccine. The other is for the disease to work its way through the population, surely killing many, but also leaving many others—those who contract the disease and then recover—immune. “They’re just Teflon at that point,” meaning they can’t get infected again and they won’t pass on the disease, explains Andrew Noymer, a public-health professor at the UC Irvine. Once enough people reach Teflon status—though we don’t yet know if recovering from the disease confers any immunity at all, let alone lifelong immunity—normalcy will be restored. (It may also turn out to be the case that people who are immune to the disease can still pass it on under certain circumstances.)*
In rebuilding a broken world, we will have the chance to choose a less hurried life.
Around the year 1600, the weather in much of Europe substantially cooled, in the latter phase of what has been called the Little Ice Age. In all, it lasted 300 years. Winters were brutally cold and summers were damp and chilly, greatly curtailing the growing season. Crops failed. People starved. But the change in weather forced English, French, and Dutch fishermen to build improved boats, capable of following fish farther to the west and surviving long trips through the rough seas. Undoubtedly, some of that new boat-building craft led to the ships of today.
Innovation often arises in periods of adversity. In recent weeks, we have seen such welcome invention germinating in the horrendous crisis of the coronavirus. Consider, for example, the many new platforms for online teaching, or the use of cheap Bluetooth smart thermometers able to transmit a person’s fever and geolocation to a distant database, or members of the Toronto Symphony Orchestra performing together and apart from 29 different locations using their smartphones.
Trump is utterly unsuited to deal with this crisis, either intellectually or temperamentally.
For his entire adult life, and for his entire presidency, Donald Trump has created his own alternate reality, complete with his own alternate set of facts. He has shown himself to be erratic, impulsive, narcissistic, vindictive, cruel, mendacious, and devoid of empathy. None of that is new.
But we’re now entering the most dangerous phase of the Trump presidency. The pain and hardship that the United States is only beginning to experience stem from a crisis that the president is utterly unsuited to deal with, either intellectually or temperamentally. When things were going relatively well, the nation could more easily absorb the costs of Trump’s psychological and moral distortions and disfigurements. But those days are behind us. The coronavirus pandemic has created the conditions that can catalyze a destructive set of responses from an individual with Trump’s characterological defects and disordered personality.
Backlogs at private laboratories have ballooned, making it difficult to treat suffering patients and contain the pandemic.
On the surface, the American COVID-19 testing regime has finally hit its stride. Over the past five days, the states have reported a daily average of 104,000 people tested, according to data assembled by the COVID Tracking Project, a volunteer collaboration incubated at The Atlantic. Today, the U.S. reported that 1 million people have been tested for the coronavirus—a milestone that the White House once promised it would hit the first week of March.
But things are not going as smoothly as the top-line numbers might suggest. Our reporting has unearthed a new coronavirus-testing crisis. Its main cause is not the federal government, nor state public-health labs, but the private companies that now dominate the country’s testing capacity. Testing backlogs have ballooned, slowing efficient patient care and delivering a heavily lagged view of the outbreak to decision makers.