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.
Your question about film work immediately made me think of a mother number from Harry Nilsson. Scorsese’s use of “Jump Into the Fire” in Goodfellas is one of my all-time favorite musical moments in a movie. The tension of Ray Liotta’s character Henry Hill tracking the helicopter and wondering whether it is real or just a vision along with the menace of that song. Nearly perfect.
The only version of that scene I could find on YouTube is a trippy mashup version that swaps out the helicopter with the parachuting elephant in Operation Dumbo Drop—which definitely works on its own level:
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
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.
(Track of the Day archive here. Submit via hello@)
David Sirota had been working unofficially for Sanders while savaging the other Democratic candidates on Twitter.
Shortly before he gave speeches launching his 2020 campaign earlier this month, Bernie Sanders emailed his supporters, urging them to “do our very best to engage respectfully with our Democratic opponents—talking about the issues we are fighting for, not about personalities or past grievances. I want to be clear that I condemn bullying and harassment of any kind and in any space.”
What he didn’t include was that one of the people already advising him and helping him write those launch speeches is one of his most famously aggressive supporters online.
Since December, David Sirota has, on Twitter, on his own website, and in columns in The Guardian, been trashing most of Sanders’s Democratic opponents—all without disclosing his work with Sanders—and has been pushing back on critics by saying that he was criticizing the other Democrats as a journalist. He centered many of his attacks on Beto O’Rourke, but he also bashed Kamala Harris, Cory Booker, Joe Biden, Kirsten Gillibrand, Michael Bennet, John Hickenlooper, Mike Bloomberg, and even Andrew Cuomo.
Donald Cline must have thought no one would ever know. Then DNA testing came along.
Updated at 5:23 p.m. ET on March 18, 2019.
The first Facebookmessage arrived when Heather Woock was packing for vacation, in August 2017. It was from a stranger claiming to be her half sibling. She assumed the message was some kind of scam; her parents had never told her she might have siblings. But the message contained one detail that spooked her. The sender mentioned a doctor, Donald Cline. Woock knew that name; her mother had gone to Cline for fertility treatments before she was born. Had this person somehow gotten her mother’s medical history?
Her mom said not to worry. So Woock, who is 33 and lives just outside Indianapolis, flew to the West Coast for her vacation. She got a couple more messages from other supposed half siblings while she was away. Their persistence was strange. But then her phone broke, and she spent the next week and a half outdoors in Seattle and Vancouver, blissfully disconnected.
Trump’s continuing attacks on John McCain reveal a worrisome state of mind.
Donald Trump is not well. Over the weekend, he continued his weird obsession with a dead war hero. This time, his attacks on John McCain came two days after the anniversary of McCain’s release from a North Vietnamese prison camp. He tweeted this:
Spreading the fake and totally discredited Dossier “is unfortunately a very dark stain against John McCain.” Ken Starr, Former Independent Counsel. He had far worse “stains” than this, including thumbs down on repeal and replace after years of campaigning to repeal and replace!
So it was indeed (just proven in court papers) “last in his class” (Annapolis) John McCain that sent the Fake Dossier to the FBI and Media hoping to have it printed BEFORE the Election. He & the Dems, working together, failed (as usual). Even the Fake News refused this garbage!
Correction fluids have improbably outlasted the typewriter and survived the rise of the digital office.
Christmastime is when the pens in my house get their biggest workout of the year. Like many Americans above grammar-school age, I seldom write by hand anymore, outside of barely legible grocery lists. But the end of the year brings out a slew of opportunities for penmanship: adding notes to holiday cards to old friends, addressing them, and then doing the same with thank-you notes after Christmas. And given how little I write in the other 11 months of the year, that means there are a lot of errors, which in turn spur a new connection with another old friend: Wite-Out.
The sticky, white fluid and its chief rival, Liquid Paper, are peculiar anachronisms, throwbacks to the era of big hair, big cars, and big office stationery budgets. They were designed to help workers correct errors they made on typewriters without having to retype documents from the start. But typewriters have disappeared from the modern office, relegated to attics and museums. Even paper is disappearing from the modern office, as more and more functions are digitized. But correction fluids are not only surviving—they appear to be thriving, with Wite-Out sales climbing nearly 10 percent in 2017, according to the most recent public numbers. It’s a mystery of the digital age.
Unwritten rules underlie all of elite-university life—and students who don’t come from a wealthy background have a hard time navigating them.
Last Tuesday, the Justice Department charged 50 people with involvement in an elaborate scheme to purchase spots in some of the country’s top schools. The tactics described in the indictment were complex and multipronged, requiring multiple steps of deception and bribery by parents and their co-conspirators to secure their children’s admission to the schools of their choice. The plot purportedly included faking learning disabilities, using Photoshopped images to make it seem as if students played sports that they did not actually play, and pretending that students were of different ethnicities in an effort to exploit affirmative-action programs. The alleged scheme was led by a man named William Singer, who called his business venture a “side door” into college. On Tuesday, Singer pleaded guilty to all charges.
“Variety doesn’t really matter to me. I would be perfectly happy to eat the same Caesar salad or peanut-butter-and-jelly sandwich every day.”
Vern Loomis, a retired structural draftsman in West Bloomfield, Michigan, had a standard office lunch: a peanut-butter sandwich, with various fruit, vegetable, and dessert accompaniments. He ate this, he estimates, nearly every workday for about 25 years.
His meal underwent slight modifications over time—jelly was added to the sandwich in the final five or so years—but its foundation remained the same. The meal was easy to prepare, cheap, and tasty. “And if you happen to be eating at your desk … it was something that was not too drippy,” he told me, so long as one applied the jelly a bit conservatively.
Last year, Loomis retired from his job but not his lunch, which he still eats three or four days a week (now with sliced bananas instead of jelly). “I never stopped liking it,” he says. “I still do.”
The biology of mental illness is still a mystery, but practitioners don’t want to admit it.
In 1886, Clark Bell, the editor of the journal of the Medico-Legal Society of New York, relayed to a physician named Pliny Earle a query bound to be of interest to his journal’s readers: Exactly what mental illnesses can be said to exist? In his 50-year career as a psychiatrist, Earle had developed curricula to teach medical students about mental disorders, co-founded the first professional organization of psychiatrists, and opened one of the first private psychiatric practices in the country. He had also run a couple of asylums, where he instituted novel treatment strategies such as providing education to the mentally ill. If any American doctor was in a position to answer Bell’s query, it was Pliny Earle.
The Get Out director’s new film is more complicated, more outrageous, and, in a lot of ways, more daringly funny and topical than its predecessor.
In the opening sequence of Us, Jordan Peele gives the audience what it might be expecting after months of hype for his follow-up to Get Out: a perfectly taut piece of virtuoso horror filmmaking. A little girl (played by Madison Curry) frolics with her family at a seaside funfair, then wanders off as her dad plays a carnival game, eventually winding up alone in a haunted house. It’s a place for cheap scares, one that tries to jolt you by having things burst out of the wall. But Peele (who wrote, produced, and directed) has more unsettling sights in store, including something so disturbing that the camera takes in only the girl’s reaction, her eyes widening with shock.
It’s a thrilling sequence that feels as if Peele is laying down a marker after the success of his Oscar-winning debut film. Get Out was also a horror movie, but a wry, satirical one, the kind that could be nominated for comedy awards and still scar entire generations of viewers with its notion of “the sunken place.” In its dread-suffused opening moments, Us is utterly serious. But as the plot moves forward, the film becomes more complicated, more outrageous, and in a lot of ways, more daringly funny and topical than its predecessor. Us is a glorious symphony of fear, to be sure, but it’s also an ambitious sci-fi allegory and a pitch-black comedy of the haves and have-nots.
A long-overdue excavation of the book that Hitler called his “bible,” and the man who wrote it
Robert Bowers wantedeveryone to know why he did it.
“I can’t sit by and watch my people get slaughtered,” he posted on the social-media network Gab shortly before allegedly entering the Tree of Life synagogue in Pittsburgh on October 27 and gunning down 11 worshippers. He “wanted all Jews to die,” he declared while he was being treated for his wounds. Invoking the specter of white Americans facing “genocide,” he singled out HIAS, a Jewish American refugee-support group, and accused it of bringing “invaders in that kill our people.” Then–Attorney General Jeff Sessions, announcing that Bowers would face federal charges, was unequivocal in his condemnation: “These alleged crimes are incomprehensibly evil and utterly repugnant to the values of this nation.”
For the first time in years, a broad spectrum of climate advocates is playing offense.
Suddenly, climate change is a high-profile national issue again.
It’s not just the Green New Deal. Around the country, the loose alliance of politicians, activists, and organizations concerned about climate change is mobilizing. They are deploying a new set of strategies aimed at changing the minds—or at least the behaviors—of a large swath of Americans, including utility managers, school principals, political donors, and rank-and-file voters.
They make a ragtag group: United by little more than common concern, they don’t agree on an ideal federal policy or even how to talk about the problem. They do not always coordinate or communicate with one another. And while their efforts are real, it remains far too early to say whether they will result in the kind of national legislative victories that have eluded the movement in the past.