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.
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: 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@)
Aides on Capitol Hill fear that a dramatic government failure may be the only thing to force President Trump and the Democrats back to the table.
As the longest government shutdown in American history lurches toward its fifth week, a grim but growing consensus has begun to emerge on Capitol Hill: There may be no way out of this mess until something disastrous happens.
This is, of course, not a sentiment lawmakers are eager to share on the record. But in interviews this week with congressional staffers on both sides of the aisle (whom I granted anonymity in exchange for candor), I heard the same morbid idea expressed again and again.
The basic theory—explained to me between weary sighs and defeated shrugs—goes like this: Washington is at an impasse that looks increasingly unbreakable. President Donald Trump is dug in; so is Speaker Nancy Pelosi. Democrats have public opinion on their side, but the president is focused on his conservative base. For a deal to shake loose in this environment, it may require a failure of government so dramatic, so shocking, as to galvanize public outrage and force the two parties back to the negotiating table.
Starting the process will rein in a president who is undermining American ideals—and bring the debate about his fitness for office into Congress, where it belongs.
On January 20, 2017,Donald Trump stood on the steps of the Capitol, raised his right hand, and solemnly swore to faithfully execute the office of president of the United States and, to the best of his ability, to preserve, protect, and defend the Constitution of the United States. He has not kept that promise.
Instead, he has mounted a concerted challenge to the separation of powers, to the rule of law, and to the civil liberties enshrined in our founding documents. He has purposefully inflamed America’s divisions. He has set himself against the American idea, the principle that all of us—of every race, gender, and creed—are created equal.
An explosive report that Trump directed Michael Cohen to lie to Congress provides a straightforwardly impeachable offense.
It’s not just the collusion. It’s the conspiracy.
On Thursday evening, BuzzFeed Newsdropped a bombshell, reporting that President Donald Trump told Michael Cohen, his former personal attorney, to lie to Congress about the Trump Organization’s pursuit of a real-estate project in Moscow during the 2016 election, a period in which the Russian government was seeking to aid Trump’s presidential campaign.
“Assuming all the evidence adds up to the conclusion that the president asked Cohen to lie about the Russia deal, it’s evidence of conspiracy, of obstruction of justice, of suborning perjury,” said John Q. Barrett, a law professor at St. John’s and a former associate counsel in the Iran-Contra investigation. “It’s impeachment material.”
Insights into the little-studied realm of last words
Mort Felix liked to say that his name, when read as two Latin words, meant “happy death.” When he was sick with the flu, he used to jokingly remind his wife, Susan, that he wanted Beethoven’s “Ode to Joy” played at his deathbed. But when his life’s end arrived at the age of 77, he lay in his study in his Berkeley, California, home, his body besieged by cancer and his consciousness cradled in morphine, uninterested in music and refusing food as he dwindled away over three weeks in 2012. “Enough,” he told Susan. “Thank you, and I love you, and enough.” When she came downstairs the next morning, she found Felix dead.
During those three weeks, Felix had talked. He was a clinical psychologist who had also spent a lifetime writing poetry, and though his end-of-life speech often didn’t make sense, it seemed to draw from his attention to language. “There’s so much so in sorrow,” he said at one point. “Let me down from here,” he said at another. “I’ve lost my modality.” To the surprise of his family members, the lifelong atheist also began hallucinating angels and complaining about the crowded room—even though no one was there.
A BuzzFeed report says President Trump directed Michael Cohen to lie to Congress, prompting the talk of impeachment even before the special counsel finishes his probe.
Late Thursday night, BuzzFeed News published a report that, if true, could prove historic: President Donald Trump allegedly directed his then–personal lawyer, Michael Cohen, to lie to Congress about a real-estate deal he was pursuing in Moscow during the 2016 election. Trump immediately denied the story, but for many Democrats, including those who had previously cautioned against impeaching the president before Special Counsel Robert Mueller produces his findings in the Russia investigation, the report was cause to consider proceeding with impeachment before the Russia probe is finished.
“If the @BuzzFeed story is true, President Trump must resign or be impeached,” Democratic Representative Joaquin Castro, a member of the House Intelligence Committee, wrote on Twitter. Democratic Senator Chris Murphy weighed in, too. “If Mueller does have multiple sources confirming Trump directed Cohen to lie to Congress, then we need to know this ASAP,” he wrote. “Mueller shouldn’t end his inquiry, but it’s about time for him to show Congress his cards before it’s too late for us to act.” Democratic Senator Jeff Merkley followed up on Friday morning: “If this report of Trump suborning false testimony is confirmed, then Trump committed a felony and must resign or be impeached,” he wrote. “This is obstruction of justice,” Democratic Representative David Cicilline, a member of the House Judiciary Committee, told CNN. “If the facts are true, this is suborning perjury. It’s an impeachable offense.” Representative Jamie Raskin, a member of House leadership, told CNN, “This is a completely impeachable offense, if this report is true.” He said Congress would need to hear from “everybody who was involved” in the alleged conspiracy before moving forward with impeachment.
Dr. Sherman Hershfield woke up one morning and was surprised to find himself behind the wheel of his car. Somewhere between his Beverly Hills apartment and his practice in the San Fernando Valley, the silver-haired physician had blacked out. Somehow he’d avoided a crash, but this wasn’t the first time. “I didn’t know what was going on,” he admitted.
Apart from his frequent blackouts, Hershfield was in fine health for a man in his 50s. He was tall and lean, ran six miles a day, and was a strict vegetarian. “I believe a physician should provide exemplary motivation to patients,” he once wrote. “I don’t smoke and have cut out all alcohol.” Hershfield specialized in physical medicine and rehabilitation, and for decades had helped patients with brain injuries learn to walk again and rebuild their lives. Even with his experience, Hershfield didn’t know what was wrong inside his own head.
Corn lurks in so many surprising places, from table salt to apples to IV bags.
When Christine Robinson was first diagnosed with a corn allergy 17 years ago, she remembers thinking, “No more popcorn, no more tacos. I can do this.”
Then she tried to put salt on her tomatoes. (Table salt has dextrose, a sugar derived from corn.) She tried drinking bottled iced tea. (It contains citric acid, which often comes from mold grown in corn-derived sugar.) She tried bottled water. (Added minerals in some brands can be processed with a corn derivative.) She ultimately gave up on supermarket meat (sprayed with lactic acid from fermented corn sugars), bagged salads (citric acid, again), fish (dipped in cornstarch or syrup before freezing), grains (cross-contaminated in processing facilities), fruits like apples and citrus (waxed with corn-derived chemicals), tomatoes (ripened with ethylene gas from corn), milk (added vitamins processed with corn derivatives). And that’s not even getting to all the processed foods made with high-fructose corn syrup, modified food starch, xanthan gum, artificial flavorings, corn alcohol, maltodextrin—all of which are or contain derivatives of corn.
America’s largest internet store is so big, and so bewildering, that buyers often have no idea what they’re going to get.
Updated at 5:28 p.m. ET on January 17, 2019.
There’s a Gatorade button attached to my basement fridge. If I push it, two days later a crate of the sports drink shows up at my door, thanks to Amazon. When these “Dash buttons” were first rumored in 2015, they seemed like a joke. Press a button to one-click detergent or energy bars? What even?, my colleague Adrienne LaFrance reasonably inquired.
They weren’t a joke. Soon enough, Amazon was selling the buttons for a modest fee, the value of which would be applied to your first purchase. There were Dash buttons for Tide and Gatorade, Fiji Water and Lärabars, Trojan condoms and Kraft Mac & Cheese.
The whole affair always felt unsettling. When the buttons launched, I called the Dash experience Lovecraftian, the invisible miasma of commerce slipping its vapor all around your home. But last week, a German court went further, ruling the buttons illegal because they fail to give consumers sufficient information about the products they order when pressing them, or the price they will pay after having done so. (You set up a Dash button on Amazon’s app, selecting a product from a list; like other goods on the e-commerce giant’s website, the price can change over time.) Amazon, which is also under general antitrust investigation in Germany, disputes the ruling.
The president turns again to flimsy rumor to build support for his policies.
The president is tweeting again.
Three weeks into a government shutdown triggered when the president reneged on a deal to fund the government, insisting instead that any deal had to include money for a wall on the southern border, Donald Trump tweeted about a story from the Washington Examiner that cited an anonymous rancher who claimed that Muslim “prayer rugs” were found at the U.S. border. Although the president likely imagines that this strengthens the case for his border wall, it’s really just an example of how the president will say anything he thinks backs him up, regardless of whether it’s true.
“There’s a lot of people coming in not just from Mexico … People, the general public, just don’t get the terrorist threats of that,” the story quotes the rancher as saying. “That’s what’s really scary. You don’t know what’s coming across. We’ve found prayer rugs out here. It’s unreal. It’s not just Mexican nationals that are coming across.”
Those are the hardest words I’ve ever had to write. Nobody knows that number—not my wife, not my doctor, not my closest friends. It feels like confessing a crime. The average American male weighs about 195 pounds; I’m two of those guys, with a 10-year-old left over. I’m the biggest human being most people who know me have ever met, or ever will.
The government definition of obesity is a body mass index of 30 or more. My BMI is 60.7. My shirts are size XXXXXXL, which the big-and-tall stores shorten to 6X. I’m 6 foot 1, or 73 inches tall. My waist is 60 inches around. I’m nearly a sphere.
Those are the numbers. This is how it feels.
I’m on the subway in New York City, standing in the aisle, clinging to the pole. I live in Charlotte, North Carolina, and don’t visit New York much, so I don’t have a feel for how subway cars move. I’m praying this one doesn’t lurch around a corner or slam to a stop, because I’m terrified of falling. Part of it is embarrassment. When a fat guy falls, it’s hard to get up. But what really scares me is the chance that I might land on somebody. I glance at the people wedged around me. None of them could take my weight. It would be an avalanche. Some of them stare at me, and I figure they’re thinking the same thing. An old woman is sitting three feet away. One slip and I’d crush her. I grip the pole harder.