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@)
Five years ago, the flight vanished into the Indian Ocean. Officials on land know more about why than they dare to say.
1. The Disappearance
At 12:42 a.m. on the quiet, moonlit night of March 8, 2014, a Boeing 777-200ER operated by Malaysia Airlines took off from Kuala Lumpur and turned toward Beijing, climbing to its assigned cruising altitude of 35,000 feet. The designator for Malaysia Airlines is MH. The flight number was 370. Fariq Hamid, the first officer, was flying the airplane. He was 27 years old. This was a training flight for him, the last one; he would soon be fully certified. His trainer was the pilot in command, a man named Zaharie Ahmad Shah, who at 53 was one of the most senior captains at Malaysia Airlines. In Malaysian style, he was known by his first name, Zaharie. He was married and had three adult children. He lived in a gated development. He owned two houses. In his first house he had installed an elaborate Microsoft flight simulator.
The mistakes of the past are fast creating a crisis for younger Americans.
The Baby Boomers ruined America. That sounds like a hyperbolic claim, but it’s one way to state what I found as I tried to solve a riddle. American society is going through a strange set of shifts: Even as cultural values are in rapid flux, political institutions seem frozen in time. The average U.S. state constitution is more than 100 years old. We are in the third-longest period without a constitutional amendment in American history: The longest such period ended in the Civil War. So what’s to blame for this institutional aging?
One possibility is simply that Americans got older. The average American was 32 years old in 2000, and 37 in 2018. The retiree share of the population is booming, while birth rates are plummeting. When a society gets older, its politics change. Older voters have different interests than younger voters: Cuts to retiree-focused benefits are scarier, while long-term problems such as excessive student debt, climate change, and low birth rates are more easily ignored.
These words came from an elderly woman sitting behind me on a late-night flight from Los Angeles to Washington, D.C. The plane was dark and quiet. A man I assumed to be her husband murmured almost inaudibly in response, something to the effect of “I wish I was dead.”
I didn’t mean to eavesdrop, but couldn’t help it. I listened with morbid fascination, forming an image of the man in my head as they talked. I imagined someone who had worked hard all his life in relative obscurity, someone with unfulfilled dreams—perhaps of the degree he never attained, the career he never pursued, the company he never started.
He declared his intention to vote Trump in 2020—even though he thinks Trump surrounded himself with awful people.
Former New Jersey Governor Chris Christie wants to be clear: He supports Donald J. Trump. But don’t you dare presume that he supports what Trump says or does.
Sure, he voted for Trump in 2016, but only reluctantly. And okay, he plans to vote for Trump again in 2020. But he’s adamantlyopposed to many of the most consequential actions Trump has taken as president. He’ll even say so in public. Doesn’t that make him a good guy?
Christie did his damnedest Monday to convince a crowd at the Aspen Ideas Festival and his interviewer, the Atlantic editor in chief Jeffrey Goldberg, that his support for the president of the United States is morally and logically defensible.
It was tough in part because of his scathing, multi-count indictment of Trump. In 2016, Christie recounted, Jared Kushner called to say that Trump was “off the rails” in his attacks on Khizr Khan, whose son was killed in Iraq. Christie claimed credit for getting Trump to finally stop going after the gold-star father.
The president, in attempting to downplay E. Jean Carroll’s rape allegation against him, isn’t talking about attraction. He’s talking about protection.
“I’ll say it with great respect. Number one, she’s not my type. Number two, it never happened. It never happened, okay?”
That was Donald Trump, speaking yesterday with reporters from The Hill. The president was addressing, in part, the latest allegation of sexual assault to be brought against him, this time from the advice columnist and author E. Jean Carroll: In the mid-1990s, Carroll alleged in a recent essay, Trump, cornering her in a dressing room of the department store Bergdorf Goodman, raped her.
The Hill prefaced the headline of its published interview with an all-caps “EXCLUSIVE,” which is technically true but not fully: Trump, after all, has deployed the logic of “She’s not my type” many times before, in attempting to defend himself from charges of sexual misconduct. He used a similar dismissal as a presidential candidate in October 2016, after the former People magazine journalist Natasha Stoynoff accused him of attacking her—“He was pushing me against the wall and forcing his tongue down my throat,” she said—during an interview she had conducted with him at Mar-a-Lago, in 2005:
His tariffs are contributing to a “generational shift” in which companies make their products.
At a G20 summit in Osaka, Japan, this week, Donald Trump and Xi Jinping are set to have a one-on-one meeting, and hopes are high that a good conversation will restart stalled trade negotiations and convince the White House to hold off on further tariffs against China.
For Alfred LaSpina, the outcome may not matter very much, though. When LaSpina, the new vice president of eLumigen, based in Troy, Michigan, began thinking about a supply chain for the startup’s industrial lighting products, China automatically came to mind: LaSpina—an old friend of mine—has had experience with manufacturing in China before, and knew he could find reliable, experienced suppliers there. Then came Trump’s unexpected tariff hike on Chinese imports in May. LaSpina and his colleagues began to think twice, and they are now looking into alternative options in Southeast Asia. With so much uncertainty in the relationship between Beijing and Washington, he believes that’s just the smart thing to do.
Affluence—not willpower—seems to be what’s behind some kids' capacity to delay gratification.
The marshmallow test is one of the most famous pieces of social-science research: Put a marshmallow in front of a child, tell her that she can have a second one if she can go 15 minutes without eating the first one, and then leave the room. Whether she’s patient enough to double her payout is supposedly indicative of a willpower that will pay dividends down the line, at school and eventually at work. Passing the test is, to many, a promising signal of future success.
But a new study, published last week, has cast the whole concept into doubt. The researchers—NYU’s Tyler Watts and UC Irvine’s Greg Duncan and Hoanan Quan—restaged the classic marshmallow test, which was developed by the Stanford psychologist Walter Mischel in the 1960s. Mischel and his colleagues administered the test and then tracked how children went on to fare later in life. They described the results in a 1990 study, which suggested that delayed gratification had huge benefits, including on such measures as standardized test scores.
Donald Trump is forcing Europe to confront its own weakness.
The U.S. president’s bellicose policy toward Iran has, until now, been met with an unusual unity of opposition from Europe’s big three powers, the U.K., France, and Germany, as well as from the European Union itself. And yet, despite their combined economic weight and presence on the world stage, Europe’s principal players have proved largely powerless to do anything in the face of raw American hegemony.
The brute reality, as things stand, is that Europe does not yet have the tools—or the will—to project its power. The euro cannot be a credible alternative to the dollar as a reserve currency until it is radically reformed, and without a credible reserve currency, Europe’s financial might cannot match that of the United States. Even more fundamentally, there remain deep divisions within Europe over whether it should even seek to be a power, with or without Britain.
Libra will almost exactly replicate all the problems generated by the company’s social network.
Facebook, one of the world’s most distrusted companies, wants us to trust its new Libra cryptocurrency, which, it hopes, will be used by billions of people around the world. We shouldn’t. Libra will almost exactly replicate all the problems generated by Facebook’s social network. Those problems can in turn be traced to the central paradox of Big Tech: The technological innovation that is supposed to liberate us from government ends up subjugating us to a handful of corporations.
The key insight underlying Libra is that the transfer of money from person to person is similar to the transfer of information. “Moving money around globally,” Facebook declares in the white paper laying out the company’s vision for its new cryptocurrency, “should be as easy and cost-effective as—and even more safe and secure than—sending a text message or sharing a photo.” Money is information: When I send money to you, I’m telling the financial system that wealth holdings assigned to me should now be recorded as assigned to you. Financial networks are information networks, just as social networks are. And yet while the internet has revolutionized social networks, financial networks have not caught up. They remain hard to use and expensive, especially for international transactions—whereas, once you own the hardware and obtain an internet connection, social communications are essentially free. In Facebook’s vision, the financial network will be modeled on the social network, and eventually the two networks will be merged into a single network, through which we will seamlessly convey to one another money as well as cat photos and political diatribes.
He said she was oversensitive. She said his constant criticism was tantamount to emotional abuse.
Just a few months into her new life in a new state with her boyfriend of three years, Lauren was nearing the breaking point. “I go back and forth between thinking I have to break up with him,” she told a friend, “and thinking that I don't want to be without him.”
She Gchatted a different friend to say her boyfriend had called her at work to complain that a box of her crafting supplies had fallen off the kitchen table and dented the floor. Lauren began to see the way he treated her wasn’t okay. She devised a move-out plan: She would return to her hometown for a while and find a new job.
Ultimately, “... I couldn’t do it,” she wrote to another friend. She had invested so much time. Being single again would leave her adrift. So, she stayed.