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 hello@theatlantic.com.
Dr. Strangelove is one of my all-time favorite movies (I’d probably call it #1 if somebody threatened to chop a limb off to make me choose) and this scene has always been my favorite. I’ve watched the movie since I was tiny (it’s my dad’s favorite too), and I can’t remember ever not being able to appreciate the irony. It’s probably a big part of shaping my odd sense of humor.
Vera Lynn’s full version of the song is here. Some quick background:
“We’ll Meet Again” is a 1939 British song made famous by singer Vera Lynn with music and lyrics composed and written by Ross Parker and Hughie Charles. The song is one of the most famous songs of the Second World War era, and it resonated with soldiers going off to fight and their families and sweethearts. The assertion that “we’ll meet again” is optimistic, as many soldiers did not survive to see their loved ones again.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
A reader writes, “‘Hey Jude’ worked rather well in those scenes depicting the Prague Spring of 1968 in The Unbearable Lightness of Being.” That’s Marta Kubišová’s voice, in her native Czech. She’s one of the most iconic cultural figures of Cold War Czechoslovakia:
During the Prague Spring [a brief period of liberalization in 1968 that ended when the Soviet Union and other members of the Warsaw Pact invaded Czechoslovakia to halt the reforms], Kubišová recorded over 200 SP records and one LP, Songy a Balady (Songs and Ballads, released in 1969), which was immediately banned from stores. Her song “Prayer for Marta” became a symbol of national resistance against the occupation of Warsaw Pact troops in 1968. In 1970, the government falsely accused her of making pornographic photographs leading to a ban from performing in the country until 1989. She was a signatory of the Charter 77 proclamation. Her first LPs after the Velvet Revolution in 1989 were a re-issue of Songy a Balady and a compilation of old songs, titled Lampa.
(Submit a song via hello@. Track of the Day archive here. Pre-Notes archive here.)
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.
(For a far more inferior example, there’s the artless, heavy-handed scene in The Rules of Attraction where a young woman, devastated by an unrequited crush, opens her wrists in a bathtub while Harry Nilsson sings in the background “I can’t live if living is without you.” That movie was released a year after Royal Tenebaums, so it makes me think the sensationalist scene was a cheap knockoff.)
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:
RIP, Goose.
(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@.)
This entry for our cinema series comes from a reader in Bend, Oregon:
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@)
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