What music leads you back to the movie that used it most effectively?
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May, 365
- Bulldozing the Baby, Jo Ann Beard, BOYS OF MY YOUTH
- Ray's People Have Always Been Soldiers by Barry Basden
- Symbols and Signs, Vladimir Nabokov, THE NEW YORKER 1948
- Referential, Lorrie Moore, THE NEW YORKER
- The Barber's Unhappiness, George Saunders, Pastornalia
- A Commercial Proposition, Richard Wheeler
- Thou Still Unravished Bride, Avram Davidson
- Car Crash While Hitchhiking, Denis Johnson, JESUS' SON
- Someone to Watch Over Me, Richard Bausch, THE COLLECTED STORIES OF
- Undead, Beniot Lelievre, FLASH FICTION OFFENSIVE
- A Freeway on Eartlh, Heath Lowrance, BURNING BRIDGES
- Recitatif, Toni Morrison
- We Dance, Jane Hammons, FICTIONAUT
- Sadie, Jack and Fluffy Go on a Trip, Dennis James, MOBIUS
- Health, Joy Williams, ESCAPES
- No Place for You, My Love, Eudora Welty
- The Sister's Tale, Castle Freeman, ROUND MOUNTAIN
- Sitting on Top of the World, Bill Crider
- Woman on the Dunes, Anais Nin
- Stars of Motown Shining Bright, Julie Orringer, HOW TO BREATHE UNDERWATER
- Words are Cheap, Ken Bruen, MURDALAND
- Kiss Me Again, Stranger, Daphne Du Maurier
- Molotov, Chris Le Tray, ALL DUE RESPECT
- Looking for Romance at a Writer's Convention, Richard Wheeler
- Young Goodman Brown Nathaniel Hawthorne
Friday's Forgotten Books
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Beat to a Pulp-Round 2
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- A Game of Hide and Seek, YELLOW MAMA
- A Kid Like Billy-CROOKED
- A Saving Grace-The Thrilling Detective
- At the Cafe Sabarsky -Beat to a Pulp
- Bella, the Fortune Teller, Chick Lit Review
- Bit Players-Spinetingler
- Black and White and Red All Over-FFO
- Cooper's Dilemma -Nidus
- Dark Valentine
- Dark Valentine-Monkey Justice
- De Sfinx-A Twist of Noir
- Escapes-MystericalE
- Esther Meaney-Beat to a Pulp
- Eyes Open, Beat to a Pulp
- Georgie-Back Alley Webzine
- Hunting and Fishing in the Keys
- Imprint-Thuglit
- Instrument of Their Desire-Beat to a Pulp
- Killer, Thrillers and Chillers;What Fate Imposes
- Lambs of God-Spinetingler
- Last Rights, CORRIDORS
- Last Rites-Crimefactory
- Like a Hawk Rising -Plots with Guns
- ON PALADIN ROAD-A TWIST OF NOIR
- Portraits of Detroit: Wylie Edwards
- Powder Burn Flash (2 stories)
- Pox and The Leaving-Spinetingler
- Prudency's Rubyfruit Meadow-MystericalE
- Raising the Dead-Back Alley Webzine
- Ramir Obabie-A Twist of Noir
- Roundabout-Spinetingler
- Rounding Third--Storyglossia
- Shame-A Twist of Noir
- SOURIS-DARKEST BEFORE THE DAWN
- SPINETINGLER-Father's Day
- The Book of Lies, Crime Factory 10
- THE BRIDE, ROSE AND THORN
- THE GIRLS-MYSTERICAL-E
- The Perfect Day-ALL DUE RESPECT
- THE PROPER TRAINING
- The Proper Training-PLOTS WITH GUNS
- Things We Do For Love, Shotgun Honey
- Too Beautiful-Dark Valentine
- Trouble with Trolls-Thuglit
- University Protocol-Word Riot
- What Did Bagdad Do to Us: SHOTGUN HONEY
- What Fate Imposes-TKC
Blogs/Websites I Read
- Anne Frasier
- Barrie Summy
- Bill Crider
- Bill Selnes
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- Chad Eagleton
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- Charlie Stella
- Chris La Tray
- Chris LaTray
- Chris Rhatigan
- Crimespot
- Cullen Gallagher
- Curt Evans
- Dana King
- Dave Zeltserman
- David Cranmer
- David Rachels
- Detectives Beyond Borders
- Do Some Damage
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- Ed Gorman
- Eric Peterson
- Erik Donald France
- Evan Lewis
- Fires on the Plain
- Fleur Bradley
- Friday's Forgotten Books
- George Kelley
- Gerald So
- Gerard Saylor
- Hardboiled Partners
- Hardnose Sleuth
- Heath Lowrance
- http://margotkinberg.wordpress.com/
- IN REFERENCE TO MURDER
- J.F. Norris
- James Reasoner
- Jerry House
- Jim Winter
- Joe Barone
- John Kenyon
- John McFetridge
- Julia Madeleine
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- Randy Johnson
- Richard Robinson
- Rob Kitchin
- Ron Scheer
- Sandra Scoppettone
- Sandra Seamans
- Sarah Weinman
- Scott Cupp
- Scott D. Parker
- Sergio Angelini
- Spinetingler
- Steve Lewis
- The Rap Sheet
- Thomas Pluck
- Todd Mason
- TomCat
- Women of Mystery
- Yvette Can Draw
- zybahn
Stories for 365-January
- Home, Gil Brewer from Hardboiled
- Someone, Alice McDermott, THE NEW YORKER
- What's the Worst Thing That Can Happen, Al Tucher, A TWIST OF NOIR
- The Good Doctor, Adam Haslett, YOU ARE NOT A STRANGER HERE
- Clouds in A Bunker, David Cranmer, PULP INK
- Burning End, Ruth Rendell, THE BEST OF THE BEST SHORT STORIES 1986-1995
- Something is Out There, Richard Bausch, MURDERLAND
- Uncle, Daniel Woodrell, A HELL OF A WOMAN
- Dark Adapted Eye, Katherine Tomlinson, SHOTGUN HONEY
- Whiteout on Van Buren, Don Winslow, PHOENIX NOIR
- An Invisble Minus Sign, Denise Mina, DEADLY HOUSEWIVES
- Everything I Want, Megan Abbott, SPEED CHRONICLES
- The Garage Sale of the Three Lindas, Marly Swick, THE SUMMER BEFORE THE SUMMER OF LOVE
- Everybody Loves Somebody, Sandra Scoppettone, A HELL OF A WOMAN
- Harpooned, Sandra Seamans, MYSTERICAL-E
- Burn Patterns, Michael C. White MARKED MEN
- World of Gas, Bonnie Jo Campbell AMERICAN SALVAGE
- Snakes in the Briar Patch, Chad Eagleton, Cathode Angel
- Sea of Grass, Jim Wilsky, ROSE AND THORN
- The Pool, Keith Taylor from LIFE SENTENCES
- Locked Out, Art Taylor, PLOTS WITH GUNS
- Giving Blood, John Updike from THE MAPLES
- Two and Half Miles, W.D. County, SPINETINGLER
- ReBecca, Vicki Hendricks, FLORIDA GOTHIC STORIES
- What is Your Emergency, Chris Rhatigan, GRIFT MAGAZINE
- Here We Are in Paradise, Tony Earley
- 2. 984, 000 Pounds of Pressure, Anonymous Nine. Crime Factory: The First Shift
- You Boys Be Good, Antonya Nelson
- A Blunderbuss for a Broken Heart, Chris LeTray Pulp Modern 2
- Spending Light, John Stickney, NEEDLE, Issue 2
365- February
- A New Life, Kyle Minor, DISCOUNT NOIR
- A Composer and His Parakeets, Ha Jin GOOD FALL
- Where Are You Going, Where Have You Been, Joyce Carol Oates
- Girls in Their Summer Dresses, Irwin Shaw
- The Last Spin, Evan Hunter
- The Birthday Party, Graham Greene
- Blue, Rachel Seiffert, FIELD STUDY
- Tonto Woman, Elmore Leonard, THE COMPLETE WESTERN STORIES
- Only Good Ones, Elmore Leonard, THE COMPLETE WESTERN STORIES OF ELMORE LEONARD
- Super Trooper, Nigel Bird, OFF THE RECORD
- The Incident at Owls' Creek Bridge, Ambrose Bierce
- Food Man, Lisa Tuttle, BEST OF CRANK
- The Babysitter's Code, Laura Lippman, PLOTS WITH GUNS
- Graveyard Shift, James Reasoner, Hard-Boiled
- Portrait of An American Family, Benoit Lelievre, SHOTGUN HONEY
- Thanks for the Ride, Alice Munro, Dance of the Happy Shades
- A MAtter of Principal, Max Allan Collins, FAVORITE KILLS
- Cold Snap, Thom Jones COLD SNAP
- Piano Man, Bill Crider, ON DANGEROUS GROUND
- The Ladder, Adrian McKinty, CRIME FACTORY: FIRST SHIFT
- THe Confessor, Lonni Lees, SHOTGUN HONEY
- Plaything, Daniel Hatadi, DEADLY TREATS
- Going to Shrewsbury, Sarah Orne Jewett, THE COUNTRY OF THE POINTED FIRS
- Sunlight Nocturne, Bill Cameron, DEADLY TREATS
- Escapes, Joy Williams, ESCAPES
- Ugly Pictures, Terrie Moran, THE AWARENESS
- Just Another Saturday Night, William Link, EQMM
- Pride, P.J. Parrish, DETROIT NOIR
- Bonus, Jim Ray Daniels, DETROIT TALES
- Casanova Succumbs to Two-Ton Tina, Rob Kitchin, A TWIST OF NOIR
- The Lost Child, Jean Thompson WHO DO YOU LOVE
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35 comments:
The first thing that came into my head was Martin Scorcese's use of Harry Nilsson's "Jump into the Fire" in "Goodfellas," where the song grows in intensity (it's probably Harry's most purely rock 'n' roll song), the action cross-cuts as Henry Hill and his wife, now drug sellers and users, attempt to evade both the feds and the mafia.
Patti - The music/movie connection between The Graduate and the wonderful Simon & Garfunkel score is, to me, such a wonderful "fit."
Scorsese and Spike Lee always seem to get it right. The use of Sam Cooke's "A Change is Gonna Come" at the end of MALCOLM X comes to mind immediately.
Yes, THE GRADUATE was another great example.
All the Bee Gees music (starting with "Stayin' Alive") in SATURDAY NIGHT FEVER.
"Shout" in ANIMAL HOUSE.
"Tutti Frutti" at the beginning of AMERICAN HOT WAX.
JEff M.
Speaking of Judd Hirsch movies, I've always liked RUNNING ON EMPTY and its use of James Taylor's "Fire and Rain"; then there's "I Can't Give You Anything But Love (Baby)" in BRINGING UP BABY; and "Jumpin' Jack Flash" in the terrific Whoopi Goldberg movie of the same name. The music in the French film I'VE LOVED YOU SO LONG was used to good effect as well. Then there's the (unfortunately so annoying to me) ABBA-infused music in ADVENTURES OF PRISCILLA, QUEEN OF THE DESERT; and the great 1950s/'60s musical backbone of the original HAIRSPRAY.
LORD OF THE RINGS (all three movies).
Bernard Herrman's for"Taxi Driver," Dave Grusin's for "The Yakuza."
Once upon a time in the west. In fact, I liked all of the clint Eastwood spaghetti western music scores a lot
The Morricone scores for Leone's Spaghetti Westerns and The Mission, Bernard Hermann for Taxi Driver. Have always liked the scores for True Romance and Halloween. Martin Scorcese always uses songs well-esp in Goodfellas and Mean Streets.
Olivia-You are the first person to my knowledge to ever refer to Jumpin Jack Flash as a "terrific" movie.
The soundtrack to Barry Levinson's "Diner."
Oh, these are great examples and Olivia coming up with I Can'T Give You Anything But" to calm down the leopard, right?
Harry Nilsson doesn't get remembered enough. And with THE GRADUATE it's the whole score that's amazing to me at least.I had the score from SNL once upon a time but played it to death-and especially Staying Alive when he's walking down the street, swinging that paint can.
The music from Taxi Driver sends chills down my spine.
Guess I will have to see LORD OF THE RINGS for the music.
All Morricone scores are excellent, my favorite being the one from THE MISSION.
And of course, the theme from Laura is so evocative.
Diner, yes. Wonderful music.
The theme from JAWS.
The Stones "Can't You Hear Me Knocking"= Casino & Blow. (This song is also in The Fighter.
The Stones "Monkey Man" & Tony Bennett's "Rags to Riches" = Goodfellas
The Magnificent 7.
Beethoven's ODE TO JOY always makes me think of DIE HARD.
I can hum every bar of the music from Magnificent Seven forty years later. Oh, Moon River from Breakfast at Tiffanys.
Jaws you only need two chords, I think.
Ode to Joy reminds me of Ode to Joy because I had heard it so many times on Karl Haas radio show before seeing the movie. Love it.
Rags to Riches was perfect to frame it, wasn't it?
So many great ones listed here in the comments (btw, kudos to Ed for mentioning 'Bernard Herrman's for"Taxi Driver," Dave Grusin's for "The Yakuza."'). My pick would be one song used effectively in two films: Street Life by The Crusaders featuring Randy Crawford. Used in the intro for SHARKY'S MACHINE and a great Pam Grier sequence in JACKIE BROWN.
The classical music Disney used in FANTASIA is an excellent example, many people still associate it with that film and not the composer, be it the Dukas, Bach, Mussorgsky or other pieces. There's Korngold's music for THE SEA HAWK. The soundtrack to - and the presence of Wolfman Jack - in AMERICAN GRAFFITI. The STAR WARS music of John Williams, the STAR TREK music of Jerry Goldsmith. The music in BRIDGE ON THE RIVER KWAI and the use of Bolero in TEN.
I certainly agree with THE GRADUATE and the Bee Gees music in SATURDAY NIGHT FEVER, and of course the Morricone scores.
At my college, they showed Bridge almost every week. That music sort of gives me chills now.
500 Days of Summer, Garden State
Sweet and Lowdown, Harder They Come....
Did 500 Days use the music of She and He. Can't remember.
Samuel Barber's Adagio for Strings and PLATOON.
I'm with you on The Magnificent Seven, I can still hum some of the music used in specific scenes. I am an Elmer Bernstein aficionado. Loved his music for the openiing titles of Walk On the Wild Side, a horrible movie. But the titles are worth checking out on youtube.
Love John Williams' work for the NBC News, Star Wars, Jurassic Park and Superman. Love the soundtrack for the Beatles two films.
Laura. Of course. And Stella By Starlight from the movie THE UNINVITED. From the first Eddie Murphy movie, can't remember the title - BEVERLY HILLS COP? but remember the great opening song from The Pointer Sisters.
Good stuff.
Here:
http://www.youtube.com/watch?v=ZNGe7iK1O-4&feature=list_related&playnext=1&list=MLGxdCwVVULXcRwFDizMtsH6lRzUt7N9HM
What a voice. Hard to top that.
Actually, I prefer more melodic themes, including most anything by the great Max Steiner, such as Tara's Theme from Gone With the Wind, and As Time Goes By, from Casablanca. And also anything by Dimitri Tiompkin, including Do Not Forsake Me, Oh, My Darling, from High Noon, and any of the music from Giant.
NO argument here. Although as I have said on here before, I often don't here a word of the music if I am listening to the words in a movie. I need someone to point it out.
Oooh, ooh, and the songs sung by Marlene Dietrich in FOREIGN AFFAIR--"Black Market" and the one with the phrase "Who wants to buy some illusions/slightly used/just like new"...
You know, I don't think I've ever seen that one, Olivia.
Anton Karas and his zither in THE THIRD MAN. One single chord is all you need to identify the movie.
As for the use of well known oldies, I think Vera Lynn's "We'll Meet Again" at the end of DR. STRANGELOVE is hard beat.
"Rock Around The Clock" from THE BLACKBOARD JUNGLE.
Morricone, particualrly for FOR A FEW DOLLARS MORE, and Jerome Moross's score for THE BIG COUNTRY perhaps ahead of all other orchestral western scores.
http://www.youtube.com/watch?v=Xc807DmtItY
John Lewis's score for ODDS AGAINST TOMORROW; on television, Dave Brubeck's for MR. BROADWAY and Gil Melle's for NIGHT GALLERY. THE SAINT's signature theme...
Such items as Mancini's PETER GUNN theme and Herrmann's PSYCHO score have been plundered for so many things that you barely can keep it straight where they first appeared...even though that remains the joke, in most cases.
"Summertime" is surely similarly divorced from any PORGY AND BESS by now. Best reapplication of an existing pop song as a television theme remains Boa's "Duvet" for SERIAL EXPERIMENTS: LAIN (pity the series wasn't as good as the choice of theme song).
http://www.youtube.com/watch?v=T0N5YblvT1c
Una Furtiva Lagrimme (The Elixir of Love), Donizetti ... The Gambler, James Caan (based on Dostoevsky's The Gambler) ... I'm pretty sure it's a record (scratchy sounding and all) of Caurso singing it.
It's strange that nobody has mentioned John Barry yet, what with all those James Bond themes. And besides, there was the themes for THE IPCRESS FILE and THE PERSUADERS. And others, I guess.
THE THIRD MAN is definitely one of my all-time favorites. And I agree with THE MAGNIFICENT SEVEN and BREAKFAST AT TIFFANY'S.
Also loved the use of "You Can't Always Get What You Want" in THE BIG CHILL.
Jeff M.
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