It’s probably not surprising given I am a huge cinephile that I also really enjoy a lot of film soundtrack music. The other day I was listening to Gershwin when the album reach Rhapsody in Blue and right away I was mentally visualising that wonderful monochrome opening to Woody Allen’s Manhattan “he adored New York… for him it still pulsated to the great music of George Gershwin…”
And it made me think how sometimes certain pieces of music can become eternally associated with a scene from a film. I don’t just mean original soundtrack music – like John Williams’ opening for the original Star Wars, for instance, conjuring up that amazing (for the time, young me had seen nothing like these gigantic ships thundering across the screen after the opening crawl of text) opening of that saga, or Hans Zimmer’s powerful Inception soundtrack. No, I was thinking on music which had existed in its own right before being borrowed for us in a film – sometimes it can be a little known piece of music, or at least little known to the wider public, such as Barber’s Adagio in Platoon or Strauss’ waltz in the famous space docking sequence in 2001. Obviously classical music admirers knew those, but the films brought them to a wider audience and also indelibly linked those pieces forever in most people’s minds with those scenes in the movies.
Of course there is Herman Hupfeld’s “As Time Goes By” which originally dated from the early 1930s, but really became better known – any by better known I mean immortal – in the 1940s when used in Casablanca. If not for that I doubt most of us would ever have heard of the song, whereas now if we hear it we connect it to one of the best films of all time right away.
Sometimes it can be a well-known track a lot of folk had in their collection from years back, which suddenly leaps back into the pop-cultural landscape, fresh for a new audience, a nostalgic flashback for older fans. Iggy Pop’s Lust For Life suddenly gained a second lease of life when used in the pounding opening of the film version of Trainspotting:
Or Gary Jules’ cover of Tears for Fears’ “Mad World” for Donnie Darko:
And arguably these days for a lot of folk these days those songs will always be associated with the films. And then there’s the great use of Queen’s mid 1970s hit Bohemian Rhapsody for 90s cult hit Wayne’s World:
And Bob Seger’s “Old Time Rock & Roll” with a very young Tom Cruise dancing around in his socks in Risky Business:
And the Pixies’ brilliant “Where is my mind?” for the closing of Fight Club:
And a personal favourite of mine, Goth classic “Bela Lugosi’s Dead” by Bauhaus used in the opening to The Hunger – this one going so far as to actually use Pete Murphy and the boys in the film:
And there are hundreds more – think Steppenwolf’s rock classic “Born to be Wild” in Easy Rider, the Doors and even Wagner in Apocalypse Now and goodness knows how many more, classical, jazz, pop, rock that either existed before but were little known until selected for use in a film scene or else they had enjoyed their moment of success and suddenly found themselves with a second bite at the cherry (Quentin Tarantino has done both numerous times in pretty much every film soundtrack he’s ever made). I’m sure you can think of plenty of other similar examples off the top of your head.