Tried to find the thread that is dedicated to this. Not just film scores. But about what a certain piece of music adds to certain scenes. We all know for instance Ennio Morricone's ability to lift scenes to a whole new level. But also the cliché use of Gimmie Shelter in way too many movies. I already mentioned Chopin played in The Deer Hunter - "life as we know it will never be the same".
Another favorite of mine, expressing the loneliness of voyaging the infinite void of outer space: 2001.
'Ride of the Valkyries' in Apocalypse Now stands out. It was also used in a Lina Wertmuller film--I think it was Seven Beauties, IIRC--when two Italian soldiers are deserting a battle. Used ironically, of course, since in the opera the Valkyries are gathering the bodies of slain heroes to transport them to Valhalla. In the Eddie Murphy/Dan Ackroyd movie Trading Places, as they plot their scheme the music is 'Si vuol ballare' from The Marriage of Figaro--translated, the song's lyrics are 'If you want to dance, Signor Count, It's I who will call the tune.' And in the euthanasia scene in Soylent Green, the music is from Beethoven's Sixth. Trivia: Edward G. Robinson was dying--he would die about 11 days after this was shot--and no one on the set knew this except Charlton Heston. Chuck's tears were real.
Also from the same film: https://www.youtube.com/watch?v=0ZoSYsNADtY The "Blue Danube" scene. Never fails to move me, though I can't even say why exactly.
I've long wanted an opera buff to watch and review the film Prizzi's Honor. From what I understand, John Houston was a huge opera fan, and each musical cue in the film was a reference to a classic scene from an opera. The only one I recognized, was Rossini's The Thieving Magpie being used during a kidnapping. I had no idea. I wonder if Robinson told Heston about his prognosis in order to use it to make the scene better, an actor using his own personal experiences.
This is a particularly evocative, memorable musical moment. And it strikes me that...this was all accidental. Kubrick had already commissioned an original Alex North score for the film (I have a copy)...but, he couldn't consider it once he had attached the music to his own edits, just temporary "place-setters".
It's a "chick flick". Your garden-variety "date movie". There's a chance meeting, then over an hour of distraction. There's a wedding. There's a race to the airport. There's miscommunications and missed connections. There's New York City. Iconic cliche locations; checklist chick-flick scenarios... ...and then the snow starts to fall, John Cusak is getting weather on him...as he always does... ...and all is forgiven. Wait for it...it's worth the 3:15... True serendipity.
Have I mentioned John Cusack...? Sorry...all will be forgiven. Wait for it...it's worth the 3:30... Pure fidelity. As always, bonus points to Iben Hjejle for just existing.
Since I happen to be in a Vivaldi (and Haydn) mood, here one of the most evocative pieces ever used in a movie:
I’ve gotta say though IMO the most OVERUSED song in movies is Dean Martin’s “Ain’t That a Kick in the Head.”
Two examples come to mind - The airplane scene in "Until the End of the World" (Peter Gabriel / "Blood of Eden") The opening scene of "Donnie Darko" (Echo and the Bunnymen / "The Killing Moon")
Oh! I love 'Spirit In The Sky'. One of my first 45s back in '70. Had to have it, couldn't wait on the radio to hear it. Also love ' Ain't That A Kick In The Head'..but never rushed out to get it.
Best use of “Spirit in the Sky” I think was near the start of the movie “Miami Blues” when Alec Baldwin’s violent psychopath character breaks the finger of a Hare Krishna at the airport. Sounded amazing played loud over the big theater speakers!
In Harold and Maude, Cat Stevens' songs drive the plot as much as any other device. They perfectly fit the movie, bringing depth and meaning to what Harold is going through.
I have long wanted to watch 2001 with the Alex North score added in. I know, I know, it's sacrilege and you're crazy, etc. But I've probably seen 2001 about 20 times or something. It would be extremely interesting to see "what could have been". I've often thought about doing this editing myself. I wonder how challenging it would be. For instance, is it even possible to tell where each cue would've been? I don't have any idea myself.
Yeah, who's gonna help you with that...at least we know the music was "cold" wherever it was (that is, no dialogue over it). I assume you have the soundtrack; there may be notes in the liners to give you a hint, but as I recall, North didn't write the thing with the edited footage to use as a guide. His score could be all over the place, with only the script to give him cues. Not crazy, though. I've seen the film quite a few times myself...even have a Super 8mm print of it I bought just out of film school. It has the intermission music sequence in it. Six reels, IIRC.
Martin Scorsese is a master at editing rock and roll into his films. Goodfellas and Casino are obvious examples. Another is Life Lessons, his contribution to New York Stories (1989), into which he deftly drops Procol Harum's Whiter Shade Of Pale, Cream's Politician, and the Before The Flood live version of Like A Rolling Stone by Dylan and The Band, to stunning effect. But here's my hands down favorite, from Mean Streets (1973):
