Since the first set of moving pictures appeared in a theater house, music has accompanied films.
The future's all yours, you lousy bicycles.
Through the ages these have ranged from the whimsical (Burt Bacarach’s contributions to Butch Cassidy and the Sundance Kid) to the grimly beautiful (Hans Zimmer’s work on Hannibal). These contributions are often in supplemental terms, sealing a certain mood or feeling within the larger framework of the film. Certain films take this a step further, sprinkling conscious allusions of pop culture cool throughout their film. These (almost) overbearing constructions often function as a vanity project for the creator, “a sly declaration of new classic status” if you will (think any Wes Anderson project or Diablo Cody’s Juno). Today, I’ve tried to select a few songs that I think function especially well within the framework of their respective film. Enjoy…
Our first song today is from The Harder They Come, a Jamaican crime film that heavily features reggae music throughout. Based around two different psalms, this song is the voice of a displaced people yearning for their homeland.
While many may have heard any of the countless covers of this classic track, for me the simplicity of the original reigns supreme. While ostensibly about another people in another time, it is a perfect manifestation of the hopes of poor Rastafarians in Jamaica.
Running distinctly counter to this is Peter Sarstedt’s faux-waltz, “Where Do You Go To My Lovely.” This rhetorical, rags-to-riches love song was (hilariously) featured in the aforementioned Wes Anderson’s short-film, Hotel Chevalier (which itself functioned a prologue to his film The Darjeeling Limited). Somewhat oddly, the song is utilized by the mildly neurotic Jack (Jason Schwartzman) as a tool for wooing women.
While the song is quite certainly a concoction of a different time, it is unquestionably infectious. Each time I hear it, I want to listen to it again…and again…and again.
There were any number of songs featured in I’m Not There that could be included in this post. This Dylan “biopic” was a monumental feat, melding life, action, and music together perfectly. No song stuck out quite as much as Jim James’ affecting take on the basement tape era song, “Goin’ To Acapulco.” Costumed and backed by Calexico, James nails the tune.
Though different variations exist, this particular cut details exactly why the man visits Rose Marie when in search of female companionship. And though the song is slightly different than the “original,” it is hauntingly beautiful. James’ voice has never been more tragically gorgeous than in the skin of this fallen man.
Wonderful Wednesday: Soundtracks
Since the first set of moving pictures appeared in a theater house, music has accompanied films.
The future's all yours, you lousy bicycles.
Through the ages these have ranged from the whimsical (Burt Bacarach’s contributions to Butch Cassidy and the Sundance Kid) to the grimly beautiful (Hans Zimmer’s work on Hannibal). These contributions are often in supplemental terms, sealing a certain mood or feeling within the larger framework of the film. Certain films take this a step further, sprinkling conscious allusions of pop culture cool throughout their film. These (almost) overbearing constructions often function as a vanity project for the creator, “a sly declaration of new classic status” if you will (think any Wes Anderson project or Diablo Cody’s Juno). Today, I’ve tried to select a few songs that I think function especially well within the framework of their respective film. Enjoy…
Our first song today is from The Harder They Come, a Jamaican crime film that heavily features reggae music throughout. Based around two different psalms, this song is the voice of a displaced people yearning for their homeland.
Rivers of Babylon-The MelodiansJimmy, striking a pose.
While many may have heard any of the countless covers of this classic track, for me the simplicity of the original reigns supreme. While ostensibly about another people in another time, it is a perfect manifestation of the hopes of poor Rastafarians in Jamaica.
Running distinctly counter to this is Peter Sarstedt’s faux-waltz, “Where Do You Go To My Lovely.” This rhetorical, rags-to-riches love song was (hilariously) featured in the aforementioned Wes Anderson’s short-film, Hotel Chevalier (which itself functioned a prologue to his film The Darjeeling Limited). Somewhat oddly, the song is utilized by the mildly neurotic Jack (Jason Schwartzman) as a tool for wooing women.
Where Do You Go To My Lovely-Peter SarstedtWhile the song is quite certainly a concoction of a different time, it is unquestionably infectious. Each time I hear it, I want to listen to it again…and again…and again.
There were any number of songs featured in I’m Not There that could be included in this post. This Dylan “biopic” was a monumental feat, melding life, action, and music together perfectly. No song stuck out quite as much as Jim James’ affecting take on the basement tape era song, “Goin’ To Acapulco.” Costumed and backed by Calexico, James nails the tune.
Goin' to Acapulco-Jim James