Discounting musicals, I would add The Who’s “A Quick One” during the vengeance montage in Rushmore, Schubert’s Piano Trio in E-Flat Major in that absolutely beautiful long shot of Lady Lyndon falling in love with Barry in Barry Lyndon, Khachaturian’s Sabre Dance during the hula hoop montage in The Hudsucker Proxy, that horrible version of the Eagles’ “Hotel California” during the Jesus montage in The Big Lebowski, the ironic use of Rossini in A Clockwork Orange, Night Ranger’s “Sister Christian” in Boogie Nights, Slaughterhouse’s “Power Mad” in Wild at Heart (beautifully twisted), Alan Price’s songs in O Lucky Man!, the use of Wagner in L’Age d’Or, and “Drum Boogie” in Ball of Fire (if you’re talking film history, which would include movies made before 1980, how the hell could you leave that out?).
(In fact, while I’m on the subject, I think it’s safe to say that the opening to Sexy Beast could not have worked without The Stranglers’ “Peaches” playing in the background. And the only reason why Sofia Coppola’s soulless films dupe their audiences is because of the music. I’d ramble further about how certain movies are absolutely hollow without their music (the mute button really reveals wonders), but there’s only so much time in the day.)
© 2006, Edward Champion. All rights reserved.