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|10 Best Movie Soundtracks|
|Written by Trent Daniel|
|Monday, 26 April 2010 17:40|
A Hard Dayís Night (1964)
Why the top? Itís The Beatles in their prime, singing the title track, plus ìAnd I Love Her,î ìI Should Have Known Better,î ìShe Loves You,î Canít Buy Me Love,î plus other classics. Case closed.
Saturday Night Fever (1977)
Though dismissed for a long time, this soundtrack, highlighted by BeeGees classics, such as ìMore Than a Woman,î Night Fever,î ìHow Deep is Your Loveî and ìStaying Alive,î has rightfully regained much respect and is now considered a classic. Like many great soundtracks, it perfectly captures a particular time and place. It also symbolizes Tony, John Travoltaís character and his need to escape from his mundane existence and make something of himself. The soundtrack is arguably the second most important character in the film behind Travolta. It simply would not work without it.
This film and Shaft are the two best known films from the ìBlaxploitationî era of the early 70s. Though Isaac Haysís score also enhances Shaft, it is slightly topped by Curtis Mayfieldís soulful and powerful work on Superfly. The title track, ìPusher Manî (used beautifully to score a brilliantly edited montage of a drug deal from start to finish) and ìFreddieís Deadî all add a poignancy (as well as social commentary) to the story of a dealer wanting out from under the mob.
O Brother, Where Art Thou? (2000)
In many ways, this is the quintessential Coen Brothers movie-strange, polarizing, but still oddly entertaining. This is also perhaps as close to a musical as they will make. Set in 1930s Mississippi, the mix of country, blues and gospel from the era adds an essential flavor to the proceedings. The filmís soundtrack won a Grammy and introduced a whole new generation to some classic American music.
This Is Spinal Tap (1984)
One of the funniest films of all time would not have achieved its classic status without its soundtrack. Sure, the songs are absurd, but, to be honest, are songs such as ìBig Bottom, Stonehenge,î ìHell Holeî and ìSex Farmî that much worse than what many of the hair metal bands from that era were putting out?
Gimme Shelter (1970)
This dark film is the anti-Woodstock, for it captures the horror and tragedy of the Altamont free concert (which for many served as the death knell to the 60s dream). It seems fitting that the satanic jesters of the 60s, The Rolling Stones, would hold court over the proceedings. Sinister classics from the Stones at their peak, such as the title track, ìJumping Jack Flashî and most notably ìSympathy for the Devil,î serve as the perfect accompaniment to the grim proceedings. Not all is a downer, however, as the film also captures the Stones recording the classics ìBrown Sugarî and ìWild Horses.î
American Graffiti (1973)
American Graffiti, along with The Sting, were at the forefront of a nostalgia craze that dominated American arts and culture in the early 70s. It seemed that, after the tragedy and turmoil that dominated the latter half of the 60s, America craved a return to simpler times, be it the 30s (The Sting, Paper Moon) or the late 50s to early 60s (American Graffiti, ìHappy Daysî). In AG, the radio, and Wolfman Jackís voice, is the key supporting character, as it is heard in virtually every scene.
The BeeGees again, only from a completely different era of a few years earlier. This underrated gem about first love between two London schoolchildren in the early 1970s is clearly enhanced by a collection of beautiful ballads with a touch of melancholy, almost as if the singers are observing the children and remembering when they were that young. The soundtrack includes the wonderful classic ìTo Love Somebody.î
In many ways, Goodfellas is like a Scorsese musical (killing to the oldies?). As he usually does, he finds just the right songs from a particular era to enhance the often grim and violent images on screen. His use of the melancholy chords from Eric Claptonís ìLaylaî to score a series of murders and the jarring use of Sid Viciousís ìMy Wayî at the conclusion are among the greatest moments of Scorseseís remarkable career.
2001: A Space Oddysey
This qualifies for my list, for Evan though Straussí ìBlue Danube Waltzî and Richard Straussís ìAlso Sprach Zarathrustraî are inseparable from the film, both were composed a hundred years or more before the film was made. Film history states that Kubrick planned on using a futuristic score produced solely for the film at first, but wisely scrapped it after seeing how well the classics meshed with what was on screen. To this day, millions still picture a spaceship when they hear the first chords of the ìBlue Danube.î
|Last Updated on Monday, 26 April 2010 17:53|
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