While people often hear me say that I believe music is the most important thing in the world, they probably don’t always realize that I truly believe that to be true.
Speaking in terms of something as simple as a film score or soundtrack, the music will often make the difference between awful, mediocre, and brilliant.
Take, for example, the film Juno. In theory, a film about a pregnant teenager and a man who decides he’d rather reclaim his frat boy youth and undiscovered rock star glory just as he and his wife are about to begin their family should be appalling. Instead, the use of charming and lilting songs by artists like Kimya Dawson in her solo incarnation, as well as with The Moldy Peaches and Antsy Pants, Belle & Sebastian, Buddy Holly, The Kinks, and Cat Power soften what is, at best, a very dysfunctional story. Had director Jason Reitman gone a different route with the soundtrack, it would have taken all of the charm out of the film. While Diablo Cody did write a lot of wit and warmth into the screenplay, that would have all been lost if the music hadn’t balanced it appropriately. What we, as an audience, would have gotten, would be a big screen version of Fifteen and Pregnant (which happens to be a made for television movie starring a whinier-than usual- Kirsten Dunst…if you can even imagine that).
Another thing that often happens is that the soundtrack is better than the film and enhances the story and emotions to pick up the slack for sub-par acting and an even more mediocre story. An example? The Twilight Saga, of course. Yes, many arguments can be made that the writing in Stephanie Meyer’s vampire/werewolf novels is an insult to anyone who has ever put pen to paper. Yes, countless debates can be waged over why any of the film’s directors make what are, for the most part, quite talented actors act as though they’re in B-movies from the 1970′s. What cannot be disputed is the soundtracks. Serving as a launching pad for many an indie music darling (Florence + the Machine, Band of Skulls, The Black Keys, Anya Marina, Lykke Li, to name a few) and showcasing established artists alike (Radiohead, Metric, Thom Yorke, The Killers, Cee Lo Green, Death Cab For Cutie, Iron & Wine, Muse) the placement of the music in the films often offers depth and moves the storyline in ways the characters themselves simply do not.
While most won’t like every track or every artist, there is no disputing that the placement of each song in each scene was very carefully thought out and the combination of storyline, scene, and song meshes perfectly, often doing a better job than the actors (*cough* Kristen Stewart*), director, screenwriter, and editors did.
As for a film that’s amazing which uses amazing music to make it more amazing? Rushmore, of course! Wes Anderson, Jason Schwartzman, Bill Murray and songs from the British Invasion? Yes, please! Not only is every character in Rushmore enchanting in the strangest ways possible, the use of music that is slightly left of center and not entirely mainstream (much like Juno) enhances it brilliantly.
While The Faces, Cat Stevens, and Chad & Jeremy add to the film’s tone in their own right, the use of less mainstream tracks by legendary artists (The Who, The Rolling Stones, John Lennon) sort of makes it feel as though you’re getting a mixtape from a friend with a great import collection.
It’s so easy to change a mood with music, in any capacity. At the risk of sounding melodramatic, I wish filmmakers would take this more seriously and use it as an opportunity to really highlight more unknown music. Films are such a great way for unknown artists to get exposure while serving as a way for the public to learn about new artists, and acting as a catalyst to a given plot line. While I realize that directors are always going to concern themselves first and foremost with the film itself, it seems to me that quality music that enhanced said film would only make it more successful for everyone involved.
Juno was a pretty cool movie! I agree that music can make or break a movie. My husband and I sat through “Think Like A Man” and by the end, where the really romantic and moving scene was happening, we were cracking up at the fact that they had played John Legend’s “Tonight” (Best You’ve Ever Had) so many times and in different ways. They played the song. Then, the instrumental… then they played the slow, acoustic version. It was too much LOL. It kind of took away from the movie, ya know?
Yikes! I haven’t seen it but that sounds rather dreadful. The last thing I should think a director would want would be a chuckle at a scene that wasn’t supposed to get one….serves them right for screwing up the music!! I also love the music in ‘Sleepless in Seattle’. I know it probably isn’t a very “cool” movie, especially with male readers, but that soundtrack alone, independent of the film, is an exceptional collection of music!
Oooh, I also just thought of another great one~ ‘Trainspotting’~ FANTASTIC soundtrack!
Oooh, I also just thought of another great one~ ‘Trainspotting’~ FANTASTIC soundtrack, I also love the film.
Thnx Christine, Right on about soundtracks. The music in Juno helped me enjoy the movie. Music touches us on an emotional level. Granted to me there is a preponderance of pre-made music i.e. bands, cause it’s easier and cheaper because of corporate ties etc. than using a composer. Exp; heres a bunch of songs play mash-up with them in this movie, corporate says make it work. Compare that to any of John Williams work starting in the early 60′s. Almost everyone in the civilized world knows the themes to Star Wars, Superman, Jaws, Harry potter, Close Encounters, Etc. Granted in period pieces it’s great to have songs of that period by the original artists, American Grafetti, Etc. Why cause those songs bring you back there, or what you imagine it was like. Mozart=American Revolution/7 years war/last of the Mohicans. Beethoven=Napoleonic era, Etc. Yet sometimes IMHO corporations are forcing too much memory encoding with all these bands music. Maybe if a group like Radiohead did a soundtrack for a movie. Notice that with J.W. themes 4 each charector,and or an intstrument. What happens when they mesh, this is high Art. Check out an Opera. To see what I mean. Though I think you already do! Pax! EAM
Hi Edwin, so nice to hear from you! You’re talking a bit more about film scores, though I think that’s just as important as the soundtrack. As you said, on cue, anyone can hum the Jaws theme or ‘The Imperial March’ without a second thought. The interesting thing about Williams is how much he ‘borrowed’ from Prokofiev. I’m not saying that as if it’s a bad thing, either. If you listen closely to ‘Peter and the Wolf’ you can hear glimmers of most of Williams most famous scores. He used tiny bits of the melody and recreated them in his own way entirely. More of an homage to Prokofiev than ‘stealing’ his work.
If you’re a fan of score composers, you should look at some of Gavin Friday’s work. In addition to being a recording artist (and an amazing one, at that) he became quite a renowned composer, primarily working on Jim Sheridan’s films. “In the Name of the Father’ is amazing, as is ‘In America’.
Actually, Gavin Friday also did a version of ‘Peter and the Wolf’ using non-traditional instruments. It is gorgeous.
As for opera, while I would never call myself any kind of expert, I do enjoy it. I LOVE ‘Madama Butterfly’~ It’s one of my favourite stories ever, opera or otherwise, and, as you said, it’s very powerful. It also proves that the music and how the performers are singing can convey emotions. Obviously most operas aren’t in English, yet, with ‘Butterfly’ for example, you know what’s happening in the story the entire time, and it’s heartbreaking.
As for Radiohead, they’re guitar player, Jonny Greenwood, has become quite a respected composer in his own right. You should check out some of his scores~ “There Will Be Blood”, and ‘Bodysong’ are amazing!
While I think soundtracks should be acknowledged, particularly in film awards programmes, I was livid in, 2000( I think ?) when T. Bone Burnett won the Grammy for Producer of the Year for ‘Oh, Brother, Where Art Thou?’ While that soundtrack was phenomenal, I don’t think a producer’s Grammy should be given to someone compiling a soundtrack. It isn’t even comparable to what a ‘regular’ album producer has to contend with~it seemed unfair to me, and I still complain about it.
Sorry to have rambled so!! Yikes! Thanks so much for reading~
Stine
Hey Christine, Yes Composers are “Standing on the shoulders of giants’ , as Paul M. said ‘when your gonna steal, steal from the best! There is a lot of Beethoven, and Wagner in J williams, Have you seen the Met’s Ring cycle from 2011. A Brand new digital set, I believe it weighs 90,000 lbs. With 60’000 hours of programing. Recently broadcast on Pbs. Yes ‘ In the name of the Father’ As someone of Irish descent one of my favs no orange 4 me! Oh brother, what about June carter’s family? Thnx 4 your site Pax! EAM P.s. The music 4 the ‘odessey’ became known again through the awards, so good was achieved. Later! E