I've decided that as long as I can think of enough topics, and if I can afford it, this blog will begin to focus on music in film and television (advertising, too). I'm interested in the placement of music in a visual medium to create a mood, or in some cases, tell a story. I really think that there is an art to finding the perfect song for the perfect moment, and I think I'm gonna write about that. So from now on (and until I think of a better name) PURE SOLID GOLD is dedicated to soundtracks, scores, and anything else related to the marriage of sight and sound. Tonight I'm just going to intro with some of the first scenes that came to my head when I thought about this topic.
The first is the use of "Sweet Emotion" by Aerosmith during the opening credits of Dazed and Confused. Of course, the song fits the '70s timeline and is one among many such songs in a classic film soundtrack. The opening guitar line slinks in slowly just as the film fades in, and is instantly recognizable. The rest of the band drops in right when Pickford's orange muscle car slowly circles the high school parking lot. What transpires in the next 2:17 is basically a montage that, along with Sweet Emotion, sets the tone and theme for the rest of the film. A defenite mood and feeling is achieved, and ends perfectly as the dreamy opening sequence ends with the jarring reality of the school bell.
Dazed and Confused (1993) Directed by Richard Linklater
Next up is a scene in which the song really steals the show. In Spike Lee's 25th Hour, Philip Seymour Hoffman plays Jacob Elinksy, a nervous high school teacher who is infatuated with one of his students (Anna Paquin). While this isn't really the focus of the plot, it does provide for one of the better scenes in the film. Jacob runs into Mary (Paquin) at a bar. As she enters the room, the scene takes on a dreamlike feel, and the viewer is interpellated into Hoffman's head, and basically sees through his eyes. Jacob and Mary kiss, and the room almost appears to free fall as Jacob panics when he realizes he just made a huge mistake, both morally and professionally. "Bra" by Cymande plays throughout the scene, and it is a huge presence as there is no dialogue. The lyrics "...but it's alright/You can still come home" take on an almost panicked and desperate feel, as the viewer knows that Hoffman is a total basket-case at this moment. The combination of this song with the delusion of Hoffman's character makes for an intense but enjoyable scene.
25th Hour (2002) Directed by Spike Lee
**This is the only online clip of this scene I could find, and it came from an Anna Paquin "admirer". So, I'll embed the full song clip at the end of the post. It really is a great song, and if you aren't familiar with Cymande, check them out. "Bra" is off of their self-titled release.
These songs really help define these scenes and become characters in and of themselves. Although they are in the background, they really pop, and are brought front and center to the viewer's attention. So, alright...man. I'll get this subject more current soon, but until then, get ready to revisit your favorite music moments in film and TV.
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7 comments:
I've seen this work, and I've seen this work well, but I can't seem to think of a time when it didn't (other than a "B" horror movie).
I might be painful to search through and find, but could you find a couple of bad examples. Large budget films that "missed the mark" on this very specialized topic. I think it would help illustrate your point to show the worst of the worst. I don't know what that might entail. Nickelback?
Maybe you could start with the Razz Awards for inspiration.
Well, my point was not to point out what didn't work, but rather, what will set certain scenes apart from the rest. I agree that one would probably be hard pressed to find really "bad" examples of music placement in feature films, and even TV and TV advertising. If I come across some, I'll post about that, but this is really about good use of the craft, and not finding the worst of the worst. And yes, Nickelback would be bad, but I would argue that the use of a Nickelback song (at least by the singer) as the main theme of the first Spiderman movie, was at the same time, a fitting song, and a smart marketing move. But yes, I think we can all agree that Nickelback sucks. Maybe everyone in class can contribute to Nickelbacksucks.blogspot.com. Actually, that name is already taken! Sweet.
I love how hearing songs can take us back to a certain place or memory. When I hear Aerosmith's "Sweet Emotion," it always brings me right back to watching Dazed and Confused. I like your idea of picking out great songs that matched great or memorable scenes. Have you seen Across the Universe?
That movie doesn't do any of those great songs the favor of matching them with great scenes.
I agree with you... "Sweet Emotion" by Aerosmith is the perfect audio establishment on the events to come in that movie.
The culmination of song and image in a major motion picture that comes to mind for me is the first 90 seconds of "10 Things I hate About You."
What does the title is this post mean? Are you a golfer?
You seem like a fairly perceptive movie aficiando. Maybe for a future post you could talk about movies that did and did not do the books justice, that they were adapted from.
Film/TV music is a great topic! I'd love to see some good writing about that. You picked some beauties to talk about here, too, and wrote about them very passionately, descriptively and persuasively. Interesting point about songs functioning as characters in films. I think your blog has a lot of built-in appeal, helped even more by your clear and insightful writing. Really nice work. Fantastic videos, too.
Bugs to fix:
70's (change to '70s -- contraction, not possessive)
a dreamlike feel (one word)
interpellated (not a word)
Actually, Geoff, "interpellate" is a word: "to question formally about policy or government business." (I thought you were going for "interpolate".) Interesting that a cinema prof would say that so much. Anyhoo, you take that word and run with it! Run!
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