What makes a great movie soundtrack? Is it how the track enhances or pushes different aspects of a film? Is it the ability of a soundtrack to stand on its own? Do the songs need to be written for the movie, or can they be existing pieces put to new effect? I asked myself these very questions and, in turn, came up with three great movie soundtracks based on small criteria. First off, the film cannot be a musical. The soundtrack can comprise any song; it does not have to be written specifically for the movie. The soundtrack has to do more than simply fill space or serve as background music. Finally, the songs actually need to be relevant to the film. In other words, there are no electric guitars when things occur in the 1920s…. looking at you Peaky Blinders. I am by no means saying these are the best soundtracks, but they stood out the first time I saw the film, and I think of them as a crucial part of what makes each picture work.
Once Upon A Time In Hollywood
Once Upon A Time In Hollywood is a special movie, the kind you are supposed to see for the first time in theaters. For me, a big part of that is how Tarantino weaves the soundtrack across scenes to maintain absolute control over what we should be thinking and feeling at different moments in the film. The choice in songs is great and historically accurate but it’s where the songs appear and what they do by being there that is important. Remember when Cliff (Brad Pitt) drops Rick (Leonardo Dicaprio) at home? He then drives off into the night, where he passes through Sunset Boulevard before making his way onto the highway and eventually back to his humble residence. The songs we hear during this scene, and the cuts it makes, are “Summertime” by Billy Stewart, “The Letter” by Joe Cocker, and “Ramblin Gamblin Man” by Bob Seger. These songs are bright, loud, and dynamic: just like the visuals, you are taking in. The bright lights of Los Angeles at night and a bustling highway as Tarantino gets us energized early on. The point here is to take it all in and get familiar with the backdrop that will host future events.
Later on in the film, after a confrontation at Spawn Ranch, Tarantino wants to subdue us a little. We know the movie isn’t over, but he wants to ring all the excitement in after a tense scene. So, the next song we hear is an unplugged version of “California Dreamin” that is every bit as melancholy but hardly as driving as the original. It puts us in an almost reflective state as the sun begins to set over Los Angeles and Cliff drives Rick home once again. This time, the shots we see of the city are not ones that excite us. The city looks asleep or perhaps, much like the plotline at this stage in the film, in a brief state of calm before the excitement begins again.
Bladerunner
Again we have an incredible movie, one that thrives off of an atmosphere that is in large part due to its soundtrack. Bladerunner was unique for its time because it took classic neo-noir elements and applied them to a science-fiction concept. Neo-Noir literally means “black movie,” and this comes down to the right balance of production elements to get that uneasy and shadowy feel. In Bladerunner, the soundtrack, done by Vangelis, is the best example I can think of for using sound to create atmosphere.
The jazz-like melodies layered on top of resounding synth pads enhance every aspect of the film they are supposed to. Think about when we first hear “Bladerunner Blues.” Rick Deckard (Harrison Ford), is in the middle of shooting a replicant to death as she falls
through layer after layer of storefront glass. Now think about where it happened: bustling streets, smog, rain, neon lights, and a dark sky. There couldn’t be a better track to tie it all together. It’s a total vibe on its own as well. The next time you are on the SkyTrain at night, especially if it’s raining, put your headphones in, listen to “Bladerunner Blues,” and stare out the window. You can’t help but feel like you’re in a movie yourself.
Goodfellas
It’s easy to get lost in a film as great as Goodfellas. It is even easier to lose track of how much time has passed in the movie. The film, which follows the life of Lucchese crime family associate Henry Hill, takes place between 1955 and 1980 over almost three hours. I didn’t realize until long after my first viewing that the soundtrack isn’t just good, but it is historically accurate at every stage of the film as it essentially “ushers” us across time. A the beginning of the film, in the mid-1950s, we hear acts like Tony Bennett and The Moonglows. Come the middle of the film, the early 1970s, we hear “Sunshine of Your Love” by Cream and “Layla” by Derek And The Dominoes. Scorsese used music to mark time totally passed me by the first time.