- Pulp Fiction
The soundtrack in Pulp Fiction is not an original, but Tarantino, in a postmodern spirit, has a fantastic talent to combine rock’ n roll, pop, soul forgotten with scenes from his films, creating this way a new life and cult status. Let’s not forget the song by Gheorghe Zamfir, the Lonely Shepherd, to whom Tarantino found a place in Kill Bill. Still folk is the music that opens Pulp Fiction. Although based on a Greek song, Misirlou was made known in the United States through a surf rock version by Dick Dale in 1962, to become even more known in 1994 when everyone fell in love with Pulp Fiction. In addition to this song, many of us have heard for the first time in Pulp Fiction Dusty Springfield’s song “Son of a Preacher Man or Girl, you will be a woman soon” by Neil Diamond.
- 2001: A Space Odyssey
And if we started talking about directors who do not necessarily use soundtracks specially written for their films, the British Stanley Kubrick was brilliant in many ways, including the use of classical scores to illustrate the scenes in his films. 2001: A Space Odyssey makes no exception. The early stage of this film has all been so well encoded on the cortex and thanks to Richard Strauss’s music. Likewise, the movement of stars and spacecraft like in a dance was amazingly completed with Johann Strauss waltz. A Space Odyssey then launched a fashion for dozens of SF films that followed.
- The Virgin Suicides
Filmed through a colour filter that gives the movie a warm, nostalgic air of eternal summer, Sofia Coppola’s feature has a soundtrack signed by the French at Air. As the name calls it, the duo sings electronic music that conveys a very dreamy, psychedelic air, even uncertain, of perpetual adolescence, perfect for Sofia Coppola’s film. “Playground Love” is the most famous song of The Virgin Suicides.
- Lost Highway
As Hitchcock had a well-founded weakness for Herrmann’s music, David Lynch has a weakness for Angelo Badalamenti’ s compositions, with whom he collaborated for the Twin Peaks, Mullholand Drive, Blue Velvet and Wild at heart soundtracks. Badalamenti has signed many tracks on the Lost Highway column, alongside David Bowie, Rammstein, Marilyn Manson, The Smashing Pumpkins. All the strange songs coming from another world into David Lynch’s films are either signed by the director himself, whether signed by Badalamenti.
- American Beauty
The poetic and nostalgic music of American Beauty, which we invariably associate with Lester Burnham’s love dreams (Kevin Spacey) and the stylish air movement of an empty bag, is signed by Thomas Newman, known not only for this soundtrack, but also for Finding Nemo, Skyfall, The Shawshank Redemption, and more. But American Beauty is the only soundtrack that goes into our top.
- The Draftsman’s Contract
Equally minimalist but effective as American Beauty music is the soundtrack in Peter Greenaway’s The Draftsman’s Contract. Known especially for collaborations with the British director, composer Michael Nyman has signed over 100 film compositions, including The Piano, Prospero’s Books, The Cook, The Thief, His Wife and Her Lover, Drowning by Numbers. In one of Peter Greenaway’s earliest movies and mainstream, Michael Nyman reinterpreted the British baroque music, conveying a certain love for numbers and a certain amount of rigor, specific to the mystery of the film.
- Lock, Stock and Two Smoking Barrels
At least equally talented in the combinatorial images – old songs, which become super cool, is also Guy Ritchie. Ritchie has a soft spot for funky music and British rock, perfectly understood by an English director. Because of Dusty Springfield’s “Son of A Preacher Man” song from Pulp Fiction, thanks to Ritchie, we know her other good song, Spooky, on Lock, Stock and Two Smoking Barrels.
Also in the unbounded dream category is Amelie’s soundtrack, largely signed by Yann Tiersen to the accordion, piano and what he has found in his way, knowing that Tiersen plays about any instrument. His music is funny, imaginative but also has a sad atmosphere, filling the spirit of the movie very well.
- In the mood for love
How could Natang Cole’s Chinese music be matched with Latin jazz music? If you do not see absolutely no bridge between the two, you did not see “In the mood for love”, in which an Asian obsessive musical theme combines with the movements of a beautiful and extremely elegant woman, played in idle. The musical theme also blends with the romantic and blue atmosphere of the film, as well as Nat King Cole’s romantic songs. Surely “In the mood for love” it would not have been the same without that soundtrack.
Three great directors, complemented by three composers who perfectly felt the states of their films. The psycho atmosphere, for example, is strongly supplemented by the music of Bernard Herrmann, the one with whom Hitchcock collaborated and for North by Northwest, Vertigo, Marnie, The man who knew too much. Although he is best known for his work on Hitchcock’s films, Herrmann has also signed on to the TV series The Twilight Zone, but also to Citizen Kane and Taxi Driver.