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Underground > Film, TV & Theatre >

Memorable film music

  
  

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Cavatina
13:18 / 30.09.01
This is the first time I've posted a topic and I've spent the last five minutes agonising over whether to post it here or in the Music thread. Anyway, here goes...

I've been discussing with a friend the use of music by Einsturzende Neubauten in the Wim Wenders film Wings of Desire. This led me to reflect that the use and function of particular pieces of music in films is often given only token mention by reviewers.
Yet music frequently plays an important role in

* evoking atmosphere
* reinforcing a theme
* making a cultural commentary of some sort on the visuals.

Which film music do you especially remember and what role in the film did it play for you?
 
 
The Return Of Rothkoid
13:52 / 30.09.01
Hmmmm. Interesting topic. I think I've always found Bernard Herrmann's stuff to be fairly well-judged - except in the instances where he's merely rehashing former glories (Jason and the Argonauts as an example.). I'm particularly fond of the score for Psycho - forget about the shower scene, the music played as Marion Crane leaves town with the big chunk of cash is essential to the propulsiveness of the action onscreen. Genius. I like the score for that film especially as it's only scored for strings, originally an economising step; it gives the whole thing a tonality that suits the black-and-white medium, I guess. Maybe it's social conditioning, but I can't view the film without the score coming to mind as something of equal importance.

Additionally, Herrmann's work for Vertigo is a special favourite. The Spanish touches inside it that reference particular aspects of the story are wonderful, and work most powerfully in the nightmare sequence, when the flowing romanticism of the main theme collides with the castanet-flavoured Carlotta theme - for me, that's the most effective descriptor of collision of reality and imagination, which is what the film's about, I guess.

There's a couple of others I like; Being John Malkovich's score, like so many of Carter Burwell's works (he's a Cohen Bros. favourite, too: did the scores for Fargo and Barton Fink, amongst others) seems to encapsulate the sound of the loser inside the notes; it might be a cheap trick to play on an audience, but it sets the mood straight up. The Necks' score to The Boys, too, is essential to that movie's success, given that it creates an air of barely-subdued menace, yet accomplishes this through the subtlety of piano/bass/drums composition. Not quite minimalism, but its sparseness fits the film perfectly.

I tend to be less impressed with song-based soundtracks, though, where tunes are recycled for nostalgia value. Don't know why, but it sometimes seems like a bit of an easy way out. There's always exceptions, of course: I felt some of the bits of the Praise soundtrack (especially the langour of "The Lights Are Yellow And The Nights Are Slow") captured the mood of tropical, laid-back, smacky climes perfectly.

[ 30-09-2001: Message edited by: Rothkoid ]
 
 
Not Here Still
16:00 / 30.09.01
Oddly enough, the film music I like, I like independently of the films.

To illustrate: I'm not a big fan of James Bond, but I like both John Barry and David Arnold's work.

And I'm not a big fan of spaghetti westerns, but I love Ennio Morricone's soundtracks.

In fact, the only real time I can say the film music I like co-incides with the film I like is when I hear the work of John Williams kicking off Star Wars...
 
 
Mazarine
16:02 / 30.09.01
I dearly love the soundtrack from Harold and Maude. Haven't seen it in ages though, so I can't really make a coherent case at the moment.
 
 
Warrington Minge
16:47 / 30.09.01
Have to echo Rothkoid on the Bernard Herman thing with particular emphasis on Vertigo. So otherworldly and captivating.

I also like the stuff Angelo Badalamenti produced for Twin Peaks, Lost Highway and the Straight Story. I first heard the Lost Highway soundtrack before seeing the film and fell in love with the track Red Batz with Teeth. It just build and builds then explodes at the end. Fantastic! Strangely it was hardly used to that greater effect in the film. The music he produced with The Thought Gang on Fire Walk With Me was pure genius.

More recently it has to be Clint Mansell and the Kronos Quartets soundtrack for Requiem For A Dream. This is one of the most hypnotic soundtracks I've heard for ages. The mixture of industrial techno with the classical Kronos Quartet is amazing and works well with or without the film.

I also like the already mentioned Wim Wenders use of Ry Cooders slide guitar on Paris Texas.
 
 
Lothar Tuppan
17:18 / 30.09.01
The end theme to "The Adventures of Buckaroo Banzai"
 
 
The Return Of Rothkoid
17:39 / 30.09.01
quote:Originally posted by dark welchy:
More recently it has to be Clint Mansell and the Kronos Quartets soundtrack for Requiem For A Dream.Agreed. I went through a stage after seeing the movie (I had the soundtrack before I saw it, and think that it's better than the movie, frankly) where I just couldn't stop listening to it - the way the grief of the main theme mutates into something rootless and terrible by the disc's end - just brilliant.
 
 
Seth
18:03 / 30.09.01
I love Laurindo Almieda's guitars on the Unforgiven soundtrack (although the piece "Claudia's Theme" was actually written by Clint Eastwood). It powerfully evokes the spirit of William Munny’s wife, making her absence/continued spiritual presence a tangible force in the movie. It’s one of my favourite pieces of music, a love song without words.

Geinoh Yamashirogumi’s Akira soundtrack simply rocks, especially through a surround system with decent bass response. The upcoming re-release will be the film that forces me to get a DVD player. It continually finds new ways to create atmosphere and majesty, while really driving the film in the action sequences and delivering some deeply unsettling moment. The total silence that precedes Kaneda’s last confrontation with Tetsuo is a magnificent signifier.

My personal favourite from Carter Burwell’s collaborations with the Coens is Miller’s Crossing. I almost asked Snapping Turtle to walk down the isle to this one.

I’d also like to nail my colours to the mast and vote for Ennio Morricone’s sountrack to The Mission as the absolute pinnacle of the medium.

[ 30-09-2001: Message edited by: expressionless ]
 
 
gentleman loser
19:01 / 30.09.01
Good idea for a post, by the way.

I suspect that most people would figure out that a lean towards the SF/Horror genre, so all of my picks come from there.

Ennio Morricone's creepy pulsing score from John Carpenter's The Thing (1982).

Michael Nyman's authentic, redneckesque score from Ravenous (1999).

Jerry Goldsmith's nerve fraying, strings jumping score from Alien (1979).

James Horner's score from Star Trek II: The Wrath of Khan (1982), where the music was beautifully matched to what was happening on screen, scene for scene.

Howard Shore's frantic, randomized jazz score from Naked Lunch (1991)
 
 
The Return Of Rothkoid
19:35 / 30.09.01
Couple more:

Lalo Schifrin's score to Dirty Harry works well for me, especially the Scorpio pieces. Harry gets a standard, tough-guy piece, with some jazzy '70s riffing to show that he's a bit connected, but the killer gets the bulk of the good writing - which does owe a lot to Ligeti, I think. "Scorpio's Theme", in particular - the vocalise with skittish drumming; it's absolutely wonderful, amping up the tension as it's needed onscreen.

While a variety of artists did it, the score to Angel Heart has also been one of my favourites. There's two of them, though - the one that came with the film is different to the one that's released, substantially. The released one features snatches of dialogue from the film over it, so you can listen to the story of the film, essentially, in an hour. The one that goes with the movie is still great, though: Courtney Pine's saxwork has the seaminess necessary for a private dick of dubious past, while Dr John comes along with one of his more gritty tracks for the voodoo connection. As well as some bluesier tracks - not many of them showcased per se; there's some unreal barrelhouse piano played in one of the churchy scenes that makes me wish I had hands with a foot-long reach. Anyway - rambling on about this, but the genius thing about the score is an Alan Parker standby; a motif. There's a snatch of "Girl Of My Dreams" that appears everywhere in the film, if you only look for it - it's eerily effective. So much so that when a Charles Mingus album I was playing suddenly broke into the tune, a couple of months ago (I'd only just bought it, and hadn't really looked at the tracklisting, I leapt out of my chair in fright. Literally.

The Shining makes good use of modern compositions, but I complain a bit that Kubrick essentially took the louder bits out of more coherent compositions and used them to go "boo!" at the audience. Wendy Carlos had composed a whole soundtrack for it, which Kubrick then binned, leaving only two pieces in (the spiky opening titles music is hers) the finished film. Carlos is set to release the whole thing later this year - be interesting to see how it'd sit with the visuals, rather than what's there now.

Expressionless: I liked The Mission's soundtrack - but didn't think that it worked coherently as a whole. There's some wonderful pieces on it, but it strikes me as being a little too similar in sound to a Gheorge Zamfir album to let me marry the visuals to the music as such - it always makes me think of a coffee commercial. Damn you, Nescafe; you've ruined a perfectly good film for me.
 
 
Analogues On
20:02 / 30.09.01
Rothkoid: I agree. The Angel Heart score is devastating. Good choice.

For me, the music from Paris, Texas and Magnolia are two more examples of intelligent and successful scoring in that they actually echo and re-thread the narrative story at important junctions in the films, weaving their own emotions out of the patchwork of the characters lives, shifting the drama off of the screen and positing it in the real world. I couldn’t imagine either film without their scores, nor can I hear the music without being instantly immersed in the emotions of the movies.

For similar reasons I personally rate the scores for Midnight Cowboy, The Deer Hunter and Young Frankenstein.

Also:

JB Again: “Oddly enough, the film music I like, I like independently of the films”
RothKoid: “I had the soundtrack before I saw it”

I remember my dad had two excellent soundtrack albums amongst the many tonnes of lounge/ soul/ folk stuff he listened to: “Once Upon A Time in the West” (Morricone) and “They Call Me Mr. Tibbs” (Quincy Jones).

The Morricone is wonderful (of course), sparse and jarring one minute, then lush and evocative the next. A strange and epic journey. The Jones is more of a funky Caesar-salad; rich and cheesy, with a crisp, bitter flavour underneath.
Having heard these albums countless times as a kid, I remember how strange it was when I finally saw the movies years later, and heard the music being applied to strange and exotic filmic images.

“They Call Me Mr Tibbs” was a bit of a disappointment, as the soundtrack is easily the best thing about the movie (prequel, In the heat of the Night is much better, and although Sidney Poitier is pretty good, the story stiffs). Yet the musical themes do bind well with the images of the streets, the rain, the lone cop………

“Once Upon a Time..” though is a perfect fusion of sound and vision. After seeing the movie I felt as if the soundtrack had somehow created its own universe, characters and events, and Leone had simply visited the results with a movie camera

….. which leads me back to Magnolia ……..
 
 
Jack Fear
20:40 / 30.09.01
PARIS, TEXAS cannot be underestimated. Like Hermann's PSYCHO before it, it created an instant cliché. Without any important precedents, it evoked the atmosphere of the wasteland so perfectly that it was instantly adopted as shorthand for that atmosphere. For a long, long time afterwards (and still today), whever you saw a shot of a desert landscape in a film, you'd hear a rattling bottleneck guitar weeping some terse variation on Blind Willie Johnson's "Dark Was The Night, Cold Was The Ground."

John Williams' JAWS has conquered the world. Two notes, that's all you need: Da-DUM... to the point where it rivals the opening da-da-da-dum of Beethoven's Fifth for instant recognizability, insinutaing itself into the culture with the sheer mindless relentlessness of the shark itself.

Morricone is wonderful, always. The sher breadth of invention, the mish-mash of styles that enlivens his stuff: martial drums, mariachi horns, whistling and surf guitars, all in one piece... or his theme for Nitti in THE UNTOUCHABLES: lush, Barberesque strings, plunky synth-drums and harmonica. At its best the culture mash of Morricone's music echoes the similar melding of influences at play in the films: A FISTFUL OF DOLLARS, an Italian director shooting an American Western in Spain with a story based on a Japanese samurai film that was itself adapted from an American gangster novel. Or THE UNTOUCHABLES, played out in a style that owes to Italian opera, with a set-piece straight out of Eisenstein's POTEMKIN... This is the future of film, and Morricone and friends have been doing it for forty fucking years.

Stuff that really lives off the screen: Elmer Bernstein's MAGNIFICENT SEVEN is just wonderful, of course: he steals shamelessly for Aaron Copland, but to great effect, and creartes a sublime, heroic swagger: little "ethnic" touches (guitars, Latin percussion) emphasize the South-of-the-border setting where appropriate.

My favorite film composer, though--one of my favorite composers, period--is the divine Zbigniew Preisner. Jeeeesus. Gorgeous on their own, but so perfectly matched with the mystery, romanticism, and sadness of his frequent collaborator Krzysztof Kieslowski's worldview: I always think of them together, even when Presiner is scoring for somebody else. Melancholy beauty, even at vivace, long, arcing melodies of hair-raising loveliness. Distinctly European ambience--the senisibility that gives elegance to an essentially brutal work like "A Short Film ABout Killing." Hand in glove, their sensibilities as one sensibility.

[ 30-09-2001: Message edited by: Jack Fear ]
 
 
Saint Keggers
20:43 / 30.09.01
Vangelis' BladeRunner score.
 
 
Spatula Clarke
20:44 / 30.09.01
'Once Upon A Time In The West' is notable not only because it's an awesome soundtrack, but also because Leone filmed the action around it. Take the scene where we first see the town - the camera slowly pulls up from the station as the music builds, then just as it reaches a crescendo we see over the roof and out to what lies beyond. Morricone conducted the orchestra on set, meaning Leone could get the timing exactly right.

Too often the music in a film is the last consideration.

Oh, and the music to 'Suspiria' defies categorisation and description, except to say that it suits the film perfectly.
 
 
Lothar Tuppan
20:53 / 30.09.01
quote:Originally posted by E. Randy Dupre:

Oh, and the music to 'Suspiria' defies categorisation and description, except to say that it suits the film perfectly.

The Suspiria soundtrack was pretty excellent wasn't it?
 
 
The Return Of Rothkoid
09:03 / 01.10.01
quote:Originally posted by gentleman loser:
Michael Nyman's authentic, redneckesque score from Ravenous (1999).I dunno - to be honest, a lot of Nyman's soundtracks sound a bit phoned-in; similar themes that either hit or miss. Sometimes, it doesn't seem like he's not even sure which movie he's soundtracking. I was very impressed with his work on The Piano, though; the way the piano melody gave the whole thing an aquatic air was wonderful; the variations of same allowed a range of emotions to be expressed easily in an almost identical framework - probably most effective as the lead character was mute.

Howard Shore's main theme for Silence of the Lambs was pretty good, too.

Fuck! Something I've not seen the movie for but believe that it'd work amazingly well with the right visuals: Ryuichi Sakamoto's score for the Bacon biopic Love Is The Devil- semi-industrial scariness that demands to have the light left on while listening to it. I can't listen to this album at home along; the tracks describing sex are particularly brutal. I can see how that might fit in with a bit of Baconian rough trade, but the effect when joined with visuals must be terrifying.
 
 
The Strobe
09:54 / 01.10.01
Umm....

Enter the Dragon - Lalo Schifrin takes his brand of movie funk and fuses it with pentatonics and eastern instruments, and it's wonderful.

Taking of Pelham 123 - Fantastic, majorly brass heavy score, a real treat.

Gattacca - just that theme. I really don't like Nyman, he's often too pianoy and psuedoclassical... but Gattacca has wonderful music.

And if you're talking John Carpenter... ASSAULT ON PRECINCT 13. Wonderful, spooky, synthesizer score - way ahead of its time.

I also really like the RZA original score to Ghost Dog - it's hard to listen to in isolation, but works wonderfully in the context of the film.

Sucky film composers? James Horner. He wrecked Titanic, and his score for Aliens was trashy. But hey!
 
 
Catboy
09:54 / 01.10.01
I've always loved the soundtrack that the Dust Brothers did for "Fight Club." Totally ambient when that's what you need, and completely engaging if that's the mood you're in.
 
 
autopsy of a rockstar
09:54 / 01.10.01
Eliot Goldenthal. Some of the best shrieking banshee orchestral I have ever heard, especially Aliens 3 and Titus. I've always loved his compositions because he freakishly inserts not just classical music stylings but integrates various schools of music into his compositions, (acid jazz, tribal yells. The opening theme to Titus makes me chew into someone's jugular vein) as well as just random noise and he ends up sewing it together so beautifully. The soundtracks to the Batman films he did was like being assaulted by a circus gone amok. Yummy stuff.
 
 
The Return Of Rothkoid
09:54 / 01.10.01
quote:Originally posted by Autopsy Turvy:
The opening theme to Titus makes me chew into someone's jugular vein) as well as just random noise and he ends up sewing it together so beautifully.That ritualised stompfest was great! I was quite surprised to note that the "delivery" scene with the van had Paige Hamilton (ex-Helmet) on guitar; odd. Seemed a bit borrowed from Waits, though...
 
 
The Knowledge
13:44 / 01.10.01
The soundtrack to The Cell was pretty cool.
 
 
grant
14:03 / 01.10.01
Henry Mancini:
Moon River (Breakfast at Tiffany's)
any of the Pink Panther movies.
I almost bought the Breakfast at Tiffany's soundtrack at a thrift store yesterday. On the back is a letter from Audrey Hepburn to Henry Mancini in which she says music is to a film what fuel is to a locomotive.
I put it back on the shelf in favor of...

Simon & Garfunkel:
The Graduate
Here's to you, Mrs. Robinson. And a jillion versions of Sound of Silence.
Perfect for the film, perfect for the time.

Bill Conti:
Rocky -- not just the adrenalin-pumping too-famous trumpet bit, but the melancholy French horns and violins for when he's training alone... and when he goes the distance. I think it's old enough now that it's no-longer a stereotype.

John Williams:
Star Wars
Rightfully famous. When it came out, NO ONE was doing orchestral scores any more. Lucas wanted that pulp serial melodramatic feel, and he sure got it.

any Hal Hartley movie I think he does some of his own soundtracks, but there's a composer whose name eludes me. Very minimal, yet somehow moving - and perfect for the tone of his pictures.
Not dissimilar from that Buckaroo Banzai theme, actually. Or Michael Nyman - picture him playing with a Casio musical toy somewhere.

John Parish:
Rosie
I so much fell in love with this Belgian movie soundtrack (by the guitarist who works with PJ Harvey), I spent days searching the web until I seized it. Distorted guitars and violins. Haunting in spaced out beauty. Like Sonic Youth and Mazzy Star. Again, perfect for the story about a delusional teenage ingenue/sociopath.

any Alex Cox movie, but especially Repo Man
I love the soundtracks that are really just big sampler albums of music you need to have in your life. Punk rock writ large. The Pray For Rain instrumental bits in Sid & Nancy are nearly perfect on their own - and ideal dream fragments in the film.
There are other sampler soundtracks that are much better than the movies they're in (Salvation is the first that comes to mind. Made in USA is all one band, Sonic Youth, and Tangerine Dream did stacks of them) but that's another story.

Neil Young & others:
Where the Buffalo Roam
The first filmed version of Fear & Loathing in Las Vegas... sort of. Peter Boyle as the crazed Samoan, Bill Murray as Hunter Thompson. Sounds of the Psychedelic 60s, plus Neil Young's crunchy distorted guitars, an Aaron Copeland rip-off orchestra and Mr. Young singing Home on the Range a capella.

Clint Mansell:
Requiem for a Dream
Wendy Carlos & others:
A Clockwork Orange
Both feature the orchestral synthesizers & strings of DOOM.


Word to Morricone, word to Lalo Schifrin, word to Mark Mothersbaugh & Rushmore.

Now - does anyone remember a movie called "My New Gun" starring whatsished Le Gros which had, as its end music, a cover of Mission of Burma's "(That's When I Reached for) My Revolver" done by Shawn Colvin (I think)?
I been looking for that song for ages, and now can't even find the movie to tape it off.
 
 
grant
14:05 / 01.10.01
Oh, and I should also mention Ornette Coleman & others: Naked Lunch
Perfect deranged 50s culture psychedelic beat meltdowns. Opened me up to new jazz in a way no one else did. And made the movie kind of make sense as a tribute to the movement & the era.
 
 
The Return Of Rothkoid
14:49 / 01.10.01
Grant: quote:Henry Mancini:
Moon River (Breakfast at Tiffany's)What'd you think of his score to Welles' A Touch Of Evil? Mexican-tinged stuff with the most tragic piano line for the most tragic I've ever seen Marlene Dietrich look - a loooong way from "Baby Elephant Walk". I was struck; previously, I'd thought Mancini good, but a little too cheesy. This knocked me out.
 
 
Jack Fear
15:34 / 01.10.01
quote:Originally posted by grant:
any Hal Hartley movie—I think he does some of his own soundtracks, but there's a composer whose name eludes me.The almight IMdB tells all! Hartley's collaborator is named Jeffrey Taylor. And Hartley hbimself sometimes uses the pseudonym "Ned Rifle" when writing music.

Found a listing for My New Gun, but no mention of a Burma cover. It'd have to be better than Moby's version, though.

[ 01-10-2001: Message edited by: Jack Fear ]
 
 
grant
16:48 / 02.10.01
quote:Originally posted by Jack Fear:
The almight IMdB tells all! Hartley's collaborator is named Jeffrey Taylor. And Hartley hbimself sometimes uses the pseudonym "Ned Rifle" when writing music.


Weirdo. I noticed a CD of the music for sale on amazon a while back.

quote:
Found a listing for My New Gun, but no mention of a Burma cover. It'd have to be better than Moby's version, though.


It's a solo female with an acoustic guitar, and it's sort of gorgeous.
The odd thing was, there was a really good soundtrack throughout, if I remember right, and the movie was put out by IRS Records. You'd think a soundtrack album was a no-brainer.

[ 02-10-2001: Message edited by: grant ]
 
 
agapanthus
17:57 / 02.10.01
Stewart Copeland - "Rumblefish"
Phil Glass "Koyaanisqatsi"
"Badlands" - just wierd
"Vanity Fair" TV serial
Any Scorcese movie eg "Goodfellas"
 
 
The Return Of Rothkoid
19:22 / 02.10.01
quote:Originally posted by agapanthus:
Phil Glass "Koyaanisqatsi"
Oh yes. Yesyesyes. Especially the version [of the soundtrack] that was released in 98 or thereabouts. The last scene is so perfectly controlled by the sound.

I quite liked his Dracula soundtrack, too.
 
 
STOATIE LIEKS CHOCOLATE MILK
00:54 / 03.10.01
In total agreement on "Once Upon a Time...", "Suspiria" (and also "Tenebrae"), and "Star Wars"...
Best uses of already available music- Wagner in "Apocalypse Now", Samuel Barber in "Platoon"
Best original soundtrack- Philip Glass "Mishima- A Life In Four Chapters"
And as far as song-based soundtracks go, "Natural Born Killers" (also an incredibly well produced OST album, something of a rarity)
and "The Doom Generation".
Also- the use of the Pixies' "Where Is My Mind" at the end of Fight Club- I've gone all shivery just typing this.

Oh yeah- best original song- Gaston in Disney's "Beauty and the Beast" (but don't tell anyone, okay?)
 
 
Dee Vapr
01:02 / 03.10.01
That bit in "Vertigo" when Kim Novak steps through the green neon light in her apartment... and my.. that HEAVENLY chord sequence plays.

Utter fucking transcendent.

Pivotal point in a pivotal film utterly emphasized and in all probably made fucking possible by a piece of music.. there's a memorable film music moment. right there.

[ 03-10-2001: Message edited by: Dee Vapr ]
 
 
Dee Vapr
01:07 / 03.10.01
and weirdly... if this counts... the use of Moby's "My Weakness" in the "Closure" episode of the X-files - probably my favourite episode (the one where Mulder finds out what happened to his sister) - it just managed to be so goddamned sentimental, without the usual schmaltz, and I think that Moby track was perfectly deployed, right there.

<tearful>

[ 03-10-2001: Message edited by: Dee Vapr ]
 
 
The Return Of Rothkoid
07:28 / 03.10.01
Dee Vapr is now my hero. Officially.
 
 
Fra Dolcino
08:35 / 03.10.01
Can anyone remember the three note violin music in the 'horror' House? would have been perfect on something more moody.

Not reading the full post, has Roy Budd's Get Cartersoundtrack been mentioned?
 
 
Cavatina
10:32 / 03.10.01
The use by Visconti in Death in Venice of the lovely Adagietto from Mahler's 5th Symphony. With its quotation of the 'love-glance' motif from Wagner's Tristan und Isolde, the Adagietto was composed by Mahler as a love letter to Alma Schindler.

Perhaps taking his cue from Wagner's Liebestod, Visconti uses the Adagietto throughout the film to underline the themes of love and death - the homoerotic yearnings of the aging composer, Gustave Aschenbach for the beautiful and enigmatic boy, Tadzio, and the measured approach of death as the plague and its corruptions grip Venice.

The Adagietto leads us memorably into the film, accompanying scenes of a boat, with Aschenbach aboard, as it approaches the mouth of the Grand Canal in Venice. It also moves us memorably to the film's conclusion, as the shockingly stricken Aschenbach dies slumped in a deck chair on the beach where he has so often watched Tadzio, whose form now appears a last time to beckon him to the sea.
 
 
Margin Walker
23:15 / 03.10.01
I'm in agreement with many of the music mentioned already, but here's some that deserve recognition:

The last song in "Serpico"--just beautiful beyond words.
Carl Stalling--He did all of the brilliant music for the Warner Brother's cartoons we all grew up with. Y'know, Bugs Bunny? Wile E. Coyote? Yeah? Well, that was Carl, man.
The "Grosse Pointe Blank" Sndtk.--because Joe Strummer is one badass mofo that knows more than a thing or two about putting together a kick-ass sndtk.
 
  

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