The recent discourse involving director Halina Reijn’s choice to play George Michael’s “Father Figure” in her film Babygirl (2024) has been making the rounds, and not just because of Harris Dickinson’s shirtless dancing (to be appreciated in its own right), but for its ironic connection to the film’s themes of sexual dominance and security. This is what a needle drop should be: a song that elevates the scene or connects on a deeper level to the themes of the film.
They can be tricky to navigate, with many directors getting it wrong, but strictly looking at success rate, both Martin Scorsese and Quentin Tarantino top the list. Scorsese’s music choices in Goodfellas (1990) add to protagonist Henry Hill’s rise and fall within the crime industry; beginning with sultry 60s songs by The Crystals, Bobby Martin, and Dean Martin, glorifying his crime life. The montage of mobsters being whacked set to the piano exit of “Layla” by Derek and The Dominos, a thrilling 70s rock anthem, exploring how their reign of power is ending. Scorsese then moves into the psychedelic rock of the late 70s including “Jump into the Fire” by Harry Nilsson as Henry becomes obsessed with cocaine and guns, convinced the police are watching his every move.
Tarantino is also a successful connoisseur of the needle drop. If Pulp Fiction’s (1994) iconic moments weren’t set to songs like “You Never Can Tell” by Chuck Berry and “Girl, You’ll Be a Woman Soon” by Urge Overkill, I firmly believe film bro’s would then have lesser grounds to say that this is a classic; yet the song choices pull through, making the film a worthy experience. However, his most famous selection is arguably “Stuck in the Middle with You” by Stealers Wheel, featuring during the cruel torture scene in Reservoir Dogs (1992), made famous by its juxtaposition as Mr. Blonde violently abuses the kidnapped policeman. On paper, it looks like an odd musical choice to make, but Tarantino’s brash, abrasive style makes it work, leaving a lasting motif in his works.
A film’s ending can also be a perfect moment for an iconic needle drop, Edinburgh’s own Trainspotting (1996) has club hit “Born Slippy” by Underworld play as Renton (Ewan McGregor) betrays his so-called mates. The club hit injects energy into the scene as he flees the hotel, leaving us with a sense of fulfilment as the thumping bass pulls us into the credits. The complete antithesis is the ending of Charlotte Well’s Aftersun (2022), as the distorted version of “Under Pressure” plays as Sophie (Frankie Corio) enjoys her last holiday with her dad. Like many, I watched whilst bawling my eyes out, with the song adding another level of emotional devastation.
Music and film have always had a complicated relationship, but when a director utilises the music well, both fall into place; playing off each other’s themes, creating a perfection for the ages.
“Vinyl player” by Fabio Sola Penna is licensed under CC BY 2.0.