Are These The Greatest Needle Drops In The History Of Film?
By Sarah Norman | January 31, 2024
"Judy Is A Punk" - The Royal Tenenbaums
In the dark recesses of the theater, where celluloid dreams unfold and narratives unfurl, there exists a magical moment: the needle drop. It's that sublime instant when the right song finds its way into a scene, transforming mere images into an indelible cinematic experience. A beat, a chord, a haunting melody—we've all felt the exhilaration when music and film collide in perfect harmony. It's where storytelling transcends its boundaries and becomes something more profound, more visceral, more alive.
Join us on a melodic journey through some of our favorite needle drop moments in film history, where we celebrate those musical rendezvous that make the movies sing. Continue reading, for there are cinematic symphonies waiting to be discovered, and this is just the opening act.
Buena Vista Pictures Distribution
Wes Anderson is a maestro of needle drops, and this one is a gem amidst his treasure trove of musical moments. As Margot's complicated love life unfolds in a whirlwind montage this punk anthem by The Ramones propels the film into the stratosphere. In that moment, The Ramones become the guardians of Margot's heart, turning her tumultuous journey into a punk-rock opera of love and longing.
"The Sound of Silence" - The Graduate
"The Sound of Silence" in The Graduate isn't just a song; it's a sonic time capsule that encapsulates the disillusionment and uncertainty of a generation. When Benjamin Braddock (played by a young Dustin Hoffman) finds himself adrift in the sea of post-graduation uncertainty, the melancholic strains of Simon & Garfunkel's masterpiece become the anthem of his existential crisis. It's the perfect needle drop because it mirrors Benjamin's internal chaos and the societal upheaval of the 1960s. T
he lyrics, with their haunting refrain of "Hello darkness, my old friend," resonate with anyone who's ever felt lost in the void of adulthood. As the film's camera tracks Benjamin's aimless wanderings, "The Sound of Silence" underscores the emotional void he's navigating. It's not just a song; it's a mirror reflecting the anxieties and uncertainties of youth, making it an indelible part of cinematic history.
"Dreams" - Chungking Express
"Dreams" by Faye Wong in Wong Kar-wai's Chungking Express is the musical equivalent of a cinematic love potion. It's not just a song in a movie; it's the perfect intersection between character and ambiance. Wong's ethereal rendition of The Cranberries' '90s alternative rock gem transports you into a realm where the neon-lit streets of Hong Kong become a symphony of emotions.
With each note, you delve deeper into the hearts of characters who are as lost and yearning as you've ever been. In those moments, "Dreams" doesn't just craft character; it becomes a lullaby for the lonely souls of a bustling metropolis.
Don't You (Forget About Me) - The Breakfast Club
When it comes to the art of the needle drop, few moments in cinematic history hit the auditory sweet spot quite like "Don't You (Forget About Me)" by Simple Minds in The Breakfast Club. It's as if John Hughes looked into our collective souls and whispered, "I know you won't forget this moment," and then pressed play. It's an auditory time capsule that encapsulates the essence of the film's message - that these kids, these moments, are unforgettable.
"Where Is My Mind?" - Fight Club
Where were you when the Narrator watched the skyscrapers explode as the open guitar strums of "Where Is My Mind?" by The Pixies filled theaters across America?
The lyrics to this song provide one final slap in the face to the audience as the credits begin to roll. Has pain ever felt this good? The final shot of the film hasn't aged well following the events of September 11, 2001, but it's impossible to not feel alive when this all-time classic kicks in.
"Just Like Honey" - Lost In Translation
If Sophia Coppola hadn't used "Just Like Honey" to end Lost In Translation she would have been tried for crimes against humanity. We don't make the rules, we just enforce them.
"Be My Baby" - Mean Streets
The opening montage of Mean Streets tells you exactly what you're in for. This skewed look at masculinity, life, and death could be a gloomy affair, but Martin Scorsese's use of this Ronnette's classic undercuts the doom and gloom with a sweetness that reminds the audience that there's light even in the dark.
"I Want It That Way" - Magic Mike XXL
In Magic Mike XXL, Joe Manganiello's Richie is on a quest to reclaim his mojo, so when he struts into that gas station like a sexy superhero and the Backstreet Boys hit the soundtrack you know it's ON.
As the familiar chorus fills the airwaves, Richie's gyrations become a dance of desire, a testament to the film's progressive feminist stance. It's a brilliantly tongue-in-cheek moment that celebrates feminine desire and male camaraderie with infectious humor. Richie's friends cheer him on, elevating his bold performance into a triumphant act of self-assurance.
In this scene, "I Want It That Way" becomes more than just a pop hit; it's an anthem of empowerment and a reminder that confidence is the ultimate aphrodisiac.
"Tiny Dancer" Almost Famous
Who hasn't tried to replicate this moment from Cameron Crowe's semi-autobigraphical look at a middling rock band on their breakthrough tour? No matter how you feel about the rest of the movie, try not to sing along when that tour bus full of hungover, exhausted rockstars and their hangers on belt out "Tiny Dancer" as they move on down the highway.
"Mad World" - Donnie Darko
Is there a more perfect song to sum up Donnie Darko than this Tears For Fears banger? If this film's underlying statement is "nothing matters and everything is inevitable" then the song that has this chorus:
And I find it kind of funny
I find it kind of sad
The dreams in which I'm dying are the best I've ever had
is the perfect way to send the audience out of the theater.
"Fight The Power" - Do The Right Thing
Spike Lee knows the power of a good intro, and the opening credits of Do The Right Thing - a montage of Rose Perez dancing set to Public Enemy's "Fight the Power" - is absolutely explosive.
"The Concept" - Young Adult
"The Concept" by Teenage Fanclub in Young Adult is less a song and more of a musical DeLorean that makes you feel like you're behind the wheel of your own past. Charlize Theron, with her shades on and that cassette tape ready to roll, becomes the embodiment of every one of us who ever sought solace in the past. The opening wall of feedback is a sonic reminder that sometimes the past is the only place that makes sense.
In that car, as Norman Blake croons about a girl in denim, you're not just watching a film; you're living the past alongside Theron. It's a perfect needle drop that encapsulates the film's theme – the bittersweet yearning for what was and what might have been.
"Tequila" - Pee Wee's Big Adventure
The sound of the topsy-turvy world of Pee Wee's Big Adventure is built by Danny Elfman, so when an actual pop song worms its way into the film it makes perfect sense that it's the weirdo novelty song "Tequila." It's hard to imagine this scene being so good without this wacky little song.
"Didn't I (Blow Your Mind This Time)" - Jackie Brown
Quentin Tarantino is a master of placing the perfect pop song at the perfect moment in a film, but he really outdid himself in Jackie Brown. Every song adds nuance to the scene in which its heard, and this killer track by The Delfonics makes us want to fall in love all over again.
"Red Right Hand" - Scream
"Red Right Hand" by Nick Cave in the "Scream" series is like the sinister theme music for our favorite slasher franchise. From the very first scream to the final twist, this song serves as an auditory harbinger of dread. Its haunting melody and Cave's gravelly vocals create an atmosphere of impending doom that's as iconic as the franchise itself. It's a musical motif that reminds us that horror can be both chilling and stylish, a perfect accompaniment to the cat-and-mouse game between Ghostface and the victims. The fact that it has been a recurring presence in the series, except for one film, only adds to its mystique. Whether you're a die-hard fan or a casual viewer, you can't help but feel a shiver down your spine when "Red Right Hand" kicks in.
"Love My Way" - Call Me By Your Name
You know, some needle drops are like expertly crafted cocktails - they hit you with a precise mix of flavors, and you savor every drop. And then, there's "Love My Way." It's like Luca Guadagnino knew that Psychedelic Furs had penned the anthem of every coming-of-age moment ever. The synths, the lyrics, the ethereal vibes – it's all there. And to make it all the better there's Armie Hammer in the background of the scene dancing a goofy little dance that we'll never forget.
“Blue Moon” - An American Werewolf in London
John Landis' An American Werewolf in London is horror classic and a tonal masterpiece that juggles comedy, drama, and horror seemingly with ease. The final moments of the film, when Alex calms the wolfed out David right before he's riddled with bullets, turns into a sharp gut punch as the screen cuts to black and "Blue Moon" ironically plays over the credits.
"The End" - Apocalypse Now
"The End" by The Doors in Apocalypse Now is like a sonic vortex that spirals you headlong into the abyss of war-torn Vietnam. More than four decades since its release, that opening sequence still sends shivers down spines.
The eerie, delirious vocals and the brooding, psychedelic instrumentals of Jim Morrison and company, they cast a spell that's equal parts hypnotic and haunting. It's like director Francis Ford Coppola took the counterculture's disillusionment with the world and distilled it into a song. "The End" captures the zeitgeist of a nation grappling with its own darkness, both at home and abroad.
"Mr. Sandman" - Halloween 2
"Mr. Sandman" by The Chordettes in Halloween 2 is like a deliciously ironic musical cherry on top of a blood-soaked horror sundae. As Laurie Strode is being wheeled into an ambulance, the fog rolls in, and you're catching your breath from the relentless terror, this sweet, nostalgic tune begins to play.
It's the ultimate sly wink at the audience, a reminder that, yes, you've just survived a cinematic nightmare, and now you can have a little dessert. The juxtaposition of the innocent '50s doo-wop against the backdrop of Michael Myers' relentless rampage is pure genius.
"Just Like Heaven" - Adeventureland
Picture this: It's 1987, and young love is in the air. James and Em, two star-crossed souls navigating the wild terrain of an amusement park, find themselves on a bumper car ride. And then it happens - the sweet, shimmering chords of "Just Like Heaven" by The Cure fill the air. It's not just a needle drop; it's a time machine that transports you straight back to the '80s, with all the wistful nostalgia and adolescent yearning intact. The song captures the essence of their budding romance, as Robert Smith's voice croons about a love that's, well, just like heaven. It's not just one of the best movie songs of the 2010s; it's an anthem that transcends time, proving that even in the neon-soaked '80s, love was universal and The Cure's melodies were the soundtrack to our hearts.
"Rhythm of the Night" - Beau Travail
Let's talk about the cinematic sorcery of "Rhythm of the Night" by Corona in Claire Denis' Beau Travail. In the scene Denis Lavant, decked out in black, unleashes a dance of sheer ecstasy. It's like a secret, a revelation, and a catharsis all rolled into one. The pulsating beats of this '90s club hit suddenly turn the film's solemnity on its head, catapulting it into the realm of the sublimely surreal.
Denis weaves the cheesy Italian techno-disco anthem into an intricate tapestry of repressed desires finally finding their unapologetic form. It's a cinematic metamorphosis, a moment when the boundaries of storytelling blur, and the music becomes a character in itself. In the hands of Claire Denis, "Rhythm of the Night" becomes more than just a needle drop; it's the heartbeat of the film, the pulse of repressed passions, and a declaration that in the world of cinema, even the cheesiest tunes can morph into vessels of profound expression.
"Free Bird" - The Devil's Rejects
After a relentless hour and a half of grindhouse madness, Rob Zombie unleashes Lynyrd Skynyrd's southern rock anthem as the blood-soaked Firefly family races towards an apocalyptic showdown. It's a symphony of chaos and sentimentality, a reminder that even the most monstrous villains can make your heart skip a beat.
As the police close in, and Skynyrd's verses fill the air with heartache, you can't help but feel a twisted empathy for these carnival-of-horror anti-heroes. And just when Allen Collins' righteous guitar solo takes flight, "Free Bird" is abruptly silenced by the sound of gunfire. It's a perfect needle drop that leaves you with the taste of freedom, even in the face of doom.
"Dry the Rain" - High Fidelity
Buena Vista Pictures Distribution
"Dry the Rain" by The Beta Band in High Fidelity is like that perfect mixtape you made for your soulmate, but it's also so much more. Picture John Cusack's Rob Gordon, the ultimate music aficionado, standing in his record shop, announcing his intention to sell not one, not two, but five copies of The Three EPs by The Beta Band by spinning "Dry the Rain." It's a moment that hits you right in the feels because it's the universal truth of music lovers – those serendipitous encounters with songs that feel like they were written just for you. What's brilliant here is the choice of a specific section of the song – that anthemic, bass- and horns-driven coda.
This moment isn't just about the song, it's about that transformative moment when music becomes the soundtrack to our lives, revealing truths we never knew we needed.
"Goodbye Horses" - The Silence of the Lambs
"Goodbye Horses" in The Silence of the Lambs is that audacious needle drop that makes you question your own sanity while admiring its brilliance. When Buffalo Bill, the creepiest villain in cinematic history, starts shimmying in front of a mirror, you'd think you've wandered into a David Lynch nightmare. But then, the haunting, ethereal notes of Q Lazzarus's song slither in, turning this grotesque scene into a surreal ballet of darkness.
"Born Slippy" - Trainspotting
PolyGram Filmed Entertainment
When "Born Slippy" hits in the finale of Trainspotting it's a thunderclap hat heralds the storm of '90s rebellion. In a film overflowing with earth-shattering needle drops, this one stands tall as the Scottish anthem of hedonistic defiance. As Ewan McGregor's Renton makes off with a big bag of cash, stolen from his closest frenemies no less, you can't help but pump your fist to the beat as the credits roll.
"Hurdy Gurdy Man" - Zodiac
David Fincher's Zodiac could have taken viewers inside the twisted mind of the unknown killer who terrified California in the latter years of the 1960s, but the director smartly focuses on the madness that a hunt like this can cause.
When Fincher does veer into horror territory he does it with style. The use of "Hurdy Gurdy Man" when his anonymous killer is making moves only adds to the unsettling nature of this film.
"Jessie's Girl" - Boogie Nights
"Jessie's Girl" by Rick Springfield in "Boogie Nights" is the groovy backdrop to chaos, the disco inferno that ignites a drug deal gone delightfully wrong. Alfred Molina's manic air-drumming to this pop gem is like a bizarre prelude to the impending madness. As the catchy beats of "Jessie's Girl" fill the room, you can't help but groove along with a surreal sense of impending doom. It's a perfect needle drop that encapsulates the film's rollercoaster of decadence and despair. As Dirk Diggler watches in wide-eyed horror, you realize that sometimes the most unforgettable moments happen when the music clashes with the mayhem.
"I Got You Babe" - Groundhog Day
"I Got You Babe" by Sonny and Cher in Groundhog Day is a cosmic joke in the form of an alarm clock. The scenes where Bill Murray's Phil Connors wakes up to the song over and over and over again are both maddening and hilarious. You can't help but want to take a sledgehammer to that alarm clock by the third time you hear the song.
"Under Pressure" - Grosse Pointe Blank
Buena Vista Pictures Distribution
"Under Pressure" by David Bowie and Queen plays like the sonic reflection of Martin Q. Blank's existential crisis in Grosse Pointe Blank. As he sits there at his high school reunion, holding a newborn and caught in a whirlwind of nostalgia and introspection, the song's iconic bassline kicks in like a heartbeat of uncertainty.
Bowie and Mercury's powerful vocals echo the emotional weight of the scene, mirroring Martin's inner turmoil. The lyrics, "Can't we give ourselves one more chance?" become a poignant plea for redemption, a question that lingers in the air as Martin grapples with his past and his future.
"The Sprout and the Bean" - The Strangers
As Liv Tyler's character, Kristen McKay, frantically navigates the maze of her remote vacation home, the hauntingly eerie melody echoes her escalating dread. It's a perfect needle drop because it amplifies the tension to unbearable levels. The repetitive skips on the vinyl record feel like a warped reflection of Kristen's futile attempts to escape the relentless masked strangers outside.
Newsom's ethereal voice and poetic lyrics are turned into a dissonant symphony of terror thanks to the non-stop skipping of the LP. In this pivotal scene, the music isn't just a backdrop; it's a character in its own right, wrapping us in a chilling embrace that refuses to let go.
