Tarantino films are famed for their off-kilter plot and characters (and trademark violence), the latest, Django Unchained being no exception. But for me, the real appeal in his films is how well he marries the screenplay to the soundtrack. In Tarantino’s words: “When you do it right and you hit it right, then you can never really hear that song again without thinking about that image from the movie.” Here, York Vision explores some of Tarantino’s best choices.
It makes sense to kick off with possibly the most recognisable song to scene partnership. From Reservoir Dogs, this razor sharp song by Steeler’s Wheel perfectly highlights the iconic contrast between violence and comedy in Tarantino’s work.
Flawlessly timed and paced, it’s hard to imagine another song choice to mark the opening of Kill Bill. Originally by Cher, the cover from Nancy Sinatra (son of Frank) reflects her forrays into jazz; while the simplistic, to the point vocal could have been written specifically for the film series.
http://www.youtube.com/watch?v=T5Xl0Qry-hA
Released in 2012, ‘Freedom’ plays in a scene where Django and his wife attempt escape from a plantation in Tarantino’s latest film. A beautifully subdued track that evokes the emotion necessary in such a scene.
http://www.youtube.com/watch?v=zi8FrocaALg
Disappointed after seeing the song poorly used elsewhere, Tarantino centres one of the most iconic scenes from Inglourious Basterds around Bowie’s ‘Cat People’…
“Man, if I had that song, I’d build a 20-minute scene around it.”
So he did.
Although it sounded like an existing hit, the little known ‘Woo Hoo’ from Japanee punk band The 5.6.7.8.s was included merely by chance in Kill Bill after Tarantino picked up a CD in Tokyo. What else could be playing while Uma slaughters 88 samourai villains?
With the refrain “Who you gonna call?/Call the police”, Django’s build up of anger is ready to be released. This is the musical representation of ‘badass’, and far from Ghostbusters cheese.
http://www.youtube.com/watch?v=biwNmWLFa5Q
From one of his lesser known films, the slide into soul brings out a more sensitive Jackie Brown.
A personal favourite, Dusty’s rendition of ‘Son Of A Preacher Man’ diffuses the tension between Vincent and Mia before the inevitable calamity.
A while before, the only worry was slight awkwardness for the couple. There’s unashamed love for both parties in this classic dance at Jack Rabbit Slim’s: Travolta’s smooth twisting and Thurman’s nimble kicks to Chuck Berry’s ‘You Never Can Tell’ make this one of the best dance scenes in cinema history.
http://www.youtube.com/watch?v=RoDPPgWbfXY
Shamelessly ‘western’, Tarantino is not afraid to close his film with what might seem an obvious choice. It’s done with humour but retaining poise, the song fits the scene excellently.
http://www.youtube.com/watch?v=4tI0tTXp7Cc
This is the perfect action song. It’s from Kill Bill. It’s slow, it’s fast, it’s ridiculously unsuited lyrically (“Please don’t let me be misunderstood”… not too difficult, Tarantino, when your heroine is clad in leather and holding a sword: her intentions seem pretty clear).
It’s not the Black Eyed Peas. It’s Dick Dale and His Del-Tones. And it’s used in one of the best opening scenes ever. Following the outcry from Tim Roth, “Everybody be cool, this is a robbery” (and the definitely not cool addition from Honey Bunny), the titles roll in, with Hispanic flair and all the immediacy one could ask for in the opening of an action film.
http://www.youtube.com/watch?v=D5OHrQYwRac
Sometimes the music is louder than the acting, and Tarantino is happy for that to be the case. Which is why the resulting partnerships are so successful and memorable: sound and vision work in harmony.
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