I just got done watching Dazed and Confused for the first time. It has a very American Graffiti feel, like an update for the 70’s generation. It even maintains the same narrative style of following a few key characters as they interact with an ensemble supporting cast. What struck me hardest was the soundtrack, not so much the choice of music and whether or not I like it, but just how wonderfully it fit with the story. The context in this case is the setting. These are kids growing up in the 70’s, and this is the music they would have listened to. Every song is a match.
Every now and then a movie sports a soundtrack that stands on its own as a body of work. Most of the time a soundtrack is thrown together piecemeal with one or two standout tracks that may or may not draw sales. These are forgettable, although back in my day I was guilty of falling into their trap. Remember Batman Forever and I Know What You Did Last Summer? Remember their soundtracks? I didn’t think so (although “Hold me, Thrill Me, Kiss Me, Kill Me” is still a solid U2 song, and yes, I did enjoy that Seal song).
The other day I bought the soundtrack to Juno. When I saw this movie in the theater I found the choice of music somewhat irritating. I found myself thinking, “If I have to hear one more folky indie song I’m going to punch myself in the balls twenty times to numb the pain in my ears.” In the liner notes for the soundtrack Jason Reitman says that he asked Ellen Paige what kind of music Juno listens to, and she immediately said, “The Moldy Peaches.” Kimya Dawson is all over the place. She was even on set when Paige and Michael Cera recorded the last scene where they sing “Anyone Else But You” to each other (which happened to be the last scene shot in production). I like the music in this movie, but at the same time part of me cringes. There is far too much of it. The music almost gets in the way of the narration. At every scene change you can count on another innocent ditty to transition you. While this may be the music that Juno listens to, you have to keep it on a leash. Juno itself is a great movie. If anything brings it down it’s the soundtrack.
Pat Garret and Billy the Kid suffers from the same problem, although it’s far more irritating. Bob Dylan did the soundtrack, and I’m not saying he did a bad job. I like the music he wrote. The problem is that his music takes so much away from the impact. After every standoff and gunfight we have Bob taking us out as Kris Kristofferson or James Coburn rides off into the horizon. It’s a very stylish technique, but it detracts more than it aides. Silence would be a much more powerful method. Look at what No Country For Old Men did right with a soundtrack of silence. The natural sound of Anton’s footsteps walking down the hotel hallway builds more tension than a swell of violins. Llewellyn’s pounding, terrified heart becomes our own as the footsteps stop outside his door. Add music for flavor and the entire scene topples. There is a delicate balance between narration and soundtrack. Attention to integrity is key.
This is why I have so much love for a soundtrack that can stand alone as an independent body of work. Juno’s soundtrack works on its own. The best soundtrack I’ve ever gotten my hands on is still Lost Highway. Trent Reznor produced it and took his time fashioning a solid record. David Bowie bookends it with different versions of “I’m Deranged,” and everything in between is a dark journey worthy of David Lynch’s contorted vision. Probably the best tracks are Lou Reed’s version of “This Magic Moment” and Marilyn Manson’s cover of “I Put a Spell On You.” Yes, Rammstein make an appearance (actually two), but when taken with what Reznor assembles it’s forgivable. We have two independent works of art operating side by side – the movie and its soundtrack. They assist each other, and neither one dominates the other. Both voices are equally important.
Most soundtracks have the feel of a hastily gathered collection of tracks that may or may not be trendy at the time and will hopefully attract sales. I think of Garden State and the Shins changing our lives. Juno could have been this, but I feel it stands more on its own as an album. There is a definite correlation between each song and the character of Juno, given that these are more than likely the songs she would listen to. Like I said, there is just too much of it, but it’s hard to succeed. Movies like Dazed and Confused or American Graffiti benefit from being setting pieces. Choose any popular classic rock song from before 1976 and you have your soundtrack. It’s effective, and while it may seem unfair it’s totally legitimate. You play a high stakes game when you try to make a powerful soundtrack to complement a movie. Only a few can succeed. The others wind up hurting more than they help.
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