The soundtracks of our lives

The movie soundtrack is a delicate beast, to be sure. Music supervisors, editors, writers and directors pore over albums, EPs, compilations, and even vinyl once upon a time, trying to find music that says what mere words sometimes can’t, while offering insight into themes and characters.

Understandably, crafting a superior soundtrack goes well beyond the simple act of choosing good songs and peppering them throughout a film – how and when certain songs are used can spell the difference between a transcendent experience and a mediocre one. (Think Cameron Crowe’s brilliant use of Elton John’s “Tiny Dancer” in Almost Famous as an example of the former.)

A film like Peter Sollett’s hipster rom-com, Nick and Norah’s Infinite Playlist, wears its indie rock lovin’ heart proudly on its sleeve. With a cutesy, of-the-times title, the film makes no qualms about its propensity for guitar-driven toe-tappers by dynamic pop-rock purveyors and sonically mirrors the action taking place on-screen with an ear towards what songs speak to Gen Y.

From a dreamy, electro-tinged theme song by Mark Mothersbaugh (former Devo member and frequent film music composer) to freak-folk aficionado Devendra Banhart, indie darlings Vampire Weekend and the country-leaning Band of Horses, this playlist perfectly suits the late-night misadventures of our title characters, providing an idyllic sonic accompaniment to the burgeoning romance set amidst the bright lights of New York City.

In the soundtrack’s liner notes, Sollett reveals his team’s intentions: “In creating this soundtrack we saw an opportunity to make our ultimate playlist…to connect you to something that moves you.”

In an effort to salute the movie music that did just that, we offer a by-no-means-complete look at five soundtracks that spoke to us through a stirring melody, echoing riff, throaty wail – or sometimes all three.

Reality Bites (1994)

Over-the-top funnyman Ben Stiller played it straight in his iconic Gen-X look at life, love and the pursuit of employment beyond the Gap. He showed our disillusioned graduates surviving with the help of copious amounts of coffee, cigarettes and music. Whether it was Troy (Ethan Hawke) confronting his erstwhile girlfriend Lelaina (Winona Ryder) through his band or the gang’s unforgettable impromptu dance party to The Knack’s “My Sharona”, music was an integral part of what made this candid film resonate with a generation. And let’s not forget, it gave us Lisa Loeb.

Disc highlight: “Tempted,” by Squeeze

Harold and Maude (1971)

Hal Ashby’s poetic, clever and darkly funny look at the unlikely romance between a morbid, lonely teen and a spirited, young-at-heart septuagenarian is a cult classic that hasn’t lost any of its sharp wit or ability to surprise in the 30-odd years since its release. Beyond the amazing performances by Bud Cort and Ruth Gordon, much of the film’s whimsy and lyrical feel are owed to the artist formerly known as Cat Stevens. The hirsute folkie’s songs make up the film’s soundtrack – he even penned two songs exclusively for the pic – and act as its beating heart. His songs are indeed so well-matched to the intricate and lovely story of two strange souls finding one another that it’s nearly impossible to listen to the haunting “Trouble” without being transported back to that heartbreaking scene – and that’s when you know a soundtrack works.

Disc highlight: “Trouble” by Cat Stevens

Trainspotting (1996 )

This flashy, albeit desolate, 1996 Danny Boyle effort thrust itself into theatres, and later into nearly every dorm and living room, with a no holds barred depiction of the ravages of junkie life set to a throbbing soundtrack that seemed to effortlessly evoke a ragged, hallucinogenic, well, lust for life. From Lou Reed to Elastica, Pulp and Blur, this soundtrack represented what twentysomethings were listening to in the UK underground and beyond – pulsing beats that complimented the characters’ hyperreal, drugged out states. Ewan McGregor’s iconic “Choose life” voice-over that opens the film is heard in tandem with Iggy Pop’s 1977 gem – you know the one – a song that immediately signals a sense of desperate urgency while embodying a chic trashiness that’s carried throughout the film. Boyle's success in balancing the desperation of heroin addiction with a sense of humour is propped up by astute music selections and smart song placement.

Disc highlight: “Perfect Day,” by Lou Reed

The Last Waltz (1978)

Including a rock-doc may seem obvious, if not a bit of a cheat, since the focus of the film itself is the music. But Martin Scorsese’s elegiac, graceful and poetic look at The Band’s final show captures so much more than the sound coming from the amps. Rollicking live songs are intercut with more polished studio recordings and candid backstage chatter with Levon, Robbie, Rick, Richard and Garth provide an insider’s view of these iconic musicians. With a little help from famous friends Bob Dylan, Van Morrison, Joni Mitchell, Neil Young and more, this formidably talented quintet closed a thriving, progressive chapter in music that still resonates today with a soundtrack that traces every nuance and emotionally evocative melody. Talk about going out on a high note.

Disc highlight: “Up on Cripple Creek,” The Band

The Royal Tenenbaums (2001)

Innovative, quirky indie auteur Wes Anderson knows a thing or two about how to let the music do the talking in his idiosyncratic films. When the mysterious and sole adopted Tenenbaum child, Margot, reunites with her brother Richie by way of the Green Line bus, the scene is slowed down and Nico’s plaintive, throaty baritone on “These Days” speaks volumes about the relationship they share. Similarly, the shocking wrist-cutting scene is made all the more striking with the use of Elliott Smith’s quietly aching song “Needle in the Hay”. That’s not taking into account the masterful montages Anderson constructs as a means of distilling each main character into a blistering series of rapid edits set to precisely chosen songs. His fastidious use of music in film deepens the audience’s involvement and allows the characters to come to life in new, and specifically Andersonian, ways.

Disc highlight: “These Days” Nico

Did your favourite soundtracks make the cut? Share your top movie music.