What's the best song from a film then?

I Wanna Sex You Up, from the New Jack City soundtrack.

As Melissa and I agree, "Stella By Starlight" from The Uninvited is ravishing, so in lieu of anything else obvious leaping to mine -- which it isn't -- that's my choice.

Runner-up: "Needles in the Camel's Eye" in _Velvet Goldmine_.

I'm sure that Wheeler and Sterling will agree that everyone has forgotten about the fantastic pop music opus that is Josie and the Pussycats. Backdoor Lover? Three Small Words? Classic.

*the indie film head peacock preens*

Yeah Pretend to be nice was great, wasn't it?

*reminiscing...*

Of course, for a more legitimate candidate (that wasn't offered), would Aaliyah's "Try Again" count (from _Romeo Must Die_)? Was it even used in the movie?

"Cosmic Dancer" by T. Rex from Billy Elliot.

"Cavern" by Liquid Liquid in Downtown '81 (cue secret snicker)

And "Fame" from Fame, of course. How can you argue with the line "People will see me and die!" That's why I wanted to be famous when I was a little kid.

I feel the need to profusely apologize to Jimmy the Mod - never again shall I spell out the number '3'.

Anyhow, St. Elmo's Fire, that is happening. But I just realized that no one has mentioned Take My Breath Away by Berlin, which obviously is fantastic. But is it as good as Kokomo?

Also, don't forget "Can I Get A...", which featured prominently in "Rush Hour".

Yeah my bad. I didn't see you mentioned it about... ten posts back an'... it's been a long... life lately. I am, tho, surprised you didn't mention it sooner.

2) Randy Newman is a fine song writer. His work with Disney / Pixar almost makes me weep like a sad little girl watching her balloon disappear into the mist. "I Love L.A." this is not. Wholesome family entertainment that people should cherish and love.

3) Either he gets the awards, or some wad like Phil Collins or Elton John (w/ Tim Rice - ungh) or MATTHEW WILDER gets the award. Pick your poison.

King Crimson's Moonchild in Buffalo 66.

That Sister Christian ?? thing in Boogie Nights, erm, what was that song called? It the FM 70s radio hit played during the coke heist/firecracker scene.

Oh and I really didn't like the Aimee Mann dirges in Magnolia - I like track 7 on the soundtrack CD which I can't actually recall from the movie at all.

• Bjork "Play Dead" (from "Young Americans")
• Underworld "Born Slippy (Nuxx)" (Trainspotting)
• Stealers Wheel "Caught In the Middle With You" (Reservoir Dogs). Actually, dunno if that one counts because it's an oldie re-used in a newer movie, but it's probably much more famous now as a result of the movie...
• Simon and Garfunkel "Mrs Robinson" (The Graduate)
• Roberta Flack "First Time I Ever Saw Your Face" (Play Misty For Me)

Old Fart!!!!

best goodfellas musical moment has to be the coda of 'layla' soundtracking the scenes of all the bodies being found... communicates that real sense of impending doom/period ending...

Agree abt 'Layla' in 'Goodfellas', btw, and I love the use of The Rolling Stones' 'Can't You Hear Me Knocking' in Casino.

Also, 'A Quick One' by The Who in 'Rushmore' - you are forgiven!

Anyhow, Dan, I can't believe I forgot about Can I Get A...? That's one of the best songs of all time. And what of Alien Ant Farm?!?!?!

Though I was tempted to say If You Leave.

The music playing at the begining of "Blade" is the Pump Panel Reconstruction of New Order's "Confusion".

Phil Collins is a pustulent whore, but I would much rather hear that drippy thing he wrote for "Tarzan" than Randy "I write the same two songs over and over" Newman. I would like to shove Randy Newman up the rear end of an elephant.

As for Elton John, well... I kind of liked some of the songs from "The Lion King", especially "Circle Of Life" (or, as one of my college roommates called it, "Make A Baby!").

Oh Lloyd, you and your Clash t-shirt do it for me everytime.

Dan, you seriously need to go to Man Ray and get whipped if you're loving that Tarzan piece of crap over Randy. You'll be in my heart whilst they strap your heretical schmaltz lovin' ass to the rack. What's next, Peabo Bryson & CELINE?

I once worked at a Little Caesar's Restaurant trapped inside a K- Mart. There was a little TV in the dining area. Disney videos would be playing on that thing incessantly. If I hear anything from _The Lion King_ or _The Goofy! Movie_ or Winnie the Goddamn Pooh, I will SHATTER. (Plus, this scary assistant manager lady actually grabbed my ass once, making the most idiotic "what did I do wrong?" faces, like she was cute or something. Hell no you're not cute - get your filthy hand off me bum! I should've stuck her in the vat of pizza sauce.)

Which Batman movie was "Gotham City" in? Was it the one where Chris O'Donnell fought the blacklight gang after stealing the Batmobile, or the one where Ahnuld tells us to cheeeel?

I can TOTALLY see why repeated exposure would quickly cause me to hate "The Lion King" stuff, which is why I avoid it; much better to have occassional exposures and be mildly entertained than to hate with unbridled fury, particularly when the target is so easy.

As far as the schmalz-lovin' accusation: "When I Fall In Love" is in my wedding repertoire. Draw whatever conclusions you want from that.

"Sweet Talkin' Candy Man" by the Carrie Nations from Beyond the Valley of the Dolls

"Que Sera Sera" in Heathers - using the Sly Stone version over the ending credits was a stroke of fucking genius.

"The End" in Apocalypse Now - the ONLY time I have ever liked a Doors song.

"Goodbye Sweetheart, Hello Vietnam" at the beginning of Full Metal Jacket and "Paint It Black" at the end.

Regardless, She's Like The WInd is a fantastic song, quite possibly the best song of all time, particularly at the end when the girls come on in the background and go "Oooh, she's like the wind" and Patrick wails like a mofo over it. It's definitely better than that awful pile of crap Hungry Eyes, but I can't decide if it's better than I've Had The Time Of My Life. Some days, it is. Other days, I feel that it is true, and I owe it all to you (figuratively).

I remember it from Ferris Bueller's Day Off, but it could well have been the theme-song from every 80s teenage-movie, especially prominent in the first-date-steps-in-the-car-of the-former-nerd-and- the-nerd-turns-the-key-scenes.

Yes, I think _the_film_ is the place to start to view these songs if we're looking for "Best Song ... Movie" thing. So Performance kicks off with Jack Nietzsche's "Gone Dead Train" _just_sung_ this time by Randy Newman -- this was a _well_delivered_song_. There's Ry Cooder and Buffy Saint-Marie on atmosphere, again conceived by one Jack Nietzsche. Good early (1970) synth work ("Turner's Death", hope this doesn't mess up the films plot for you), early use of Muzak-esque kitsch as such ("The Harry Flowers Theme", "Rolls-Royce and Acid", 'sixties anyone ?), recognition of early black music/rap (The Last Poets' "Wake Up, Niggers"), uh, etc., arranged and conducted by Nietzsche.

It's a musical film, which reaches one climax around beautifully arranged swingin'-sixties-sound+synth+Saint-Marie segue into Jagger's song, arguably one of the great early music-video scenes (respectfully aped mock-arrogantly/incumbently by Oasis+director in a video of theirs 25 years later). The "Memo" is a Jagger/Richards, but the swinging seguing music and arrangement of "Memo" and whole feel is Nietzsche's, who'd helped the Stones get that sound of theirs since the times they weren't even writing their own songs.

So let's be careful to reserve major talent assessment of Jagger, Richards, Cooder etc. as well as Newman's here, and let Jack Nietzsche get the credit here for major coordination of musical essence for MOVIE: Performance (and if anybody else deserves it, co- directors Donald Cammell, an early Kenneth Anger financial contributory, and soon to be independently famous self-appointed wildman director Nic Roegue).

Unlike all the stars that made "Tommy" _the_movie_ by Ken Russell and The Who so good, Elton seems to have had it contracted in that he be given special "extra special guest star" billing in credits, posters etc. I rememeber cringing as I noticed this inconsistency the first time I saw the movie on a big screen (which helped) as the credits for the film rolled. So didn't Ken Russell present Elton perfectly as an essentially consistently too-big-for-his-boots to beat them all kind'a guy, all the way back then ?

Ken Russell and Kenneth Anger, the "Two Kennies" of "music-video developements".

Sophia Loren - Soldi, soldi, soldi