As we begin the long trek through awards season, I have a question for you: What was the best use of music in a 2012 film? I feel like well-curated, well-placed song choices go perennially unrecognized. The Oscars are always willing to award an Original Song or Original Score, but what if the song/score wasn’t original—what if it was just right? So I want to acknowledge the music, whether original or preexisting, whether performed onscreen or played from a recording, that helped define this year’s movies. Here are a few of my own favorites to get you started:
- The Master, for example, has two such songs: Ella Fitzgerald’s rendition of “Get Thee Behind Me Satan” and Philip Seymour Hoffman’s of “Slow Boat to China,” the former establishing the film’s early ’50s setting and the latter serving as a last-minute emotional bombshell.
- Paolo Sorrentino’s tragicomic curio This Must Be the Place gets lots of mileage out of the eponymous Talking Heads song, as it’s covered again and again without ever losing its oddball charm.
- Clarence Carter’s “Strokin'” unforgettably aids and abets William Friedkin’s sick sense of humor in Killer Joe. Has to be the most violent credits music whiplash since An American Werewolf in London.
- Two songs by yé-yé girl Françoise Hardy found their way into the films of 2012, with “Tous les garçons et les filles” popping up in Attenberg and “Le Temps de l’Amour” scoring Sam and Suzy’s beachfront dance party in Moonrise Kingdom.
- Finally, Whit Stillman’s Damsels in Distress has an honest-to-goodness musical number set to the Gershwin Brothers’ “Things Are Looking Up,” an audiovisual explosion of optimism that’s also an ideal denouement for the film as a whole.
So I put it to you: which songs were used best?