What is the scariest film music? – Telegraph.co.uk

Posted by Google News | Industry News | miércoles 30 octubre 2013 7:22 pm

Perhaps the most disconcerting horror soundtrack is the hitherto innocuous
popular song you can never listen to again without flashing back to its use
in some grim context. I wonder how many memories of Singin’ in the Rain have
been scarred by the rape scene in A Clockwork Orange. The nursery rhyme Row,
Row, Row Your Boat provides a baby monitor scare in Insidious: Chapter 2,
though for viewers of a certain age it will already have been poisoned for
all time by the Scorpio
forcing a hi-jacked busful of children to sing it in Dirty

Standards from the 1930s are a useful source of period-style spookiness. The
Shining has forever contaminated a clutch of big band tunes, especially Al
Bowlly’s Midnight
The Stars and You
. Art Jarrett’s Did
You Ever See a Dream Walking?
, introduced in the 1933 film Sitting
Pretty, plays a vital role in the plot of Frank LaLoggia’s underappreciated
children’s ghost story Lady
in White
(1988). Meanwhile, Harry Warren’s Jeepers Creepers (lyrics
by Johnny Mercer) is a particular favourite of my tapdancing teacher, and
I’ve never had the heart to tell him I can’t hop-shuffle-ballchange to it
without being reminded of what happens a) between Donald Sutherland and
obnoxious child star Jackie Earle Haley at the nightmarish climax of The
Day of the Locust
, or b) to Justin Long at the end of the all too
appropriately named Jeepers
. Neither of which is anything to dance about.

Which film has the scariest music?

As for pop music, Mick Jagger and Keith Richards must have made a tidy sum in
royalties from the number of times Sympathy for the Devil has been co-opted
as a handy motif for vampires or demons, perhaps most notably at the end of
Interview with the Vampire. Gregory Hoblit’s Fallen also made good use of
Jerry Ragovoy’s Time
Is On My Side
, a song famously covered by the Rolling Stones, as a
signifier of demonic possession; Azazel just can’t seem to stop singing it,
no matter whose body he has taken over.

Paint It Black is another Stones soundtrack favourite, best used to creepy
effect as a song with special significance for the phantom in David Koepp’s Stir
of Echoes
, an excellent ghost story which suffered at the box-office
from being released in 1999, just after The Sixth Sense. Clearly the Stones,
who tried so hard to be demonic in the 1960s, are the genre’s popsters of
choice, though in terms of real life horror (and despite what happened at Altamont)
they will forever be trumped by the Beatles, whose Helter Skelter was taken
to heart by Charles Manson.

But the prize for Best Use of an Otherwise Innocuous Song in a Horror Movie
must surely go to Brian Yuzna’s 1989 Society, which harnesses the Eton
Boating Song to gloriously subversive effect in an example of «body
horror» so revolting I can’t bring myself to link to it here, though
it’s easy enough to track down if you’re curious, and have a strong stomach.
You have been warned.

Source Article from http://www.telegraph.co.uk/culture/film/10412570/The-horror-movies-with-the-spookiest-music.html

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