7 replies to this topic

[Cabarita Island]

Its rare enough that a James Bond movie contains a popular song not specifically written for the movie as part of it's soundtrack. I can only think of 'Underneath the Mango Tree' and 'Three Blind Mice' in Dr. No and 'California Girls' in the PTS of AVTAK. I'm sure you will be happy to add to the list if I am forgetting any.
Skyfall contains two. How do you think these work within the narrative and do they benefit or take away from Skyfall in general? I think both are chosen well. The first 'Boum', is chosen to give a light, breezy, fun loving feel to Silva's character and is a great counter balance to the actions that follow. Played across the tannoy system it also helps to add to the sureal feeling of the empty city. It almost feels like it was the last song that was left playing as the island was evacuated.
It is no coincidence that a song from the era of the sixties was chosen as part of the finale. With the DB5 in place in front of the lodge the bluesy riff sits in perfectly with the idea that the whole sequence could have been filmed in 1964 (maybe just replace the merlin with a huey helicopter).
The obvious connection in the title and lyrics of both songs is pretty smart too as has been noted on other threads.
It can be dangerous enough to load a movie like Skyfall with popular cultural references but in this instance I think it worked well.

[Vauxhall]

I like the fact that the songs exist naturally within the body and narrative of the movie, rather than previous efforts such as California Girls and London Calling. It's far less jarring, in my opinion.

[Shrublands]

Both ‘California Girls’ and ‘London Calling’ are part of the soundtrack as extra-diegetic music, ie played only for the audience. Using popular songs in this way feels wrong in a Bond film. With Skyfall (and Dr No for that matter), the songs are playing in the world of the film - the characters can hear them too. This makes them diegetic and subsequently much more natural.

[Vauxhall]

Extra-diegetic. That's the word I was looking for!

[Double-0-Seven]

I agree with both of you. I like London Calling better than California Girls just because it feels a little more in place, but still, popular music just feels like it doesn't belong on a Bond soundtrack. However, here it was perfectly used in the environment of the film and the narrative. Didn't bother me one bit.

[Walecs]

I can only think of 'Underneath the Mango Tree' and 'Three Blind Mice' in Dr. No

What? I thought Underneath the Mango Tree was written by Monty Norman for Dr. No. In fact, some notes of the song are from Good Sign, Bad Sign (a track from a musical Norman made the score for, he reused the main theme of that track to create Bond theme).

Both ‘California Girls’ and ‘London Calling’ are part of the soundtrack as extra-diegetic music, ie played only for the audience. Using popular songs in this way feels wrong in a Bond film. With Skyfall (and Dr No for that matter), the songs are playing in the world of the film - the characters can hear them too. This makes them diegetic and subsequently much more natural.

Sort of Bond theme played by the flute in Octopussy.

Edited by Walecs, 10 November 2012 - 06:58 PM.

[stromberg]

I can only think of 'Underneath the Mango Tree' and 'Three Blind Mice' in Dr. No

What? I thought Underneath the Mango Tree was written by Monty Norman for Dr. No. In fact, some notes of the song are from Good Sign, Bad Sign (a track from a musical Norman made the score for, he reused the main theme of that track to create Bond theme).

You thought right, it was written for the film. DN is also a good example for putting popular music into Bond films: Byron Lee and the Dragonaires were Jamaica's hottest band at the time and remained successful for many years (they still exist, btw). The were cast as the band at Pussfeller's club, where they played "Jump Up".

[SolidWaffle]

I saw this thread and I got excited to use the term diegetic sound...bit too late for that. Anyway I think they work just fine, especially because they fit within the story, and mostly showcase Silva's unique persona.