Think about your favorite movies; now think about the music in them. In some cases, it’s almost impossible to separate the movie from the soundtrack; it’s so intertwined with the plot. Not only do they provide mood and context, they ensure that the film appeals to an additional sense. Music can make a memorable scene iconic.
Over the past decade, I’ve spent a fair amount of time roaming the streets of Brooklyn wearing headphones. I feel connected to the neighborhoods and the music provides a soundtrack, like I’m in my own little movie. With the winter months upon us, it’s simply too cold to explore the streets outside; so what better excuse to curl up with a warm drink and a movie. A number of filmmakers have already done the legwork. Their stories and sounds they hear are much different from my own, which makes them even more compelling. Their work ranges from the inspirational, informational, thought-provoking to just plain entertaining. They also delve into areas (geographically, culturally, and intellectually) that I have yet to explore myself. These soundtracks open new worlds. Here’s a list of my favorite music-based movies filmed in Brooklyn.
Goodfellas (1990)
Martin Scorcese put a lot of care into the songs that made the soundtrack of Goodfellas. Looking at the main characters and the times, he only chose tracks that fit the mood and were consistent with the era during which the story takes place. In this way, the soundtrack is intrinsic to the story of Henry Hill’s life. The results are quite amazing. Starting in the 1960s with Tony Bennett’s “Rags to Riches” during the opening credits, we follow Henry (played by Ray Liotta) through the twists and turns as the music sweeps along taking us year by year, decade by decade. In a cinematically iconic sequence, Henry takes Karen (Lorraine Bracco) on their first date to the Copacabana. The Crystals’ “Then He Kissed Me” plays as we follow them from a back entrance, through the kitchen and to their table. Alternatively, later in the film when the mistresses are taken to the club, “Pretend You Don’t See Her” by Jerry Vale can be heard in the background. The innocence of doo-wop and girl groups slowly gives way to the Rolling Stones after Henry emerges from prison. The soundtrack becomes more frantic and emotional as Henry’s life spins out of control.
Saturday Night Fever (1977)
I was a kid when this movie came out, and I remember how it consumed the country: the posters, the white suit, the dancing, the Bee Gees, and the subsequent “disco sucks” backlash. To be honest, I wrote it off until recently, when I caught it on cable one night. Don’t make the same mistake I did. This is a great movie, generation defining. There is a reason why it was a monster hit. From the beginning scene with Tony Manero (John Travolta) strutting along the sidewalk to the Beeg Gee’s “Stayin’ Alive,” we understand our main character is a player. The backdrop is Brooklyn in the 1970s, and it is a moment captured in time. Tony and his friends cruise across the Verrazano Bridge, stop at White Castle and frolic/loiter/live in a still-recognizable Bay Ridge. Gone now are the night clubs that play a pivotal roll the characters’ social life. The dance scenes in this movie are nothing short of amazing—not only the carefully choreographed ones between Tony and Stephanie (Karen Lynn Gorney). Maybe it’s the light-up disco floor, but “The Hustle” has never looked so cool. That iconic soundtrack has somehow managed to pass the test of time. Put it on, in the background during your next party and see how your guests react. There is sure to be dancing.
Requiem for a Dream (2000)
Focusing on a different side of Brookyn, geographically and socially, Requiem for a Dream is an intense film with an equally intense soundtrack. Set in Brighton Beach and Coney Island during the 1980s, Darren Aronofsky’s adaptation of the Hubert Selby, Jr novel is both thrilling and tragic. Sara Goldfarb (Ellen Burstyn) and her son, Harry (Jared Leto), strive for their own twisted versions of the American Dream. They each find potentially fatal ways to escape from reality. Composed by Clint Mansell and performed by the Kronos Quartet, the soundtrack tells a story on its own. It creates moods and waves of tension and release and is in itself a harrowing and beautiful album. Paired with the story and imagery, it created a gut-wrenching effect as the music helps the characters and viewers transition between reality and the dream-like, drug state. Tyrone (Damon Wayans) dances with elation to a heavy beat in celebration of a score. Later, strings sweep us across the emptiness and isolation of the Brighton Beach boardwalk in winter. Throughout the movie, silence is broken by strings that play softly with the dialogue, building in intensity and finally breaking into rage.
Do the Right Thing (1989)
In one of the most memorable opening sequences to a movie, Rosie Perez dances to Public Enemy’s “Fight the Power”—the entire song. She heralds the coming of the Fly Girls; and she is awesome. As Chuck D announces, it’s “1989 the number, another summer,” and we’re in Bed-Stuy. On this sweltering summer day, nearly every character is introduced through his connection to music. Radio Raheem (Bill Nunn) carries his boom box (which almost becomes a character on its own), Mister Senor Love Daddy (Samuel L. Jackson) broadcasts over the radio while watching the streets. As tensions escalate¸ so does the music. Steel Pulse’s “Can’t Stand It” plays as events for the day are set in place, and the music shifts in tone, with the help of Jazz musician (and Spike’s father) Bill Lee’s score. As the confrontation builds at Sal’s Famous, “Fight the Power” proves to the theme of the movie.
Notorious (2009)
This biopic about the late Christopher Wallace (aka Notorious B.I.G.) captures an era in which music from Bed-Stuy Brooklyn became culturally important. Young Wallace, played by Jamal Woolard, grows up on the streets of Brooklyn, hustling and selling drugs until he finds himself in prison. Once out, he embarks on his music career. From there, the pieces and people fall into place; Sean “Puffy” Combes, Li’l Kim, Tupac Shakur, and Faith Evans, all as Biggie experiences an almost meteoric rise. Notorious is full of performances, showcasing Biggie’s enormous talent. The movie itself is flawed and a bit clumsy at times, but it is worth checking out for the man and the times it documents. As it recreates early performances and videos, it’s easy to get caught up in the nostalgia.
Dave Chappelle’s Block Party (2005)
Dave Chappelle loves Brooklyn and knows how to have a good time. Everybody’s invited when he throws a party. Set in Clinton Hill, the day unfolds as he interviews locals, provides history about the landmark Broken Angel House, and his block party gets underway. He manages to capture the spirit of the streets of Brooklyn during the summer, and create something that feels like an actual block party—despite the celebrity and cameras. The film itself is informative, irreverent, and filled with music—as you would expect from Chappelle. Performers include Mos Def, Erykah Badu, the Roots, and Big Daddy Kane, along with others taking the stage together and on their own. The highlight of the day has to be watching a slightly miffed Kanye West lead the Central State University Marching Band along Downing Street. All in all, it’s just plain fun.
Mistaken for Strangers (2013)
The Brooklyn band The National is made up of two sets of brothers, and singer Matt Berninger. So it only seemed fitting that Berninger would enlist his brother Tom as a roadie while Tom makes his documentary about the band touring for their album, High Violet. This does not go as well as planned. Reminiscent of Ray Gange in The Clash’s film, Rude Boy, Tom gets caught up in the rock-n-roll lifestyle and proves to be inept on the road. Through this, the film audience not only gets a front row seat for the band’s performances, but also a backstage look at the complexities of creating a large-scale tour. But Mistaken for Strangers is more than a tour film. It delves into the delicate relationship of brothers. When the tour ends and the band returns to Brooklyn to record their next album and complete the film, it turns out to be quite different from its original scope, and more touching than the film they set out to make. ◆
