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After five decades of delivering some of the most captivating and immersive stories on screen, Martin Scorsese is still alive and well, ready to immerse us in his next grand cinematic journey. Both film enthusiasts and experts recognize that one of the key elements that makes Scorsese a master storyteller and filmmaker is his extraordinary ability to fully engage us in any scene, no matter how ordinary or dialogue-driven it may appear. His movies keep us on the edge of our seats, allowing us to experience the excitement and tension of his unforgettable protagonists.
Scorsese consistently makes unique stylistic choices that complement his characters’ development, visually illustrating how they either grow or completely fall apart. One aspect of any Scorsese film that cannot be overlooked is his precise use of music. Rather than traditional film scores, Scorsese often incorporates a blend of classic and lesser-known tracks from various genres, taking his films to a higher level of entertainment. With that in mind, here is a list of our favorite moments in Scorsese’s filmography where music perfectly enhances the scenes, ranked.
Update as of October 28, 2023: In celebration of the release of “The Killers of the Flower Moon,” this article has been updated with even more outstanding musical selections from Scorsese’s illustrious career.
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“Pretty Thing” – The Wolf of Wall Street
“The Wolf of Wall Street” is a story about morally questionable individuals who will stop at nothing to amass wealth and indulge in the most extravagant pleasures, including copious amounts of drugs, sex, and rock and roll. It’s no surprise that the song “Pretty Thing” by Bo Diddley is featured in the film, particularly during a scene where Jordan Belfort (played by Leonardo DiCaprio) and his associates are reveling in their success at Belfort’s wedding to Naomi (portrayed by Margot Robbie).
This particular song and dance moment highlights how the main character and his crew are just as unscrupulous on the dance floor as they are in other aspects of their lives. DiCaprio’s dance style in this scene is both agile and absurd, emphasizing his character’s wild and carefree nature.
“T.B. Sheets” – Bringing Out the Dead
“Bringing Out the Dead,” one of the director’s darkest and most vivid films, is an underappreciated masterpiece from both Martin Scorsese and the film’s lead actor, Nicolas Cage. Cage portrays Frank, a despondent paramedic navigating the chaotic streets of Hell’s Kitchen during the night, lost in a haze. The movie’s soundtrack can be disorienting at times, eschewing typical moody or somber tones for a collection of battered, intense blues tracks.
Van Morrison’s “T.B. Sheets” serves as a perfect introduction to this unpredictable film, featuring soulful harmonica and Morrison’s spoken-word vocal style. Beneath the song’s surface, a palpable sense of unease lurks, driving “Bringing Out the Dead” forward with powerful momentum.
“Do Right Woman, Do Right Man” – Cape Fear
Cape Fear is one of the scariest, creepiest films Scorsese has ever done. This is a story of revenge as Max Cady (De Niro at his most flashy and beefiest) leaves jail after 14 years and decides to make hell the life of the lawyer who defended him, Sam Bowden (Nick Nolte), including trying to seduce Bowden’s 15-year-old daughter, Danielle (Juliette Lewis). The less we talk about the thumb-sucking scene the better, but there’s also a long phone call between them.
While Max is trying to seduce Daniel, Aretha Franklin’s cover of “Do Right Woman, Do Right Man” is playing, creating a sense of irony, as in the message of Franklin’s song is being perverted by Max, as much as Daniel, as it’s obvious the character doesn’t want to be a “do-right-all-night-man” and doesn’t believe at all about the teenager that “She’s not just a plaything”
“Please Mr. Postman” – Mean Streets
One of the most memorable and truly entertaining moments in “Mean Streets” is when a brawl erupts in the pool hall due to someone being called a “mook.” The fight is almost as perplexing as the term “mook” itself, which is what makes it stand out as one of the most realistic bar fights ever portrayed on screen. It becomes evident that no one in the room really knows how to fight, and they end up awkwardly flailing about while constantly looking over their shoulders.
The use of “Please Mr. Postman” in the scene adds a brilliant layer of irony, as it’s one of the earliest instances in film where cheery pop songs are juxtaposed with scenes of intense violence and chaos.
“(I Can’t Get No) Satisfaction” – Casino
In Martin Scorsese’s films, he is often associated with using Rolling Stones’ songs extensively, but in the movie “Casino,” he opts for a different approach by including a cover of one of their iconic songs performed by Devo. The choice is particularly fitting because it defies expectations. Instead of the Stones’ classic rock sound, Devo’s cover is more deconstructed and experimental, which pairs remarkably well with the chaotic and intense shootout scene it accompanies.
The sound of gunfire intertwined with Mark Mothersbaugh’s repetitive singing of “Baby” cleverly satirizes the tense and frenzied situation that Ace Rothstein finds himself in. This song is a satirical departure from Scorsese’s usual music selections, adding a unique and somewhat playful element to the film.
“Steppin’ Out” – Mean Streets
The ending of the movie Mean Streets is known for its intense and unpredictable conclusion, and Cream’s powerful deep track plays a significant role in creating this atmosphere. Originally composed as a blues piano piece in 1959, it was later re-recorded by Eric Clapton and his blues group, the Bluesbreakers, in 1966 at a faster tempo. Cream incorporated this version into their live performances shortly after. The specific rendition used in the film can be found on the 1972 Live Cream Vol. II box set. Its electrifying buildup, both in the movie and during Cream’s live shows, has the ability to exhilarate any viewer or listener.
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“Werewolves of London” – The Color of Money
Tom Cruise is known for his unwavering dedication and genuine approach to every aspect of his craft, including dancing and passionately lip-synching to Warren Daron’s “Werewolves in London” while showcasing his impressive pool playing skills. He had a strong desire to collaborate with both Martin Scorsese and Paul Newman, and the film “The Color of Money,” which was a sequel to “The Hustler,” provided the ideal opportunity.
In the movie, Cruise’s character Vincent starts off as inexperienced and transforms into a skilled pool player under the guidance of Eddie Felson, portrayed by Newman. While Newman received an Oscar for his outstanding performance, it was Cruise’s wholehearted commitment to his role, particularly in nailing the choreography of the song, that made him the perfect counterpart to Newman’s character.
“I’m Shipping Up to Boston” – The Departed
Few things embody the essence of “The Departed” quite like the raw Irish grit of the Dropkick Murphys. Approximately twenty minutes into the film, this track roars in the background, marking our first encounter with the intertwined narratives of Billy Costigan and Colin Sullivan, portrayed by Leonardo DiCaprio and Matt Damon.
The song encapsulates the various facets that lie at the core of “The Departed” – a tale of mob dynamics interwoven with the bold aesthetics commonly found in Martin Scorsese’s works. It’s challenging to identify a piece of music that could immerse us as deeply and powerfully into the blue-collar Celtic heritage of Boston.
“Layla” – Goodfellas
The film “Goodfellas” features several memorable musical moments, but one of the most significant is the use of Derek and the Dominos’ “Layla.” This song plays as a backdrop to the increasing violence and chaos in the mob world, particularly in the aftermath of the Lufthansa robbery, where bodies keep piling up.
What’s intriguing is the contrast between the song’s theme of unrequited love and its use in a scene filled with death. Henry Hill, played by Ray Liotta, narrates the consequences for Jimmy, played by James Conway, and the fact that Tommy, portrayed by Joe Pesci, is becoming part of the mob family. This ultimately leads to tragedy and sets the stage for Tommy’s unfulfilled desire to be fully accepted in the mob family, which ultimately contributes to the downfall of everyone involved.
“Sleep Walk” – The Irishman
Martin Scorsese’s recent film, “The Irishman,” is often overlooked, but it stands out in his body of work for several reasons, one of which is its minimal use of music. However, this restraint in using music creates a powerful impact when it is deployed, sending shivers down the viewers’ spines. The haunting song “Sleep Walk” by Santo and Johnny is featured in two significant moments in the film, and it contrasts the gloomy atmosphere with an almost dreamy quality.
In scenes involving assassinations, Scorsese could have easily chosen more intense and high-energy music, but instead, he opts for this eerie and melodious tune, which effectively captures the audience’s attention. The song’s gentle and swaying melody complements the slow-motion cinematography employed in these sequences.
“Jump Into the Fire” – Goodfellas
The inclusion of Harry Nilsson’s fantastic lesser-known song adds an extra layer of brilliance to the intense scene in Goodfellas. In this scene, Henry Hill, consumed by paranoia due to his cocaine use, is aware that his world is about to come crashing down as he’s being pursued by a helicopter. Despite the impending danger, he continues with his everyday activities like cooking dinner and moving firearms.
Nilsson’s droning and pulsating track mirrors Hill’s escalating anxiety, surging violently during the most suspenseful moments. This use of a classic rock song, not typically found in Martin Scorsese’s usual choices, greatly enhances the tension and excitement of the movie’s ending in Goodfellas.
“Gimme Shelter” – The Departed
Selecting the best use of the song “Gimme Shelter” in a Martin Scorsese film is a challenging task, considering its presence in three separate movies (The Departed, Goodfellas, and Casino). However, what distinguishes its use in The Departed is how it significantly enhances the opening scene, effectively setting the stage and hinting at the intricate web of relationships that will unfold. In this unconventional opening sequence, we are introduced to a young Colin, portrayed by Matt Damon, from the perspective of Frank and the broader Boston setting. Colin comes across as small, soft-spoken, yet undeniably intelligent, with his face often obscured in shadows during most of the song. Gradually, we witness Frank taking Colin under his wing.
The song brilliantly captures Colin’s own yearning for a sense of “shelter” and what this concept signifies as his character evolves throughout the film. Moreover, it provides an iconic backdrop for Jack Nicholson’s powerful voiceover, featuring memorable lines such as “I don’t want to be shaped by my surroundings; I want my surroundings to be influenced by me.”
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