68 plays

Simple Twist of FateBob Dylan

He woke up, the room was bare
He didn’t see her anywhere
He told himself he didn’t care
Pushed the window open wide
Felt an emptiness inside

I’m Not There (Todd Haynes, 2007)

171 plays

The Trio - Ennio Morricone

The Good, the Bad and the Ugly (Sergio Leone, 1966)

349 plays

Deborah’s Theme - Ennio Morricone

"I would ask myself what o’clock it could be; I could hear the whistling of trains, which, now nearer and now farther off, punctuating the distance like the note of a bird in a forest, showed me in perspective the deserted countryside through which a traveler would be hurrying towards the nearest station: the path that he followed being fixed for ever in his memory by the general excitement due to being in a strange place, to doing unusual things, to the last words of conversation, to farewells exchanged beneath an unfamiliar lamp which echoed still in his ears amid the silence of the night; and to the delightful prospect of being once again at home."

— Marcel Proust, In Search of Lost Time

Once Upon a Time in America (Sergio Leone, 1984)

233 plays

Valuska - Mihály Víg

Werckmeister Harmonies (Béla Tarr/Ágnes Hranitzky, 2000)

189 plays

Prelude: The Atlas March — Reinhold Heil, Johnny Klimek, Tom Tykwer

imageCloud Atlas (Wachowskis/Tom Tykwer, 2012)

There may be as much to admire about Cloud Atlas (its technical razzle-dazzle, its naked sentiment) as there is to lament (its hamfisted message, its problematic “post-racial” posturing) — but let us turn the page to the musical score, a deft juxtaposition of multiple narrative threads with a gorgeous progression of Western music tropes.