I'm not sure where it all started but American Graffiti isn't a bad bet. What i'm talking about is the selective use of music in cinema to present a past where consciously good music exists. A case in point, American Psycho, not a bad film, having its cake an eating it with a critique of eighties materialism and style, while revelling in it. Famously, our 'hero' Patrick likes bad music, Huey Lewis. This is countered with 'good' music in the form of the early club scene, where we hear True Faith by New Order. I love New Order, and it is one of my favourite songs, but lets be a little more honest, the club should be playing dross. Apparently bad music doesn't exist in the imaginations of film makers unless they are consciously describing it as so. Look at Violent Cop, from 1989, where our club, which isn't a nice place, plays extremely loud dated house music.
For example, would it be easier to believe in the characters of a Wes Anderson movie, if each one didn't have such perfectly manicured taste? People like rubbish, we should stop pretending they don't.
British films can't escape this, and are arguably more guilty than most when it comes to neat musical use (Trainspotting, Withnail and I). This Is England, Shane Meadows' film about the presence of right wing politics, and skinhead culture in the north of England in the early eighties is a prime example. One scene in particular stands out for me with a stunning lack of imagination, when we see Shaun our lead, running home from school. He passes a newsagents that is blurting out the superb Tainted Love by Soft Cell. Yeah, Tainted Love; only one of the key songs of the eighties, a song that links 60s R&B to Northern Soul and Synth Pop. Once again, where is the rubbish that people had to sit through? Its too big a song for a small usage, it doesn't underscore a point, beyond, pronouncing that it is 1982. Admittedly, I have to give some kudos to the film-makers for including Since Yesterday by Strawberry Switchblade, even if it is the wrong year. (Have a look yourself at this link for a too good to be true playlist). My point, is that bad music, or at least critically derided music defines the past as well if not better than 'good' music. Now with a raft of nineties-set films coming out, i'm having to experience the musical revisionism in film that has plagued nostalgic films set in the previous decades. Expect to hear Paranoid Android rather than the Macarena.
I feel I must mention that I am not arguing that nostalgic soundtracks are fuelling this trend. It has gone on for a long time, and in the case of soundtracks, film soundtracks made up of new popular music have been around since the advent of sound-film. The Graduate is probably the film that kick-started that trend with its Simon and Garfunkel soundtrack (looks like the AC/DC Iron Man 2 CD isn't such a new idea after all). Commercial pressure is a part of it, but film-makers, mainstream or otherwise should know better, and any blame should rest at their feet.
At the present, the only use of music I can think of that uses 'good' and 'bad' well is episode two of the first series of the TV series Spaced. In that episode, Daisy and Tim are hosting a party. Daisy decides to kick things off by putting on her ten-year-old homemade cassette compilation. Tim's reaction sums up perfectly the reaction we should have: "What is this? This is rubbish. We should be listening to firm young melodies, kicking tunes, thumping bass... God I sound so stupid".
"Stop It!"
