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Nineteen years later, Kubrick remains inescapable.
Kubrick even has a new movie coming out, sort of.
Kubrick was a distinctive visual stylist, but he also made innovative use of music.
(And closing scenes, for that matter.)
It didnt take long for the track to become a cliche in the years after2001.
But, for all the echoes, the original still resonates loudest.
The Killing: Main and End Title, Gerald Fried (fromThe Killing)3.
For his earliest films, Kubrick turned to Gerald Fried, a Juilliard-trained composer and oboist.
He took over the Roman epicSpartacusonly after the firing of original director Anthony Mann.
Space Station Docking, Alex North (from music for2001: A Space Odyssey)6.
He didnt, however, like Norths work well enough to keep the score he created.
Its, not surprisingly, terrific.
Bomb Run, Laurie Johnson (fromDr.
Strangelove: Or How I Learned to Stop Worrying and Love the Bomb)8.
Strangelovebegan as a straight thriller until Kubrick decided the only way to depict nuclear brinkmanship was through black comedy.
Laurie Johnsons score often feels like it went through a similar mutation.
Its one war-movie music cliche stacked on top of another, until the whole thing threatens to topple over.
That sequence establishes an uneasy blend of tragedy and dark humor that carries through the rest of the film.
But that doesnt mean you cant dance to it.
March FromA Clockwork Orange(Ninth Symphony, Fourth Movement Abridged), Wendy Carlos10.
Title Music FromA Clockwork Orange, Wendy Carlos (fromA Clockwork Orange)11.
The score by electronic music pioneer Wendy Carlos (then recording as Walter Carlos) doesnt provide any answers.
4 in D Minor, George Frideric Handel (fromBarry Lyndon)13.
But its not a cheap contrast between the warmth of home and the perils of seeking your fortune abroad.
Hello Vietnam, Johnnie Wright (fromFull Metal Jacket)15.
These Boots Are Made for Walkin, Nancy Sinatra (fromFull Metal Jacket)16.
Theres noCreedence Clearwater Revival, in other words.
Baby Did a Bad Bad Thing, Chris Isaak (fromEyes Wide Shut)18.
I Only Have Eyes For You, The Victor Silvester Orchestra (fromEyes Wide Shut)19.
Shes his but shes not; not entirely.
Used relentlessly in the films marketing campaign, it became inescapable in the lead-up to its summer release.
Its also the only such song on the soundtrack.
Well Meet Again, Vera Lynn (fromDr.
Strangelove: Or How I Learned to Stop Worrying and Love the Bomb)21.
But Kubricks reputation as a cold technician first and everything else second misses the humanism that underlies his work.
Even here, the possibility of connection remains, if only in this fleeting moment.
But even in the trenches, the melody lingers on.
