32 Movies And TV Shows That Gave Cheerful Songs A Darker Reputation

As a connoisseur of both music and horror films, I must say that the artful use of music to create tension, evoke emotion, and even misdirect the audience is one of my favorite aspects of these genres. The examples listed here are a testament to the power of music in storytelling, showcasing how a simple tune can be transformed into a chilling soundtrack for our deepest fears.

In many movies and TV shows, music has been skillfully employed to profoundly affect how we perceive the songs, often leaving an indelible impact. This is particularly true when a cheerful melody is played during or in connection with an emotionally intense or unsettling scene. As a result, hearing these once familiar tunes again can trigger an unexpected surge of emotions.

Zodiac (“Hurdy Gurdy Man” – Donovan)

In the initial sequence of the film “Zodiac” (2007), directed by David Fincher, a chilling murder by the titular character is portrayed, set against the backdrop of a soothing folk song from 1968 titled “Hurdy Gurdy Man,” which was written and performed by Donovan, whose daughter, Ione Skye, played an unaccredited role as Kathleen Johns, a witness to the Zodiac Killer’s crimes.

Black Mirror (“Anyone Who Knows What Love Is Will Understand” – Irma Thomas)

In one of the standout episodes of the television series Black Mirror, specifically Season 1’s “Fifteen Million Merits”, Abi (played by Jessica Brown Findlay) performs the song “Anyone Who Knows What Love Is Will Understand” during an audition for a popular show. This powerful scene from the thought-provoking anthology series has since been echoed in every season, with the 1964 Irma Thomas hit making recurring appearances, adding to the discomfort felt towards this seemingly cheerful love ballad.

The Silence Of The Lambs (“Goodbye Horses” – Q Lazzarus)

William Garvey, the original author of “Goodbye Horses,” contends that this 1988 one-hit-wonder by Q Lazzarus symbolizes transcending physical constraints, or lifting one’s perspective above them. Given this interpretation, it’s fitting that the song was used in the chilling Best Picture Oscar winner, The Silence of the Lambs, as Ted Levine’s character, serial killer Jame “Buffalo Bill” Gumb, expresses his femininity through dance – a brilliant match.

Halloween (“(Don’t Fear) The Reaper” – Blue Öyster Cult)

In simpler terms, the song “(Don’t Fear) the Reaper” by Blue Öyster Cult, released in 1976, isn’t exactly a cheerful tune, as it compares a tragic love story to that of Romeo and Juliet. However, its darker themes might not have been as well-received if not for its association with the classic horror movie, “Halloween” (1978), where characters Laurie Strode (Jamie Lee Curtis) and Annie Brackett (Nancy Kyes) are subtly linked to the song’s title character, Michael Myers, who is portrayed as a sort of “reaper” in Haddonfield.

Watchmen (“The Times They Are A-Changin'” – Bob Dylan)

A somber mood pervades much of Bob Dylan’s earlier music, notably his hit song “The Times They Are A-Changin'” from 1962. This folk ballad resonates powerfully as it portrays a society undergoing change, and it was fittingly used during the opening credits of the 2009 film Watchmen. This movie illustrates the impact that superheroes have had on history, as depicted in Alan Moore’s groundbreaking graphic novel.

American Psycho (“Hip To Be Square” – Huey Lewis And The News)

Pop culture’s most famous Huey Lewis and the News fan would have to be Patrick Bateman (Christian Bale), who provides an impassioned analysis of 1986’s “Hip to Be Square,” and the Fore! album in general, as he prepares to murder his colleague, Paul Allen (Jared Leto) in his apartment. Lewis himself would pay tribute to the memorable moment from American Psycho in a Funny or Die bit in which he exuberantly analyzes the 2000 psychological thriller as he prepares to murder “Weird Al” Yankovic.

Insidious (“Tiptoe Through The Tulips” – Tiny Tim)

For years, the only creepy aspect of Tiny Tim’s version of “Tiptoe Through the Tulips” was that the high-pitched vocalist was actually a lanky, 6’1″ man. These days, since its prominent use in the first Insidious movie from 2011, audiences cannot help but picture the demonic “Man with Fire on His Face” when the romantic ukulele ballad plays.

American Horror Story (“Tonight You Belong To Me” – Patience & Prudence)

The best-known version of writers Billy Rose and Lee David’s “Tonight You Belong to Me” is by young sisterly duo Patience & Prudence, which became even more famous in 2011, thanks to American Horror Story. The playful 1956 tune about making the most of your time with a loved one appeared in four episodes of the horror anthology TV show’s premiere season from 2011, taking place in a haunted house with an extensive history of murders.

Beetlejuice (“Banana Boat (Day-O)” – Harry Belafonte)

In the 1988 film “Beetlejuice”, spirits Adam (played by Alec Baldwin) and Barbara Maitland (portrayed by Geena Davis) endeavor to drive away the Deetzes (Jeffrey Jones and Catherine O’Hara) using a unique method: they take control of the Deetzes, their guests, and make them dance and mimic singing Harry Belafonte’s “Banana Boat (Day-O)”. Although this scene might not have made the 1956 Calypso song spooky in itself, it has become an unforgettable part of the beloved horror-comedy movie. This connection is something that Belafonte himself admitted to appreciating when he spoke with Pitchfork.

Reservoir Dogs (“Stuck In The Middle With You” – Stealers Wheel)

In Quentin Tarantino’s movie “Reservoir Dogs” from 1992, one of the most memorable musical scenes unfolds. Mr. Blonde (played by Michael Madsen) selects K-Billy’s Super Sounds of the ’70s, and as Stealers Wheel’s song “Stuck In The Middle With You” begins to play, he tortures Officer Marvin Nash (Kirk Baltz). It’s hard for anyone not to associate this cheerful 1973 rock tune with the brutal act of an ear being cut off, though fortunately, that gruesome moment is not shown onscreen.

A Clockwork Orange (“Singin’ In The Rain”)

Among countless memorable scenes in “Singin’ in the Rain,” Gene Kelly’s enchanting performance undeniably holds a special place. Yet, if I had to single out another cinematic instance that resonates equally deeply, it would be the rendition of the same song in Stanley Kubrick’s “A Clockwork Orange.” In this 1971 masterpiece, Malcolm McDowell’s character, Alex DeLarge, powerfully sings about the unstoppable force of happiness during one of the most harrowing sequences.

Stranger Things (“Running Up That Hill (A Deal With God)” – Kate Bush)

“The musical moments in Stranger Things have been quite significant, but none have had as much impact as the use of “Running Up That Hill (A Deal with God)” in Season 4. This classic track by Kate Bush gained even more popularity than before. In the story, the song plays a crucial role in saving Max (Sadie Sink) from Vecna’s spell, and later, a remixed version is heard during the climactic battle against the villain in the thrilling finale.

10 Cloverfield Lane (“I Think We’re Alone Now” – Tommy James & The Shondells)

In the ’80s, Tiffany’s cover brought a fresh lease of life to “I Think We’re Alone Now” by Tommy James & The Shondells, but it was the 2016 movie “10 Cloverfield Lane” that reacquainted contemporary audiences with the original tune. This cheerful pop song about a couple savoring their solitude took on a darker connotation when it featured in the thriller, set in an underground shelter housing survivors of a mysterious catastrophe.

Supernatural (“Carry On, Wayward Son” – Kansas)

The song “Carry On, Wayward Son” by Kansas became the unofficial theme for the television show Supernatural. This song was used in the season finale following the first one and later, the title of the series finale (after many years of paranormal adventures featuring characters Dean Winchester, played by Jensen Ackles, and Sam Winchester, played by Jared Padalecki) was “Carry On”. The title is a reference to the 1976 rock song.

Get Out (“Run Rabbit Run” – Flanagan And Allen)

First appearing in the late 1930s and gaining popularity during World War II, the song “Run Rabbit Run” has since become synonymous with modern horror movie fans, marking its debut as the first tune played in Jordan Peele’s Academy Award-winning 2017 thriller, “Get Out.” The track can be heard emanating from the car that stealthily approaches Andre Hayworth (LaKeith Stanfield), causing him to attempt to walk away before being kidnapped.

Halloween II (“Mr. Sandman” – Chordettes)

In an unexpected twist, the 1981 sequel of the Halloween franchise starts off differently. Instead of the distinctive John Carpenter theme playing, we hear the Chordettes’ sweet doo-wop tune, “Mr. Sandman.” This song could have been considered eerie in retrospect if it hadn’t been used in the timeless sci-fi movie, Back to the Future, four years before.

Kill Bill Vol. 1 (“Woo Hoo” – The 5.6.7.8’s)

Prior to the splatter of blood at the House of Blue Leaves in 2003’s Kill Bill Vol. 1, there was a sense of calm at the Japanese restaurant, largely due to the soothing influence of the lively rock ‘n roll song “Woo Hoo” by The 5.6.7.8’s. This band, which Quentin Tarantino stumbled upon while shopping in Japan, ended up featuring in his action-packed revenge film after he decided to cast them.

Jeepers Creepers (“Jeepers Creepers” – Paul Whiteman and His Swing Wing)

In the movie “Jeepers Creepers,” the phrase “Jeepers creepers, where’d you get those eyes?” takes on a chilling literal interpretation. The song of the same name by Paul Whiteman and His Swing Wing is played during the climactic scene of the 2001 horror film, as the monstrous antagonist known as “The Creeper” (portrayed by Jonathan Breck) flaunts his freshly obtained “eyes,” which he had taken from Darry (Justin Long).

Shaun Of The Dead (“Don’t Stop Me Now” – Queen)

In much of Edgar Wright’s movies, including Shaun of the Dead, music significantly contributes to many scenes, but the most memorable instance occurs at the Winchester pub. During their struggle against the zombified owner of the bar, Shaun (Simon Pegg) and his companions execute a series of moves that perfectly coincide with Queen’s “Don’t Stop Me Now,” which mysteriously starts playing from the jukebox as they strive to avoid detection by the horde outside.

The Shining (“Midnight, The Stars And You” – Ray Noble And His Orchestra)

In Stanley Kubrick’s film adaptation of Stephen King’s The Shining, the climactic scene gradually focuses on a photograph taken at the Overlook Hotel in 1921, featuring a man who looks like Jack Torrance (portrayed by Jack Nicholson). This spine-tingling image is synchronized with the song “Midnight, the Stars and You,” performed by Ray Noble and his Orchestra, and sung by Al Bowlly. This tune, notably used in the 1980 horror masterpiece, has become well-known for its appearance in that classic film.

The Autopsy of Jane Doe (“Open Up Your Heart (and Let the Sunshine In)” – The McGuire Sisters)

In “The Autopsy of Jane Doe,” the main character, a seemingly immovable corpse with mysterious powers, amuses herself by tuning the radio to play the McGuire Sisters’ rendition of “Open Up Your Heart (and Let the Sunshine In)” while two coroners are examining her. This cheerful melody takes on a chilling tone when it resurfaces towards the end, as Austin (played by Emile Hirsch) thinks he is being saved by Sheriff Burke (Michael McElhatton). However, hearing the sheriff singing the song’s chorus makes him realize that his ordeal is far from over.

The Strangers (“My First Lover” – Gillian Welch)

Transforming a cheerful tune into an unsettling piece can be achieved through subtle adjustments, as demonstrated by Gillian Welch’s “My First Lover” in the movie The Strangers. In this 2008 home invasion thriller, a record scratch makes the romantic folk track loop endlessly on the line, “Quicksilver girl,” thus generating an unyielding sense of unease.

Us (“Les Fleurs” – Minnie Riperton)

Viewed through the eyes of a blooming flower, Minnie Riperton’s 1969 song “Les Fleurs” is a captivating melody about rejuvenation on a spiritual level. Yet, when it starts to play as the climax of the twist in Us unfolds and swells to its energizing peak during the apocalyptic final scene, it establishes an eerie contrast for Jordan Peele’s second film.

A Quiet Place Part II (“Beyond The Sea” – Bobby Darin)

In the movie “A Quiet Place Part II“, character Emmett (played by Cillian Murphy) informs Regan (Millicent Simmonds) that he’s been hearing Bobby Darin’s catchy swing song “Beyond the Sea” repeatedly on a radio. Regan realizes this is a secret message, sent from a secure sanctuary island, which they eventually locate, unknowingly guiding a noise-seeking alien there.

Candyman (“The Candy Man” – Sammy Davis Jr.)

Some might argue that 1971’s Willy Wonka and the Chocolate Factory has its creepy moments, but Aubrey Woods’ performance of “The Candy Man” is not one of them. However, by playing Sammy Davis Jr.’s rendition of the song and slowly fading it out with the sound of buzzing bees during the production logos serves as a perfect way to set the tone for the 2021 Candyman requel.

Annabelle: Creation (“You Are My Sunshine” – Charles McDonald)

1) In the 2017 film, Annabelle: Creation, the final scene sets up where the main action of its 2014 prequel starts, showing how Malthus got involved with the spooky doll. As the credits roll, we hear Charles McDonald’s version of “You Are My Sunshine,” serving as a humorous yet unofficial theme for the Conjuring Universe film series.

The House Of The Devil (“One Thing Leads To Another” – The Fixx)

Ti West’s 2009 breakthrough movie, titled “The House of the Devil“, is a chilling horror film that delicately unveils its intense scares through clever timing. During this period, he skillfully surprises you with instances of humor, like when Samantha (Jocelin Donahue) attempts to divert her attention from her eerie babysitting job by boogying around her employers’ home to The Fixx’s “One Thing Lead to Another” on her cassette player.

Dawn Of The Dead (“The Man Comes Around” – Johnny Cash)

Upon closer analysis, Johnny Cash’s “The Man Comes Around” can be interpreted as a song about Jesus Christ’s second coming on Judgment Day. The ominous apocalyptic theme is accentuated by its use in the opening credits of Zack Snyder’s 2004 remake of “Dawn of the Dead.

The Handmaid’s Tale (“Cloudbusting” – Kate Bush)

Although “Cloudbusting” by Kate Bush is known for its upbeat melody, it’s one of her most somber hits. It was inspired by the true story of a boy whose father was suddenly arrested, leading to their separation. In contrast, the narrative in The Handmaid’s Tale, where “Cloudbusting” is used in Season 3, involves the concealment of evidence related to a character’s gruesome murder, making it significantly darker than the story behind the song.

You’re Next (“Looking For Magic” – Dwight Twilley Band)

Directors Adam Wingard and Simon Barrett are recognized for incorporating humor into their horror films, even in their otherwise intense 2013 home invasion thriller, You’re Next. A significant portion of the amusement stems from the ironic playing of Dwight Tilley Band’s “Looking for Magic” in two scenes. This is because one victim of the masked killers unintentionally set the 1977 pop song to repeat before meeting his untimely end.

Final Destination (“Rocky Mountain High” – John Denver)

In various films, the inspirational tunes by John Denver have been ironically employed for ominous scenes, with the most memorable instance being from the initial release of the Final Destination series. Whenever “Rocky Mountain High” is played in the 2000 teen thriller, it serves as a foreshadowing that death is imminent.

Nope (“Fingertips” – Stevie Wonder)

In truth, Stevie Wonder’s “Fingertips” doesn’t show up in Jordan Peele’s third film from 2022 titled “Nope“. Yet, a reworked rendition of it lends an eerie atmosphere to the trailer for the alien invasion flick.

2024-11-10 18:38