#Movie magnolia soundtrack movie#
#Movie magnolia soundtrack pro#

Macy, and even Tom Cruise, whispering along with the words, it becomes unforgettable. ItвЂ™s a strong song by itself, but when you add the dreamlike cinematic image of the likes of Philip Seymour Hoffman, John C. 2вЂ™) and moves us to perhaps the most memorable of all the tracks from the album, вЂWise UpвЂ™. вЂNothing Is Good EnoughвЂ™ is entirely instrumental (although a version with lyrics can be found on MannвЂ™s 2000 release вЂBachelor No. The next track вЂYou DoвЂ™ takes a philosophically whimsical look at relationship struggles, but with MannвЂ™s tone, youвЂ™re somehow sure itвЂ™ll all be alright in the end.

#Movie magnolia soundtrack pro#

вЂњAt least you know / You were taken by a pro / I know just how you feel / She talked a perfect game / Deflecting all the blame / You took the jack / And changed the flat / And got behind the wheel,вЂќ Mann opens in the first verse, vocalised in the perfectly sunny melancholic tone that has become her signature. вЂDriving SidewaysвЂ™ is your classic tale of being blinded by love but told in car-themed metaphors. вЂњJust donвЂ™t work your stuff / Because IвЂ™ve got troubles enough,вЂќ Mann sings, reflecting a paralysing fear of intimacy. ItвЂ™s a powerful sentence that really sums up ClaudiaвЂ™s wounded nature and fear of opening up to another person.

#Movie magnolia soundtrack movie#

вЂњNow that youвЂ™ve met me, would you object to never seeing me again?вЂќ Claudia asks police officer Jim in the movie while theyвЂ™re on a kind of date, words that Anderson tweaked a little after lifting them from opening lines of вЂDeathlyвЂ™ ( вЂњNow that IвЂ™ve met you / Would you object to / Never seeing each other again?вЂќ). вЂ™Build That WallвЂ™ turns the energy down a notch and gets more playful and light musically, but it still maintains the essence of the song before it, opening with the ominous: вЂњSheвЂ™s been a long time on the phone / Courting disaster in an undertone.вЂќ вЂњBut I canвЂ™t confront the doubts I have / I canвЂ™t admit that maybe the past was bad,вЂќ Mann sings, a spirit perfectly encapsulated by Anderson in one of his female protagonists, Claudia (who in the film we see desperately trying to cover her tracks as she plays the song at a deafeningly loud volume). вЂMomentumвЂ™ is the albumвЂ™s second track (after the previously mentioned вЂOneвЂ™) and itвЂ™s a frantic take on the impossibility of running from past trauma. As was the case in a time when digital music was in its infancy, I played the CD repeatedly, so I suppose you could argue I at least got a good cost per listen out of it. After just one viewing, I went and bought the soundtrack from HMV, which, it should be noted, entailed not only venturing into the separate glass vortex that was the classic music section where all the soundtracks lived, but also paying the (what now seems unbelievably expensive) sum of ВЈ16.99 to purchase it. IвЂ™ll be honest, вЂMagnoliaвЂ™ was my first introduction to Mann (and in my defence, I was not far into my teens when I saw the film on VHS in the year 2000), but it really hooked me.

So inspired by MannвЂ™s music was Anderson вЂ“ who was keen to state he was first a fan of MannвЂ™s before becoming her friend, thus having access to unreleased material вЂ“ that he wanted to adapt her songs into a film вЂњlike one would adapt a book for the screenвЂќ.

вЂњI sat down to write an adaptation of Aimee Mann songs,вЂќ is how director and writer Paul Thomas Anderson opens his piece in the вЂMagnoliaвЂ™ soundtrack liner notes.

In my humble opinion, вЂMagnoliaвЂ™ has just about one of the best opening sequences of a film ever the story in those first five minutes is instantly engaging, but itвЂ™s when you hear the opening bars of Aimee MannвЂ™s cover of вЂOneвЂ™ (originally popularized by Three Dog Night) that it truly gets going after all, without the music, there would be no film.