The 2. 0 Greatest Music Moments In The Films Of Martin Scorsese. Martin Scorseses gangster phenomenon Goodfellas landed in theaters. Its an endlessly rewatchable, wickedly funny, brutally violent and brilliantly incisive example of cinema at both its purest and most coolly, deliciously corrupt. MtIyQt0L' alt='Lovestruck: The Musical Full Movie' title='Lovestruck: The Musical Full Movie' />At the time of its making, Scorsese was at exactly that point in his career which he could easily have started a gradual slide into stately irrelevance, having already earned his podium in the Hall Of Fame for his early masterpieces like Taxi Driver and Raging Bull. His previous few films had seen him move away from his trademark fascination with the visceral and the criminal on the mean streets of New York, since after the box office disappointments of The King of Comedy and After Hours, hed begun to explore his more spiritual side with The Last Temptation of Christ and the more refined if not necessarily gentler impulses in the short Life Lessons by far the most successful segment of the triptych New York Stories. The stage seemed set for the second, mellower act in Scorseses career, and for cienphiles to start regarding his upcoming titles with less genuine excitement than dutiful reverence. Goodfellas came out, and all that changed. An elegantly raucous, infectiously entertaining picture that wears its unimpeachable craft so lightly that the seams are absolutely invisible to the naked eye, the film not only made us think the 9. Watch Grey S Anatomy Season 5 Episode 21 Megavideo there. Scorsese might be even marginally slowing down. A jaded woman who never fulfilled her dreams of a Broadway career pushes her daughter to have one. Daughter rebels and goes to Italy to get married. Goodfellas is a stone cold classic piece of cinema, a wildly enjoyable ride and an untouchable benchmark in the gangster genre all at once. A great deal of Goodfellas greatness lies in how it is more or less the apotheosis of Martin Scorseses unique flair for choosing the perfect music to complement often through counterpoint his breathlessly confident images, While various music supervisors he worked with deserve recognition, most frequently Robbie Robertson via Casino, Raging Bull, The Departed, The Wolf of Wall Street and many more, Goodfellas music editor Chris Brook said it best Marty once told me that he knew what all of the songs were going to be three years before he shot the film. There was no music supervisor. Marty is the music supervisor. So with that in mind, we decided to mark this illustrious anniversary, which sees a special edition Blu ray of the film released today, by running through, in no particular order, twenty of our favorite Scorsese music moments. And by that we mean not necessarily our favorite tracks that he has used, but the times that the alchemy between picture and track clicks and something transcendent happens in the synthesis. Some films crop up more than once, others not at all, but the only rule we set ourselves in advance was that they be from his narrative features, as opposed to his documentaries which are often about musicians anyway. Read on and watch too and let us know your favorites in the comments section. Jumping Jack Flash by The Rolling Stones from Mean StreetsImagine at one time, no one knew who the hell this Robert Dinero or Di. Niro or whoever was. Could any actor have been gifted a cooler, more insolently iconic introduction to the world than sloping in slo motion into that red lit dive bar, arms around two chicks, while the irresistibly funky Jumping Jack Flash shimmies out of the speakersMean Streets wasnt just Robert De Niros breakout, but was Scorseses, and great as Harvey Keitel is, it feels like this jangly moment, unpolished as it is in comparison with Scorceses later films, is the crucible in which both their individual careers and an indelible cinematic partnership were instantly forged. Werewolves of London by Warren Zevon from The Color of MoneySomehow capturing the essence of Tom Cruises shit eating grin and cocky strut as he dances around the pool table in all his naive arrogance, the backing ah ooohs and honky tonk piano of what is essentially a novelty track from Warren Zevon feel like exactly what this insufferable little prick would peacock around to. This is a great example of using a track to convey character, as the camera circles deliriously around Cruise potting ball after ball, but it also feels like the perfect petty snub to Paul Newmans insistently low key, camel coated Fast Eddie dripping with dismay and disdain. Smokestack Lightning by Howlin Wolf from The Wolf of Wall StreetWolf was rightly heralded as a return not to form hes never been off form but to Scorsese Scorsese. The drugs, the brutality, the excess and the voiceover are all back. But it was also the first time since The Departed that he used music in his trademark way, after the modern classical tracks of Shutter Island and the Howard Shore score for Hugo. Here longtime collaborator Robbie Robertson played a strong role, procuring various hard edged mid century blues tracks, including this song that rings out over the bacchanalian office party scene and lends an animalistic howl at the moon vibe to the debauchery. It puts the wolf in Wall Street. And Then He Kissed Me by The Crystals from GoodfellasAn all time hall of fame tracking shot gets an all time hall of fame musical accompaniment, and a peerless example of Scorseses ability to magnify an already great scene through use of carefully selected classic bubblegum pop. We could have filled the entire list with cuts from Goodfellas but if we had to choose just one, this would be it, a blissful cinematic headrush that is the essence of Scorseses unparalleled genius. Would it even have made no. Greatest Long Takes ever with different musicThankfully, we never have to find out. Gimme Shelter by The Rolling Stones from The DepartedScorseses love of the Rolling Stones is well documented. He made the documentary Shine A Light, tracing the bands career. And no track typifies that like Gimme Shelter which he has used in three different films its practically a sonic calling card. It first popped up in Goodfellas, and then again in Casino, but its probably most effective the first time its used in The Departed, mythologizing the films intro of Jack Nicholson as his voiceover relates his characters toxic worldview over smooth gliding shots that tell us everything we need to know about the reptilian Frank Costello. Late for the Sky by Jackson Browne from Taxi DriverIn a film that is musically mostly characterized by Bernard Hermanns unforgettable score, which ranges from sleazy and unsettling to warm and dreamy, Scorsese uses this one piece of sourced music to tremendous psychological effect. Travis Bickle mimics shooting his gun at TV footage of the song playing, and as though distracted by the congruence of the tracks themes of loneliness with his own isolation, Bickle watches it play out, and we can read everything or nothing into his vacant expression. Its the kind of moment no one would think to capture except Scorsese. Im Shipping up to Boston by Dropkick Murphys from The DepartedIf The Departed doesnt quite feel like top tier Scorsese in terms of its use of music, it might be because Scorsese atypically reuses his tracks a few times over, to lessening effect each time. It happens with Gimme Shelter, but even more intrusively with this more intrusive track from the Boston area Celtic punk band. But its first use is quite brilliant, slithering in before the opening title as Leonardo Di. Bad Teacher is a 2011 American comedy film directed by Jake Kasdan based on a screenplay by Lee Eisenberg and Gene Stupnitsky, and starring Cameron Diaz, Justin. And Then He Kissed Me by The Crystals from Goodfellas An alltime halloffame tracking shot gets an alltime halloffame musical accompaniment, and a.