Skip to main content

80s Movies and their Songs


So I was driving back from down south and we decided to fiddle with the radio. A generic FM station appeared and my Gen X ears knew most of the tracks, some ok, some dire. But the thing that prompted me to start this post was that a couple of the songs were clearly linked to films from the 1980s. I began thinking that, as much as it doesn't really happen now (or even much after the end of that decade, with some notable exceptions), this 'movie/song tie-in' was a huge pop culture phenomenon back then.

As a massive time-wasting technique, I decided to do a bit of research and try to find the film and song pairing that was the most popular of the era. Box Office Mojo helped with the film's takings, but how to discern a song's popularity? I've had a look at the US Billboard charts and the UK top 40, so we'll see if this goes some way to covering it. 


Ultimately, the song that YOU heard on the radio all the time, or watched on MTV (often with the film's actors in the music video), or the record/cassette that you bought, these metrics are impossible to quantify. The films probably speak for themselves in that the top ten are pretty much household names for anyone who lived through the 80s. 

Let's have a look at the top ten films from the 80s that have at least one song synonymous with them. From 10 down to 1, they are (box office takings in US Dollars):

10: The Karate Kid Part II (1986) - $115,103,979 [Song: Glory of Love by Peter Cetera]

9: Rocky III (1982) - $125,052,898 [Song: Eye of the Tiger by Survivor]

8: An Officer and a Gentleman (1982) - $129,795,890 [Song: Up Where We Belong by Joe Cocker and Jennifer Warnes]

7: Cocktail (1988) - $171,504,781 [Song: Kokomo by The Beach Boys]

6: Dirty Dancing (1987) - $ 214,577,242 [Song: (I've Had) The Time of My Life by Bill Medley and Jennifer Warnes]

5: Ghostbusters (1984) - $296,640,120 [Song: Ghostbusters by Ray Parker Jr.]

4: Beverly Hills Cop II (1987) - $299,965,036 [Song: Shakedown by Bob Seger]

3: Beverly Hills Cop (1984) - $316,360,478 [Song: The Heat is On by Glenn Frey and Axel F by Harold Faltermeyer]

2: Top Gun (1986) - $357,288,178 [Songs: Danger Zone by Kenny Loggins and Take My Breath Away by Berlin]

1: Back to the Future (1985) - $385,053,307 [Song: The Power of Love by Huey Lewis and the News]

Interestingly, I've seen all of these films once, a couple two or three times, but I've heard the songs likely dozens, possibly hundreds of times. And love them, like them, tolerate them, or fecking hate them, it can't be denied that there's a throbbing vein of nostalgia cheese running through each one. 


Now, let's dig into the songs from these and other 80s films. In many cases, as we'll see, the songs hung around a lot longer than the memory of the films they were attached to did. With good reason, honestly, who's seen Streets of Fire? I'd never heard of it, but I knew the song when it came on that FM station in the car recently. The name of that song is I Can Dream About You by Dan Hartman - familiar tune, very unfamiliar film.

I wanted to first get some rules laid out here. No films from the 70s, 90s or any other decade, so this negates the strong cases of Robin Hood; Prince of Thieves and Bryan Adams's terminable ear slug, Everything I Do, I Do It For You; Titanic and Celine Dion's heart-rending, mind-numbing, ear-murdering hit, My Heart Will Go On; and The Bodyguard and Whitney Houston's gangrenous warble, I-yai-yai-yai Will Always Love Yoouoouuooo, though this would be disqualified anyway as Dolly Parton wrote and recorded it many years before.


Which brings me to the next rule - these songs must have been conceived for the film, not added later, as in Unchained Melody from the Righteous Brothers for Ghost (though this also slips out of contention by a year, as it's a 1990 film). More recent 'jukebox' films from Quentin Tarantino, Edgar Wright and James Gunn, to name a few, are all well and good, but they've painstakingly cherry picked some uber-suitable tracks to slot in at the perfect moments. And these songs have usually already made their bread, or not, in some cases. A solid hit like The Bangles covering (A) Hazy Shade of Winter for Less Than Zero, is also ineligible, as it was a Simon and Garfunkel original.

Finally, you'll notice there are no Bond songs as I see them as a distinct entity. Shame, because some of the 80s ones are amongst the best of the stable - Sheena Easton's For Your Eyes Only and Duran Duran's A View to a Kill (from the films of the same names) did some good numbers in the charts too. I'm also not including the fantastic 'soundtracks' Queen did for Flash Gordon and Highlander because they don't deserve to be a footnote.

Righto, onto the songs. First the top ten (actually 14) by weeks at number 1 on the US Billboard charts:

=8 (all 2 weeks): Let's Hear it for the Boy by Deniece Williams [Film: Footloose]

=8: Maniac by Michael Sembello [Film: Flashdance]

=8: The Power of Love by Huey Lewis and the News [Film: Back to the Future]

=8: St. Elmo's Fire (Man in Motion) by John Parr [Film: St. Elmo's Fire]

=8: 9 to 5 by Dolly Parton [Film: 9 to 5]

=8: Glory of Love by Peter Cetera [Film: The Karate Kid Part II]

=8: Nothing's Gonna Stop Us Now by Starship [Film: Mannequin]

=2: (all 3 weeks): Footloose by Kenny Loggins [Film: Footloose]

=2: I Just Called to Say I Love You by Stevie Wonder [Film: The Woman in Red]

=2: Against All Odds (Take a Look at Me Now) by Phil Collins [Film: Against All Odds]

=2: Up Where We Belong by Joe Cocker and Jennifer Warnes [Film: An Officer and a Gentleman]

=2: Ghostbusters by Ray Parker Jr. [Film: Ghostbusters]

=1 (both 6 weeks!): Flashdance...What a Feeling by Irene Cara [Film: Flashdance]

=1: Eye of the Tiger by Survivor [Film: Rocky III]

So, two appearances by Footloose and Flashdance in the US charts, but let's look at the UK Singles charts now. Here are the top ten (actually 14 again) for weeks in the Top 40:

=10 (all 10 weeks): Glory of Love by Peter Cetera [Film: The Karate Kid Part II]

=10: Up Where We Belong by Joe Cocker and Jennifer Warnes [Film: An Officer and a Gentleman]

=10: Never Ending Story by Limahl [Film: The NeverEnding Story]

=10: Together in Electric Dreams by Giorgio Moroder and Phil Oakey [Film: Electric Dreams]

=10: We Don't Need Another Hero (Thunderdome) by Tina Turner [Film: Mad Max Beyond Thunderdome]

=5 (all 12 weeks): Eye of the Tiger by Survivor [Film: Rocky III]

=5: Into the Groove by Madonna [Film: Desperately Seeking Susan]

=5: Against All Odds (Take a Look at Me Now) by Phil Collins [Film: Against All Odds]

=5: When the Going Gets Tough, The Tough Get Going by Billy Ocean [Film: The Jewel of the Nile]

=5: Flashdance...What a Feeling by Irene Cara [Film: Flashdance]

4 (13 weeks): Crazy For You by Madonna [Film: Vision Quest]

3 (16 weeks): Nothing's Gonna Stop Us Now by Starship [Film: Mannequin]

2 (21 weeks): I Just Called to Say I Love You by Stevie Wonder [Film: The Woman in Red]

1 (27 weeks!): Ghostbusters by Ray Parker Jr. [Film: Ghostbusters]

Some points to note here. We can safely say that Madonna's fame elevated the films her songs were in (hello Vision Quest) and that Ghostbusters spent a staggering half a year in the top 40 in the UK, when the film would have been in and out of cinemas in a few months.

An extra wrinkle is that only five of these songs made it to number 1 in the UK - Billy Ocean, Survivor, Starship and Madonna (for Groove) had 4 weeks at the top, but old Stevie Wonder sat there for 6 weeks (a super popular song from a not so popular film).

One more word for a film/song combo that came right at the end of the 80s - Public Enemy's Fight the Power for Do the Right Thing. The film did ok numbers at the box office but the song spent 6 weeks at number 1 on the Billboard Hot Rap charts AND 5 weeks in the UK top 40.


In conclusion dear reader, I'm going to say that the most popular film and song pairing of the 80s was...Ghostbusters. 5th at the worldwide box office (not including films without popular songs, of course), 3 weeks at number 1 in the US and 27 weeks in the UK top 40 (though only making it to 2nd spot). This thing went berserk. Honourable mentions must go to Jennifer Warnes and Kenny Loggins for each having two film song hits in the decade, and Survivor's Eye of the Tiger for becoming an anthem and helping Rocky III do some good business. It's also interesting that many of the more well-received songs came from sequels (Rocky III, The Karate Kid II, The Jewel of the Nile, Mad Max III, etc.).

Well, this has been fun. Give me a hoy if I've missed anything.

Listen to also:

Here's a link to a Spotify 80s movies playlist I made for this article. Enjoy, if you can.

Comments

  1. Surely Don't you forget about me / The Breakfast Club should be on the list... and honourable mention to If you leave / Pretty in Pink....

    ReplyDelete
    Replies
    1. Fair call, they're probably amongst the best songs from 80s films. They didn't make the article due to the low box office returns of those films.

      Delete

Post a Comment

Popular posts from this blog

Top twenty WWII films

The Guardian recently ran an article on the ten best World War II films, as voted by respondents to a Deltapoll for The War Movie Theatre podcast (see their list and link at the end of this piece). As this year is 80 years since the end of hostilities, I thought it might be interesting to run down my top twenty World War II films. Here we go: 20.  Empire of the Sun   (Steven Spielberg - 1987)  This China-set drama of expats during the war in the Pacific theatre was Christian Bale's first big role at the age of 13. He's pretty bloody good too, as are most of the cast, including John Malkovich and Nigel Havers. Spielberg saw this J.G. Ballard story as a chance to make a comparatively 'darker' film about the loss of innocence and it turned out to be one of his very best. 19.  The English Patient   (Anthony Minghella - 1996)  All the press for this film was the love story angle between dreamy Ralph Fiennes (pre-Voldemort, of course) and elegantly icy Kristin Sc...

Mission: Impossible - The Final Reckoning

This eighth entry in the Mission: Impossible franchise feels like a good place to end things. The series is rapidly ripening and it's possible that any more and we might be getting into the fruit fly stage. It's not going out on a limb to say they will probably continue until Tom Cruise is in traction but, by the looks of this warlock, he'll outlast us all. The Final Reckoning is many things to many people. On the one hand, it's great fun, packed with tension and brilliantly edited to within an inch of its celluloid life (kudos to the editor with a name like a British snooker player, Eddie Hamilton). On the other hand, it reeks with honking dialogue and convoluted exposition that wastes an awful lot of its lengthy run-time (170 mins, no thanks Mr. Bladder). One character actually says, "It's the end of the world as we know it." At this stage, I didn't feel fine. And for your bingo card, make a cross in the square for 'characters saying the name o...

The Tasters

My final tilt at the 2025 German Film Festival turned out to be a Swiss/Belgian/Italian co-production, directed by Silvio Soldini. It's based on a book by Rosella Postorino called At the Wolf's Table , about a year or so in the life of Margot Wölk. This luckless woman was one of 15 official food tasters for Hitler when he was staying at the Wolf's Lair in East Prussia (current day Poland). Rosa Sauer (Elisa Schlott) arrives at her parents-in-law's house in the town of Parcz to await the return of her husband from the Eastern Front. Not long after, she is co-opted into a perverse gig at the military compound just outside the town - Rosa and several other young, healthy women must taste the Fuhrer's food before he eats it, in case it's poisoned. The dynamic between the women is well played. Some are suspicious of Rosa, due to the fact that she's from Berlin; one is young and naive; one is blindly loyal to the Reich; one is staunchly discreet. All are bricking ...

Münter and Kandinsky - The Blue Rider

Artist biopics are few and far between these days. Mr. Turner in 2014 and Daaaaaali! in 2023 come to mind as relatively recent examples, and Van Gogh and Picasso are always popular subjects. This German production, directed by TV stalwart Marcus O. Rosenmüller, looks at the life of Expressionist maestro, Wassily Kandinsky, but crucially, via the perspective of his lover and ex-student, Gabriele Münter. The film starts and ends with her and Vanessa Loibl gives the character a vivid intensity. We see Münter's dissatisfaction with the lot of women in turn of the century Munich. She wants to study and practice her art and so is chuffed when she hears of a studio called the Phalanx, where women are allowed to attend. This is where she meets the intense Kandinsky, a lecturer at the college. After some visible romantic tension, a painting excursion to picturesque Kochel brings them together. Post coitus, Kandinsky tells Münter that he wants her to leave the trip early as his wife is com...

Thunderbolts*

This is the sixth and final film in phase five of the Marvel Cinematic Universe and by my reckoning, it's the second best of the phase (after the third Guardians film). It's certainly an improvement on the flaccid Captain America: Brave New World from a few months back. Kevin Feige has done a good bit of business getting the right team together here, not unlike the film itself. The reasonably unknown crew includes director Jacob Schreier, writers Eric Pearson and Joanna Calo, and cinematographer Andrew Droz Palermo. Schreier hasn't actually directed a feature for ten years (he's been involved in TV) but they all have some interesting credits to their names. The film picks up the story of Yelena Belova (Florence Pugh), adopted sister of Black Widow. She's taking jobs for Valentina de Fontaine (Julia Louis-Dreyfus), mostly illegal cleanup gigs with high body counts, but is becoming disenchanted with all the drudgery. She's in a murderous malaise. A fatality funk...

F1: The Movie

As opposed to F1: The TV Show, or F1: The Book, or F1: The Function Key. Yes, this is a film about Formula 1 racing and it really wants us to love it, the racing even more than the movie itself. Brad Pitt is Sonny Hayes, a grizzled driver who jumps around from race to race, a drifter, a mercenary. After one of these races, Daytona, his old mucker, Ruben (Javier Bardem) shows up and offers him the chance of a lifetime. Come back to Formula 1. Hitting all the right beats so far. And continues to do so. If you've seen any sports film, you know this film. Just for the record, yes, there's a cocky young pup co-driver, Joshua Pearce (Damson Idris) and a gorgeous (thankfully middle-aged) love interest, Kate (Kerry Condon). It's no surprise that the writer/director combo here, Ehren Kruger and Joseph Kosinski, was also responsible for the underwhelming  Top Gun: Maverick . This is a better, more grounded (pun intended) version of that film. It may be derivative but  F1 is pretty s...

Sinners

Hats off to Ryan Coogler for turning out this vibrantly bloody cracker with only his fifth feature. It's also quite a hand brake turn after two Black Panther films and one Rocky spin-off to deliver a singular story like this (I'm presuming there'll be no Sinners Cinematic Universe but I could be wrong). I say singular but actually, this owes a lot to Tarantino, and many other genre directors. I'm dancing around the issue here as the best way to watch this is to be completely unaware of what you're going to get. What I can say is that this is great fun. It really zips along, there's hardly a scene without forward momentum. Even the wonderfully ambitious musical numbers (relax, it's not a musical) add background to the story. Coogler's script crackles, especially in the mouths of the excellent cast - more on them later. One of the best things about this is that it disguises itself really well, you're not sure where it's going until it arrives the...

The Surfer

The Surfer is an Australian/Irish co-production, filmed in the south of WA. If you can get over the premise that Nicolas Cage was born in Australia and gained an American accent after the age of about 15, then maybe you'll go with this a bit more than I did. Cage stars as the otherwise unnamed Surfer, who returns to Lunar Bay (Yallingup) to buy his old family home that overlooked the beach where he used to surf. Upon arriving with his teenage son, intent on having a surf, he find the beach occupied by a gang called the Bay Boys. He's very quickly told to fuck off and that if you "don't live here, don't surf here." After taking his son home, he returns to the carpark above the beach and here's where events start to go off the rails.  The surfer's board is stolen, then his shoes, his car battery dies, his phone battery too, he trades his sunglasses for a pair of binoculars from an old beach bum with a grievance. This idea of him being unable or unwillin...

Two to One

Two to One (or Zwei zu Eins ) is a true life heist film that holds up a light to the haphazardness of German reunification but is ultimately about fairness and belonging. In short, the main characters are slowly losing their jobs as East Germany prepares to rejoin the West after the collapse of the Soviet Union and her satellite states. Maren (Sandra Hüller) and Robert (Max Riemelt) are having an unemployment party when an old friend of the couple, Volker (Ronald Zehrfeld) returns from years abroad.  Disenchantment in the neighbourhood drives the trio to investigate the strange movement of army trucks to a local underground facility. A distant relative still works there and so is summarily co-opted to help them gain access to the 'bunker'. There they find bags and bags of disused East German marks, very soon to be out of circulation. Disappointed, they grab a bunch of notes anyway, more as a keepsake than anything else. When a door-to-door salesman offers to take the old curre...