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

Nosferatu

The best looking film of the year, this has a gorgeous array of visuals that elicited a number of quiet 'wows' and intakes of breath from yours truly. Big praise to cinematographer Jarin Blaschke, production designer Craig Lathrop, art director Robert Cowper, set decorator Beatrice Brentnerova, and of course, director Robert Eggers for getting this crew together - he seems to use a lot of the same folk for his films, and fair enough, when this is the final product. Eggers has adapted the script from Henrik Galeen's original for F. W. Murnau's 1922 film, itself none too subtly ripped off from Bram Stoker's novel, Dracula . This is Eggers' fourth feature after The Witch , The Lighthouse , and The Northman and while I haven't yet seen the first two, I didn't care much for The Northman , typically wondrous images aside. He flirts with the pomposity that affected his previous film but here it matches the gothic tones and source text, that is until Aaron Tayl...

The Quiet Girl

This is a great film, especially in the way that it manages to create something interesting out of a reasonably mundane synopsis. A young girl is sent away to a relative's house for the summer where she is treated better than at home. Sounds like it could have a bit of Rohmer-style youthful awakenings? Or maybe some gritty Loach-ian societal comment? Even perhaps a revenge tinged 'fear the youth' theme? Well, it's none of the above, and more power to its style. The Quiet Girl herself (Cáit) is a newcomer, Catherine Clinch, and she was apparently found via an Irish language school call out. She's incredible - meek, direct, no airs nor graces whatsoever, with a clear-eyed awkwardness. She's almost like a little female Bowie in The Quiet Girl Who Fell to Earth (no, not a film but I thought I'd italicise anyway). There are orbiting performances that complement her perfectly. Carrie Crowley and Andrew Bennet play Eibhlín and Seán Cinnsealach, the couple who tak...

The Good Boy

This English/Polish co-production is not to be confused with Good Boy , a dog-based horror film, even though in most regions the definite article is removed - it seems only Australia and the UK have it as The Good Boy . To muddy the waters more, in some areas, including the US, Brazil and the Netherlands, it's called Heel , something you might say to a dog. Anyway, I'll call it THE Good Boy because that's how it's being sold here. It's directed by a Polish guy called Jan Komasa, who's done some features in Poland, and written by first time writer Bartek Bartosik, alongside slightly more established Naqqash Khalid. They've concocted a genre pic that flirts with horror, winks at black comedy and straight up propositions psychological dependency drama. At the beginning of the film, young scally Tommy (Anson Boon) is a hateable twat, acting 'the big I am' on a night out, drug-fucked and aggro with everyone, until he sets off on his own for more action. ...

Supergirl

This new superhero flick from the DCU is an incel's nightmare. Following on from James Gunn's Superman of last year, Craig Gillespie takes the director's reins for this spin-off, Supergirl . Quick deviation - partway through, there's a clever aside about how Kara gets the 'girl' label, while her cousin Kal-El can use 'man'. Starting as it means to go on. Before we actually see the lead, we open with the motivating event of a family slaughter by the face-studded Krem of the Yellow Hills (Matthias Schoenaerts), sending young Ruthye (Eve Ridley) off on a revenge quest, which eventually drags in Kara Kor-El (Milly Alcock). Kara is on a week-long birthday bender, making sure to stay in red sun systems so that her powers don't work and the booze does. This is significant for the showstopping transformation yet to come on an interplanetary bus. Look, the film itself is fine, nothing new in the storyline structure (Andrew from The Curb notes that 'the ...

The Last Resort

This preview for the Nordic Film Festival is a proper drama for grown-ups, directed and co-written by Maria Sødahl, that poses some curly questions. It's about a middle class Danish couple on holiday with their young daughters in the Canary Islands. Interestingly, the Danish title is Paradis , which carries a bit more irony than its English title. Mikkel (Esben Smed) and Louise (Danica Curcic) are a typically 'normal' couple from northern Europe, enjoying their island holiday when they run down a bloke while driving at night. He turns out to be Ahmed (Aziz Çapkurt), a refugee from Afghanistan, and his leg is pretty munted. Trying to do the right thing, they take him to hospital and leave him with some cash, and crucially, their resort room and phone numbers. This minor act of kindness, and no little guilt, sets in motion a slow building series of events that fucks with the couple's holiday, and relationship in a wider sense. The resurfacing of Ahmed is clearly signpost...

The Captive

Screening at the  Spanish and Latin American Film Festival , Alejandro Amenabar's first film since 2019 is a mildly controversial take on the 5-year captivity of legendary Spanish author, Miguel de Cervantes. We begin the film as Cervantes is led into a dusty courtyard in Algiers, along with many other kidnappees. Before he can be sold as a slave, or sliced up for insubordination, he presents a letter from the Spanish court, signalling that perhaps it's better he be kept as a hostage for ransom.  The film takes a bit of time to get rolling from here but when it does it settles into a clever mix of melodrama and weighty ideas. Cervantes, with his weak left arm acting like an acting crutch, slowly becomes the cheerleader of the prisoners, writing his stories in the air, only stopping when he temporarily runs light on material. The story takes a hurdle when the Bey, a high-ranking provincial governor (Alessandro Borghi) overhears the stories told in the courtyard and summons Cerv...

The Christophers

The title of the film refers to a series of paintings started by Julian Sklar in the 90s but left unfinished for reasons made clear later. Sklar, as played by Ian McKellen, is eccentric and irascible, and seems to be a blend of famous British painters, Francis Bacon and Lucien Freud. As Sklar is getting on in years, his grown children hatch a plan to have the paintings 'completed' for sale, with, or preferably without, their father's knowledge. For this undertaking they must enlist renowned art restorer (and dab hand forger), Lori Butler, an old acquaintance from art college. The premise is fine, but unfortunately, as created by Steven Soderbergh (director) and Ed Solomon (writer), it doesn't have any legs. Paradoxically, the best bits are probably also part of the reason it falters. McKellen is superb as the lovelorn painter, artistically blocked and emotionally bitter. His pithy, acerbic dialogue is great and he gives the performance full welly, but the actual storyli...

Best Films of 2011 to 2020 - End of Decade Report

I realised a few weeks ago that I've been doing the Film Shapes blog since 2011. This got me thinking that it might be a doddle to put together an aggregation of the top tens of each year, a kind of 'best of the decade' list. Not such an easy task. I've had to stretch a mooted ten out to twenty and the order has been troubling me for some days. As it turns out, all these films were actually made between 2011 and 2020, otherwise titles like Inception may have snuck in. Anyway, I'll leave you with this for now and bugger the consequences. 20. Slow West (2015) An odd, melodic Western, directed by John Maclean (of The Beta Band), this has young Scot, Kodi Smitt-McPhee crossing the perilous US west, helped or hindered along the way by their excellencies Michael Fassbender and Ben Mendelsohn. As the title suggests, it's slow-paced but that's what sets it apart from other films of its ilk. Come to think of it, this is a pretty lonely ilk. 19. Bohemian Rhap sody ...

Head-On

I saw this confronting 2004 drama at the German Film Festival as part of a retrospective of Fatih Akin films. Unfortunately, there was only one screening in Perth, there might be extra shows in other cities. Akin's a great stylist, authentic and functional, and his films are informed by his cultural standing as a German-Turkish writer/director. In this film, a rough looking bloke called Cahit (Birol Ünel) smashes his car - head-on - into a wall after a heavy night on the turps. While getting treatment, he meets Sibel (Sibel Kekilli), a young woman who recognises his shared dual nationality status. She's looking for a 'Turkish' guy to marry, so her parents will get off her back. Initially sceptical and aggressively dismissive, Cahit realises Sibel is dangerously desperate, so he agrees to the sham marriage. There's an early bump in the road when Cahit kicks Sibel out on their wedding night for asking about his dead wife. Soon enough though, things settle into a room...

Nope

Jordan Peele really doesn't flinch from a stoush. His first film, Get Out , took an excoriating swipe at racism and white privilege in the US. His second film, Us , delved into class divides and human rights. His latest film, Nope , takes aim at man's subjugation of nature, primarily for profit. The marketing of this film suggests a creepy, sci-fi alien invasion film, and while this is all accurate, there's more going on here too. Daniel Kaluuya, returning for a second Peele film (after Get Out ), plays OJ Haywood, a trainer of horses that appear in films or TV. His father, Otis senior (Keith David), is killed early doors in a freak accident....or is it? Well, no obviously, it isn't, but life moves on for 6 months before more manure flies. OJ is joined by his sister, Emerald (Keke Palmer), as the Haywood Hollywood Horses business, bereft of the old man's guidance and experience perhaps, begins to flounder. OJ has been selling some of the horses to Steven Yuen's ...