Ten of my favourite English-language songs—not from musicals

Over the years I’ve been blogging, I’ve compiled dozens of song lists, focusing on specific people (actors and actresses, singers, music directors, lyricists), themes, and more. There have been songs from many, many Hindi films, all the way from the 1930s to the first couple of years of the 1970s. One thing there hasn’t been – and quite an omission, too – are songs from Hollywood (or from English language films made outside Hollywood, too). Considering that I watch and review a lot of English language films, including musicals (Oklahoma!, Fiddler on the Roof, South Pacific, Alexander’s Ragtime Band, Flower Drum Song and Oliver! among them), I figured it was about time I made a ‘ten favourites’ list of English language songs that I really like.

While–unlike Hindi cinema–Hollywood cannot boast of just about every film it makes being a musical, there has been no dearth of musicals. And that’s where I ran up against an obstacle: where would I stop? There are dozens of songs from films made both in the US and in England which I could listen to (and watch) over and over again. Should I do a theme? Should I choose one actor or actress (Gene Kelly? Fred Astaire and Ginger Rogers? Julie Andrews?)

Too much work, I thought. And too much sifting. So I chose this: songs from films which weren’t musicals. Each of the ten songs in this list is from films which were definitely not musicals. Westerns, war films, drama, comedy: but not the sort of film that had one song after another. In most cases, this particular song was the only song in the film. As always, these are all songs from films I’ve seen, all pre-70s, and in no particular order.

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High Noon (1952)

I was – at least as far as emotional maturity is concerned – a baby when I first saw High Noon, and I didn’t care for it much then. Not that I wasn’t fond of Westerns; I adored Westerns. In book form, in cinema, in song. For me, the genre was all that was gloriously outdoorsy and never-say-die: cowboys and Comanche, Monument Valley, smoking barrels and rearing horses, the good versus the bad in that final gunfight. High Noon turned all of that on its head, and left me feeling uncomfortable and disappointed.

I didn’t realise till much later that that disappointment was not the disappointment of watching a film that was bad. Rather, it was the disappointment of discovering that what I’d been rejoicing in till then was not the ultimate in a genre. Some growing up had happened.
I have rewatched High Noon since then, and I’ve come to appreciate this film deeply. I still do like hard-core Westerns like The Good, the Bad and the Ugly and Stagecoach and The Magnificent Seven a lot – but High Noon is in a class all by itself.

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