Boogie Nights includes 36 featured tracks, so how are they used in the Paul Thomas Anderson classic? Originally released in 1997, the film explores the adult entertainment industry in California's San Fernando Valley during the late '70s. Music plays continuously from scene to scene, and infuses the film with a feel-good energy.
In Boogie Nights, Mark Wahlberg stars as a teenager named Eddie Adams, who evolves into the porn star known as Dirk Diggler. Anderson's script mostly centers on the rise and fall of the protagonist, but also incorporates numerous side players who similarly struggle to find their way through the industry. American musician Michael Penn composed Boogie Night's official score, but it's the mainstream hits that truly enliven the storyline, beginning with the opening scene.
Boogie Nights predominately showcases '70s-era funk and disco tracks, and even has a couple of tragicomic scenes in which Dirk records music with his partner-in-crime, Reed Rothchild (John C. Reilly). By the final act, an extended absence of music suggests that the party has ended, but the jams pick up as Wahlberg's blessed protagonist regains his confidence. Here's a breakdown of every featured song in Boogie Nights.
"Best of My Love" by Emotions: Boogie Nights begins with a shot of a traditional Reseda movie theatre, followed by a pan shot that spotlights an adult movie theatre called Hot Traxx. The scene establishes the atmosphere of the San Fernando Valley's world of adult entertainment, and the song use positions Jack as a beloved figure.
"Sunny" by Boney M: The song plays as Jack follows Eddie and seems to recognize "bright days," as implied by the lyrics.
"Fly, Robin, Fly" by Silver Convention: Jack makes a sexually suggestive statement to Eddie, and the song functions as an exclamation point to the character dialogue.
"Jazz Theme from Sweet (The Sage)" by Chico Hamilton Quintet: Jacks plays the song upon arriving home after meeting Mark Wahlberg's Eddie. It continues for several minutes over various scenes.
"Joy" by Apollo 100: The song plays during a pan shot in Eddie's room and reflects his excitement as a teenage boy.
"Off the Road" by Richard Gill: Buck attempts to sell speakers to a customer and plays the song. He says that the bass "kicks," and then gets chastised by his boss for playing a country-western tune.
"Afternoon Delight" by Starland Vocal Band: The song plays softly as Eddie's girlfriend admires his physique, with the lyrics suggesting that she's pleased by her afternoon experience.
"Jungle Fever" by The Chakachas: As Eddie works, the song plays as the camera follows Roller Girl, portrayed by Heather Graham. The breathy vocals parallel the sexual nature of the scene.
"Brand New Key" by Melanie: Roller Girl plays a record before an intimate encounter with Eddie. As Jack watches the male character perform, he realizes that he has a brand new star. The lyrics also reference "a brand new pair of roller skates," which links the song to Graham's character, who wears roller skates throughout the scene (and movie as a whole).
"Mama Told Me Not to Come" by Three Dog Night: After Eddie's mother kicks him out of their Torrance home, the teenager visits Jack Horner and unofficially commits to the porn industry. Written by Randy Newman, the song reflects someone who experiences his first big party in Los Angeles, which aligns with Eddie's character arc in the film.
"Spill the Wine" by War with Eric Burdon: Colonel James arrives at Jack's home for a party, and Don Cheadle's Buck explains to Becky that his cowboy look is coming back in style. As the party scene continues, the song functions as a mood setter with its lyrics about consuming alcohol on a hot summer day.
"Lonely Boy" by Andrew Gold: Maurie tells Buck to wear what he digs, and then looks for a woman named Maggie, who is revealed to be Julianne Moore's cocaine-snorting character, Amber Waves. The use of the song offers a subtle commentary about the porn industry.
"Fooled Around and Fell in Love" by Elvin Bishop: Amber stares and smiles at Eddie as he jumps into a pool. Moments later, Little Bill discovers a crowd of partygoers watching his wife having sex. The song captures the perspective of William H. Macy's character as he carries on a conversation about work while repeatedly turning back to watch his wife.
"Fat Man" by Jethro Tull: The song briefly plays as the Colonel and Jack find an overdosed woman at the party. The opening drums are used to complement the characters' walk down a hallway.
"You Sexy Thing" by Hot Chocolate: Scotty, portrayed Philip Seymour Hoffman, arrives at the party, looking nervous and awkward. The lyrics highlight everything that he wants to be, and also scores the moment when he first spots Eddie.
"I Want to Be Free" by Ohio Players: Eddie jumps into the pool after showing the Colonel his penis. During a transition scene, Reed recites a poem to Wahlberg's character during a hot tub moment. The song is used to reflect the mindsets of both characters, who ultimately team up as creative collaborators.
"Boogie Shoes" by KC & the Sunshine Band: After Dirk's first porn scene, a montage highlights his new lifestyle. The song parallels the character's glamorous '70s outfits and growing ego, and also plays over a nightclub scene in which he literally boogies and describes his new shoes.
"Machine Gun" by The Commodores: Jack directs Eddie and Roller Girl before shooting a scene. The song is an upbeat instrumental, and so it's used to capture the loose vibe amongst the collaborators. It also plays over a montage in which critics express their praise for Dirk. Lastly, "Machine Gun" scores an extended dance sequence.
"Magnet & Steel" by Walter Egan: During a road trip, Dirk and Reed pitch a film series to Jack about male characters named Brock Landers and Chest Rockwell. The soft rock song continues as background music during a montage about Dirk's accomplishments.
"J.P. Walk" by Sound Experience: The song plays during a trailer for Dirk's new movie Brock Landers: Angels Live in My Town. The instrumental thematically aligns with the overall disco aesthetic.
"Got to Give it Up" by Marvin Gaye: As Dirk humblebrags about his new purchases, the song works as a mood-setter to highlight the character's fame and wealth.
"Ain't No Stoppin Us Now" by McFadden & Whitehead: After Jack makes a film that he wants to be remembered by, the song plays briefly as the '80s and new pop culture trends begin. The lyrics suggest that Reynolds' character has reached the pinnacle of his career.
"Driver's Seat" by Sniff 'N the Tears: Floyd Gondolli visits the Colonel at a party. Thematically, the song parallels the introduction of new characters as the power dynamics begin to change.
"Feel Too Good" by The Move: Floyd meets with Jack and makes a business proposition. The rock song aligns with Floyd's perspective that he's trying to help everybody stay one step ahead of the game. From Jack's viewpoint, though, the moment feels too good to be true.
"Do Your Thing" by Charles Wright & the Watts 103rd Street Rhythm Band: Scotty cries in his car after revealing his feelings for Dirk. The song title reflects Scott's lack of identity, and the movie transitions into a New Year's Eve sequence in which Little Bill once again finds his wife having sex with a partygoer. This time around, he commits a double murder before taking his own life.
"Queen of Hearts" by Juice Newton: Amber talks to Dirk about her directorial debut, with the song lyrics reflecting her loving nature.
"It's Just a Matter of Time" by Brooke Benton: During a December 1982 sequence, the song implies that it's just a matter of time until Dirk realizes that he's "been blind." The character meets Jack's new actor, Johnny Doe, and doesn't seem too pleased about his possible replacement.
"The Touch" by Mark Wahlberg, Jon Brion, Brian Kehew, Michael Penn: Dirk Diggler records a single after a public meltdown on set. The moment reinforces his steady decline as a performer.
"Feel the Heat" by Mark Wahlberg and John C. Reilly: Dirk records a song with Reed; the poor singing implies that he's becoming increasingly delusional.
"Compared to What" by Robert Flack: The song plays over various scenes in which characters try to sustain their lifestyles. The song highlights the concept that Dirk and company "love the lie." Roller Girl even asks Amber to be her mother.
"Sister Christian" by Night Ranger: The song plays as Todd, Dirk, and Reed arrive at the home of Rahad, who performs the "motorin'" lyric. As the moment becomes increasingly intense, the '80s classic parallels the inherent surrealism.
"Jessie's Girl" by Rick Springfield: The song kicks in after "Sister Christian" abruptly stops. Once again, Rahad performs as his Chinese friend Cosmo lights firecrackers. It's another pop-culture-themed moment, with the loud music affecting Dirk's frame of mind.
"99 Luftballoons" by Nena: After Todd starts a shootout, he's gunned down by Rahad as Dirk and Reed escape.
"God Only Knows" by The Beach Boys: Buck shoots a promo for his new business, Buck's Super Cool Stereo Store. The song continues playing as various characters begin new lives outside the porn industry.
"Voices Carry" by Til Tuesday: The song plays briefly as Roller Girl speaks with Jack while listening to her Walkman.
"Livin' Thing" by Electric Light Orchestra: After Dirk exposes himself in a dressing room, the song plays during Boogie Nights' final moments and over the credits.
source https://screenrant.com/boogie-nights-movie-soundtrack-songs/
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