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Much of the writing in film studies published today can be understood as genre criticism, broadly speaking. And even before film studies emerged as an academic discipline in the 1970s, cultural observers within and beyond the academy were writing about genre films and making fascinating attempts to understand their conventions and how they speak to, for, and about the culture that produces them. While this early writing on genre film was often unsystematic, impressionistic, journalistic, and judgmental, it nonetheless produced insights that remain relevant and valuable today.
Barry Keith Grant's new edited volume with Malisa Kurtz, Notions of Genre: Writings on Popular Film Before Genre Theory, gathers the most important early writing on film genre and genre films published between 1945 and 1969. In the spirit of appreciating genre film, we asked Barry Keith Grant to curate a playlist of iconic music from genre cinema. Enjoy this fun whirl through movie history through its music.
“Back in the Saddle Again” – Gene Autry: As might be expected, a sense of nostalgia informs the discussions of the western in Notions of Genre. Autrey sings this song – his signature tune from 1939 – in the film of the same name, and it has everything going for it: cowpokes checking their saddles, the comic sidekick bumbling about, Hollywood cowgirls decorating the mise-en-scene, and a yodelling riff later used by Frank Zappa in “Montana.” Gene never misses a beat broadcasting his show from his ranch, even as he deals with the nefarious owner of the local copper mine.
“Beware The Blob” – The 5 Blobs: A novelty song inspired by the classic science fiction movie The Blob starring Steve McQueen as the brave teenager whose warnings initially go unheeded by the authorities. It’s silly little melody is a certified earwig, worming its way into the brain like the blob in the film oozes through the air vents in a movie theater. The tune—written by none other than Hal David and Burt Bacharach—is part of a proud tradition of novelty SF tunes that include such masterpieces as Sheb Wooley’s “Purple People Eater,” The Ran-Dells “Martian Hop,” and the Boss Tones’ “Moppity Mope.”
“The Ballad of Bonnie and Clyde” – Georgie Fame: Bonnie and Clyde is one of the latest films discussed in Notions of Genre. Its impact was extraordinary, not just in cinema but influencing other areas of popular culture such as fashion and music. A number of recording artists—even mellow Mel Tormé—capitalized on the film’s popularity by waxing tunes related to the infamous duo. But the best is Georgie Fame’s short pop hit. Fame, who has collaborated with Van Morrison on some of the latter’s projects, was a jazz musician disguised as a British Invasion pop singer. Listen to those lyrics just rhythmically role off the tongue, like Walt Whitman’s poetry.
“Moon River” – Jerry Butler: A standard composed by Henry Mancini with lyrics by Johnny Mercer, it won the Oscar for Best Original Song in Breakfast at Tiffany’s. The song evokes Mercer’s childhood in the American South, the line about “My huckleberry friend” specifically evoking the 19th century world of Mark Twain on the Mississippi. There are innumerable versions of the song, but Jerry Butler’s version from 1961 was a top chart hit even before Mancini’s was released. Butler, the original lead singer of The Impressions, would seem miscast, but his soulful interpretation lends a black perspective to the song that is entirely different from Andy Williams’ iconic but vanilla treatment.
