As Henry Wadsworth Longfellow famously said, “Music is the universal language of mankind,” for it connects us, inspires us, fills us with grief, or instills us with hope. Some songs, written for movies, have become so iconic — recognizable by the first stroke of the guitar or beat of the drum — that they not only represent the movies they were written for but often the zeitgeist of the time. In other cases, they’re simply goofy and catchy, leaving behind a legacy that supplants their cinematic counterparts. So here are our top ten most iconic songs written for movies, ranked.
“Raindrops Keep Falling on My Head” was written for the 1969 classic western Butch Cassidy and the Sundance Kid starring then-young heartthrobs Robert Redford and Paul Newman. The song boasts a happy-go-lucky beat about overcoming the blues, for “happiness” will greet you soon enough. “Crying’s not for me,” sings B.J. Thomas as he laments about the sun’s poor performance on the job.
In the film, the song is a much-needed respite from the otherwise tense narrative. Newman and Redford take refuge in a secluded home and get a moment to ride bicycles. It’s a playful interlude that provides a little carefree escapism from their always-on-the-run outlaw lifestyle. It’s a perfect fit — musically matching the scene’s energy but lyrically suggesting the characters’ neverending hurdles.
The song is now a go-to tune for those coping with a little rain on cloud nine. It lingers just long enough in the “pity me” space before taking a more uplifting turn.
“Who you gonna call? (Ghostbusters!)” It’s a famous and oft-quoted song lyric referenced in The Nanny, Foster’s Home for Imaginary Friends, Supernatural, How I Met Your Mother, Futurama, The Magicians, and more. The Ghostbusters movie was even an entire category on Jeopardy!…twice! The first time, there was also a category titled “Who you gonna call” with phone-number-related trivia in store for the contestants. The song has implanted itself into pop culture, as the little ditty is catchy and ripe for comedy. Those unfamiliar with the movie are usually familiar with the tune, earning its place on this list.
The Boston Globe’s Kevin Kelly deemed 1973’s Pat Garret & Billy the Kid “a monotonous and despicable movie,” while The Chicago Tribune highlighted its “emotional slow motion” and “self-inflating lethargy.” In short, the Western following the tumultuous relationship between an outlaw and his former friend turned sheriff wasn’t exactly a critical success. However, Bob Dylan’s song “Knockin’ on Heaven’s Door” peaked at #12 on the Billboard Hot 100 and stayed on the charts for 16 weeks.
The song boasts universal themes about mortality and the longing for peace in the short stay we have on earth. The lyrics became an anthem for the generations addressing the widespread disillusionment prevalent at the height of the Vietnam War. Like always, Dylan managed to tap into the collective consciousness of the American public — as they grappled with the social and governmental status quo.
How “Eye of the Tiger” came to feature in Rocky III is an interesting story that includes The Karate Kid, helmed by John G. Avildsen (the same director who took home the Best Director Oscar for 1977’s Rocky). According to Millennial Mind, Stallone was looking for an original, youthful, upbeat track to feature in Rocky III. So, Bill Conti (music) teamed with Joe Esposito (vocals) and Allee Willis (lyrics) to produce “You’re The Best” for the film. Though this wasn’t quite a fit for Rocky, it worked beautifully for the final combat montage in The Karate Kid.
Stallone then reached out to Jim Peterik of Survivor, and the rest is (as they say) history. The intro chords to “Eye of the Tiger” are immediately recognizable and adrenaline-boosting. You feel the energy swell in your gut — the need to release all that pent-up aggression.
It’s hard to imagine playing “Eye of the Tiger” and failing to punch at the imaginary people in the room. It’s intimately associated with the Rocky franchise and has since become a timeless tune about determination in the face of adversity. About the fighter spirit. About the struggle, the sacrifice, and the eventual triumph.
Debbie Harry of Blondie fame penned “Call Me” after she was asked to write an original song for the 1980 neo-noir crime drama American Gigolo. She worked alongside composer Giorgio Moroder to create this ‘80s rock hit that peaked at #1 on the Billboard Hot 100 on April 19, 1980, stayed at #1 for six weeks, and stayed on the charts for a total of 25 weeks.
The catchy, disco-infused sound and sultry lyrics captured the film’s seductive air and decadent lifestyle, resonating with listeners in support of a little hedonism and excess. Not to mention, the song was quite sexually liberating as Blondie owned her status and power as a liberated woman of the ‘80s.
The Bee Gees penned several hit tracks for 1977’s Saturday Night Fever, including “How Deep Is Your Love,” “Night Fever,” “Stayin’ Alive,” and “More Than a Woman” yet “Stayin’ Alive” is arguably the most instantly recognizable and culturally significant.
The song went on to become the anthem of the disco era as its infection rhythm danced across nightclubs everywhere. The Bee Gees sound — blending elements of funk, soul, and pop — is somehow both distinctive and destined for karaoke sing-alongs. The number reflected the growing popularity of disco music and the Bee Gees’ influence as leading artists of the time.
Written by producer Keith Forsey and guitarist Steve Schiff and performed by Simple Minds, “Don’t You (Forget About Me)” was inspired by a scene in The Breakfast Club where the introvert and the school bully bond while no one is watching. Forsey told The Guardian, “ It was: don’t forget, when we’re back in the classroom, you’re not just a bad guy and we’ve got other things in common.”
The song became synonymous with The Breakfast Club, exploring themes of identity and the deep-seated desire we all have to connect — especially as we’re coming of age. The song is emblematic of youthful rebellion and individual expression in the face of social pressures to conform. Relatable lyrics paired with a shoulder-swaying melody and sing-a-long chorus made for a timeless hit that remains at once nostalgic of ‘80s youth culture and reflective of the high school experience decades later.
Simon and Garfunkel wrote several songs for The Graduate, but “Mirs. Robinson” and “The Sound of Silence” remain the most celebrated, with the former arguably representing the film to a greater extent.
Mrs. Robinson” became an anthem for the counterculture movement of the 1960s, reflecting the generational clashes that defined the decade. With a catchy chorus featuring lines like “Heaven holds a place for those who pray” — ironically mocking those who profess to be virtuous but possess less-than-holy intentions — the song questions traditional notions of morality, bringing under a microscope the views of a somewhat older, antiquated generation.
The cutesy, fast-paced beat retains a light-hearted nature quite antithetical to the complexity and deepness inherent to the lyrics, allowing the song to postulate without pandering.
Though intimately connected to the charismatic baritone-voiced Frank Sinatra, Liza Minnelli first sang “New York, New York” for Martin Scorcese’s 1977 film of the same name. Written by the legendary songwriting duo John Kander and Fred Ebb (who made historic musical contributions to Chicago, Cabaret, Liza With a Z, Curtains, The Rink, Funny Lady, and more), the number perfectly captures that New Yorker restlessness. That ambition. That drive to succeed. You can smell smoke in the air and hear the honking of taxi cabs while listening.
The song contrasts New York’s gritty underbelly — which many movies were emphasizing at the time — and asserts a more romantic notion of the city that never sleeps. To this day, the song serves to represent New York City, and the endless opportunities that await you when you travel to the Big Apple to “make a brand new start of it.” Because, if you can make it there, you can make it anywhere.
“Tumble out of bed and stumble to the kitchen. Pour myself a cup of ambition.” No truer words have ever been spoken. No lyrics have ever better relayed the sentiment of a working-class citizen waking up to return to the grind. “9 to 5” seamlessly captured the blue-collar struggle, but more specifically the lack of equality women faced in the workplace. The struggles women endured against a misogynistic and patriarchal system. “It’s a rich man’s game, no matter what you call it,” and women shouldn’t spend their careers boosting their bosses’ resumes and putting money in their wallets — only to be sidelined and dismissed.
With lyrics like “want to move ahead but the boss won’t seem to let me,” the song tapped into the growing frustrations and aspirations women felt as they fought for workplace equality in the ’80s.
The song quickly became an anthem representative of the second wave of feminism, encouraging the need for solidarity in the face of corporate gender discrimination. The song was, and still is, a rallying cry for justice, equality, and equity. With Dolly Parton on vocals (and on nails — google it), “9 to 5” was destined to become a country hit.
