While certain songs serve to enhance a movie scene, there also exist innocent songs ruined by creepy movies. Though plenty of songs about murder exist for movies to take advantage of, thrillers and horror films alike love to use cutesy, benign songs in juxtaposition with a movie's own macabre scenarios. Scary movies that ruined your favorite songs forever know exactly what they're doing when they play show tunes during a home invasion or new wave anthems during an axe murder. On one hand, yes, the songs provide a feeling of uneasiness which enhances a scene's dramatic tension, the sign of a good film. However, films often do so at the expense of songs you would rather turn to for positivity.
Movies that made popular songs creepy like the ones below managed to turn these guiltless tracks into accomplices just as responsible for scaring you as the film itself. Sure, some of these songs mean something different than you expect, but the large majority of them never asked to soundtrack scenes of murder or torture.
Insidious uses Tiny Tim's high pitched voice and ukulele skills to evoke an even greater sense of unease by using "Tiptoe Through The Tulips." Although the artist was already considered a weird guy, the song exudes a feeling of benevolence and peace, in sharp contrast to the demon that plays the ong. Even though the song appears several times, it never ceases to terrify, a constant reminder of the demon's presence.
In A Clockwork Orange, the group of protagonists claims to witness an accident to gain access to a private home; they then proceeds to beat up and assault the homeowners. The gratuitous violence of the scene becomes even more horrific as Malcolm McDowell begins singing a cheery version of "Singing in the Rain," a song associated with a feel-good, family-friendly musical.
That the song basically describes making the most of what life gives you fails to make the scene appear any less gruesome.
Most audience members never hear Stealers Wheel's "Stuck In The Middle With You" the same way again after watching Reservoir Dogs. As the song plays on a radio, it inspires Michael Madsen to torture a police officer, cutting off his ear and turning what was originally a catchy, upbeat tune into a soundtrack to gore.
John Cusack's stay in a haunted hotel room in 1408 gets extra creepy as soon as the clock radio begins to mysteriously play the Carpenters' "We've Only Just Begun." The song intensifies the experience when it arrives in the voice of a woman who died of an eating disorder; the now-dated sound possesses an eerie sentimental quality that's quite freaky.
In addition, Cusack's skeptical stay begins literally at this moment, taunting the audience as to whether or not he will survive the room's torments.