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"      With Baz Luhrmann&amp;#039;s The Great Gatsby due out this weekend, America is about to learn just how much the high-rollers of the roaring &amp;#039;20s adored the likes of Jay-Z and Andre 3000. Luhrmann loves to play fast and loose with music and history, scoring his period pieces with every anachronistic pop tune he can secure the rights to \u2014 in this case running the top-40 gamut from Fergie all the way to Lana Del Rey (who, to be fair, would actually fit in at those West Egg parties). But Luhrmann is neither the first not the best filmmaker to try his hand at this OST-boosting trick, and in order to prove it, we&amp;#039;ve gathered a handful of superior (and mostly recent) variations. 8. &amp;quot;Hong Kong Garden,&amp;quot; Siouxsie and the Banshees Marie Antoinette (2006)      Seeing the French queen eat snacks and try on dresses to &amp;quot;I Want Candy&amp;quot; might have been a better gag, but the best of the movie&amp;#039;s many great musical touches was the use of &amp;quot;Hong Kong Garden&amp;quot; to score a massive masquerade. Here the point was more reserved: Rather than underscore how childlike and modern Marie was, the scene makes the Siouxsie track seem classical and elegant in ours \u2014 as pitch-perfect for 18th-century balls as high-school dances today. Who knew? 7. &amp;quot;Run (I&amp;#039;m a Natural Disaster),&amp;quot; Gnarls Barkley X-Men: First Class (2011)      This otherwise so-so sequel has one clear advantage over other superhero movies: Michael Fassbender and James McAvoy scoping out mutants at a strip club. This brief montage was the irreverent highlight of a movie that otherwise took itself way too seriously, and a big part of its light-touch appeal was the inclusion of Gnarls Barkley&amp;#039;s &amp;quot;Run,&amp;quot; which was written a few decades after the film&amp;#039;s Cold War setting, but who cares?  6. &amp;quot;The Infanta,&amp;quot; The Decemberists Mad Men (2007-2013)      It&amp;#039;s not a movie, no, but its six-season run so far has made such a show of its carefully deployed anachronisms that it would be a shame to leave it out. It was during the opening moments of the second season&amp;#039;s sixth episode that the series made one of its most shocking moves to date: a morning-routine montage set to the distinctively non-&amp;#039;60s sounds of the Decemberists&amp;#039; &amp;quot;The Infanta.&amp;quot; Last season Don made a point of turning off the Beatles. Shame he couldn&amp;#039;t do anything about Colin Meloy.  5. &amp;quot;Baby I Love You,&amp;quot; The Ramones       Tabu (2012) Director Miguel Gomes set half of his silent, black-and-white romance in Africa in the 1960s, but he&amp;#039;s (deliberately) no truer to the period details than Luhrmann \u2014 the time and place are as hazy as a half-remembered dream. So when a rock band rips into a Ramones cover of the Ronettes&amp;#039; &amp;quot;Baby I Love You,&amp;quot; it doesn&amp;#039;t seem quite so strange. And it proves what we all know to be true: The Ramones are timeless.  4. &amp;quot;Roadrunner,&amp;quot; The Sex Pistols       Not Fade Away (2012) This is an especially weird case: The original version of &amp;quot;Roadrunner,&amp;quot; recorded in 1972 by the Modern Lovers, actually would have fit the period, but the cover included in the film was recorded by the Sex Pistols in 1976. And that&amp;#039;s precisely why it&amp;#039;s so great: In a movie all about changing trends in popular culture, this one song choice suggests that the rock &amp;#039;n&amp;#039; roll epoch will soon be dead and gone, replaced by the sounds of punk. It&amp;#039;s a bold gesture: spend two hours celebrating &amp;#039;60s classic rock and five minutes making it all sound outdated. Leave it David Chase to find an ending guaranteed to piss half the audience off.  3. &amp;quot;Cat People (Putting Out Fire),&amp;quot; David Bowie  Inglourious Basterds (2009)      Oh, Quentin Tarantino. Has there ever been a filmmaker quite so liberal with his soundtrack choices? When David Bowie&amp;#039;s &amp;quot;Cat People&amp;quot; starting playing in the lead-up to the climax of his revisionist World War II epic, the incongruous choice of tune surprised exactly no one. This is the same guy, after all, who made it impossible to hear &amp;quot;Stuck in the Middle with You&amp;quot; without your ear flinching \u2014 hearing any damn thing at any time is part of the price of admission. Speaking of which... 2. &amp;quot;100 Black Coffins,&amp;quot; Rick Ross Django Unchained (2012)      Anybody could throw a Southern rap track into the middle of their period blaxploitation Western. Only QT could make it work so well. And Django even one-ups the licensed anachronism of Basterds by commissioning an original single for the occasion, a job trap god Rick Ross was happy to take on. It&amp;#039;s a subtle act of defiance in the face of Western oppression: In a movie dominated (at least for most of its running time) by rich white slavers conspiring to keep its black hero down, &amp;quot;100 Black Coffins&amp;quot; is a rare moment in which a black voice has the power. Gatsby&amp;#039;s Jay-Z tracks look like gimmickry by comparison. 1. &amp;quot;The Stranger Song,&amp;quot; Leonard Cohen McCabe and Mrs. Miller (1971)      There&amp;#039;s a reason Robert Altman called McCabe and Mrs. Miller an &amp;quot;anti-Western,&amp;quot; and it starts with the opening credits: Leonard Cohen&amp;#039;s &amp;quot;The Stranger Song,&amp;quot; a deep cut from his debut album, makes the forested great outdoors traversed by Warren Beatty look like his late-&amp;#039;60s weekend getaway rather than the American frontier. It&amp;#039;s a jarring touch that&amp;#039;s fitting, in its own way, since the movie drifts along more like a fever dream than any kind of classical wild-west adventure. "^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.esquire.com/entertainment/movies/a18447/anachronistic-movie-soundtracks/>