CATCH ME IF YOU CAN and "The Girl from Ipanema"

CATCH ME IF YOU CAN

---

WHILE OUR FOCUS in the first two chapters is not on musical underscore (extradiegetic) or source music (music that comes from within the plot of  film, also known as diegetic music), one can't ignore other elements of a film.
    The soundtrack from Catch Me If You Can, by John Williams, is on youtube if students wish to study the musical themes and source cues to prepare for next week's film, also on youtube. Actually the film's source cues are ambiguous, since it's not clear from where they originate, though it's assumed the cues (the songs) are being played by someone within the film.
    In any case, due to sound bridges (that is, the sound from one scene carries over to the next) the source cues function as underscore or commentative music (that is, they comment on theme, plot, or character), as I point out in my Study Pix.
    "Commentative music" is an unfortunate synonym for underscore, because, in a well-made movie, all music is commentative, since no good director would use source music without relevance to theme, plot, or character, even if the music can be justified by period alone ("that's the kind of Rock 'n' Roll heard in the 1950s," etc.). But strictly speaking, "commentative music" refers to underscore (extradiegetic music).
    Here's "The Girl from Ipanema," a best-selling record and source cue in Catch Me If You Can, with vocal by Astrud Gilberto and a sax solo by Stan Getz. The song, by Antonio Carlos Jobim, was part of the bossa nova craze of the 1960s. Lyrics, in Portuguese and English, are attached.