In Edward Norton’s new film, Motherless Brooklyn, a keening ballad blows in and out, affecting the narrative and painting the prevailing mood with a deep shade of blue. It’s unmistakably the work of Radiohead’s frontman, Thom Yorke.
Some film songs sit so snugly with the tale that one can barely see the join. Others drop like gaudy visitors from another world. It’s an inexact science, a curious alchemy. Norton and Yorke are still figuring it out.