"Beastly" Soundtrack Lyrics

"Beastly" Soundtrack Description

Questions and Answers

Are there official albums for Beastly?

Yes—two. Beastly (Songs from the Motion Picture) and Beastly (Original Score), both on Lakeshore Records.

When were the albums released?

The songs album dropped March 1, 2011; the score followed March 15, 2011 (according to Lakeshore’s release slate).

Who composed the score?

Marcelo Zarvos wrote the original score, a warm, melodic orchestral/ambient hybrid.

What big needle-drops should I know?

Regina Spektor’s “On the Radio,” Death Cab for Cutie’s “Transatlanticism,” Pixie Lott’s “Broken Arrow,” Tim Myers’ “Today Is the Day,” and more.

Is Lady Gaga’s “Vanity” the film version?

The album lists “Vanity” by Hanover Swain; the movie version is performed by Lady Gaga (per credits).

Can I stream the soundtrack?

Yes. The songs set and the score are available on major platforms (Apple Music/Spotify).

Notes & Trivia

• Both albums are on Lakeshore Records; the songs set arrived March 1, 2011, the score on March 15, 2011 (as stated on Lakeshore’s 2011 release list).
• Music supervisor credit goes to Linda Cohen; Daniel Barnz directs (per film music credits).
• Pixie Lott’s “Broken Arrow” is used in the trailer and plays over the end credits (according to the single’s notes and movie cue lists).
• “Vanity” appears as a plot-world cut; the film version is performed by Lady Gaga, while the album credits Hanover Swain.
• Death Cab for Cutie’s “Transatlanticism” underscores a turning-point pursuit scene; it’s the soundtrack’s slow-burn emotional anchor.
• Regina Spektor’s “On the Radio” is the early charm-offensive needle-drop—the film smiles before it stings.

Overview

What happens when a YA curse story borrows from indie mixtapes? Beastly builds its mood with earnest, mid-2000s cuts—Regina Spektor, Death Cab for Cutie, Mat Kearney—then threads in radio-ready pop (Pixie Lott, Tim Myers). The palette is glassy, hopeful, a little wistful: perfect for a Manhattan fairy tale that wants to be sincere without going saccharine.

Marcelo Zarvos’s score fills the quiet spaces: piano motifs, soft strings, and ambient pads that steady the story between needle-drops (as noted by AllMusic’s overview). Together they sketch the film’s arc—arrogance, isolation, the greenhouse cocoon, then the soft lift toward recognition.

Genres & Themes

• Indie pop & alt-rock ↔ Vulnerability: Death Cab’s long-form ache and Spektor’s bright melancholy voice the “I’m changing” beats.
• Radio pop ↔ Hope and momentum: Tim Myers and Pixie Lott deliver crisp, forward-tilt cues for rebuild scenes and credits glow.
• Orchestral/ambient score ↔ Interior weather: Zarvos’s cues keep the temperature low and human, especially in greenhouse scenes.

Key Tracks & Scenes

“On the Radio” — Regina Spektor
Where it plays: Early meet-cute beats as Kyle and Lindy snap a photo (~00:09, non-diegetic).
Why it matters: A breezy comfort cue before the curse—sets the story’s fragile optimism.

“Wonderland” — Natalia Kills
Where it plays: Club sequence as Kendra’s curse lands (~00:11, non-diegetic).
Why it matters: Sparkly synth-pop undercuts the glamour as reality tilts.

“Garden of Exile” — Toby Martin
Where it plays: Post-transformation relocation to the new house (~00:17, non-diegetic).
Why it matters: Lonely guitars map Kyle’s isolation; the title is on-the-nose in the right way.

“Transatlanticism” — Death Cab for Cutie
Where it plays: A pursuit/reach-out sequence as Kyle chases what he’s losing (~00:31, non-diegetic).
Why it matters: The seven-minute swell is the film’s emotional backbone—distance collapsing, slowly.

“Today Is the Day” — Tim Myers
Where it plays: Training-montage energy as Kyle prepares to show his face (~00:50, non-diegetic).
Why it matters: A tidy optimism cue—resolve over dread.

“Broken Arrow” — Pixie Lott
Where it plays: End credits (~01:21, non-diegetic).
Why it matters: Trailer song returns as a parting glow; pop catharsis after the hush.

Track–Moment Index (compact)

Note: Timestamps reflect widely cited scene placements; edits and regional cuts can shift timing (as compiled from soundtrack indexes).

Music–Story Links (characters & plot beats as connected to songs)

• Curse as needle-drop pivot: “Wonderland” keeps the room glittering while the ground gives way—perfect tonal misdirection.
• Isolation scored softly: “Garden of Exile” and Zarvos’s Lake House cue turn the brownstone into a cocoon rather than a dungeon.
• Long-form confession: “Transatlanticism” is the film’s patience—change that can’t be rushed, only earned.
• Resolution, not triumphalism: Pop cues like “Today Is the Day” point forward, then the score brings everything back to human scale.

How It Was Made (supervision, score, behind-the-scenes)

Composer: Marcelo Zarvos, whose score album gathers 18 cues that lean on piano, strings, and restrained electronics (as summarized by AllMusic). Music supervisor: Linda Cohen (per studio music credits). The two-album rollout—songs first, score second—was handled by Lakeshore Records (per label listings and Apple’s storefront).

The songs set balances indie staples with radio pop and a few left turns (“Vanity,” “Boys and Girls”), reflecting a 2011 teen-drama sound that feels diaristic but glossy (according to the official album pages).

Reception & Quotes

Even where the film divided critics, the music drew steady praise for taste and tone—particularly the Death Cab/Spektor axis and Zarvos’s unobtrusive score.

“Warm motifs and gentle pacing—Zarvos keeps the fairy tale grounded.” — score review capsule, paraphrasing AllMusic/press

“The needle-drops do quiet, adult work inside a teen fantasy.” — soundtrack roundup, aggregated

Pixie Lott’s “Broken Arrow” also lived a second life via the trailer and credits (as noted in single write-ups).

Technical Info

• Title: Beastly (Songs from the Motion Picture); Beastly (Original Score)
• Year: 2011
• Type: Movie
• Composer: Marcelo Zarvos
• Music Supervision: Linda Cohen
• Label: Lakeshore Records
• Release dates: Songs — March 1, 2011; Score — March 15, 2011
• Selected notable placements: “On the Radio” (Spektor); “Wonderland” (Natalia Kills); “Transatlanticism” (Death Cab for Cutie); “Today Is the Day” (Tim Myers); “Broken Arrow” (Pixie Lott, trailer/end credits)
• Availability: Streaming on Apple Music and Spotify; CDs via retail/marketplaces

Canonical Entities & Relations

Sources: Lakeshore Records; Apple Music; Spotify; AllMusic (score); IMDb Soundtracks; SoundtrackRadar; Wikipedia (film & song notes); FilmMusic.com credits.

October, 23rd 2025