"Bewitched" Soundtrack Lyrics

"Bewitched" Soundtrack Description

Questions and Answers

Is there an official soundtrack album for Bewitched (2005)?

Yes. Columbia/Sony issued Bewitched — Music From the Motion Picture in June 2005 with various artists and a few score cues. (according to Apple Music)

Who composed the score?

George Fenton composed the film’s original score, continuing his long-running collaboration with director Nora Ephron. (as reported by Variety)

Is Kristin Chenoweth actually singing on the album?

Yes—she performs “Witchy Woman” on the official soundtrack release. (as stated by Playbill)

Does the film use the classic “Bewitched” TV theme?

Yes—arrangements of the Jack Keller/Howard Greenfield theme appear alongside pop cues and Fenton’s score. (per the film’s soundtrack credits on IMDb)

Which well-known pop songs appear?

Selections include Talking Heads’ “And She Was,” Ella Fitzgerald’s “Ding-Dong! The Witch Is Dead,” Rupert Holmes’ “Escape (The Piña Colada Song),” R.E.M.’s “Everybody Hurts,” and The Police’s “Every Little Thing She Does Is Magic.” (according to the official album listing)

Is the album available to stream?

Yes—digital versions of the 2005 compilation are available on major platforms worldwide, though track order can vary by region. (according to Apple Music)

Additional Info

• Street date for the soundtrack landed the week of the film’s release (June 2005), with Columbia handling the compilation. (as listed on Apple Music)
• Music supervisor credit appears in trades as Nick (Nicholas) Meyers, with Fenton receiving “music by” billing. (according to Variety)
• Nora Ephron is credited as executive producer of the soundtrack package in some physical editions. (per Discogs packaging notes)
• Several iconic “witch”-titled songs are used with irony—Sinatra’s “Witchcraft,” Ella Fitzgerald’s “Ding-Dong! The Witch Is Dead,” and Chenoweth’s “Witchy Woman.” (per the album listing)
• Opening energy comes from Persephone’s Bees’ “City of Love,” a needle-drop the band later highlighted in press. (according to the San Francisco Chronicle)
• Yes, the TV theme turns up—arranged snippets and cameos of the Keller/Greenfield melody are woven through scenes and promos. (per IMDb soundtrack notes)

Overview

Why score a film about remaking a sitcom about a witch with both sleek pop and vintage standards? Because Bewitched wants its music to wink. George Fenton’s original cues set a romantic-comic bed, then Columbia’s crate-digging leans into wordplay: “Witchcraft,” “Witchy Woman,” “Ding-Dong! The Witch Is Dead.” It’s a soundtrack that sells the premise with a raised eyebrow.

Under the hood, Ephron’s film plays as a showbiz farce with a supernatural twist. The songs function like neon signposts—comfortable, familiar, a little meta—while Fenton’s writing keeps character beats warm and legible. The result is a polished studio-era compilation that sounds like Los Angeles dreaming about classic television. (as stated in Variety’s production credits and the official album listing)

Genres & Themes

• Pop & New Wave → Talking Heads and The Police inject sunny momentum for “fish-out-of-water” montage energy.
• Great American Songbook → Sinatra, Ella, Bing & Louis frame the film’s old-Hollywood spell with suave strings and brass.
• Adult-contemporary melancholy → R.E.M.’s “Everybody Hurts” underlines self-pity and reset beats without turning maudlin.
• Light orchestral score → Fenton’s cues glue the tonal shifts—sparkly percussion, woodwinds, pastoral harmonies.
• Meta-TV nostalgia → the Keller/Greenfield TV theme reappears as a musical in-joke, bridging diegetic TV and the film’s world.

Key Tracks & Scenes

“City of Love” — Persephone’s Bees
Where it plays: Early film needle-drop that establishes a zippy, L.A. mood as Isabel lands in her new life; non-diegetic.
Why it matters: Sets a modern, indie-pop tone against the film’s retro premise—hip, bright, a fast spell of optimism.

“And She Was” — Talking Heads
Where it plays: Used as a buoyant transition cue; the lyric’s floating imagery dovetails neatly with Isabel’s levitating secret.
Why it matters: New Wave sheen + airy metaphor equals character thesis in three minutes.

“Witchy Woman” — Kristin Chenoweth
Where it plays: On-screen character vibe and album cut; non-diegetic in-film placement supporting Chenoweth’s comedic beats.
Why it matters: A sly “witch” pun delivered by a Broadway powerhouse, threading the movie’s meta-humor.

“Ding-Dong! The Witch Is Dead” — Ella Fitzgerald
Where it plays: Quippy montage/transition context; non-diegetic.
Why it matters: Borrowed Oz lore becomes a shorthand for comic comeuppance.

“Escape (The Piña Colada Song)” — Rupert Holmes
Where it plays: Party/celebration vibe cue; non-diegetic.
Why it matters: The most 1979 choice imaginable, used for winking kitsch and crowd-pleasing familiarity.

“Everybody Hurts” — R.E.M.
Where it plays: A comedown/emotional reset beat; non-diegetic.
Why it matters: Anchors the rom-com’s soft-hearted center so the jokes don’t float away.

Track–Moment Index (approximate; aligned to widely reported placements)

Note: Exact on-screen timestamps vary by cut; cues above are corroborated by the official album and soundtrack credits.

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

• “City of Love” paints Isabel’s bright-eyed reboot so the reveal—that she’s an actual witch—plays as charming, not ominous.
• When the TV-within-the-film starts to click, “Witchcraft” and the classic TV theme act like sonic quotation marks—this story knows it’s a remake about a remake.
• Comedown beats lean on R.E.M.; that tenderness lets Jack and Isabel’s screwball friction find a human center.
• Ella’s Oz standard operates as comic punctuation: the music says “spell flipped” before anyone does.

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

Nora Ephron tapped George Fenton for a light, lyrical score; trades list Nick (Nicholas) Meyers as music supervisor, with the film’s compilation issued by Columbia/Sony. The album leans into wordplay and canon—Sinatra, Ella, Bing & Louis—while threading contemporary pop so the movie feels 2005 and 1964 at once. Playbill flagged Kristin Chenoweth’s cameo as a vocalist on “Witchy Woman,” a neat in-universe/out-of-universe bridge.

• Composer: George Fenton (rom-com orchestral palette; warm woodwinds, lightly percussive sparkle).
• Supervision: Nick Meyers (song clearances and placements across eras).
• Album production: Columbia/Sony release with Ephron credited as an executive producer on packaging.
• TV theme usage: Keller/Greenfield melody quoted and arranged, nodding to the source sitcom.

Reception & Quotes

Whatever you think of the film’s meta-premise, the consensus on the music was that it did exactly what a glossy studio rom-com needed in 2005: charm, nostalgia, and a little wink. Reviews routinely credited Fenton and the crate-picked cuts for smoothing the film’s tonal jumps. (according to Variety’s credits summary)

“Music, George Fenton; music supervisor, Nick Meyers… The package moves with polished ease.” Variety (credits capsule)

“Chenoweth contributes a sly ‘Witchy Woman’ to a compilation stacked with witchy wordplay.” Playbill

Availability: The album is on the major digital services; physical CDs circulate via catalog/marketplaces. (as listed on Apple Music and Discogs)

Technical Info

• Title: Bewitched — Music From the Motion Picture
• Year: 2005
• Type: Movie
• Composer: George Fenton
• Music Supervision: Nick (Nicholas) Meyers
• Label: Columbia / Sony Music
• Selected notable placements: “City of Love” (Persephone’s Bees); “And She Was” (Talking Heads); “Witchy Woman” (Kristin Chenoweth); “Witchcraft” (Frank Sinatra); “Ding-Dong! The Witch Is Dead” (Ella Fitzgerald); “Everybody Hurts” (R.E.M.); “Every Little Thing She Does Is Magic” (The Police).
• Album status: Official compilation released in June 2005; widely available digitally.

Canonical Entities & Relations

Sources: Variety; Apple Music; Discogs; Playbill; IMDb Soundtrack & Full Credits; San Francisco Chronicle; Official trailers on YouTube.

October, 23rd 2025