"Broken English" Soundtrack Lyrics

"Broken English" Soundtrack Description

Questions and Answers

Is there an official soundtrack album?

Yes. A 15-track album was released on August 28, 2007 on Commotion/Koch, featuring Scratch Massive cues plus a closing cut of “Broken English.”

Who composed the score?

French electronic duo Scratch Massive handled the score and music production on the film.

Does the film use licensed songs in addition to the score?

Yes—alongside Scratch Massive’s cues, the film features select licensed tracks, including I Am Kloot’s “Loch,” among others.

What song plays over the end credits?

“Broken English” (the Marianne Faithfull classic) plays over the credits on the commercial soundtrack release.

Can I stream the album?

The album is available on major services (where licensed), including Apple Music and Spotify under “Broken English (Original Soundtrack).”

Who supervised the music?

Music supervision is credited to Jamie Lowry; score production involved Scratch Massive with executive production support.

Notes & Trivia

• The soundtrack blends minimalist electro and mood-forward indie to mirror Nora’s NYC-to-Paris arc (as noted by AllMusic’s genre tags).
• Scratch Massive began a long-running collaboration with director Zoe Cassavetes around this film; they later re-teamed on other projects.
• “Loch” by I Am Kloot appears in the film and on the OST—an outlier organic track among the sleek synth cues.
• The commercial CD lists 15 tracks and was issued by Commotion/Koch, a label known for boutique indie film releases (according to industry retail listings).
• Score production credits include members of Scratch Massive; executive production support came from veteran music exec Tracy McKnight.

Overview

Why does a synth pulse feel like a heartbeat when you finally decide to get on a plane? The Broken English soundtrack answers that with a cool, quietly romantic blend of electronic score and sparing song placements. Scratch Massive’s cues don’t shout; they curl around Nora Wilder’s uncertainty, matching the film’s intimate framing and hesitant optimism.

What makes it distinct is the way those textures pivot when New York’s shut-in routine gives way to Paris. The music stays restrained, but the harmonics warm up—more shimmer, less grit. A strategic needle-drop like I Am Kloot’s “Loch” gives the emotions a human-band grain while the closing nod to Marianne Faithfull’s “Broken English” pulls a lineage thread: disillusion giving way to movement. (as noted in 2013 Pitchfork reflections on Faithfull’s album legacy)

Genres & Themes

• Minimal electronic / downbeat: Nora’s inner monologue—measured tempos, liminal synths, and soft drum programming track her social anxiety and late-night spirals.
• Indie/alt textures (“Loch”): A single organic needle-drop punctures the sheen, signaling vulnerability and connection beyond curated surfaces.
• New wave lineage (“Broken English”): The end-credits cue tips its hat to a 1979 classic—world-weary, unsentimental clarity after the detours. (according to NME magazine)
• City tones (NYC → Paris): Darker, colder palettes in Manhattan; a slightly brighter spectral field in Paris without ever turning syrupy.

Tracks & Scenes

"In the Dressing Room" — Scratch Massive
Scene: Early on, as Nora preps for yet another date, the cue’s close-mic’d electronics sketch a ritual of hope and dread (diegetic-adjacent, under dialogue).
Why it matters: Sets the film’s interior POV—sound as self-talk, not grand romance.

"Dirty Party" — Scratch Massive
Scene: During a bustling party sequence where small talk turns into quiet exits, the beat stays muted, letting glances do the work.
Why it matters: It’s social noise distilled; the track leaves pockets of space for awkward comedy and micro-heartbreak.

"Ghost in the Subway" — Scratch Massive
Scene: A late-night 1/9 line ride after a fizzled encounter; the cue hovers like fluorescent light—non-diegetic but location-shaped.
Why it matters: Names the feeling: public loneliness. A city track that doesn’t romanticize.

"For A Departure" — Scratch Massive
Scene: The travel decision—bags, gate, the risky yes. The cue’s forward-motion arpeggios underline a plot turn without telegraphing a fairy tale.
Why it matters: Momentum enters the sound palette; hesitation becomes motion.

"Soleil Noir" — Scratch Massive
Scene: Night walking in Paris; black-sun warmth over cool streets, non-diegetic, cut to city textures.
Why it matters: Recolors the film—same tempo, different hue, like Nora trying on a new narrative.

"A Lovely Desire" — Scratch Massive
Scene: A rare exhale after connection briefly lands; synth pads widen, letting quiet hope bloom.
Why it matters: The album’s longest cue earns the film’s softest beat—yearning without schmaltz.

"Loch" — I Am Kloot
Scene: A bar/after-hours interlude where the human-band timbre cuts through digital fog (non-diegetic placement).
Why it matters: It’s the film’s indie-leaning fulcrum—grainy, lived-in, briefly disarming.

"Broken English" — Marianne Faithfull
Scene: End credits; the classic’s serrated poise reframes Nora’s journey as adult clarity, not rom-com closure.
Why it matters: Pulls a cultural throughline from 1979’s unsentimental truths to a 2007 heart-on-sleeve search. (as stated in the 2013 Pitchfork review of the album’s deluxe edition)

Music–Story Links (characters & plot beats)

• When Nora retreats from a chaotic party, Dirty Party doesn’t escalate; it subtracts—mirroring her refusal to perform romance on command.
• Subway sequences pair urban hum with Ghost in the Subway, letting public spaces feel private—her interior voice gets the last word.
• The decision to fly syncs to For A Departure: rhythm first, melody second—risk before reward.
• Paris nights ride Soleil Noir; same BPM, warmer harmonics—Nora’s mindset shifts without pretending she’s an entirely new person.
• The credits cue, Broken English, keeps romance honest: the win isn’t a soulmate; it’s choosing motion over stasis.

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

First feature, spare palette: Zoe Cassavetes brought in Scratch Massive to keep the music modern, continental, and intimate rather than orchestral. The duo’s production credit runs through the cues, with additional music production roles documented across the album and film credits. Music supervision is credited to Jamie Lowry, with label-side executive production support that helped align the boutique OST release. (as reported by industry databases and album credits)

Reception & Quotes

Critics received the film warmly for Parker Posey’s performance and the film’s understated tone; the score’s restraint fit the vibe. Aggregated scores landed in “fresh/mixed-positive” territory.

“Parker Posey again proves her necessity to the indie film world.” The Hollywood Reporter

“A promising first film with moments exceeding that promise.” Chicago Tribune (via consensus summaries)

The OST itself—lean, moody, cohesive—sits comfortably in the late-2000s electronic/indie soundtrack wave. (as echoed by AllMusic’s categorization)

Technical Info

• Title: Broken English — Original Motion Picture Soundtrack
• Year / Type: 2007 / Movie
• Composer / Score: Scratch Massive
• Notable Licensed Track: “Loch” — I Am Kloot
• End-Credits Cut: “Broken English” — Marianne Faithfull
• Music Supervision: Jamie Lowry
• Label / Release: Commotion / Koch; street date August 28, 2007; ~52:45 runtime
• Availability: CD (original release); digital streaming on major services (regional availability may vary)
• Film Context: Premiered Sundance (Jan 20, 2007); US release by Magnolia Pictures; runtime ~96 minutes

Canonical Entities & Relations

Sources: AllMusic; Apple Music; The Hollywood Reporter; Rotten Tomatoes; Wikipedia film entry; SoundtrackINFO/MovieMusic retail listings; industry credits databases.

October, 25th 2025