"The Revenant" Soundtrack Lyrics

"The Revenant (Original Motion Picture Soundtrack) — 2009 Film by Kerry Prior" – Album Guide to Tracks and Key Scenes

Review

What does a vigilante buddy-zombie comedy sound like? In The Revenant (2009), it’s equal parts gallows humor and waltz-time irony: dusty classical chestnuts crash into DIY cues, bar-band crunch, and cello scrapes. The soundtrack leans collage — Johann Strauss in one breath, indie cuts and original cues the next — which fits a story that can’t decide whether to laugh, scream, or both.

That contrast is the point. Straussian pomp scores pathetic grandeur; a church fragment chills a morgue scene; a goofy rock riff greases a convenience-store “hero” moment. The album release arrived years after the film found its cult — a belated victory lap that frames the movie as what it is: a midnight-movie cocktail with a crooked grin.

Genres & themes in phases: Viennese waltz & march — mock-heroic swagger; alt/indie rock — slacker friendship and bad decisions; chamber strings — body horror with a pulse; sacred baroque — ironic holiness; electronics/loops — nocturnal L.A. hum. The score isn’t tidy, but neither are the boys.

How It Was Made

Film & music setup: Written and directed by Kerry Prior, the movie premiered in 2009 and toured festivals before a limited U.S. rollout. Music licensing and compilation were eclectic by design: recognizable classical recordings (Strauss) sit beside original tracks created for the film and small-label cuts.

Album history: A dedicated soundtrack did not appear during the initial run. A compilation soundtrack surfaced later (2013) — on CD and a limited picture-disc LP — gathering the Strauss pieces, diegetic cuts, and film-original cues (including the cello feature “Bad Shit Goes Down”). Streaming editions followed, typically credited to Various Artists.

Tracks & Scenes

“Rosen aus dem Süden (Roses from the South), Op. 388” (Johann Strauss II — Vienna/“Johann Strauss” orchestra recordings)

Where it plays:

A genteel waltz surfaces over images that are anything but — a mordant counterpoint during social or domestic interludes as Bart’s condition worsens. Non-diegetic needle-drop.

Why it matters:

Mock-heroic elegance turns bad behavior into a joke the audience is in on — a classic ironic Waltz-of-the-Damned move.

“Radetzky March, Op. 228” (Johann Strauss Sr. — various Vienna recordings)

Where it plays:

A brassy march punctuates a montage of vigilante “wins” — the boys swagger while we hear parade music. Non-diegetic.

Why it matters:

Triumphal rhythm for questionable heroics — the cue undercuts the righteousness with a grin.

“Fac ut portem Christi mortem” (from Pergolesi’s Stabat Mater)

Where it plays:

Heard around a body-prep/mortuary beat; the sacred texture floats over fluorescent light and bad choices. Non-diegetic needle-drop.

Why it matters:

Blunt irony — a prayerful line against a not-so-holy resurrection.

“Bad Shit Goes Down (Cello Pieces)” (Hope Easton & Shawn Cromwell)

Where it plays:

String scrapes and gritty double-stops crawl under a confrontation sequence — alleyway tension, heartbeat pacing. Non-diegetic score cue.

Why it matters:

Small ensemble, big nerves — a practical way to make low-budget violence feel tactile.

“Little Sister” (Second Academy)

Where it plays:

Bar/party ambience that frames the Joey–Bart bond with slacker warmth before things spiral. Diegetic source.

Why it matters:

Gives the duo a lived-in vibe — the track is all hangout, no heroism.

“Posthumous Lullaby” (Eric Balaban)

Where it plays:

A late-night drift cue — dirty lullaby guitar over city lights and regret. Non-diegetic.

Why it matters:

Touches the film’s mournful center — under the jokes, two friends are way out of their depth.

Also heard (in film, not always on the album):

• Additional Strauss performances (alternate Vienna takes of “Radetzky” and “Roses from the South”) used for contrast gags.

Notes & Trivia

• The 2009 film predates the 2015 Leonardo DiCaprio survival epic of the same title; their soundtracks are completely different.
• A proper soundtrack release arrived only in 2013, including a limited vinyl picture disc (500 copies) — a cult-film flourish.
• IMDb’s soundtrack page confirms the mix of classical recordings, indie cuts, and original cues credited to small ensembles and artists.
• Streaming editions often appear under Various Artists with ~13 tracks and ~52 minutes.

Reception & Quotes

The movie built festival buzz, then cult status on home formats; the later album gave fans a way to relive the film’s deadpan musical jokes.

“Finally gets a soundtrack release… including a limited picture disc.” — Exclaim!

“Strauss to slacker rock — a needle-drop comedy of manners and murder.” — fan/retrospective blurbs

Availability: 2013 CD/digital and limited LP; the compilation streams on major platforms. Expect classical tracks, indie songs, and a handful of original cues.

Interesting Facts

• Two “Revenants”: Searches pull in the 2015 Iñárritu film — different story, different (award-nominated) score.
• Public-domain strategy: Using 19th-century repertoire (Strauss, Pergolesi) kept licensing manageable while fitting the satire.
• Sound of L.A. nights: Small-ensemble cues (cello, guitars) were recorded/assembled to feel close-miked and nervy.
• Picture-disc art: The LP places Bart and Joey on opposite sides — a grin at the movie’s buddy-revenant premise.
• Catalog quirks: Some platforms date the album by its reissue year rather than the film year, causing confusion.

Technical Info

• Title: The Revenant — Original Motion Picture Soundtrack (compilation)
• Year: Film 2009; soundtrack release 2013 (CD/digital; limited LP)
• Type: Film (horror/comedy) — compilation of licensed recordings + original cues
• Notable pieces/cuts: “Rosen aus dem Süden,” “Radetzky March,” “Fac ut portem Christi mortem,” “Bad Shit Goes Down (Cello Pieces),” “Little Sister,” “Posthumous Lullaby”
• Label/availability: Various/independent issue; later digital on major services (credited to Various Artists)
• Film credits (music): Mix of licensed repertoire and original tracks credited to small ensembles and artists

Key Contributors

Questions & Answers

Is this the DiCaprio movie’s soundtrack?

No. This covers the 2009 horror-comedy by Kerry Prior. The 2015 survival epic has a different, award-nominated score.

Was there an official album in 2009?

Not at first. A compilation album arrived in 2013 (CD/digital and a 500-copy picture-disc LP).

Who “composed” the music?

It’s a compilation: licensed classical recordings + indie/original cues (e.g., Easton/Cromwell’s cello piece). No single composer score dominates.

Where can I stream it?

On major services under Various Artists; track lists include Strauss, Pergolesi, and film-original cuts like “Bad Shit Goes Down.”

Why all the waltzes and marches?

The movie uses Straussian pomp for irony — grand old music against grubby vigilante hijinks.

Sources: IMDb Soundtracks & film pages; Ringostrack entry; Exclaim! release news; Spotify/streaming listings; JustWatch/Moviefone/Letterboxd for synopsis/credits; YouTube trailer upload (first result).

November, 29th 2025