Explores how modernist films use classical music in ways that restore the musics original subversive energy.Classical music masterworks have long played a key supporting role in the moviessilent films were often accompanied by a pianist or even a full orchestra playing classical or theatrical repertory musicyet the complexity of this role has thus far been underappreciated. Sounds Like Helicopters corrects this oversight through close interpretations of classical music works in key modernist films by Francis Ford Coppola Werner Herzog Luis Buuel Stanley Kubrick JeanLuc Godard Michael Haneke and Terrence Malick. Beginning with the famous example of Wagners Ride of the Valkyries in Apocalypse Now Matthew Lau demonstrates that there is a significant continuity between classical music and modernist cinema that belies their seemingly ironic juxtaposition. Though often regarded as a stuffy conservative art form classical music has a venerable avantgarde tradition and key films by important directors show that modernist cinema restores the original subversive energy of these classical masterworks. These films Lau argues remind us of what this music sounded like when it was still new and difficult they remind us that great music remains new music. The pattern of reliance on classical music by modernist directors suggests it is not enough to watch modernist cinema one must listen to its music to sense its prehistory its history and its obscure prophetic future.