Music does something weird to movies. It's usually just there in the background, making you feel a certain way without you really noticing. But when you look at the music in Thomas Crown Affair—both the 1968 original and the 1999 remake—it's basically its own character. Most people remember Steve McQueen’s cool blue eyes or Pierce Brosnan’s smirk, but honestly, it’s the sound that keeps these films in the "classic" category rather than just being dated heist flicks.
The 1968 Original: Michel Legrand’s Baroque Jazz Trip
Back in 1968, Norman Jewison didn't just want a score; he wanted something that felt like the inside of a genius’s brain. He hired Michel Legrand, a French composer who had just come off the success of The Umbrellas of Cherbourg. Legrand brought this wild mix of jazz, pop, and even some Stravinsky-esque classical vibes.
The centerpiece, of course, is "The Windmills of Your Mind."
It’s a bizarre song if you really listen to the lyrics. "Like a circle in a spiral, like a wheel within a wheel." It sounds like a fever dream or a bad trip, which makes sense since lyricists Alan and Marilyn Bergman were trying to capture a stream-of-consciousness feel. Noel Harrison (son of Rex Harrison) was the one who recorded it for the film. Fun fact: he was paid a whopping $500 for the session. He recorded it live at Paramount while the movie played on a giant screen. Legrand was reportedly so happy with the performance he was blowing kisses to the orchestra.
The song won the Oscar for Best Original Song in 1969. But Harrison couldn't even perform it at the ceremony because he was busy filming in England. Jose Feliciano stepped in to sing it instead, though Harrison later joked that Feliciano took way too many "jazz liberties" with the melody.
Beyond that one hit, the score is remarkably playful. The "Chess Game" sequence is famous for its tension, and Legrand uses these rhythmic, almost ticking sounds to mirror the psychological warfare between McQueen and Faye Dunaway. It isn’t just background noise; it’s the heartbeat of the scene.
✨ Don't miss: Why La Mera Mera Radio is Actually Dominating Local Airwaves Right Now
The 1999 Remake: Bill Conti and the Power of Nina Simone
When John McTiernan decided to remake the film in 1999, he had a massive problem. How do you replace an Oscar-winning, era-defining score? You don't. You pivot.
Bill Conti took over the scoring duties, and he decided to weave the original "Windmills" theme into his new work as a tribute. But the real star of the 1999 soundtrack isn't even an original piece. It’s Nina Simone's "Sinnerman."
Why "Sinnerman" Changed Everything
If you’ve seen the movie, you know the scene. The final heist at the Metropolitan Museum of Art. The "Man in a Bowler Hat" sequence.
The song is over ten minutes long in its original form, and the movie uses almost all of it. It’s a gospel-blues track about a man trying to hide from judgment, and using it for a high-stakes art heist was a stroke of genius. It’s fast, it’s frantic, and Simone’s voice has this raw, desperate edge that makes Brosnan’s Crown seem a lot more vulnerable than he looks on the surface.
Actually, the use of "Sinnerman" in the music in Thomas Crown Affair basically reinvented how directors used "needle drops" in heist movies. It made the scene feel like a dance rather than a crime.
🔗 Read more: Why Love Island Season 7 Episode 23 Still Feels Like a Fever Dream
A Tale of Two Windmills
You can’t talk about the 1999 version without mentioning Sting.
He did a cover of "The Windmills of Your Mind" for the closing credits. Some people hated it—thought it was too "90s adult contemporary." Others thought it was a perfect, moody update. It’s definitely different from Harrison’s breathless, slightly anxious version. Sting’s version is smoother, more "New York penthouse" than "1960s glider field."
Soundtrack Breakdown: 1968 vs. 1999
- 1968 Main Theme: "The Windmills of Your Mind" by Noel Harrison. (Wistful, baroque, existential).
- 1999 Main Theme: "The Windmills of Your Mind" by Sting. (Slick, jazzy, modern).
- 1968 Score Style: Michel Legrand’s experimental jazz and orchestral flourishes.
- 1999 Score Style: Bill Conti’s piano-heavy, sleek thriller vibes.
- The "Vibe" Shift: The 1968 music feels like a man losing his mind in a circle; the 1999 music feels like a man winning a very expensive game.
Why These Scores Still Matter in 2026
We're living in a time where most movie music feels like generic "Braam" sounds or synth drones. Looking back at the music in Thomas Crown Affair, you realize what's missing today: personality.
Legrand wasn't afraid to be weird. Conti wasn't afraid to let Nina Simone take over the climax of his movie for ten minutes. These soundtracks didn't just support the visuals; they challenged them. They made the movies feel more expensive and more intellectual than your average action flick.
If you’re a filmmaker or just a fan of "cool" cinema, there are some real lessons here.
💡 You might also like: When Was Kai Cenat Born? What You Didn't Know About His Early Life
First, don’t be afraid of silence or minimalism—the 1968 chess scene uses music sparingly to build a ton of sexual tension.
Second, a good song can be more effective than a giant explosion. "Sinnerman" does more for the 1999 heist than any CGI could have.
Finally, themes matter. Having a melodic "hook" like "Windmills" gives a movie a soul that people remember decades later.
If you want to dive deeper into this sound, your next step is to find the Quartet Records release of the 1968 soundtrack. It’s the first time the actual film recordings—which are different from the re-recorded LP versions—were made available. Listen to the track "The Chess Game" and "Cash and Carry" back-to-back. You’ll hear exactly how Legrand used music to track the movement of money and the movement of hearts. After that, go watch the 1999 museum scene again, but try to imagine it without Nina Simone. It’s almost impossible. That’s the power of a perfect soundtrack.