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Music and film go together like Batman and growling. The emotion in the drama is boosted by sympathetic treatment from the soundtrack, so that when an upsetting situation meets the right musical accompaniment, it will provoke a mass outbreak of sniffles. BBC film critic Mark Kermode (a self-confessed cinema sobber) knows this too well, and it's a cornerstone of his new Radio 2 series. This is a collection of songs and soundtrack moments that have transformed sad situations into tiny tragedies, or loaded happy events with significance until they become overwhelming.

This can be because a perfectly apposite and familiar tune has arrived at precisely the right moment, because a musical visionary like has created something especially heartbreaking, or even because a really big movie about a historical calamity needs a really big tie-in hit single to help promote it. As composer Neil Brand explains in this clip, melancholy is a tricky emotion to introduce in a children's film, especially one that will go on to make up preposterous words () and show the cast dancing with cartoon penguins. And yet Disney proved themselves to be masters of the art, from Dumbo's utterly devastating Baby Mine (the song Dumbo's mother sings to him from her prison wagon) to Frozen's Do You Want to Build a Snowman? The soundtrack to Mary Poppins is riddled with sniffly moments, including the mournful, but it's Feed The Birds that has the power to root fidgety audiences to their seats. Mark Kermode is equally of this song in particular: 'I own a very battered copy of the soundtrack which was given to me as a Christmas present many decades ago. [Feed The Birds is] a timeless composition by the Sherman brothers which remains a masterclass in screen song-writing.' Sometimes you don't need the context of a story to get the full picture from a film soundtrack.

John Williams' theme from Schindler's List carries all the grand tragedy of the film's horrific subject matter - the Holocaust - in its melody. It's a tune that, with its searing violin, invokes the grand melancholy of Eastern European folk music and Jewish traditional music too, but played with enormous weight, as if this is the only conceivable way of expressing a huge and crushing hurt. It's the kind of melody that would evoke that feeling even if the film had never been made. Although its appearance at the very end, played modestly on piano while the camera tracks across a path made from Jewish headstones, gives the audience a chance to exhale, and breathe the gloom out slowly. Can rightly lay claim to having produced some of the most devastating songs in pop, from Knowing Me, Knowing You to The Winner Takes it All, and a good many of them are featured heavily in Mamma Mia!, the jukebox musical that became a movie. However, it's Slipping Through My Fingers, a lesser-known meditation on the dying days of motherhood from their 1981 album The Visitors, that carries the greatest emotional wallop in the film. This may be because their other megaballads are so deeply embedded in the public consciousness that they've picked up their own context (not least from a million karaoke bars), so it's more jarring when the cast launch into, say, SOS.