Can anyone suggest some successful use of 'Irony' in music composed for cinema?

Inspired, stimulated, and excited by a recent question by Alberich, I timidly ask this, eager to discover something I have not yet encountered. As a minor contributor to cinema, 'irony', as a potent device, has usually fascinated me.

The 'Harry Lime Theme' ("The Third Man", about 1951?) is some of the most effective musical contribution I have ever encountered. It is a pleasant, easy-going ditty, played on a zither (of all things!), that subtly lets viewers know that the fearsome villain in in the vicinity.

[ A 'boom, boom' musical contribution (such as Hollywood would probably use today) would be laughable, surely?]

This, to me, is a model of the use of ironic music, music inserted to achieve the direct opposite of its apparent mood.

I call music that reflects what happens on screen 'melodrama', but not in a 'critical' way. 'Irony' is usually music used to shock because of its incongruity.

I was delighted to discover that Alberich was something of a film lover, and hope that there are others.

Music, beginning as noise added to the screening of a film to cover the noise made by the projector, has developed into a major ingredient of fine cinema.

Good cinematic music, however, is rarely noticed when viewing. When you do notice it, it is often inappropriate, often overdone, and rarely helpful to the whole. The cine composer learns to leave his/her ego at home quite quickly.

(Being an crusty, opinionated old man, I have to say that I would rather call a symphony a 'song' than call a film a 'movie'. Feel free, however, to call it what you will. In my country, Australia, cinematic productions are usually called 'pictures' [pronounced 'pitchas' quite often] or 'films' [pronounced 'fillums' in many cases]. That being so, perhaps 'movies' isn't so bad, after all?)