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I wasn’t particularly pleased with the music for Batman Begins, although the film itself was pretty good, but I have fairly high hopes for the sequel — especially after what I’ve been hearing.
It’s funny, the whole production team seems to want to pretend Burton’s films never happened but Ledger’s Joker is even more “Burton-esque” than Nicholson’s version. The pale skin. The dark circles around the eyes. The mad hair. What do you think…
Anyway, I fell out of interest after Elfman and Burton left the series, but this makes me excited again…
#1: This is a snippet from Emanuel Levy’s review of The Dark Knight, the film…
“The haunting music, that would make Bernard Herrmann proud, is composed by Oscar winner and multiple Oscar nominee Hans Zimmer (“The Lion King,” “Gladiator”) and seven-time Oscar nominee James Newton Howard (“Michael Clayton,” “The Fugitive”), who previously collaborated on the score for ‘Batman Begins.'” [http://emanuellevy.com/article.php?articleID=10176]
#2: Here’s a bit of exposition to an interview with Hans Zimmer about the music…
“But the theme Zimmer wrote for the Joker, played in the film by the late Heath Ledger, is a damning piece of music. It’s an intense eight-minute piece that comes off like an orchestral interpretation of a something created by Trent Reznor’s Nine Inch Nails. Zimmer says the work is only two notes, but the two notes are twisted and manipulated into mimicking the sounds of thunder, razors and all sorts of clatter heard in alleyways probably better left unexplored.
Though that description may not make it sound like music to the ears, it’s still immensely listenable. It plays out like something from a horror film, with many a shift in direction and a nod to “Psycho.” But all of it is tied together by a striking blow of strings that keep it from falling apart, and Zimmer said it bears a punk influence.” [http://latimesblogs.latimes.com/extendedplay/2008/06/batman-the-dark.html]
#3: Lastly, something else I found interesting. Ledger, before he died, talking about Tim Burton and Jack Nicholson…
I can’t really see what peoples problem is with the music in the Begins, to be honest. I love Dannys Batman music, but it’s for a different film. Burtons films were much more over the top dark, melodramatic and operatic interpretations of Batman. And they were absolutely bloody amazing films/scores. But equally I think Zimmers very understated score and thematically lacking score of Begins worked really well for that film. I was a bit upset when I heard they’re goin for a clear theme in this one. It could mess it up I think, not least because I never like Zimmer’s themes. They always sound the same. I thought the simple music of the first film was perfect for that realization of Batman.
It’s the 21st Century, I honestly think it’s about time we stopped worrying about themes for films and look forward. It’s a dated idea which has been around for years before film that doesnt necessarily work for everything now. That’s why as a purely musical experience I don’t enjoy some of Dannys new film music as much as his older stuff, but in the film it always works great and it more often than not helps the story. Danny shouldn’t get flak for not using big clear themes in some films either, it’s not like he couldn’t do one…It’s because it wasn’t right for the film. I like the idea that the best compliment a film composer can get is that no one noticed his/her music! It shouldn’t get in the way. Which is what Zimmer’s original score didn’t do! And Elfman’s scores for Batman didn’t do either because they were that type of film the required a nice big melodramatic score. So, let’s just look forward to what should be a great film!I think you DO notice great scores. You don’t have to notice the score to make it good but a great one will have its moments in the film where you know it’s there and lifting the images up. Think of The Ecstasy of Gold in The Good, The Bad and the Ugly, Citizen Kane’s Overture or….the Attack of the Batwing in Batman 89 !
Don’t get me wrong, I don’t dislike Zimmer/JNH approach for Nolan’s films but it lacks a real personality and an actual theme. Not a bombastic-hummable-in your face one but something more that the two-note motif they had in the first film.Well of course I know there are moments in some scores and I agree with your examples. But everyone seems to be really dissing the Begins score, and I don’t think it’s right. I think it works for the film and really captures the essence of the character. I don’t usually like Zimmer stuff to be honest, and I’m vaguely scared that this time round we might end up with something like ‘The Rock’ on this film. Anyhow, the first film does have some thematic material and, in my opinion, it’s sufficient thematic work! And the string writing is nice, though this may be down to JNH. I’m not sure.
It comes down to preference. I personally listen to scores with lush colors and melodies that provoke a rush of blood. Batman Returns was one of those scores. Batman Begins wasn’t.
Still, — again –, from what I’ve heard, I am looking forward to the Dark Knight CD nonetheless. Why? Early buzz. Also I just listened to Howard’s “The Happening” and his music for that movie was so good I thought. It was like a return to Herrmann’s Twilight Zone style of composition. So simple and dark. The beat of the low strings and the instrumentation made that score.
The Dark Knight score doesn’t have to be Elfman but I am hoping it’s something enjoyable. I’m placing my bets that it just might be.
Typical review by someone who knows nothing about film music to use the word “haunting”. What is “haunting”? Can you describe it? It’s it a feeling? Is it an emotion? No, it’s neither! Enough off topic threads. A Danny Elfman movie and score just came out last week. Let’s talk about that. This is the last DARK KNIGHT thread that’ll survive the delete button.
Oh, I’m sure the music would make Herrmann crap his pants.
A Danny Elfman movie and score just came out last week. Let’s talk about that.
Ha, ha. No kidding.
The main theme in Wanted is fantastic. It has such a wonderful Russian feel to it. It would be great if Danny got to score a fantasy and approached it like a Russian fantasy, a la, Scheherazade.
Hi there. I have been a huge fan of Danny Elfman for a long time and have been a fan of this site for a while. I finally got up the nerve to register and add my voice this very distinctive and much more knowledgeable crowd than myself.
Anyway on to the topic at hand. I have recently picked up a copy of the Dark Knight soundtrack and thought it was pretty good although I wasn’t terribly impressed with Zimmer’s “one note Joker theme”.
I did notice something very interesting at the beginning of the track called “I’m Not a Hero”.
At about ten seconds in there is a very familiar melody that is played with a few alterations and is really subtle. I didn’t really notice it until about the third listen.Yes, That is Danny’s Batman theme although I don’t think they did it on purpose. It sounds really cool played by a cello I might add.
Danny”s score for the first Batman is still the best Batman soundtrack and is the reason I am a huge Elfman fan. I do have to admit I like this new CD more than I thought I would, of course the best piece on there is by James Newton Howard.
Welcome!! And I just checked your theory and I did in fact hear the BATMAN theme in the basses. It’s a very brief quote, and may not even match Elfman’s theme, but damnit, I do hear it 0:10-0:18.
I’m even wondering if all that talk about Danny’s “jolly theme” was a dodge. After all Zimmer said he didn’t have a Batman theme. Then he said he did. I also vaguely remember something about Nolan saying He liked Danny’s theme and wantd to use it. That was quite a while ago, before Batman Begins came out, and I could have been imagining it too. Anyway if I’m right, we might hear even more of it in the next film. I’m not holding my breath though.
When listening to the album, the cut titled “A Little Push” is more Herrmann-esque than “Why So Serious?’. Just listen to the brass. It is reminiscent of the Brobdignag segments of “the Three Worlds of Gulliver”. That cue, as far as I can tell, was written by Howard and tweaked by Zimmer and Mel Wesson. it’s a pity Howard wasn’t able to write these scores solo, or worked with Danny to bring his themes into a more suitable sound for these particular films, More urban and less operatic(although I’m more interested in Danny’s operatics). I doubt Danny would have participated anyway. The only reason He did the first two was because of Tim.
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