Christopher Nolan’s new Batman films have garnered almost universal praise, and well they should: they are superlative productions in almost every respect. One element of the films, however, has been mired in controversy, and that element is the music, co-composed by Hans Zimmer and James Newton Howard. Their music has a primal, brooding texture which couldn’t be more opposed to the grandly thematic, orchestral-gothic nature of Danny Elfman’s scores for the Tim Burton Batman films.
Zimmer and Howard: A Radical Departure
The new style of music for Batman was first heard in Batman Begins (2005). Instead of Elfman’s dark fanfare, Batman’s new musical representation is a deep swooshing sound effect (almost like wings flapping), a percolating ostinato for low strings, and a rising two-note motif for brass.
The quieter moments have some simple but lovely melodies for high piano and strings, and the chase scenes have Zimmer’s trademark pounding percussion-led anthems. The music, while functional and even effective in the sparse, intimate context of the film, is far more textural than melodic in construct and thus not nearly as memorable as Elfman’s material.
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