Music of the Knight: Analyzing Danny Elfman's Score for Batman (1989)

[BatmAngelus]

The following is an essay that I had written for a film music class in which I was to analyze every cue in a film score.

Needless to say, I picked Elfman's 1989 score.

Some notes before reading:
- I don't get intense with the musical terms, mainly because my professor didn't want them.  The assignment was simply to "Talk about what's happening onscreen and what is happening musically, and then analyze how they work together."  And when I mention musical instruments, they are mainly a guess from trying to identify them by ear.

- The paper is 24.5 pages long, so I will be posting this in sections.  There are a total of 43 cues in the film, so I will probably post about five or so per post, if this gets a good response.

- We were asked to name the cues.  I took some from the commercial soundtrack and the bootleg titles, but some were made up by me as well.

- I got an A 

Introduction
In 1939, comic book writers Bob Kane and Bill Finger introduced ?The Bat-Man,? a dark costumed vigilante, with merciless crimefighting methods and a brooding personality.  But as more children started reading comics and censorship tightened, Batman?s personality changed and the tone of his world lightened up considerably.  He ultimately became more kid-friendly and comical. 

In 1966, this lighter version of Batman became immortalized in a campy television show.  Neal Hefti?s playful theme, with its repetitive yet addictive melody, was famous among all viewers.  Decades later, however, producer Michael Uslan and director Tim Burton wanted to make a Batman film that brought the character back to his darker roots.  Their goal was to be as true to the original character and as different from the 1966 show as possible.  For the movie?s score, Burton turned to his friend and collaborator, Danny Elfman, to provide a new theme for the character.

What Elfman delivered was a dark, intense, and driving theme that couldn?t have been more different from Hefti?s notorious melody nor more appropriate for Burton?s version of the character.  This five-note theme is the main motif of the film, usually accompanying the Dark Knight?s presence.  It has been reused in Batman merchandise commercials, trailers for all Batman films in the nineties, and, even, the main titles for the classic Batman: The Animated Series. 

Elfman?s score for Batman essentially helped launch his career as a film composer, aided Burton in altering the public?s perception of Batman, and changed the sound of the superhero theme.

1. Main Titles/The Batman Theme (2:38)
The Gothic five-note Batman theme is immediately introduced over the Warner Brothers logo.  The screen darkens to blue and black as the title sequence begins.  The music crescendos, building to a high chord as the title ?BATMAN? is displayed onscreen. 
A fast-paced march immediately follows and the camera moves along in the shadows to keep up with the tempo.  The theme is very dark, yet still somewhat heroic and establishes the tone of the film.  The music soon softens and slows, still continuing the same melody.  The theme becomes more operatic and less of a busy march.  One could say it even sounds mysterious to keep in nature of the character. 
It builds back up again as we see that we have been looking, throughout the title sequence, at an engraved version of the iconic Batman insignia.  A cymbal crash ends the cue and opens the film as we fade to Gotham City.

2. Don?t Scream (0:53) 
A lost tourist family turns into a seedy dark alley.  Elfman begins the cue with light percussive beats, adding to the seedy atmosphere of the environment.  Dissonant sounds accompany the family as they pass by derelicts.  It starts to grow loud and intense, foreshadowing danger ahead for the family. 
A mugger suddenly pistol-whips the father, Harold, in the neck.  He and his partner threaten the mother and son as they take Harold?s wallet and flee.  When the mother screams, we see a shot overhead of a cathedral roof where a shadowy figure turns away from edge, as if in response.  Over this shot, Elfman uses a slow, ominous version of the Batman theme, allowing audiences to connect that the figure to Batman and foreshadow that the crime we just witnessed will not go unpunished.

3. I?m Batman (2:21)
The two muggers, known in the script as Nick and Eddie respectively, explore Harold?s wallet on a rooftop.  When they discuss the urban legend of Batman, the music is dark and foreboding, as if Batman?s presence is being felt.  The silhouette of Batman appears in the background, accompanied by a slow, ascending version of the Batman theme.  This once again indicates the character?s presence and adds to the suspense since we know that Batman is there and can hear his theme, but Nick and Eddie remain ignorant.  The music dampens down for a moment and the criminals hear approaching footsteps. 
As they look up, the music suddenly becomes louder as we see Batman for the first time, spreading his cape like bat wings. The music is tense, with high strings and loud horns, as if from a horror movie.  It conveys the panic and terror that Batman instills in these mobsters. 
The score backs down dramatically as we hear Batman?s raspy whisper for the first time.  When Batman introduces himself with ?I?m Batman,? a loud and low drumming immediately follows, as if to punctuate Batman?s statement.  The drumming continues as Batman tosses Nick aside.  The Batman theme builds up, accompanying Batman?s jump off the rooftop.  As Nick crawls to the edge of the rooftop, he sees that nothing is there.  The music, however, still provides an uneasy feeling, as if Batman?s presence remains.

4. Eckhardt?s Little Snack (1:28)
As sleazy cop Lieutenant Eckhardt walks into an alley, he sees mob man Jack Napier leaning on a car at the end of the alley. 
Just like in the ?Don?t Scream? cue, light percussive beats convey the seediness of the city and the characters.  The music builds up the tension as the two men get into an argument and then stops for dramatic emphasis on Jack?s line, ?Better be sure.? 
When the music returns, it sounds darker, with long dissonant notes, as Eckhardt puts the gun down.  Although the argument is over, Elfman?s score indicates that there will be consequences.  As Napier walks offscreen, Eckhardt slyly remarks, ?Where have you been spending your nights??  A light drumming ends the cue, building the tension back up and foreshadowing that Eckhardt will have his revenge against Napier.

5. Grissom?s Place (0:10)
This cue provides a small transition from the offices of the Gotham Globe newspaper to the penthouse apartment of mob boss Carl Grissom.  As the camera tilts up the apartment complex, Elfman provides a dizzying tune with high strings, to convey the height of the building and accompany our journey to the top.

And I'll leave it at that for now...

[thecolorsblend]

I like it.  Elfman's Batman scores have come under some neglect of late, a bizarre side-effect of the bland and generic scores for the Nolan films.  This piece you put together is a reminder to us of the effectiveness of a film score when it's treated as a character in itself.

[The Dark Knight]

I like it.  Elfman's Batman scores have come under some neglect of late, a bizarre side-effect of the bland and generic scores for the Nolan films.  This piece you put together is a reminder to us of the effectiveness of a film score when it's treated as a character in itself.

Got to agree. Even though such a sound would not work in Nolans film, Elfman wipes the floor with the Nolan scores.

[BatmAngelus]

Thanks, guys.

More:
6. Jack?s New Assignment (1:39)
After Grissom assigns Jack to destroy evidence at Axis Chemicals, the cue begins, almost on the action, when Jack Napier?s eyebrows go up.  The music conveys his surprise and suspicion.  When we see Alicia Hunt, girlfriend to both Grissom and Napier, walk in, Elfman accompanies her entrance with a sultry saxophone to heighten her sex appeal. 
He brings in the low strings, however, to convey a sense of foreboding as both Grissom and Napier watch her walk across the hall.  Here, Elfman indicates the love triangle as a source of conflict.  Grissom abruptly ends the meeting and when we see a disappointed Jack, we hear a low drumming, which provides more tension to the scene. The drumming continues as Jack approaches Grissom, asking why he needs to do the Axis Chemical job. 
While the conversation between the two is rather plain and simple, Elfman provides subtext and creates tense music, showing that not everything is as it seems.  When Jack leaves, we hear a rattling sound, similar to one from a snake, as Grissom devilishly smiles, confirming our suspicions.  Elfman keeps the high strings, and thus the tension, when Grissom calls Lieutenant Eckhardt to set the police on Jack when he does the Axis Chemical job. 
Throughout the scene, Elfman?s score ultimately provides a tension between the two men that is not immediately conveyed by the visuals, dialogue, or the acting.

7. Checking The Tapes (1:14)
As Bruce Wayne leaves guests Alexander Knox and Vicki Vale alone in an armory room, the horns begin the cue and heighten the mystery of Bruce Wayne.  As the film reveals that they are being monitored from the Batcave, the strings grow darker.  The Batman theme lightly plays as Bruce watches footage of Police Commissioner Gordon learning of Jack?s whereabouts.  The audience already has seen Gordon?s conversation, however, and presumably knows before watching the film that Bruce Wayne is Batman.  Elfman?s score, however, sustains our interest and provides a faster pace to the scene, with its driving strings, indicating that something is about to happen.  When Bruce takes his glasses off, the Batman theme becomes louder, indicating that he is about to don the cape and cowl.

8. We?ve Been Ratted Out (0:33)
This cue begins as Eckhardt and the police move towards the chemical plant.  The music provides a busy, complicated tune as we watch the criminals inside the plant at work, trying to break into a safe.  The score provides suspense and a sense of urgency for the criminals, since we know that the cops are going after them and they do not.  Elfman builds the music up and stops when the safe opens as is revealed to be empty.  This provides a dramatic emphasis to the contents, as well as  the realization that Napier and his gang have been set up.

9. The Axis Chemicals Confrontation (5:36)
As the criminals exit from the office and confront the police, Elfman begins a driving melody that is repeated later in the film.  The whirling strings provide intensity and urgency as mobsters run from police and Jack Napier tries to sabotage the plant. 
The melody briefly stops, however, to bring back the Batman theme as Batman enters the scene and confronts the criminals.  From then on, Elfman differentiates between the two men, using the same busy and chaotic music for Napier?s attempted escape and the ominous Batman theme for Batman?s assaults on the mobsters. 
The music slows down a bit, briefly relieving the tension, as we see Police Commissioner Gordon directing other officers.  As Napier tries to shoot Gordon, the music builds up, making way for Batman?s entrance as the Dark Knight enters and kicks the gun out of Napier?s hand. 
The music backs down, however, when the goon, Bob, puts a gun to Commissioner Gordon?s head.  Elfman backs down and only uses high strings, showing that the new conflict becomes more personal.  To save Gordon, Batman lets Napier go.  Napier then sees his gun and tries to point it at Batman.  At this point, Elfman hits on the action, accompanying Napier?s gun pointing with a whirl from the strings.  When Napier sees that Batman has disappeared, however, the strings stop, to convey Napier?s surprise.  The lower strings, however, bring up the Batman theme, as if to hint at Batman?s remaining presence.  Napier looks around as Elfman has drum beats accompany the scene.  Like in the previous scene with Batman, the score allows the tension to remain, even in Batman?s absence.  The score builds up the tension again as Napier sees Eckhardt and shoots him. 
When Batman suddenly appears close to Napier, the horns blare to convey his presence.  Napier tries to shoot him, but the bullet ricochets and hits him back in the face.  As blood flies and Napier screams, the strings screech to convey the horror of what?s happened.  Napier falls off the scaffolding, but is able to hold onto the railing.  Batman comes to help him and tries to pull him up.  As he does so, the strings play high notes, providing more tension.  We aren?t sure if Batman will be able to save Napier or not.  The music gets louder until Batman lets go and Napier falls into a vat of chemicals.  His descent is ironically accompanied by a loud ascending group of chords, which stop once Napier lands into the vat. 
The music backs down as Batman and Gordon react.  When Gordon tries to have his cops capture Batman, the score builds up the tension again, but with sparser music.  This shows that a new conflict has emerged at the chemical plant and the audience is wondering if there will be a confrontation between Batman and the police now.  Batman, however, escapes, accompanied by the Batman theme.  The theme reprises as we cut to the exterior of Axis Chemicals and see Batman escaping. 
At the end of the sequence, we find ourselves looking at the factory?s dumped chemical sluice.  The music descends, building up the suspense, as bubbles rise from the surface.  We wonder if Jack is still alive.  As Jack Napier?s bleached hand is revealed, the score plays high strings and cymbals, creating an intense horror movie-type sound that indicates that Napier?s transformation from mobster to monster.

10. Switching Rooms (0:11)
This brief cue, played only by strings, is a transitional device as Bruce and Vicki move from the large, intimidating dining room to the small, intimate kitchen. 
Unlike the previous cue, it is a calming tune, yet somewhat echoes the same notes of the Batman theme.  In a way, it plays upon the regal effect of Wayne Manor while hinting on Bruce?s Batman persona.

[DarkVengeance]

I like both Elfmans scores and the Nolan film scores equally same, but I can agree that Elfmans work on the batman films is much more epic and set the standard for superhero scores just as John Williams Superman score did before his. Its too bad as of late most of Elfman's work truly is "generic", if you dont believe me listen to his score for Hellboy2 its awful and sounds rushed. I think most of his best work is when he works with Burton, I like his Spiderman scores and Hulk score alot too, mostly his stuff older stuff.

Sorry not trying to rant, I like the essay alot, its a good read! Elfman definitly is one of the best of the modern age!

-DV

[Paul (ral)]

Agreed.  I found Hellboy 2 to be a mix of Batman and Spider-man.

[Gotham Knight]

Excellent work. Can't wait for the rest.

[batass4880]

Great stuff so far BatmAngelus! Very detailed.

Its too bad as of late most of Elfman's work truly is "generic", if you dont believe me listen to his score for Hellboy2 its awful and sounds rushed. I think most of his best work is when he works with Burton, I like his Spiderman scores and Hulk score alot too, mostly his stuff older stuff.

Sorry not trying to rant, I like the essay alot, its a good read! Elfman definitly is one of the best of the modern age!

-DV

Agreed.  I found Hellboy 2 to be a mix of Batman and Spider-man.

Yeah, what's up with that? It seems like Danny is either getting lazy or he's running out of ideas. Or maybe he's just not that interested in the movies that he's been working on.

[BatmAngelus]

Thanks a lot for reading, guys.

More:

11. Chat in the Kitchen (1:06)
When Alfred leaves Bruce and Vicki alone in the kitchen, the cue begins with a calming tune.  For Bruce, Vicki is a comforting presence in his dark world.  As such, Elfman provides a calming sound that seems rather out of place with the intense melodies in the rest of the score. 
At the end of the scene, Elfman plays a soft, subtle version of the love theme in the film, which is a slightly altered version of the Batman theme played at a slower tempo.  The similarity between the two themes creates subtext; even the love of Vicki Vale is not enough for Bruce to escape from being Batman.

12. The Joker is Born (1:23)
As we go into a seedy alley, the cue begins with dissonant music that switches from one instrument to another.  The audience, comforted by the romantic scenes from earlier, is now suddenly placed back into the dark streets of Gotham. 
We enter the plastic surgeon?s office and strings build the music as the surgeon takes the bandages off of Jack Napier?s face.  Napier gets impatient, however, and starts taking them off himself.  The score keeps providing tension, foreshadowing that Napier won?t like what he sees.  When he looks in a mirror, the orchestra cuts out and one instrument plays a single note.  The sudden change conveys a sudden sense of sadness.  Napier doesn?t like what he sees and starts to cry.  Another instrument, however, joins in on the same note, providing dissonance and building the tension back up. 
Napier suddenly maniacally laughs and Elfman hits on the action as Napier smashes the mirror.  More and more instruments join in as the music becomes more chaotic, indicating that Napier has snapped and gone completely insane.

13. Bruce?s Love and The Joker?s Revenge (3:51)
As Bruce and Vicki kiss on the stairs, Elfman briefly plays the love theme.  It carries over into the next scene, at Grissom?s apartment, where the music starts to become more intense, foreshadowing Jack?s visit.  The rattling sound from the previous cue at Grissom?s apartment returns, reminding us of the mob boss?s betrayal.  Elfman plays on the action as the elevator doors open, making Jack?s entrance in the apartment seem intimidating.  The music builds as the two confront each other.  When Jack yells, ?You set me up over a woman.  A WOMAN!?
Elfman follows up Jack?s statement with a sharp, piercing high note, creating more tension.  The music builds up to a cymbal crash as Jack steps into the light and reveals himself to be the Joker.  The cue briefly stops, allowing a dramatic emphasis on the Joker?s line, ?And as you can see?I?m a lot happier.?  When Joker laughs and shoots Grissom to death, Elfman introduces the Joker theme, a light circus-type waltz that contrasts from the violence we see.  This is an appropriate theme for the character since the Joker himself is based off of contrast; his evil intentions are masked by the innocent image of a clown that he tries to embody.  By providing a light circus waltz to a gruesome murder, Elfman makes us feel the perversity of the killing.  The waltz stops with a high note, directly correlating to Joker tossing his arms in the air in victory. 
A music box begins playing a simple, playful melody that relieves the tension and carries us over to the next scene in Bruce?s bedroom.  The love theme plays from a piano as Bruce watches Vicki sleep, creating a romantic atmosphere.  When Vicki wakes up in the middle of the night alone and hears creaking noises, the love theme switches over to the Batman theme.  Vicki looks over and sees Bruce hanging upside down, like a bat, and exercising.  Elfman?s change from one theme to another provides subtext that Bruce is unable to sleep or turn off his obsession with being Batman. 
The music then descends and becomes darker as we return to Grissom?s apartment, where the Joker now sits at his former boss?s desk.  The music box returns, now playing the Joker waltz, as horns and strings play tense, dissonant music.  The contrast between the two creates a tension that makes you feel uneasy as the Joker begins planning what he?ll do to the city.

14. Roasted Dude (0:57)
The cue begins as Joker looks at the charred corpse of mobster Antoine Rotelli and smiles evilly.  As he starts to talk to it, the music has a creepy, dissonant feel as low timpani beats in the background.  It provides a chilling atmosphere that helps us see how deranged the Joker really is.

15. Flowers (1:52)
As Vicki watches Bruce drive away from Wayne Manor, Elfman continuously plays a two-note tune, heightening the mystery.  Neither Vicki nor the audience know where Bruce is going or what he is going to do.  When Vicki follows Bruce on the streets, Elfman provides an ascending melody, making the scene more intense as Vicki believes she will be closer to finding the truth behind Bruce?s secrets. 
The Batman theme lightly plays repeatedly as Bruce enters an alley, foreshadowing that this place is where his parents were killed and began his quest to become Batman. 
At one point, Elfman builds up the Batman theme with strings as Bruce pulls out two roses, but plays the rest of it with a music box-type instrument as the roses fall, providing a sense of poignancy to the action.  When Bruce looks back at the flowers, though, the music builds up to a dark sound, also indicating that something terrible happened here.  The music box ends the melody as Vicki picks up the roses and looks off in Bruce?s direction, wondering about the significance of the roses.

[BatmAngelus]

More because I'm feeling generous:

16. Clown Attack (1:54)
The City Hall scene initially begins with no music, making the press conference seem like a normal, everyday incident.  But when a mime comes over and pats a girl on the head, a sinister melody creeps up, indicating danger.  Elfman hits on the action in a couple moments, playing off of Bruce?s suspicious look to the mime and the mime?s deceptively innocent wave to him.  The drums come in as we see another mime and Bob hiding behind a wall.  The music adds another layer of tension as we recognize Bob and know for sure that something bad is about to happen. 
The music quiets down as we watch the press conference continue, but gradually builds back up as the Joker appears, building up our sense of dread.  When Joker stabs mobster Vinnie Ricorso in the throat with a quill pen, the strings come in on high notes, heightening the terror of the murder.  Machine gun fire briefly drowns out the score.  As Joker makes his getaway, a stunned Bruce Wayne follows. 
The strings take over, with a lush operatic sound that is very similar to the previous cue, relating the shooting of Bruce?s parents to the current shooting at City Hall.  In fact, when Vicki later sees a picture of young Bruce Wayne after his parents? death, she notes that Bruce?s catatonic reaction to the City Hall shooting was the same as the young boy?s in the picture.  Elfman?s score compliments this connection by presenting similar music.  The cue then plays off of Joker?s wave to Bruce and fades out as Bruce walks away from Vicki.

17. Photos/Beautiful Dreamer/Ship ?Em All! (2:53)
The cue begins with a light melody as Alfred leaves Bruce.  The score, in playing a calming sound, indicates that Bruce is thinking about Vicki Vale. 
The score continues this comforting tone as we go to a scene in Vicki Vale?s apartment.  She calls up her colleague, Knox, and asks him to look up what happened in the alley that Bruce Wayne just visited.  As she starts to brainstorm the significance of the alley, the music descends and turns darker as we cut to the Joker?s lair. 
There are playful bells with melancholy low strings, creating a tense sound.  Bob enters and shows the Joker photos.  A combination of, what sounds like, a saxophone and a theramin play, creating a weird, darkly satirical sound as Joker criticizes Knox?s photo.  A sweeping burst of bells play when he sees Vicki Vale and his eyes light up. 
The score indicates that Joker is attracted to her and Elfman introduces his arrangement of Stephen Foster?s classic song, ?Beautiful Dreamer.?  This song becomes a motif as a twisted love theme for Joker and Vicki.
The music then suddenly shifts to the driving string melody previously heard in the beginning of the Axis Chemicals confrontation.  We find ourselves at the gates of Axis Chemicals as a truck comes through.  The music builds up further as Joker tells a doctor to ship all of the chemicals, indicating that Joker is planning something sinister for Gotham.

18. Introducing Smilex (1:17)
As Joker presents his poisons to Gotham in a faux cosmetic commercial, we hear a light, playful melody that one would more likely hear at the circus.  Again, instead of playing into the terror of Joker?s actions, Elfman plays off of Joker?s clown look.  The light score compliments the deceptively light tone of the commercial, making you experience the irony of Joker?s twisted humor.

19.  Alarming Headlines  (0:05)
A newspaper spins on the screen and allows us to read the headline: COSMETICS SCARE IN GOTHAM. This brief cue consists mainly of a sweeping high notes, playing off the panic that is surely spreading through Gotham due to the Joker?s threat.

20. Going to Make Some Art, Darling (0:17)
As Joker puts flesh-toned makeup on his face, low strings set a sinister mood.  Elfman continues using percussive beats and sharp screeches to add to the mood as Alicia appears, mysteriously in a porcelain doll mask.  The music heightens the impending danger as Joker prepares to meet Vicki Vale.