Ahoy Collider readers, and welcome toSoundtrack Saturday. This is a new recurring feature you’ll see here on Collider from time to time in which we take an opportunity to highlight memorable scores and soundtracks from the world of film and television. We love celebrating actors and directors as much as anyone, but we’re also big fans ofeveryaspect of filmmaking, so the aim of Soundtrack Saturday is to spread the love to the composers that provide crucial and sometimes iconic soundtracks to a wide range of films.
For this edition of Soundtrack Saturday, I’ve chosen to take a look back at the varying Batman themes over the years now thatBatman v Superman: Dawn of Justiceis finally in theaters. The tone and approach to scoring Batman has changeda lotsince the caped crusader’s big screen debut in 1966’sBatman: The Movie, so let’s take a trip down memory lane.
‘Batman: The Movie’ – Neal Hefti
When it comes to Batman, a few themes immediately come to mind, butNeal Hefti’s incredibly catchy “Batman Theme” is towards the top. The song made its debut onBatman: The Seriesbefore also popping up in theAdam WestandBurt Ward-fronted feature film adaptationBatman: The Moviein 1966, just after the first season of the show aired. It’s perfectly in tune with the campy, silly vibe of the show and film, and remains a delight to this day.
‘Batman’ and ‘Batman Returns’ – Danny Elfman
Oingo BoingoartistDanny Elfmanwas still new to the world of film composition whenTim Burtonenlisted him for his feature debutPee-Wee’s Big Adventure, and when Burton was tasked with bringing Batman to the big screen for the first time since the 1966 film, he brought Elfman along with him. Elfman’s theme for 1989’sBatmanis at once heroic, dark, and theatrical, which is right in line with Burton’s approach to the character. While Elfman’s score forBatmangets a bit muddled with the inclusion of original songs fromPrince, his workreallyshines in the superior sequelBatman Returns. Carnival-inspired sounds imbue Elfman’s work on the Penguin sequences, while his theme for Catwoman is downright terrifying and tragic. The score forBatman Returnsis dynamic, fun, creepy, and wild, and it has solidified its place in history as one of the all-time great superhero movie soundtracks.
‘Batman Forever’ and ‘Batman & Robin’ – Elliot Goldenthal
Somewhat terrified by just how darkBatman Returnsgot, Warner Bros. went a different direction with the sequelBatman Forever, and directorJoel Schumacher’s colorful and more kid-friendly approach was accompanied by a more traditional and bombastic score fromElliot Goldenthal. It’s actually a really solid piece of work that compliments the film nicely, with a triumphant Batman theme to boot. Goldenthal’s score forBatman & Robinwas a little less inspired, and more of a rehash of his work onBatman Foreverthan something wholly different, but it suits the larger-than-life tone of the film regardless.
‘Batman Begins’ – Hans Zimmer and James Newton Howard
For the gritty rebootBatman Begins, the approach to the score is the same asChristopher Nolan’s credo for the entire film, which is essentially something much more grounded, more real, and unlike any other Batman we’ve seen before. The result is a collaboration betweenHans ZimmerandJames Newton Howardthat lacks much melody but is propulsive and memorable all the same. The Batman theme itself is driving and feels like a train that speeding towards sunlight, evoking the journey of Bruce Wayne from selfish and moody young man to the heroic Batman. you’re able to hear much of Howard’s work in the more dramatic scenes while Zimmer takes the lead on the action-oriented sequences, and the result is something that’s both sweeping and thrilling, marking a promising start to a fruitful collaboration.
‘The Dark Knight’ – Hans Zimmer and James Newton Howard
Hans ZimmerandJames Newton Howardreturned to compose the score forChristopher Nolan’s sequelThe Dark Knight, and similar to how the introduction of new villains revitalizedDanny Elfman’s prior work, the introduction of The Joker and Two-Face to the ensemble proved mighty enticing. Zimmer took lead on the Joker’s theme, crafting one of the more terrifying and disturbing themes in recent memory mostly using only two notes. Howard’s more orchestral sensibilities, meanwhile, serve the duality and tragedy of Harvey Dent/Two-Face’s journey perfectly.
The Dark Knight Rises
For the final entry inChristopher Nolan’s Dark Knight Trilogy,James Newton Howarddid not return, withHans Zimmerflying solo on the scoring front. In keeping withThe Dark Knight Risesbeing the weakest entry in the trilogy, this is also Zimmer’s least memorable work, but it’s solid nonetheless. His drum-centric theme for Bane is positively massive, evoking the “strength in numbers” aspect ofTom Hardy’s character, while Zimmer’s playful Catwoman theme is a welcome reprieve from the sometimes punishingly propulsive score overall. And theBatman Beginstheme gets a triumphant, somewhat tragic punch-up to send Nolan’s Batman off once and for all.
‘Batman v Superman: Dawn of Justice’ – Hans Zimmer and Junkie XL
Following up his work withZack SnyderonMan of Steel, composerHans Zimmerreturned to compose the score forBatman v Superman: Dawn of Justice, but in an effort to not repeat himself where Batman is concerned, Zimmer enlisted collaboratorJunkie XLto join him as co-composer. Much like the film itself, the score is very loud and messy with not much going on beneath the surface. The electronic focus results in something quite a bit less human than Zimmer’s work onMan of Steel, but that Wonder Woman theme is undeniably gnarly.
