The Dark Knight Soundtrack Review

Posted by Chad Webb on 07.24.2008

A score that captures the mood of Nolan’s masterpiece quite perfectly.

Composers:
Hans Zimmer
James Newton Howard
Length: 73:35
Label: Warner Records

The History

The Batman legacy has had a unique history with regard to music. The baby boomer generation would probably associate the Caped Crusader's music to the popular theme from Neal Hefti for the 1960's television series that is always fine to hum. In 1989 when Tim Burton unleashed his gothic vision onto the world, he brought long time collaborator Danny Elfman to craft a new theme that better suited his man dressed in black. That's not all though. While score aficionados fondly remember Elfman's magic, others might recall the motion picture soundtrack that was infused with songs from Prince. In truth, Prince's pop stylings and rhythmic beats meshed well with the Joker for an remarkable creepiness. The score was sold separately.

Three years later Batman Returns arrived again with Burton and Elfman, but this time no musical artist had the pleasure of arranging tunes for the Penguin or Selina “Catwoman” Kyle. That would all change dramatically when Director Joel Schumacher took the reigns from Burton for 1995's Batman Forever. Elfman was replaced with Elliot Goldenthal, and the soundtrack was packed with a wide variety of bands and artists. This film single handedly catapulted the career of Seal. This choice altered the mood and tempo of the franchise significantly. The score for this was also sold separately, but the 1997 movie Batman & Robin, also with Schumacher and Goldenthal, united score selections with a silly soundtrack comprised of groups from Smashing Pumpkins to…yes, Bone Thugs-N-Harmony. No disrespect to either group of course, but they did not belong with Batman in any way.

The iconic character was given the reboot in 1995 with the impressive Batman Begins. Director Christopher Nolan brought two powerhouse composers to contend and compete with the unbelievable work of Danny Elfman, Hans Zimmer and James Newton Howard. Gone were the songs from popular artists. Nolan, Zimmer, and Howard scaled back the music to simple orchestral selections ranging from subtle to intense. It was exactly what Batman needed.

The Tracks





Released on July 15, 2008

1. Why So Serious?
2. I'm Not a Hero
3. Harvey Two-Face
4. Aggressive Expansion
5. Always a Catch
6. Blood on My Hands
7. Little Push
8. Like a Dog Chasing Cars
9. I Am the Batman
10. And I Thought My Jokes Were Bad
11. Agent of Chaos
12. Introduce a Little Anarchy
13. Watch the World Burn
14. Dark Knight

The Album

The proper score can make a good movie great, and while this score alone does not propel The Dark Knight to greatness, it certainly helps. I have always loved listening music while I’m writing, and movie scores often wind up in my stereo. Most of the albums I own from films were composed by Hans Zimmer (Gladiator, The Last Samurai). He is like a master painter at discovering the right melody and theme to accompany a picture, and no story is too epic or anticipated enough to scare him into folding under pressure. Here he teams up with James Newton Howard (The Sixth Sense, Collateral) for an excellent merger of two distinct styles.

“Why So Serious?” opens the album, but it takes a few minutes to actually hear anything. The basic mood of the disc presents itself immediately as delicate and faint with sudden bursts of thundering vigor. The chaos that awaits Gotham reverberates through this track. It is both jarring and unsettling as the sounds drift in and out of silence. Following that warped music is “I’m Not a Hero” which introduces some of the familiar pieces from the franchise. It delivers an escalating, yet darker and suspenseful aura. One of the stand-out tracks is “Harvey Two-Face”, and one of my favorites of the disc. During this one track, Zimmer and Howard evoke the heroic tragedy that is Harvey Dent. Strings, piano, and brass can be heard as this approaches an almost ballad like atmosphere. “Blood on My Hands” is also associated with the D.A.

With “Aggressive Explanation”, the middle of the album leads us into the recognizable elements of the theme related to the adrenaline fueled sequences, but builds to the energetic moments slowly with grace and beauty. Tracks 4 – 10 are very short, and sometimes they will pass by with one wondering what was being performed. However with “Like a Dog Chasing Cars” or “And I Thought My Jokes Were Bad”, the bombastic grandeur echoes through the speakers with pounding drum beats. The flow remains consistent with an amalgamation of calmness and madness.

The final four tracks are simply sensational as they re-establish the central theme, which was also prevalent on the trailers, and maintain the frightening suggestions that the Joker’s twisted mind still exists by the forceful integration of string instruments. The multi-layered arrangement of “Agent of Chaos” glides wonderfully to the Zimmer highlighted “Introduce a Little Anarchy”. The substance is hushed for “Watch the World Burn” until the long finale serves as a summary of the entire disc. “A Dark Knight” is the one you’ll push repeat on.

Those who know of Hans Zimmer and James Newton Howard will be able to identify the influences of each composer instantly. Zimmer utilizes many tones that have acted as his trademark. The inspirational and action driven selections are primarily his, whereas Howard’s taste contains a quiet and eerie undertone. His resume also supports this. The brilliance of this particular soundtrack, similarly to the music from There Will Be Blood, is how the sounds ignite your imagination to visualizing the scene of the film it is connected to. Hearing two distinguishing composers combine such passionate music is nothing short of extraordinary.

These two emphasize the strengths of their previous efforts on Batman Begins, but add several new visceral and profound rhythms and levels to The Dark Knight. This music aids at instituting the sense of terror, the menacing ambiance of Gotham, and the unnerving feeling the audience is supposed have. For Zimmer and Howard, The Dark Knight marks an ambitious near triumph of their two genius methods of mayhem.