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- Todd and Joaquin’s Joker, Take Two
- The Golden Age of Movie Soundtracks
- Capturing the Essense of One of Comic’s Greatest Settings
As a lifelong fan of Batman and music enthusiast, I can confidently say that the musical landscape of the Batman film franchise is as iconic as the Caped Crusader himself. From the gothic stylings of Siouxsie and the Banshees in “Batman Returns” to Seal’s hauntingly beautiful “Kiss from a Rose,” these soundtracks have left an indelible mark on my heart and mind.
It’s fair to say that the reaction to the movie Joker: Folie à Deux, as expected, hasn’t been as positive as the creators had hoped. The harsh criticisms and puzzled murmurs can be left for the WB accountants and die-hard DC fans. A significant issue raised about the sequel is in the music department. From its premiere night, this financial flop has been hit with sharp comments and confused sighs from viewers wondering why director Todd Phillips decided to swap his gritty, 70’s-style homages for a musical revue featuring show tunes. Inspired by a dream (some say a dream influenced by fever, depending on your view of musicals), the lead actor advocated for a significant transformation of the franchise impulsively. It might sound absurd; but it’s in line with tradition.
As a film enthusiast, I must admit that not all movies are unforgettable, but one thing is certain – they’ve left us with some fantastic tunes. Ever since Batman made his modern Hollywood debut in the late ’80s, marking the golden age of film soundtracks, this iconic character has relied heavily on composers to set the mood. From U2, Hans Zimmer, Bone Thugs-N-Harmony, to Prince, the Caped Crusader and his Rogue’s Gallery have managed to attract a diverse array of musical talents, catering to every possible demographic and music preference. It’s up to you to decide if they always hit the mark.
You’d think a man in tights would be the most memorable part of his movie, but Batman has been consistently overshadowed by his own soundtracks. Though providing a lucrative outlet for musicians to ham it up in fashion, the greatest songs typically tend to be the most simple and traditional. This begs the question: How does one create a great superhero soundtrack?
Todd and Joaquin’s Joker, Take Two
Reimagining the Joker saga as a complete musical production might not be as preposterous an idea as it initially seems, given the series’ extensive musical background. To put it simply, incorporating music into the Joker storyline is not as far-fetched as one might think at first glance.
On that note, the Suicide Squad (2016) soundtrack is also cheating, bringing in a truckload of already famous songs instead of commissioning purely original work, a pattern the James Gunn sequel would also fall victim to, creating a film with a soundtrack that closely resembles a generic classic-rock radio playlist if we are being brutally honest.
John Murphy, the musician behind the soundtrack for “The Suicide Squad,” shared that he had complete creative freedom from director James Gunn during their collaboration on this project, which marked Gunn’s debut within the DC universe. He expressed this to Josh Weiss of SyFy, noting that his music significantly influenced the final product more so than the editing impacted his score. In a unique approach to filmmaking, Gunn allowed Murphy to record before the entire movie was filmed, which is not often practiced in the industry.
Writing from a script provides a sense of freedom, as you aren’t bound by edits or specific moments that need to align with visual cues for timing. This approach lends itself to a more fluid and rhythmic style, as you are simply expressing your thoughts in the way you imagine it will flow.
As a movie enthusiast, it seems clear that Joaquin Phoenix was subconsciously influenced by the iconic rock band KISS while working on the next chapter of the Joker story. Instead of referencing Bob Kane, the duo, including Phoenix himself, found inspiration in the world of aging, disillusioned rockers for the character development.
I found it peculiar that the 2024 sequel leaned more towards traditional tunes rather than rock music. Regrettably, the soundtrack, featuring Lady Gaga, Phoenix, and Nick Cave, didn’t quite capture the eccentric vibe required to give the movie an edge. It seems like Nick Cave is a Batman enthusiast as he’s made his second appearance on a Batman soundtrack.
The Golden Age of Movie Soundtracks
In 1989, the creators of Batman granted Prince creative freedom to explore his love for costume play. Dressed in the vibrant attire required for filming, the musician took it a step further by portraying The Joker in a music video complete with dance routines. Burton skillfully utilized many of Prince’s songs, finding it challenging to satisfy both the rock star and the main composer, whom we’ll refer to shortly. Wisely, “Partyman” was incorporated into the scene where the art gallery is vandalized, serving as a means to develop the character, emphasizing his disregard for civility and good taste – the embodiment of an annoying, bohemian elitist.
The song “Batdance” by Prince is most famously linked with the film, but it’s also notoriously bad – proceed with caution when looking it up. Instead, we recommend exploring more of the album and checking out “Scandalous,” a soulful ballad tucked away in the end credits. Additionally, “Trust,” which has a New Jack Swing influence and is reminiscent of classic Prince, was effectively used in the climax of the movie as a diegetic song.
In the shuffle of Batman soundtrack selections on Spotify, you might overlook an intriguing blend of artists and genres. The punk-rock group Siouxsie and the Banshees brought a stylish gothic flavor to “Face to Face” for Batman Returns in 1992. Given her affinity for black makeup and tight leather, it’s likely she was already on Tim Burton’s list of frequent contacts. The third movie introduced “Kiss from a Rose,” sung by British crooner Seal, which went on to become a global sensation. In hindsight, this song is widely regarded as the best part of the blockbuster success.
Seal’s song in Batman & Robin serves as a snapshot of an old era. We didn’t forget about U2, but “Hold Me, Thrill Me, Kiss Me, Kill Me” doesn’t fit the movie’s storyline. It’s still a catchy tune though! As for the film itself, it was a bit confusing with its choice of songs like those by Bone Thugs-N-Harmony and Smashing Pumpkins, which are great artists individually, but the song selections were odd and easy to forget. And R. Kelly’s “Gotham City” was a little too slow for some tastes. Overall, many people thought Joel Schumacher’s second Batman film wasn’t very good, especially since it reused the theme from Batman Forever.
Capturing the Essense of One of Comic’s Greatest Settings
As a film enthusiast, if you’re on the hunt for impactful, grandiose orchestral scores that truly resonate, look no further than Danny Elfman and Hans Zimmer. Their symphonic compositions have been the cornerstone of the Batman series. Interestingly, producer Jon Peters initially proposed a collaboration between Danny Elfman and Prince, an offer Elfman declined due to concerns about playing a supporting role. Undeterred, the producers moved forward and enlisted both composers separately. Elfman’s arrangements lend strength to the film, serving as the primary driving force behind the movie. While Prince’s original tracks are enjoyable, Elfman steals the show. Brimming with diverse styles yet never feeling disjointed, the pieces seamlessly transition from Wagnerian melodies to simple piano interludes, waltzes, and even incorporate a theremin into the composition.
It’s undeniable that Joker: Folie à Deux faced a significant challenge in meeting expectations, as the musical collaboration between Hans Zimmer and James Newton Howard for Christopher Nolan’s Batman Begins and The Dark Knight became iconic for many younger fans. However, it lacked the ominous, operatic style that Danny Elfman brought to the franchise.
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2024-10-16 23:01