Composers: James Newton Howard and Hans Zimmer

The Dark Knight is a triumph of modern filmmaking, bringing a dark, complex, adult character story to the big screen in a way few have seen in a long time. The film symbolized the desperate struggle between order and chaos, light and dark, madness and sanity. Along with that film came a soundtrack that was equally tortured, dark, violent, and relentless. Film music purists may find this particular soundtrack to be a bit too offbeat for their tastes. And they certainly wouldn’t be in error. The truth is, The Dark Knight soundtrack represents a highly stylized approach to creating a film score. And the more stylized you become, the more you run the risk of alienating a potential audience.

And that certainly is the case here.

But for my part, I’ve thoroughly enjoyed this soundtrack (several times over) since I acquired it following my screening of the film. Where the soundtrack receives its highest marks are, first and foremost, its ability to not only complement the on-screen action, but to also add to the experience. Part of what made the film so exceptional was this soundtrack.

Second, though it is highly stylized, I applaud the soundtrack’s spirit of experimentation and daring. Though some may hear cues that are reminiscent of other Zimmer scores, the construction of this particular soundtrack is quite unlike any that I’ve heard before, particularly in terms of its periods of near silence followed by the blaring percussion and synth.  There’s very little about the soundtrack that is subtle – but when it does try to be purposeful, as is evidenced by the track “Harvey Two-Face,” it succeeds wonderfully in terms of symbolism, if not technical musical purity.

Overall Grade: C+

Because its stylized approach will limit its appeal across the board, The Dark Knight Soundtrack isn’t quite a classic. But if the film continues to impress, and people continue to watch it repeatedly, the soundtrack may grow to a point where it becomes universally accepted, if not universally lauded.

1. Why So Serious? – 9:13
This track best epitomizes and encapsulates the film itself. “Why So Serious?” isn’t as much of a musical composition as it is an experiment, and experience, in sound. The track alternates between quieter sections and heavy, thundering percussive passages. But either way, the track builds and maintains a dark, ominous, brooding and oftentimes violent mood. Just like The Joker. There are plenty of synthesizers throughout the track, and the result is to create an almost industrial sound.

Whether or not you buy into the album as a whole may be determined, in large part, by whether or not you buy into this particular track. It certainly is atypical – not what you might expect from a John Williams or Jerry Goldsmith. Even so, unlike most soundtracks which become little more than sound effects, this is one track, at least, that is more than just a sound effect.  It’s an exercise in mood and sonic aggression.

2. I’m Not A Hero – 6:34
Ostensibly, this is “Batman’s Theme” but it almost never finds a full expression. As a point of fact, the theme itself is often threatened by a haunting by a helicopter-like percussive beat and a sinister underlying melody. The music mix is also punctured by the occasional blaring horn or percussive exclamation, augmented by a metallic “chain” sound – perhaps symbolizing the burdens that Batman carries with him.

The track’s most memorable moments occur in its final minutes as the music builds in volume and a driving beat. This track may not rate high on a replay factor simply because of its disjointed nature. But it certainly fits within the context of the album. And if you dig the album, you’ll dig this track, too.

3. Harvey Two-Face – 6:16
This is perhaps the most compelling track on the soundtrack. It has an epic, tragic quality that perfectly symbolizes the character of Harvey Dent. And the track’s central theme is presented in a wonderful variety throughout the track which opens with soft strings and piano before building with percussive beats and a louder, more forceful statement of Dent’s theme by way of synthesized brass instruments.

Just past its halfway point, the track once again settles into a quiet, if troubled piano passage. It once again builds with strings and eventually some brass fanfare into a final powerful statement that is both heroic and tortured. If I were to recommend a single track from this disc, this would be it.

4. Aggressive Expansion – 4:35
Opening with a driving percussive phrase of Batman’s “theme,” the track settles into a quiet, almost nondescript passage until just past its halfway point. It then slowly builds with a rhythmic beat which, in its final minute becomes, once again a driving statement – but this time, it’s of the signature “Joker” percussive “theme.”

5. Always A Catch – 1:40
This short track certainly falls under the “sound effects” category as it opens with a blaring dissonance. It does, however, end with some quieter strings. Once again, the track embodies a kind of “duality” to it.

6. Blood On My Hands – 2:16
This is a brooding, melancholy track signifying the terrible costs of The Joker’s reign of terror. The track is a combination of mostly strings with just the right touches of piano and horns to emphasize sadness and tragedy.

7. A Little Push – 2:43
This track opens much like “Why So Serious?” or “Always A Catch” in the sense its filled with sound, rather than purely musical composition. Its most prominent moment is buzzing sound which blares through its halfway point. After that, the track is filled with more dissonant sound.

8. Like A Dog Chasing Cars – 5:03
This is about as close to a driving “action” track that the soundtrack has. It opens with a slowly building rhythmic phrase with strings and percussion. Bits of Batman’s “theme” can be heard in the background until it makes a more or less full statement just before the track’s midpoint. This is about as “heroic” as the Dark Knight soundtrack will get, with the theme continuing to build, almost entirely unencumbered (like it was in “I’m Not A Hero”).

The last minute or so of the track, however, is much more ominous, as though despite Batman’s heroics, evil still remains within the city.

9. I Am The Batman – 2:00
There’s not much to say about this track beyond the fact that it, once again, is an experience in sound. Starting off quietly, it builds to a crescendo and drops off once again.

10. And I Thought My Jokes Were Bad – 2:29
With yet another rhythmic, action-drive track, this particular track is less about heroism and more about straightforward conflict. The track once again employs a lot of atypical sounds including synthesizers and percussive beats – especially with the reappearance of The Joker’s percussive theme. It isn’t quite as enjoyable as “Like Dogs Chasing Cars” only insofar as it’s a shorter track.

11. Agent of Chaos – 6:54
Even in its quietest moments, “Agent of Chaos” is haunted by a pulsating rhythm which, like The Joker himself, haunts the tenuous peaceful moments. I particularly enjoy the piano melody in this track. Alongside the sinister rhythms, it’s both hopeful and desperate.

And indeed, the track does become much more desperate and sinister before it reaches its conclusion. The Batman theme tries to break through the percussion. But it cannot. The only theme to do so is a subtle phrase of Harvey Dent’s theme.

12. Introduce A Little Anarchy – 3:42
The “chopper” effect is back to open this track which seems to combine elements from “Why So Serious?” and “I’m Not A Hero.” In a sense, this track is a counterpart to “And I Thought My Jokes Were Bad” in terms of action cues and conflict. Also back are the “chain” sounds, signifying the burdens of the conflict. Also, the track’s ending statement is quite enjoyable.

13. Watch The World Burn – 3:48
If “Blood On My Hands” was a melancholy track, this one is absolutely filled with grief and despair. The track itself is a meandering melody of mostly strings, with a few dull drumbeats, like barely beating heart, in the background. Fans of John Williams’ Revenge of the Sith soundtrack may be a bit reminded of “The Immolation Scene” – but while it’s very emotional, this track isn’t quite as good as Williams’.

14. A Dark Knight – 16:13
The opening three minutes of this track are a bit like a healing salve, offering the listener a brief respite from the relentless sonic assault the soundtrack served up in its previous thirteen tracks. The style is still the same, but it feels a bit like the coming of a dawn – as opposed to the fear of the darkest of nights.

From here we are treated to a medley of the various themes, cues, and sonic moments from the soundtrack.  But throughout, it maintains that same “relief” mood.  In a sense, to continue the spirit of duality which embodies the whole soundtrack, this particular track is the “light” compared to the “darkness” of just about evertything else.

Topics: Film Music
Filed under: Batman, Hans Zimmer

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