I do think its important that I tell you right now that I don't intend to discuss any of the things I have already put forth in my original Batman v Superman piece. The piece you are currently reading is a review and analysis of the film's score, as composed by Hans Zimmer and Junkie XL (Tom Holkenborg). If you're curious about my thoughts on other aspects of the movie, my spoiler filled "review" is up on the blog, and can be found here:
Now, let's get into it. NO SPOILERS IN THIS REVIEW, I PROMISE.
THE MUSIC OF BATMAN V SUPERMAN
To call this score "good" is to criminally underestimate just how artful each theme is. From the triumphant and hopeful virtue of Superman's Man of Steel theme, to Batman's dark and twisted ode to the fallen, Batman v Superman's musical score is a resounding success in every artistic sense of the word.
This is a film about the people behind the heroes; the living, breathing, mortal beings that are either trying to be super, or are deeply affected by the actions of those who already are. Just like real humans, the characters in Batman v Superman are individuals, unique and even flawed in their thinking, good or evil, powerful or weak. Where the characters and story are already successful in capturing both epic scope and close intimacy, the pressure is of course on the musical minds behind the score to compliment what is already there in the script. The goal of the composer here is not to overshadow or outmatch, but rather to pair images with sound unequivocally. If you've done that with your score, then you've succeeded in adding new and interesting layers to what is hopefully already a great film.
THIS IS MY WORLD
Man of Steel may have pushed the "hope" theme as best it could, but I think a lot of us would agree that the creative minds behind that reboot were a little less than successful in making us feel any sort of hope. For Superman to now stand for something that big, and that important, is an excellent idea, and not something that has necessarily been tried with that character on the big screen. The "S" on Clark's chest no longer serves to brand or advertise our hero, instead it now represents the ideal for which he fights. That is some cool shit, and it wasn't until I was sitting in the theater and watching this movie unfold that it really sunk in for me just how vital "hope" is to Superman.
This is someone who we perceive to be above, in a place from which our other hero (Batman) has notably fallen. Batman remarks, "There was a time before. A time above...There were happy things. Diamond absolutes...But things fall. Things on Earth. And what falls...is fallen." Superman occupies the place that Batman wishes he could. The most God-like quality of Superman is the "savior from on high" nature of his being. A character like that needs a big song. Something larger than life and holy, something royal in a way.
That's not Superman's theme.
If there's one thing Man of Steel got right, it was Zimmer's interpretation of the Superman character in the form of his theme. Superman was not raised a God. He was raised Clark Joseph Kent. A mortal. A man.
Despite what anyone (including Batman) may think of him, Superman is a person, torn between two worlds. His theme is not grand, nor is he immaculate. His theme is that of a person who sees good in places no one else can. His theme is that of a man taught from the start to save those who need him, regardless of whether or not he is in a place to decide who deserves saving. Superman's theme is that of a hero, not a just a God who decided to come down to Earth, but a person, who decided to do the right thing when he got here. To put it as plainly as I can, Superman's theme is that of a hopeful person.
When I hear Zimmer's "This is My World", I can't help but hope.
BEAUTIFUL LIE
What a fucking brilliant title, and for a Batman theme song no less.
Where Superman sees the good in mankind and hopes to inspire more of it, Batman has accepted the futility of superhero-ing. A younger Batman might have believed that every life is worth protecting, or rather that killing is what separates the villains from the heroes, but this Batman knows better. He won't go out of his way to kill a criminal, but when they get in his way, he has no time to waste on being gentle with them, especially considering he has the "Krytponian Threat" to deal with.
Batman's theme isn't hopeful, and it isn't happy. It's tragic, just like the character for which it was written. Batman exists on a level that Superman could never sink to, just like Superman exists on a level to which Batman could never ascend. The "Beautiful Lie", as Lex Luthor puts it rather eloquently later in the film, is that power can be innocent. Or rather, in the case of Batman, that there is power in innocence. That is what he tells himself, that is the white light that the bats carried him to when he was a child, but on the other side of that life, he has finally come to see that no one stays good. No one can keep clean forever. The "lie" is that he could ever be a hero, that he could ever be what Superman is.
THE RED CAPES ARE COMING
Say what you will about this portrayal of the character of Lex Luthor, but I have come to love it. It isn't just that it's different or dynamic, it's that the character is perfect for the story that Terrio and Snyder are trying to tell. The traditional Lex Luthor would be too similar to the Bruce Wayne that is characterized in Batman v Superman, so in my mind, giving the character a face lift makes a lot of sense logistically for this film. The million dollar question of course is, "How's his theme?".
Fucking incredible.
It's boisterous, it's bold, it's maniacal, and above all, it is fit for a villain. Lex's theme is a sort of classical evil. It takes what is hopeful or humble about Superman's theme and inverts it, managing to revel in its genius without coming across as indulgent on the part of Zimmer.
Lex as a villain works as a foil to Superman for the same reason the Joker acts as Batman's perfect opposite. Lex sees the big picture, he works on the macro scale. Where Joker is adept at targeting the individual, and unraveling sanity or security from within the singular person, Lex thrives as a villain and a business man because he can manipulate several moving pieces at one time. Lex has his sights set on the end game, he concerns himself with matters of galactic significance, he toys with tyrants and Gods. His theme reflects the mentality of a man who could match Superman, and knows it.
Luthor's theme is full of itself, and that is the best way I can describe it. It's fun to let go of all the modern conventions and stigmas regarding what we can and can't enjoy when it comes to superhero films. Luthor's theme is fit for a bad guy of the Saturday morning variety. There's something old school about his evil, and I appreciate that deeply. It not only demonstrates a commitment to the new direction of these characters, but also a fundamental understanding of what makes Lex Luthor so goddamn entertaining to watch.
IS SHE WITH YOU?
Don't even act like you weren't the least bit excited when Wonder Woman hopped on the scene and this theme started playing. If I want to convince you of anything by writing this review, it's that every theme not only fits each character individually, but all of the themes together work harmoniously to create a sense of cooperation between heroes (or parallels between the heroes and villains). Wonder Woman's theme is the perfect example of how much thought and work was put into getting us all hyped as fuck to see these Gods meet on screen.
Wonder Woman's theme is a sporadic clash of wailing electric guitar, impelling (almost military) percussion, and moving orchestral swells of heroic proportions. Paired with the visual delight of seeing Gal Gadot's Wonder Woman fighting Doomsday in tandem with Supes and Bats, this theme comes across as a unifying piece of music, bridging the gap between the This is My World and Beautiful Lie. This is the theme, much like Luthor's, that is just allowed to be fun. Wonder Woman lives for the thrill of battle, and though she is never the bringer of violence, when a fight comes her way she isn't one to back down. This is supposed to be one of the DC universe's greatest combatants, and here, it shows.
SPECUALTION (SPOILERS)
Ok in this section I'll be discussing two theories that I have regarding the songs Must There Be a Superman and This My World. Spoilers for the end of Batman v Superman are ahead. If you don't want to have anything spoiled for you, skip ahead to the END SPOILER TAG, and read on from there.
I happen to think that the first glimpse we get of Darkseid's theme comes in the form of the opening of Must There Be a Superman. It's a frightening cacophony of voices that really helps to sell the sense of terror and urgency that a villain like Darkseid would inspire. In Must There Be a Superman, I hear the end of all mankind, and it's as beautiful as it is deeply disturbing. Give it a listen to see what I mean.
I also happen to think that at the moment Superman sacrifices himself, pushing the Kryptonite spear into Doomsday, what happens musically in This is My World might just hint at what ends up being the Justice League theme song. Watch the scene again, listen for the moment I just described, you should hear it. It's a moment of music that you can't really relegate to Superman, Batman, or Wonder Woman's theme. It just sounds bigger, and more triumphant than any of those individual songs.
END SPOILERS
This is a masterful work and I mean that. Whether you love or hate Batman v Superman, I don't think there can be any confusion over the fact that this score compliments every character, and every scene. There is something to love in every song, including the ones that I haven't mentioned. I promise you that.
Also Batman v Superman rocks...
Thanks for reading, stay happy.
