Subject: I have found a CD that I think you would enjoy
Batman Forever: Original Motion Picture Score
Genres: Pop, Soundtracks
Sweeping irresistibly forward like some dream hybrid of Ziggy Stardust, Kashmir-era Zeppelin and German techno, U2's massive "Hold Me, Thrill Me, Kiss Me, Kill Me" launches this disc. Also included are tracks by Brandy (th... more »
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Sweeping irresistibly forward like some dream hybrid of Ziggy Stardust, Kashmir-era Zeppelin and German techno, U2's massive "Hold Me, Thrill Me, Kiss Me, Kill Me" launches this disc. Also included are tracks by Brandy (the Lenny Kravitz-produced "Where Are You Now?"), Seal ("Kiss from a Rose"), Eddi Reader ("Nobody Lives Without Love"), and The Devlins ("Crossing the River"). Michael Hutchence butchers Iggy Pop's "The Passenger," but The Offspring mines big fun from The Damned's "Smash It Up." --Jeff Bateman
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Almost as Good as the First Batman Score
Ben Ganger | USA | 03/04/2006
(5 out of 5 stars)
"A large change came to the Batman series. Tim Burton and Michael Keaton had wanted to move on, so they ended after two large successes. Also leaving was Danny Elfman, who probably saw no reason to go on without Burton. As a result a new director, Batman, and composer entered the history of the caped crusader: Joel Schumacher, Val Kilmer, and the person who concerns us the most, Elliot Goldenthal. Goldenthal was hired after Joel Schumacher heard tapes of his Demolition Man and Interview with a Vampire scores, being impressed.
Elliot Goldenthal is known for his very interesting movie scores, which have been both reviled and praised at the same time. He actually had a tighter-than -usual schedule for Batman Forever, but he said that it was quite simple to do the score. His reasoning is that the format is the hero is the hero and the villain is the villain, basically meaning that he just needed to develop themes for each character. His music, however, is not so simple. His unique, original, and creative style has gone under fire, but this is mostly due to bat-fans angered over the abandonment of Elfman's theme.
Elliot Goldenthal's Batman theme was inspired by the sounds of kids humming music to match their action figures' deeds. What results is a very great heroic march, although it doesn't have the tragic undertones of Elfman's work. Variations of the theme are heard throughout the entire soundtrack. At first it is played at its best in "Main Titles and Fanfare", but it pops up as a quick, more heroic march in "Fledermausmarschmusik". Other big variations are heard in "Descent", "Chase Noir", and "Mr. E's Dance Card".
The second most prominent theme is that for Two-Face, the secondary villain who has half of his face disfigured by a chemical solution. It is supposedly intentional that his music is more mediocre to create a classical feel for the movie. I actually like it a lot. The best display of his theme is in "Two-Face Three-Step", which is very demented.
The third most used theme is the music for Jim Carrey's show-stealing Riddler. This is the perfect theme for an evil Jim Carrey. As with Two-Face, the Riddler has a track that displays his theme to good effect. This long track, "Nygma Variations" has been criticized as being unlistenable, but I have no problem with it. The music builds and builds, using violins, wacky orchestrations, and classic sci-fi alien themes.
Less interesting is the Love Theme, showing the relationship between Bruce Wayne and Dr. Chase Meridian. Actually, the Love Theme is a variation of the Batman theme. "Chase Noir", "Chase Blanc", and "Mouth to Mouth Nocturne" get the most tiring after repeated listenings.
Another major theme is actually not for any character (Robin sort of shares the Batman theme) introduced in the movie, but is a piece for action scenes. The Gotham City Boogie theme is heard two times, once in a track of the same name, and in "Perpetuum Mobile". In the latter, weird use of a synthesizer produces an odd effect to accompany the scene where one of Two-Face's goons is electrocuted.
Other noteworthy pieces include "Under the Top", the second longest part of music, a thirty second piece that begins almost halfway on "Holy Rusted Metal", and my favorite: "Victory". What I love about "Victory" is that the music practically tells the short fight in the movie involving two-Face throwing fire at Batman. For the first twenty or so seconds, Two-Face's theme accompanies the fiend and his thugs running. Batman's theme comes up as the dark knight gives chase, only to flop when he is lured down a large tube. Perilous music then comes on as Two-Face fires a burst of flame towards our hero. The music gets frantic by the second until Batman and his fanfare burst through the flames of death. I won't go on about the last minute of this awesome track.
All in all, Goldenthal doesn't surpass Elfman in bat-scores, but he produces very original music. Also, the album has a cool insert with dozens of photos from the movie. This is a rare CD and I had a hard time getting one, but it was well worth the effort.
Regardless Of What You Think Of The Movie, This Score Is A M
One of many | somewhere in the blur | 05/31/2006
(5 out of 5 stars)
"Whether you loved Batman Forever ot hated it, I think there's one thing that can't be overlooked: Elliot Goldenthal's outstanding score. Danny Elfman (the scorist of the first two Batman films) is a wonderful musician, and is by all counts hard to live up to when it comes to taking over his work in the late 80s/early 90s Batman franchise. His theme was iconic and his atmospheric brilliance undeniable. How could Goldenthal follow up without seeming completely insuperior? This is how! Batman Forever: Original Motion Picture Score is proof that amazing action/adventure music is still alive. In some spots it is dark and brooding, in others it is bright and triumphant. And as a whole it is some of the best superhero -- and villain -- music you could ask for. From the superb theme, to the whacky Riddler cues, to the darkly insane pieces for TwoFace, it's everything done right. Blaring, uncomprimising brass sections, thundering, blood-pumping percussion, heroic, flying strings, and spiraling, jumpy woodwinds all combine to make a strong, exciting score that is a must have for any collector of Bat-music. In short, this CD is worth every penny! Experience Batman and his colorful enemies in audio form with Goldenthal's music today! It's fun and dark in all one."
A Darker And Crazier Batman Score
Robert Pollock | Durham, NC USA | 06/02/2001
(3 out of 5 stars)
"Danny Elfman's music for Batman and Batman Returns was perfectly dark for the caped crusader. His theme is almost as immortal as the Indiana Jones and Jaws theme. After stepping down, Elliot Goldenthail took over. The Batman theme, to many people's dismay, doesn't appear in this movie. The setting for Gotham City is different on Batman Forever and the music reflects this. It has a slight jazzy, swingy quality to it and only adds to the crazy, upside-down city. Any Elliot Goldenthail fan knows about all the interesting brass effects (trills, wailings, etc.) he uses and they're all here but don't necessarily detract. The Batman march is now more of a small motif that does more of striking fear than a sense of heroics. While it doesn't appear as much, to my dismay, it is excellent and does quite well against Elfman's theme. Two-Face's theme is like a overly-demented version of Hook's theme with less playfulness and some harsh chord progressions. Nygma Variations and the other tracks dealing with the Riddler are crazy and stupid. It makes you want to hope Batman socks him in the face, though. "Perpetuum Mobile" and "Gotham City Boogie" are examples of overexagerrated, jazzy action tracks that should be annoyed. The high-pitched squealing muted trumpet on "Chase Noir" that Elliot Goldenthail used adds the feeling of a noir movie but it is plain annoying as well. Towards the ending of the album, the album begins to become dark and listenable. The last two tracks remind me of "Up The Cathedral" from Batman but with more brass. Batman Forever isn't neccesarily a bad album. Elliot Goldenthail excellently portrays the wacky action and locales but can sometimes become as unbearable as the movie. I only recommend it for people who are tolerant of dark and startling crazy music. I bet most classical and film composers alike would be appaled by his original style of composing."