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Joker is a true Batman movie – just listen to the Grimdark music



The Joker score comes directly from a grim Batman movie. This might be an obvious choice for a DC independent villain, but writer and director Todd Phillips made one thing clear in advance of the release: He did not want to do comic film.

But in the end, Joker – that was Arthur Fleck's (Joaquin Phoenix) show from top to bottom – bends hard left into the Batman area, as if he were hounded by Hildur Guðnadóttir, the Icelandic composers, orchestra urged there. The election speaks (aloud) of the mystery Phillips's referential drama faces, and of future imitators hoping for their own massive box office win: What does a prestigious comic film sound like?

Until the climax, the score of Joker relies on elongated strings to create a feeling of fear. A few lilies up and down provide the softest thread of a melody, but otherwise the music seems more than anything drone. Then, as the unfolding events reach a critical mass, these almost formless sounds give way to a rhythmic rhythm and echo that stands out in the theme of Christopher Nolan's Dark Knight trilogy, a series that also called itself anything but a similar is comic movie.

Hans Zimmer and James Newton Howard invented in 2005 the first sounds for Nolan's Crusader Batman Begins with much more operatic sound . Three years later, they re-invented the sound of the Joker as Zimmer composed a theme consisting of only two notes (and razor-tipped strings) and defied every tune for over a minute.

The recall ̵

1; intentional or not – is far from strange given the fact that there are films that want to imitate Joker and their musical influence has been ignored. Herrmann's jazzy score on Taxi Driver is nowhere to be heard, nor is the relative bleakness of the music in The King of Comedy . Instead, the music plays almost like a spoof on Zimmer's work and plays his most famous scores (19459003 Inception 19459004, Man of Steel 19459004 and even Batman v Superman 19459004) from The Loud, Lingering Sounds and Simple Themes Dissolve. Zimmer's work on the Dark Knight trilogy was both the beginning and the culmination of a trend, with most not realizing that light was actually being built into the music he wrote to counteract the dark. The music of comic movies has since been somewhat limited, as most Marvel films have acquired an absolutely useful anonymity (the Avengers theme remains the most striking piece of the composition that emerges from the franchise). Best scenarios such as Thor: Ragnarok and Guardians of the Galaxy use pop music that incorporates their color splendor and nostalgia factor as part of the comic genre. Joker does not lack identifiable songs, but when Frank Sinatra's rendition of "That's Life" appears at the end of the film after serving as Murray Franklin's theme, she has the full depth of one of Songs Movie Trailer.

The dissonance of Joker's comic film music never fits Phoenix's performance. The groaning strings of the score seem to be out of harmony with Arthur's frenetic energy and reflect the use of the pop songs on the surface, aiming for a "serious" sound instead of working together with what is happening on the screen.

The Best Cinematic Character Studies Collaborate with Their Scores: Jonny Greenwood's Soundtrack for There Will Be Blood builds the excitement and insanity of his main character. The fluctuating moods in Bernard Herrmann's music for Taxi Driver contribute to distancing Travis Bickle from reality. In Francis Ford Coppola's The Conversation the piano score of composer David Shire along with Harry Cauls (Gene Hackman) leads him to indulge in paranoia instead of overwriting or shorthand. There are ways music can get into the minds of characters and audiences.

In an effort to stay away from more obvious melodic or "colorful" themes, Joker recalls the audience's origins both in comics and in Batman's story on the canvas. It is no surprise that Batman is included in the story of Arthur Fleck – the music was called inevitable from the beginning.


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