18 Songs, 44 Minutes


Ratings and Reviews

4.1 out of 5
51 Ratings
51 Ratings


the set designing and the music goes very well with this movie. i love this album.It's very different from the rest of the batman movies.



It's nice to see that Goldenthal's score is the soundtrack being offered, adn not the pop laden album that's always being seen in stores. The music here, while not as foreboding and melancholy as Danny Elfman's score for the previous two films, is nonetheless fun. Sadly, this music is also more apropriate for a jazz ball dance or something than it is for a BATMAN film. Still, beggars cannot be choosers, and at least we get to here the music. It's an acceptable score, but just not one I would expect for a Batman movie.


Holy Great Score Batman!

I am a huge fan of both Nolan's Batman and Burton's Batman. Both are absolutely fantastic. I actually enjoyed Val Kilmer's performance as Batman too, plus I really enjoy Christian Bale and Michael Keaton. Danny Elfman's score for Batman was fantastic, a sort of gothic, electronic and unique score that no one else can replicate. Hans zimmer's score is the more modern, electronic and darker version of Elfman's to simulate Nolan's darker approach to the character. Elliot Goldenthal's music is the transition between the two and a very good one. I always hear this on the Batman coaster at SIx Flags and I really enjoy it. The music is also very unique to the Batman saga. If you're a fan of Batman music, then I really recommend the main titles, Two-Face Three Step, Nygma Variations, Perpetuum Mobile, anything that catches your fancy. This score will make a unique collection to any Batman fan, big or small.

About Elliot Goldenthal

Composer Elliot Goldenthal was born May 2, 1954, in New York City, going on to study at the Manhattan School of Music under John Corigliano and Aaron Copland. He first rose to prominence in 1988 for his Obie Award-winning work on Juan Darien: A Carnival Mass, a collaboration with his wife, director Julie Taymor. The following year, Goldenthal also scored his first feature film, Gus Van Sant's superb Drugstore Cowboy, continuing to alternate between stage and screen throughout his career. In 1990, he composed "Shadow Play Scherzo," commissioned by ASCAP in honor of Leonard Bernstein's 70th birthday. "Pastime Variations," commissioned by the Haydn-Mozart Chamber Orchestra in celebration of the 75th anniversary of Ebbets Field, premiered at the Brooklyn Academy of Music that same year. Goldenthal returned to film in 1992 with his score to David Fincher's Alien 3, earning his first Academy Award nomination for his work on Neil Jordan's 1994 effort Interview with the Vampire. He and Jordan remained regular collaborators in the years to follow, teaming on pictures including Michael Collins, The Butcher Boy, and In Dreams. Arguably Goldenthal's most acclaimed project is 1996's "Fire Paper Water," an oratorio commissioned by the Pacific Symphony Orchestra in honor of the 20th anniversary of the Vietnam War; the Sony Classical recording of the piece featured soloist Yo-Yo Ma. After reuniting with Taymor on a stage adaptation of the Carlo Gozzi fable The Green Bird, in 1997 Goldenthal was commissioned by the American Ballet Theatre to compose a ballet inspired by Shakespeare's Othello; in 1999, he also scored Taymor's first feature film, Titus. ~ Jason Ankeny

New York, NY
May 2, 1954



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