Part Two - Poor Edward!

Although not in chronological order, this section represents Edward's darkest moments and eventual downfall.
10. Esmerelda - This piece is short, and to the point. The character, which is a cross between a fundamentalist Christian and a grim prophet, claims Edward is of the devil. The music, which has a bizarre, southern feel provided by what sounds like a harmonica, is too short to establish itself as a theme. Altogether, the tune is simply eerie.
11. Death! - Elfman once stated that, if there's anything he loves most, it's sad, sad music. Well, this touching, mourning piece is probably the most poignant, sorrowful piece that he has ever written. Those who enjoyed Elfman's direful funeral piece for the Penguin (Batman Returns, track 18) should definitely give this one a listen.
The piece starts off with a touching suite that accompanies Edward and Kim finally embracing ("Hold me. . . I can't"). The music then crests as she embraces, and then tones down as Edward's final flashback commences.
The flashback is comprised of Edward's love theme, which is an interesting break from the tradition Elfman had set thus far. For the most part, Edward's waltz was played during the scenes associated with his creator - the inventor. Yet, for this first time in the film, Elfman plays Edward's romantic theme throughout an entire scene with the inventor present. Perhaps Elfman was making a connection with the new hands that were being presented to Edward. The hands represent the final stage of completion, when, in essence, Edward becomes an individual - separated from his creator. Other scenes seem to support this. As Edward distances himself from the castle and the inventor, and becomes involved with Kim, the music strays away from the waltz. However, when the residents see him as a monster, Edward's theme reverts back to the inventor/creation waltz, and away from the more gentile romance motif.
Whatever the reason for the switch, Edward's theme is played with delightful joy in this scene. Elfman, once again, transports the viewer into Edward's eyes through the music. The score maintains a childlike lullaby. Elfman and Burton must have both decided that Edward was reverting to a childlike state. Indeed, his face reflects one of an infant's: curious, giddy, and filled with pure joy. Thus, Elfman uses bells, celeste and the choir (which beautifully give bursts of high pitched "oohs and ahs" like a child) to convey Edward's pure elation.
Unfortunately, the happiness does not last, as the inventor dies before his eyes. The strings build and then descend with the inventor, and collapse into a rush of timpani. Then celeste, bells, and a violin interject as Edward mourns the loss of his creator. The Ice Dance theme is reiterated, signifying Edward's first step into the world, alone. Then, the theme continues as Edward holds Kim, signifying that he has taken his final step away from the world of his creator. The music mimics this step, by distancing itself from the waltz that was so associated with Edward's inventor.
12. The Tide Turns (Suite) - This is a suite comprised of three key scenes: the House Robbery, Kevin's Rescue/Edward's hasty retreat, and Edward's outburst.
The house robbery, once again reminiscent of Herrmann's Fire Truck from Fahrenheit 451, establishes a variety of tones in a relatively short amount of time. In addition, this piece was directly lifted from Jack Napier's brief Safe Cracking scene in Batman. The first tone is malicious, if not quirky and clandestine. Xylophones, Tubas, and plucking strings portray a hastily assembled operation destined to fail. Suddenly, the piece switches tones with the film, as the security system is set off. Elfman captures the total panic through racing strings, heart pounding pumps from the brass, and the first militaristic undertones heard in the film (provided by the snare drums) as the police arrive. Once the security system is deactivated, Elfman wittily switches the tone again, this time, from panic to standoff. The result is a piece that ends on the same note as a Spaghetti Western, as Edward and the police face off. The choir also adds a frightening element, as the police remark, "We're dealing with a Psycho here."
The second section of this suite (beginning at 2:05) deals with Edward's life saving decision, and the resulting fight/misunderstanding that results from it. Here, Elfman uses the orchestra sparingly, creating one lengthy sting. Even before the rescue takes place, Elfman subtly hints at the terror yet to come through the brass. The music broods at first, mirroring the building hate that the residents show toward Edward. Suddenly, Elfman uses string arpeggios to accompany the impact of Kim's boyfriend tackling Edward. Yet, once the fight ends, the music returns to its haunting nature. The strings, brass and choir meld into one collective gasp in a frighteningly surrealistic effect. Once again, the music mirrors the collective shock of Edward (whose terrified face is priceless) and the residents. The silence of the crowd is heightened by the thematic silence of the score i.e. the music figuratively holds it breath. Finally, Kim urges Edward to run, and the score takes a far more panicked feel. Suddenly, the music lashes out, as the choir accompanies Edward's flight into the unknown. At first Edward's waltz is played, and is replaced by a few notes from Edward's love theme. This decision to maintain Edward's waltz for the first few moments, and not the love theme, could be construed as the residents viewing him as the inventor's monster (an obvious Frankenstien connection).
The third section, which accompanies Edward's lashing out (and slashing tires), is animalistic and brutal. Elfman manages to capture Edward's inner rage through the blaring brass, raging choir, choppy strings, and militaristic bongos/timpani. Elfman uses the choir to convey numerous slices and slashes that Edward inflicts on the neighbor's property.
13. The Final Confrontation - A mob gathers to confront Edward in his refuge on the hill in a scene inspired by the Frankenstien film. Elfman returns to earlier work on Batman to score this relentless pursuit. Piano, timpani, and mean bursts of brass accompany the mob's trek through the gate.
Meanwhile, the harp acts as a musical sweep as the view cuts to Kim trudging up the roadway. The music flows with Kim's ascent up the hill, and beckons the listener with the same mysterious romp through the castle. Finally, the string arpeggios ascend upward, just as Winona Ryder's character rushes up the grand staircase. The tension that Elfman creates is extraordinary. The music crests as Kim turns to find Edward, and the Ice Dance theme soon follows. However, this is interrupted by a fight between Edward and Kim's VERY disgruntled boyfriend.
Now, many have called this climax a "Hollywood ending," and those individuals would be correct. However, Elfman maintains the same tone in the music, and does not merely write a cheap, haphazard action track. Elfman uses the haunting motif to the very end: creating a piece that conveys the total hate and disgust of the characters in the scene, while still using the innocence of the children's choir. The result is a Herrmannesque piece with exaggerated chords and lumbering grotesque undertones, yet Elfman's Gothic (if not delicate) touch. Hate and Love truly collide at this final confrontation.
14. Farewell - Church bells and mourning strings signal a Gothic ending, riddled in bittersweet irony. Elfman uses a brass sting to mirror the screams of the crowd as they come upon the dead boy's body. Then, he reiterates the Ice Dance theme (with a beautiful violin counter melody) one last time. Even that, though, is interrupted, as Kim is forced to flee down the stairs, thus ending the Ice Dance theme prematurely. This piece performs the exact opposite task of Final Confrontation, in that it descends rather than ascends. The fluidity is, once again, stunning and should give even the most hardened listener a haunting chill. Finally, the music returns to its reflective woe. Edward's waltz is played tearfully by the strings and ends the piece with a single gong from a distant church bell, signaling that the inventor's monster is finally dead.
15. The Grand Finale - An interesting aspect of this score is Elfman's uncharacteristic ambiguity. In many key scenes, Elfman chooses not let the music dictate how the audience is supposed to feel. Yet, many composers opt for the manipulation technique - John Williams among them. Elfman has used this technique to his advantage as well (were it not for his funeral march during the Penguin's death scene [Batman Returns (18)] I would not have felt sorrowful). This finale lacks that blatant use of manipulation, though. Elfman's music is neither sad or triumphant. Few words can describe the sound that Elfman created, but the closest among them would be bittersweet. Indeed, the Ice Dance theme has been argued over by many separate reviewers; many claim it's sorrowful, while others claim it's elated, but all agree that it is grand.
The title Elfman chose for this piece is, indeed, an understatement. Unfortunately, there are not any words that can describe the majestic, unadulterated passion of this piece. The Ice Dance theme (earlier described a combination of the romance motif and Edward's individual theme) is played for the final time with all of the unrestrained force that Elfman can muster. Wind instruments are cleverly used to accentuate the descent of the snow through constant arpeggios, while the rest of the orchestra plays with beautiful fury. The result is angelic, haunting, passionate, and beyond belief. Truly, this is Elfman's grandest finale from his grandest masterpiece.
16. The End - This is merely a reprise of the main motifs presented in the score. Edward's waltz is the base, although the piece ends with the haunting choir and a reprise of the Ice Dance theme. As with almost all of Elfman's end credit themes, this piece ends on a quiet, low note.
17. With These Hands - Lovers of Tom Jones are in store for a special treat. This song is not only vintage Jones, but also a clever Burtonism.
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