So I listened to all the Spider-Man scores from both franchises (excluding Youngs since it never got an official release) back to back. Im not going to rank em but bring up what I enjoy about each of em.
Spider-Man - Danny Elfman
Rather than give Spidey a march ala Elfmans Batman and Williams Superman he gives the superhero a motif instead, which goes through a bunch of variations. And makes it unclear of what the defining main theme is. I think its intentional reflecting Peters troubles of having a dual identity. I think it also mirrors how complicated it is for Peter to balance a double life as a young student/photographer/crime fighter. He also gave Peter a separate theme which was a lot more bolder and identifiable than Spideys own. Again I believe that was intentional b/c Parker is the real person instead of a façade (unlike Batman and Supermans alter egos, imho) rather than Spidey. Peters theme could also be consider the responsibility theme as well b/c it characterizes how important of a father figure Ben was to Peter and the morals behind the meaning with great power comes great responsibility, imo. The theme also investigates Peters humanity, emotional side, and inner turmoil, imo. Theres also a tender love theme for Peter and MJ that examines there relationship and the admirmationboth characters have for one another. He scores the romance as unrequited love b/c it doesnt become quite complete in this story. Aunt May is given poignant and touching theme reflecting Mays love, care, and compassion for Peter. Its sort of melancholic b/c it echoes the impact Bens death has on both Peter and Mays relationship. Its interesting that in all of the Spidey films Elfmans the only composer to give May a theme/motif. And finally for Spideys greatest foe the Green Goblin is given a sinister, menacing, and ruthless theme, which explores Normans schizophrenic mind.
Spider-Man 2 - Danny Elfman
Elfmans Spidey theme/motif, Peter Parker theme, MJ and Peters love theme, Aunt Mays theme/motif, and the Green Goblin theme (though briefly) return with alterations. The newest theme in this one is Doc Ocks theme which is in three separate parts. The main Doc Ock theme is malicious and intimidating. That is actually a variation of Spideys motif. Probably to show that theres a connection between the two characters. Another theme represents Ocks 4 mechanical arms, which is ingeniously made up of 8 notes. Its a very catchy and fiendishly over the top theme which imitates how dangerous Ocks four mechanical arms are. The 3rd theme usually shows up whenever Ock is leaving the scene (when he escapes the hospital, leaves the Osborne Mansion, and kidnaps MJ from a café). It portrays Ock as being pretty much unstoppable as he dominates everything he comes across. Doc Ocks theme in general is one of my favorite cbm villain themes.
The Amazing Spider-Man - James Horner
Horner gave Spider-Man a more defining theme than Elfman. It captures the characters more heroic, noble, and charming side. Horner was able to do so much with this theme emotionally. Theres also an emotional theme/motif that represents Peters childhood/parents, which is often played on a piano i.e Peter playing hide and seek at the beginning and when present day Peter finds his Dads briefcase, etc. Its both sympathetic and esoteric. Another mysterious motif is used whenever Peter investigates something (e.g. his Dads past, spider bites, and the equation). Its basically a motif for Peters curiosity. Horner gave Peter a sentimental main theme that distinguishes Peters heart. Its also considered Peter and Gwens love theme. The theme was very romantic, lyrical, bittersweet, and a little melancholic. It plays just as much of an important role to the score as his Spider-Man theme. I believe the theme hints to something dire in their future if they continue being romantically involved as Capt. Stacy warned Peter at the end. Horner gave Peter more themes/motifs while giving Spidey one defining theme, which was the opposite of what Elfman did with his scores. Which really intrigued me how both approached the themes/motifs for their interpretations of Peter/Spidey. Dr. Connors also has a theme/motif. It plays to not only Connors humanity but also his delight in the miracles of science. You can hear the cheerful theme when Connors wakes up with a new arm, when he and Peter successfully replace a hamsters missing limb, and when he saved Peter from falling off the Oscorp building as he begins turning back to normal. The lizard theme/motif isnt as evident as the other themes but its there. Its sort of tragic but at the same time lethal and aggressive as the character. The theme could be heard during the Oscorp Tower confrontation with Spidey, Lizard, Capt. Stacy, when Connors escaped in the sewers after Spidey saved the boy on the bridge, as well as during Lizards first confrontation with Spidey on the bridge, and when he turned the cops into lizards after being shot down by them. Horners score overall gravitates more to the dramatic and intimate elements of the film.
The Amazing Spider-Man 2 - Hans Zimmer and the Magnificent Six
While Elfman and Horners took more of an old fashioned orchestral approach with some electronics to heighten some of the sci-fi elements of the story. Zimmers score is much more contemporary and modern with some orchestra. Hans also put together a band of various musicians/artists to colaborate, which is very unique for any superhero adventure score. Zimmers score explores Peters wild teenage life as a superhero. He also gives Spidey a bold heroic theme. The theme gave me the impression as a listener what it must be like to be Spidey. The trumpet conveys a lot of triumph into the Spidey theme, imo. The main theme is played more dramatically on piano for the more emotional Peter moments. Its played on electric guitar for the more cheerful moments. As well as during some of Spideys mightiest moments in the score. Unlike Elfman and Horner its interesting to note that Zimmer didnt bother creating separate themes for both Spidey and Peter. He wrote a love theme for Peter and Gwen thats affectionate but hints at an inevitable tragedy in their love affair. He gave Max Dillon/Electro a peculiar and foreboding theme which often characterizes Dillons insecurity and paranoia. The dubstep elevates the villains electrical abilities. And the demented whispering lyrics to My Enemy and The Electro Suite cleverly explore whats left of Dillons sanity. Its easily one of the most creative villain themes in a long time, imho. Harry Osborne gets a very morose theme/motif on violin. It dissects Harrys emptiness, loneliness, and inner demons. The theme becomes unhinged and twisted once Harry becomes the Goblin. This is the first time Harrys given his own theme in any of the scores. In the SM3 score Young adapted Elfmans Goblin theme for Harry once he took the Goblin mantle. So that doesnt necessarily count. Rhino gets a diabolically sinister theme as well but doesnt get to evolve unlike Electros and Goblins themes. Zimmer wrote an inspiring theme/motif for Gwens graduation speech that bookends the finale, when Peter listens to it for the first time and therefore encourages him to put on the costume again after a 5 month hiatus of mourning Gwen.
Each of these scores got a lot going for em. I believe each have something to offer musically which distinguishes themselves from each other and the other superhero scores. All 3 composers took different approaches examining the psychology and personal journey of Peter Parker/Spider-Man, the world he inhabits, the characters (good or evil) he comes across and his numerous adventures. There so much more I can say about these scores. Spider-Man has been blessed with some excellent scores, imo. Thats why I cant pick the best or definitive score. I look at it as composers putting their own spin on the character and his adventures as writers and artists do for the comics.
t:
