One of the most beknownst and loved duos of the film industry in terms of music and directing is Tim Burton and Danny Elfman, who have worked together on the famed, gothic movies that create Burton’s signature. Of these include Beetle Juice, The Nightmare Before Christmas, Edward Scissorhands, Sleepy Hollow and countless others that have added their own dulled shine to cinema-goers’ Friday nights over the span of three, now nearing four, decades. The focus of this post is the fantastical Edward Scissorhands, full of both grim and poetic images. The film is a classic to many, as well as a highly contested featurette for the fangirls of young Johnny Depp. Elfman is able to transition his music largely, as the scenes show contrasting images of both light and dark.

There is a strong message of society’s need to expand on acceptance, emphasized by the placement of the title character of the story within a pastel-colored 1960’s Levittown-esque town of normality. Elfman is able to change his orchestrations from calmly menacing to carefree and high-tempo to show the juxtaposition of Edward within this town of oblivious housewives. Throughout the film, the choir is a main feature, offering a feeling of holiness and child-like wonder. The voice element varies, as it echoes hauntingly when oddity or creepiness needs to be expressed, while it is also used to bring notice to the light-hearted, softened persona of the main character struggling to live amongst cookie-cutter households who see him as menacing.

An additionally noticeable feature utilized often is the flute in low register with a jarring vibrato. These features, along with orchestral pickings, create an eerie tone in the introduction to Edward, but also provokes an inquisitiveness in the audience, nearing an orchestration similar to what would be heard during a mystery movie. We are challenged not only by the film, but also the music to look past the weaponry attached to this living creature. As the movie progresses the score becomes less provoking of fear, adding softer vocal echoing and flute, as well as the addition of a prominent harp. In addition, with moments introducing Edward and focusing upon his agile wonder of the world, Elfman uses a constant backdrop of the light, fanciful marimba. It can be likened to the melody in a child’s music box, further conveying the innocence of Edward’s actions.

Elfman’s mastering of musical elements is truly exhibited through a quick listen to only a few random picks of the film’s soundtrack. He is able to fully add to the moments of intense wonder and fright with shrill violin, inquisitiveness with high tempo strings and heavy brass, and a continuous whimsicality with vocal song.

Here is a link to (in my opinion) one of the most wondrous and beautiful songs in the film score, featuring many orchestral elements: https://www.youtube.com/watch?v=-qzeupFLnxk