The thing that is most striking when the string movement begins—not even a minute in—is how light it all feels. There’s an almost serene, melancholic air to it, which of course is all very Batman. But it does not feel maudlin because of that, if anything the opposite. It’s at times triumphant, evoking a surprisingly warm and uplifting tone. It’s quite hopeful, which is perhaps not the immediate direction you’d expect from a Batman theme. But that’s of course the contrast when those low piano beats come back in, building back up to the blaring horns we’ve heard in the trailers to conclude the piece, layering in that familiar, ominous edge, which is also all very Batman.


It’s nice to have a main theme that plays to all those aspects of the character, the duality of (bat)man, that theatrically grand light and dark, but it’ll be even nicer to hear just how it all plays in context in the final movie.

The Batman hits theaters from March 4.

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