Part One: Top Ten Villain Themes

The last couple of weeks I have been working on a paper about the impact of music on movie/TV villains and the difference between villain songs and villain themes, the main division between songs and themes being lyrics versus instrumentals/lyric-less chorals respectively. As the closing part of this assignment, we were challenged to create a top ten list for each group. It was very difficult because we were given a list of over 300 songs and themes to go through, spanning everything from the Powerpuff Girls to Terminator and from Swiper the Fox to the Daleks. Needless to say, there was a lot to go through and I had to broaden my horizons even further.

And that's not all! There were guidelines too!
1 - Is the whole piece dedicated to a single character or group, not an event in the story?
2 - Does it tell who the villain is as well as their ambitions and purposes?
3 - Does it match their character(s)?
4 - Do you know who it belongs to in the first few notes? how famous is it?
5 - What Degree of Villainy is felt throughout the piece.
6 - Does it get stuck in your head?
7 - Can it survive without visuals to convey the villain's character/purpose? For songs, are lyrics specific or ambiguous, requiring the illustrated visuals in order to be understood?

Are you curious which ones I picked? Good! But I think I'll split this into two posts. Today I'll cover the Top Ten Villain Themes, and in my next post I'll cover the Top Ten Villain Songs. Sound good? Excellent! Then let's get started.

I was forced to choose eleven themes, because one of the pieces I listed in the Top Ten fell into a category defined as "Not Really a Villain", mainly because the character lacks an evil drive. It is more of a force of nature that must be overcome while other characters in the film better reflect the traits of a "villain". However, since the character is listed in the ranks of villainy the piece had to be partially acceptable.

(Also, the linked videos are connected to YouTube. They are for people who aren't familiar with the music mentioned, but the music on them is not owned/copyrighted by them. The music belongs to the composer and the recording/movie companies involved with each movie. The videos are use at your own discretion and risk, and they may go away after a while.)

With that said, let's begin:

#11 - Saruman - "The Treason of Isengard" - Howard Shore

From The Lord of the Rings: The Fellowship of the Ring (2001). Does this piece involve a scene in the movie? Yeah... but this is really Saruman's theme. It's the piece that encompasses the fall and betrayal of a very powerful friend into the leagues of the enemy. It involves all of the deception Saruman uses against Gandalf before unveiling his wicked side and his new dedications. The tragic thing about Saruman is that after this scene, he becomes swallowed up in the themes of the Uruk Hai--illustrating perfectly how he transforms from a great leader to another undervalued pawn in the workings of Sauron of the Deceiver. He's not even good enough to equal the nine Nazgul, who at least share part of Sauron's own theme.

#10 - Jaws - "Jaws: Main Theme"- John Williams

From Jaws (1975). This is that piece I was telling you about. Jaws isn't really a "villain". The shark is more of a natural phenomena to be overcome and survived, like a tornado. However, he is definitely out to get some food and is the hearty antagonist of the well-known movie. And when your theme because the basis for an entire soundtrack! Come on! You know you've left an impression. And who doesn't instantly recognize that suspenseful beat?

#9-James Hook, Capt.-"Presenting the Hook"-John Williams

From Hook (1991). Yes, this piece too covers a scene; however, the scene is part of the magic of Capt. Hook and the visuals aren't really needed to catch the flamboyant character of the Steel-handed Stingray. In the movie Mr Smee is seen going to collect the iconic hook from a smith and then carries it through the pirate village gathering an enormous following as he takes it back to the Jolly Roger. The flamboyance of the piece matches the captain well--his well-dressed appearance, formal mannerment, commanding presence, charismatic speech patterns, and sly yet fiery style, all cloaking his heartlessness. The music is great, and it doesn't have to be purely evil either. (Not to mention Hoffman's character first appears with the hook in place keeping time to the music while the men chant his name. How cool is that?)

#8 - Mewtwo - "The Birth of Mewtwo" - Ralph Schuckett, John Loeffler, John Lissauer, and Manny Corallo

From Pokemon: the First Movie - Mewtwo Strikes Back (1998). Yes, it's from Pokemon of all things. But if you think about the movie, the story is very relevant to our day when genetic sciences are testing all sorts of things with cloning and enhancement. Basically, Mewtwo, like the dinosaurs of Jurassic Park, was created by genetically enhancing and cloning the DNA of a supposedly extinct Pokemon called Mew. (Hence, the unimaginative name Mewtwo). When he awakens with superhuman intelligence and telepathy only to learn that he's a laboratory experiment intended only for study and life in a cage, Mewtwo goes on a rampage, destroys everything, and assumes a manifest destiny that his purpose is to extinguish human life and create a race of genetically-superior clones to rule the world. (There's propaganda everywhere.) Anyway, the music themed to Mewtwo echos his movement from innocent inquiring, through his developing bitterness, into the berserk psychosis he carries for the rest of the movie until he is magically turned around and made to see the light......yeah, yeah, yeah... all that butterflies and sunshine stuff. Anyway, the music is quite intense when it finally reaches the point that it really becomes Mewtwo's theme, and is used thereafter whenever something malicious and explosive happens.

#7 - Tom Riddle - "The Face of Voldemort" - John Williams

From Harry Potter and the Sorcerer's Stone (2001). There's no doubting that Voldemort is a famous baddy thanks to the fame of J.K. Rowling's books and the magical movies made by Warner Bros. Pictures. But when you compare the theme of Voldemort in the first three movies (composed by John Williams) against that in the fourth (composed by Patrick Doyle), and then against the fifth and sixth movies (composed by Nicolas Hooper) and the last two (composed by Alexandre Desplat and Conrad Pope), you notice very distinct differences, each arising from the differences between each composer's tastes and their desire to make the music slightly more their own. The original theme Williams composed for Voldemort is, in my opinion, the best and most iconic. It focuses more on the malevolent sinister side of Tom Riddle, whereas the later versions seem to focus on his psychopathic bloodthirsty side (his craziness as I call it). Williams' is deep and pronounces both the similarities and extreme differences between good and evil magic, whereas the later themes are more shrill and purely evil.

#6 - Norman Bates - "The Murder" - Bernard Herrmann

From Psycho (1960). By far one of the most well-known themes in the world. And it ought to be. Herrmann gave Norman Bates a dark tragic theme that's spliced in with that iconic high-pitched screeching that calls to mind the blade of a kitchen knife. His theme will drive the chills down anyone's back, especially when you're wandering through a dark house or think you're otherwise alone. It is the music of a sudden attack and a painful death.

#5 - Buu - "Scary Buu" - Bruce Faulconer

From Dragonball Z: The Buu Sagas (2003). Yes, once again we find a piece from the realms of Anime. When he first appears in the series, Buu is resurrected by a wizard named Babidi, whose father Bibidi created the monster to begin with. (Yeah, I know, unimaginative again... Bibidi Babidi Buu... where's Disney to scream about Cinderella? Or maybe its just a craftily done homage? You decide.) Anyway, the first Buu we meet is a childlike fat Buu who has an upbeat chiming theme and isn't as evil as you might think...he's just hungry. But then in an attempt to release all of his anger when an assassin tries to kill his friend and his puppy, Buu expels all of his evil and it manifests in a tall skinny Buu, who then eats the fat Buu. From there, the story progresses to reveal that Buu has had many forms, which he gained after absorbing a different powerful individual. One by one each form is overcome until Goku and co. are left with the original Buu, a kidlike being, to defeat. The character of Evil Buu is summarized in his patient evil. He can wait for the target he most desires to present itself or destroy one thing after another until he find it. He's extremely powerful and frightening, but also patient. Another thing I enjoy about his theme is that it is carefully adapted for each of this forms and for when he fights/attacks. The music was utilized very well.

#4 - Darth Vader - "The Imperial March (Darth Vader's Theme)" - John Williams

From Star Wars Episode V: The Empire Strikes Back (1980). You knew this was coming. By far one of the best known pieces of music on the planet, it is only fitting that it belongs to one of the most well-known villains. That imperialistic style and formal composure perfectly suit the faceless, unforgiving nature of Mecha-Anakin. There's no toying around with Vader or the Galactic Empire, and this music reflects that excellently. I don't see the need to say more.

#3 - Davy Jones - "Davy Jones" - Hans Zimmer

From Pirates of the Caribbean: Dead Man Chest (2006). Davy Jones is the only character in Pirates that really deserves any pity in my opinion. He gets the shaft every time he turns around. He took a job to show his love and commitment, and his lover/boss abandoned him. So like most people would do, he quit. But he couldn't escape the post and because he stopped doing his job he was transmogrified into a living sea monster along with his entire crew. From then on, everyone is after his heart so they can kill him in hopes of gaining control of the seas, immortality, or both. With everything special taken from him, he became a product of his experiences: the shaft of death. He became a cruel, unfeeling monster, master of the sea. He became the shaft to every seaman's best hopes, the thing no one wanted and everyone cursed. The way his theme transforms a loving music box melody into an intense organ battle, perfectly exemplifies who he is and what he desires. It also gets stuck in your head pretty easily, and makes everyone wish they knew how to play the organ.

#2 - Darth Sidious - "The Emperor's Throne Room" - John Williams

From Star Wars Episode VI: The Return of the Jedi (1983). Whereas Vader is known for the hardcore, cruel force he is in the Empire, Darth Sidious is far more cunning. He doesn't choke people on a moment's notice like his apprentice; he lures people in and tries to turn them to his side. He is a master sorcerer of the Dark Side, who prefers to torture people to death instead of just ending them. He plans his moves with great care always relying on the Dark Side to grant him foresight. He's a haunting presence whose face and voice alone can make your skin crawl. With all of this in mind, his theme is perfectly suited to him as well. It's malevolent and mysterious, creepy and dark, just like the Emporer himself.

and finally.....

#1 - Sauron - "Minas Morgul" - Howard Shore

From The Lord of the Rings: The Return of the King (2003). Though Sauron's aggressively haunting theme occurs from the very opening of The Lord of the Rings trilogy, "Minas Morgul" is the first track entirely dedicated to it. Sauron's theme is sometimes extended out to the Nazgul and the Realm of Mordor, but every time it is used it is directly linked to the Dark Lord himself. Personally, I was surprised when this made it to number one. I hadn't expected it to. But as I continued to go through music this one always topped out. Why? Well, it's famous for sure. There's no doubt about that. But it's also more sinister than "The Imperial March" and more forceful than "The Emporer's Throne Room". It's less pitiful and more purely evil than "Davy Jones" too. It's like the perfect combination of the three. It has all the cruel, magical elements; the frightening screeches; the commanding harshness; and the "you really don't want to get in my way or I will undo you" quality. It even has a harkening effect to the attacking feel of "The Murder" from Psycho and the suspense of Jaws. I guess the best way to say it is: if you mashed together every other piece on this list, Sauron's theme is quite likely to be one of the outcomes. Quite fitting for a Maiar who fell to become the right hand of the devil himself (Melkor/Morgoth). (Can you imagine what Morgoth's Theme would have to be like? I think it might be fitting for them to share the same theme since Sauron really was just a shadow of his master.)
Anyway, I do have to note as well that if you listen to the theme music prescribed to the Nazgul in pieces like "A Knife in the Dark", you will notice that it is a more aggressive branch off of Sauron's own tree. It's obvious that they are the cruel whip in Sauron's hand, just as Vader is the forceful commander in the hand of the Emperor. The Nazgul would've been on this list if it wasn't for that point. The Nazgul are really only extensions of Sauron's malice and control.

Sauron's theme is definitely my pick for the #1 Villain Theme. Kudos to you, Howard Shore. Kudos indeed.

So there you have it. Those are my top ten. What are yours? Do you like or hate any of my choices? Please comment below, and make sure to offer your own supported opinions. Next time we'll get into villain songs.

(Special thanks to all those composers who bring villains to life in a way that sticks in your mind unforgettably. And also a special thanks to the YouTubers who shared these soundtracks on their channels so that I had examples I could link too.)