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The "Main Titles" efficiently convey the mysterious, downright tragic narrative of the movie. Elfman's music keeps in perfect pace of director Sam Raimi's trademark kinetically charged montage opening credits. The main theme is not particularly developed to an extent partly because Darkman's life as a normal human being was violently cut short by thugs. Elfman utilizes this theme when Darkman is faced with adversity or a new setback in his race to make his synthetic skin hold its shape for more than 99 minutes. "Woe, the Darkman...Woe" is a very melancholy suite in which Elfman is allowed to develop the main theme in a more operatic fashion. This track is vintage Elfman and the pain Darkman experiences is truly felt here.
Keeping in step with the reserved quality of the main theme, an equally repressed arrangement arises with "Love Theme." This is an ironic title for such a dark theme. It has more of a painful nature than one of uplifting beauty. "Rage/Peppy Science" starts out as a maniacal whirlwind of a chanting chorus and bursting strings and brass. After this subsides, an oddly upbeat movement proceeds to dominate the rest of the track. Possibly one of the most enjoyable portions of this score is "Carnival from Hell." During the first minute of music, a bouncy carnival tune hops from the speakers. Everything's going nicely until an ingenius intrusion of a full orchestra muscles its ominous presence into the joy-joy kick of the carnival tune. This intrusion tries to take over several times without much success until the very end when Darkman loses his cool with the rude carny. Action takes over with the thrilling music of "High Steel." The charging trumpets heard here are taken from the best parts of Elfman's own BATMAN. Perhaps that is why I love this track.
Never being one to let up the suspense, Elfman still shrouds the main theme with an uncertain optimism in "Finale/End Credits." The music culminates into an orchestral oblivion as Darkman blends into the crowd of city pedestrians. Ending the score where it began, a near photocopy of the "Main Titles" carries the score to its conclusion. I can vaguely see how the severe critics could site this as Elfman "going through the motions," but their short-sighted views are hard to swallow. I am probably one of the few who admire this score for what it is; a score with dramatic beauty and an almost unheard of operatic quality in modern film music. DARKMAN, in my book, stands up with the "best" efforts of Elfman's career. Until others appreciate this sorely underappreciated score; woe, the critics...woe.
