Scores for Christmas films tend to be filled with the same cliched, seasonal sounds. Danny Elfman creates an alternative Christmas classic in The Nightmare Before Christmas. Rather than jingling bells and children’s choirs, Elfman creates the soundtrack to a kooky gothic holiday.
Songs like “This is Halloween” and “What’s This” combine hypnotically catchy lyrics and melodies with Elfman’s signature dark fantasy whimsy. The latter song in particular captures that all-important Disney music magic and encapsulates the awe and wonder of the holiday spirit. Even songs for the film’s villains skirt the edges of fright but still remain lively and entertaining. “Kidnap the Sandy Claws,” for instance, whose lyrics celebrate the kidnap and torture of Santa Claus, is so catchy and delivered with such mischievous glee that one can’t help but sing along.
But not all songs are created equal. While memorable melodies bolster the previously mentioned songs, several others are left without much musical backing. Instead, those songs rely on the vocals and lyrics to prop them up, with supporting music coming only in intermittent flourishes, like a garnish sprinkled on top. As a result, they can feel underdeveloped, hampering their effectiveness. Fortunately, these songs are in the minority.
The film’s short runtime (76 minutes) and multitude of songs make additional, more traditional scoring largely unnecessary. What Elfman does compose is often snippets and variants of the themes and melodies from the score’s more memorable songs, making them even more memorable. Isolating these motifs solidifies the score’s tightrope walk between horror and happy, where the gothic fantasy and perceived darkness reveals a lighter, more jubilant core.