Score of the Month #11 - Joker by Hildur Guðnadóttir (2019)

Simply put, I loved Joker! It was completely different from what I expected, and I thoroughly enjoyed the audience’s reactions — especially from those clearly anticipating another action-packed Marvel/DC-style blockbuster we’ve been bombarded with in recent years. Joker is anything but that.

Going in, I had no idea what to expect musically. I deliberately avoided research, trailers, or soundtrack snippets, and I’m glad I did. I recognised the name Hildur Guðnadóttir, though initially only from her work as a cellist with the late Jóhann Jóhannsson (Arrival and others). It wasn’t until I was in the cinema that I connected the dots.

The score surprised me. I love how it’s rooted in strings and light percussion, expanding only later with brass, sound design, and chorus. Despite that growth, Hildur keeps the score intimate and textural throughout. It’s not minimal in substance, though — it captures the darkness, turmoil, and fragile humanity within Phoenix’s portrayal of the Joker.

There are subtle nods to Zimmer’s earlier Batman themes, but they’re reinterpreted with originality and restraint. The articulation — bass tremolos, string scrapes, clusters, and air effects — feels alive, particularly in cues like “Hoyt’s Office” and “Following Sophie.” I especially admired the low string writing; “Penny in Hospital” is gorgeously rich, contrasted by the whispered upper strings and sul tasto passages of “Young Penny.”

From “Meeting Bruce Wayne” onward, the score gains intensity with distorted textures and raw, musical sound design (“Arthur Comes to Sophie,” “Hiding in the Fridge”). These cues radiate tension and madness, complete with Penderecki-style clusters that I personally loved.

“Penny Taken to the Hospital” caught me off guard — a brief but propulsive cue with a surprising rhythmic drive. I’ll be revisiting that moment to re-examine its placement in the narrative.

The infamous “Subway” scene, which I didn’t find nearly as shocking as its reputation suggests, is brilliantly voiced. Hildur revisits her earlier motifs with swelling portamenti and bold brass clusters, layering in percussion and ambient sound design to create a suffocating atmosphere that perfectly mirrors the chaos onscreen.

My favourite cue, though, is “Bathroom Dance.” Played on electric cello with choral elements, it’s haunting. Watching Phoenix’s Joker move silently to this piece was genuinely moving — a fusion of music, performance, and cinematography. Lawrence Sher, the film’s cinematographer, noted that the music was instrumental not just to Joaquin’s performance but to the energy in the room itself. Phoenix reportedly wore an earpiece feeding the score live during filming — a beautiful detail that speaks volumes about the collaboration behind that moment.

Finally, “Call Me Joker” serves as a fitting, powerful conclusion — emotional, cinematic, and grand in scale. It retains the score’s dark textures but drives toward something almost triumphant, like a heartbeat gaining strength. It’s the perfect closing statement.

Well done, Hildur. If you ever read this — I can’t wait to see where your career goes next.