I am seduced by hype for James Gunn’s forthcoming Superman film and want to capture a thought about the music.
If you have seen any of Gunn’s Guardians of the Galaxy movies, you know that he is shameless and effective in using music.
This week, to hype the movie, first they released a “motion poster”, which is ordinarily a hokey marketing thing.
I was among the nerds surprised to have feelings about it, because of something very cunning going on the music. Moviebob, my favorite pop-geekculture media commentator, said earnestly:
This particular filmmaker understands what he’s been handed with this character at this moment, to do something very special and transcendent and important.
For a slightly-animated image with one minute of music?
Well, the music starts with the barest hint of Hans Zimmer’s Superman theme from Zach Snyder’s Superman films, featuring Henry Cavill as Superman.
Snyder’s films have some charms — that score among them — but I am among those who deeply hate them as misunderstanding what Superman is about. They even got Superman’s hair wrong, which sounds like a small thing but I think it is actually important. Snyder give us a “gritty”, pessimistic Superman, which is just plain wrong.
So I heard a Message from Gunn in how after that whisper of Zimmer, it turns to a new arrangement of John Williams’ Superman March from the films featuring Christopher Reeve as Superman.
Hope. Joy. Fun. Sunshine.
That’s what hooked me, and Moviebob, and plenty of other nerds.
And then, because everything is marketing decadence, the following day there was … not a proper trailer, not even a teaser trailer, but a teaser for the teaser trailer. It did the same thing with the music again! And the theme sure as heck was hope, with the tagline “look up”.
I am a sentimental nerd and I watched this a lot of times. And I noticed a second thing about the music, which reminded me of another John Williams theme dear to my nerdy heart: the Force theme from Williams’ opera cycle Star Wars, which I think is the best work of Williams’ amazing career as a film composer.
I think that part of the secret of the Force theme is that Williams never completes it. It always just drifts off, unresolved, producing a feeling of longing, most apparent in its use with young Luke gazing into Tattooine’s binary sunset in the original Star Wars Episode IV: A New Hope.
The music for both the Superman poster and the teaser-teaser did that same thing, not quite finishing the Superman March.
So I made a prediction. We know that Gunn’s movie will not just re-use Williams’ score and themes; Gunn has described his excitement at the original score that composer John Murphy has created. But I think the use of Williams’ theme is not just for this marketing material. I expect the score for the new film to sprinkle it in at key places … and every time it will tug at our heartstrings by not completing it. After the teaser-teaser, I imagined that Gunn might even defer completing the Williams’ “Superman March” to a later film.
But then we got the full teaser trailer, including yet another new arrangement of Williams’ theme.
And I am a sentimental nerd and watched that a lot of times. If you want to see a bunch of nerdy adults feeling like kids again, YouTube is full of people recording themselves watching it. Music is not the only thing hooking us — there is a lot going on in two almost-wordless minutes — but it plays a big part.
It seems at first that this trailer completes the Williams theme, but it actually stops just short of that, hiding what it is doing under a crescendo echoing Superman whistling in the middle of the trailer. Given the context, that delivers all the warmth and hope one could ask for. But. It is not quite the same thing as closing the theme.
This makes me pretty sure that I was right about the forthcoming film toying with us by using Williams’ March without completing it.
I’m going to place a marker on an even more specific prediction. We will finally get the March completed over the last shot of Gunn’s film, when the story has earned it. Then the closing titles will start, and just as the 1978 Superman film opened with a proper overture over the titles, turning from the horns of the March to strings and such playing out all of the musical leitmotifs (starting at 2:15 in this capture of those titles), so too the closing titles of Gunn’s 2025 Superman will transition smoothly to all that film’s themes. I bet there will even be a bit more of Williams in there.
I also predict that Gunn’s Superman is going to make me cry like a baby. He understands the assignment.