Songs for Villains: The Frightening Juxtaposition of Classical Music
Picture a villain from one of your favorite films or TV shows — I mean, someone really bad, someone capable of doing the worst things humanly possible. Do you have an idea of who to choose? Good. Now picture them alone and in a dark room. They’re listening to music. What style of music are they listening to?
Was it by any chance… classical music? Yes?
Why is it always classical music?
Believe it or not, this is actually a well-established trope. The villain listens to classical music, plays classical music, or just has classical music playing in the background during a key scene.
And there’s a reason for it all…
What is Classical Music?
You most likely know it when you hear it, but can you actually put into words what classical music is? Think Mozart. Think Beethoven. You know, those guys.
While the Classical Era itself was actually a distinct period of time between 1750 and 1820, people often use the word “classical” as a catch-all term that encompasses several historical periods from the Middle Ages until today, including the Baroque, Classical, Romantic, and Modern eras.
Stylistically, classical music features sounds that are balanced and clear. The melodies follow specific forms — almost as if they fit neatly into boxes. The harmonies are on the simpler end of things. At times, it can be dissonant, but the dissonance resolves. Songs could be written for piano, symphonies, string quartets, and more.
Those are textbook characteristics, sure, but what type of personality does it have? People often say that classical music is “elegant.” It’s emotionally balanced. It shows restraint. You might even say it’s graceful.
Does that seem odd for a villain to listen to? Or does it seem right on point?
Prime Examples
Obviously, I’ll have to show you a few villains to make my case, right?
HANNIBAL LECTER
The Silence of the Lambs
I’m not certain if I prefer Anthony Hopkins or Mads Mikkelsen as Hannibal Lecter, but one thing is for sure: Dr. Lecter listens to classical music through all of his various incarnations. And he does so with a frightening delight… often after finishing a meal. He has a taste for Mozart and Bach. At one point, he even says that he prefers the harpsichord over the piano, which is a rather menacing opinion, if I do say so myself.
PROFESSOR MORIARTY
Sherlock Holmes
In the modern version of Sherlock Holmes (there’s more than one, so I’m talking about the RDJ movies), there is a scene where Professor Moriarty triumphantly sings along to Franz Schubert’s Die Forelle while everyone’s favorite detective is tortured and suspended by a giant hook pierced through his shoulder. “Die Forelle” translates to “The Trout,” by the way. How diabolically appropriate! Side note: You may also know this song from Samsung washing machines, which is a much less ominous situation.
HUGO DRAX
Moonraker
How about a classic Bond villain? In the above scene, Hugo Drax is seen playing Chopin’s Raindrop Prelude on the piano. It’s a beautiful piece. Pretty harmless guy, right? He just wants to go hang out in space for a while, wipe out the entire earth, and then repopulate it with his own hand-selected master race. Nothing to worry about.
ALEX DeLARGE
A Clockwork Orange
I tried my best to watch A Clockwork Orange, but I’m pretty sure I’ve completely blocked out the memory. Now that was a weird movie. I honestly couldn’t even tell you what it’s about, but I can tell you that Alex DeLarge listens to Beethoven.
CHANCELLOR PALPATINE
Revenge of the Sith
It’s hard to imagine exactly what style of music people in the Star Wars universe would listen to; however, there is an “opera scene” in Revenge of the Sith, where Anakin Skywalker has a chat with Palpatine (prior to his grotesque transformation, of course). The piece in question is called “Squid Lake,” which is like a weird zero-gravity ballet. Although it’s completely fictional, I think it’s safe to assume that this is the closest equivalent of classical music that you would find a long time ago and in a galaxy far, far away.
HANS GRUBER
Die Hard
Don’t worry, I didn’t forget the greatest villain of all time, Hans Gruber from Die Hard. In the scene pictured above, he exits an elevator into the lobby of the Nakatomi building, surrounded by a squad of machine-gun-toting henchmen… all while Beethoven’s Ode to Joy plays in the background.
Those are just a few examples among many. I could have gone for more, but I had to carefully balance my time writing against the time it took me to hunt down screenshots.
So what do all of these dudes have in common? They’re friggin’ smaht. Some of them have titles like Doctor or Professor. Some of them are geniuses. They’re cunning and clever. At the very least, they are meant to have an intelligence superior to those around them.
A Mark of Culture and Intelligence
Villains often wear expensive clothes. They’re well-spoken. They might even play chess or sit in rooms full of classy paintings while reading renowned works of literature. They’re refined. And as we just established, they listen to classical music.
Classical music is also refined. It’s synonymous with culture. Indeed, in the broader sense, it reflects centuries of history that highlight the collective values and traditions of different societies. It’s coded into our brains since childhood to accept it as high-class and intelligent.
And on another level, you’ve probably listened to classical music while studying at one point in your life or another. There are actually some specific reasons that the melodies are conducive to learning, which we won’t get into here, but the point is that this type of music has a conditioned association with education and educated people.
You’ll be hard-pressed, I think, to find a stupid or careless villain that sits around and listens to Mozart. It kind of defeats the whole image.
Contrast
There’s quite a big gap between the elegant melodies in classical music and the thought of whatever horrors our villains are capable of, is there not? Maybe it’s genocide, world domination, forming a galactic empire, physical or psychological violence, cannibalism, or… maybe some dude just really wants to steal $640 million in negotiable bearer bonds locked in the vault of Nakatomi Plaza. Okay, that last one was oddly specific, but the bad guys discussed earlier are collectively capable of all of those things.
Classical music is beautiful. Those horrors are not beautiful. The contrast is intentional. I hate to say it, but it’s artistic.
When Hannibal eats the face of a prison guard as Bach’s Goldberg Variations plays loudly in the background, it feels weird. It’s supposed to feel weird. It’s unsettling.
Classical music isn’t random. It’s measured and clearly defined. On this same level, our villains aren’t making random choices, either. They are cold and calculating. They have plotted and planned. Their acts of violence aren’t accidental; they are intentional.
And that intention is part of what makes them so terrifying. Thoughtful evil carries a much heavier weight.
For fun, let’s imagine one of those villain scenes with other genres of music…
- Rock? Too chaotic and rebellious. It’s full of raw emotion. This would better fit a hero or even an antihero.
- Pop? Too upbeat. Too happy. Can you picture Hannibal listening to Justin Bieber while eating someone’s face? Would Palpatine discuss his plans for a galactic empire at a Taylor Swift concert? I don’t think so.
- Jazz? Full of improvisation and playfulness. Certain “elevator music” style songs can certainly create an unsettling feeling depending on what’s happening on the screen, but overall it’s just not the right vibe. Jazz is the frequently the opposite of words like “measured” or “calculated.”
Setting the Tone
The real power behind everything we’ve discussed is that all this information is conveyed intrinsically within seconds — maybe even instantly. With just a few notes, you now have a deeper insight into the nature and characteristics of a person.
It requires no words. It needs no narration or other explanation. You just know.
This is just one example of how music has the power to set the tone. Keep that in mind the next time you choose to incorporate it into any type of spiritual practice.
I’m not saying that classical music can turn you into a villain or anything like that. All we’ve been discussing is a film trope — a cliché. The reason this trope exists in the first place is because music is powerful.
So maybe I’ll rephrase: don’t forget to incorporate music into your spiritual practices.
The Final Choice
You’re sitting alone and in a dark room. Through the soft glow of candlelight, you can just make out the faint outlines of paintings on the wall across from you. You slowly lower your copy of Macbeth and carefully place it in your lap, ensuring that it doesn’t crease your finely tailored pants. As you do so, the iconic opening notes of Beethoven’s Symphony No. 5 sound loudly in your ears. Dah-dah-dah-duuuuuum.
What happens next? Will you be a villain? Or will you be a hero? That choice, of course, is up to you.
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