By the turn of the 1990s, Tim Burton had already sealed his credentials as an imaginative and quirky director with films like Pee-Wee's Big Adventure, Beetlejuice and Batman. Therefore it was only to be expected that his next film would be equally quirky and dark, and that it certainly was. Starring Johnny Depp along with Winona Ryder, Dianne Wiest, and Anthony Michael Hall, with Vincent Price as "The Inventor," Edward Scissorhands is a fairy-tale like fantasy about a strange artificial man with scissors for hands. From his lofty castle on top of a hill, he is whisked away by a cosmetic's saleswoman straight into the suburbs where he is greeted with interest and wonder. It won't be long however when people start turning against him due to his naïve trust in others and his sharp scissorhands that cause a few unintentional moments of danger, resulting in a rather depressing and poignant ending that is guaranteed to bring tears to your eyes. To no small degree, the music of Danny Elfman is one of the key elements that really gives this film the magical and poignant feel of fantasy.

There are two elements in particular that really define this score and its fantasy elements. The first is the tingling celesta that underlies practically the entire score. It opens the score, appears often in the connection to Edward's theme, and it finally plings the final note of the score. This kind of twinkling has since become a standard staple in depicting magic, fairies, or dream sequences. The other notable element is the use of a boys' chorus which is one of Elfman's trademarks ever since Beetlejuice. The fact that Elfman doesn't use a full adult choir creates a sense of childlike innocence that personifies Edward perfectly as still being a child in essence due to the fact that he has lived alone in seclusion ever since the death of his creator in the cue "Death!". The dominating theme for Edward is one of a melancholy waltz introduced in "Introduction (Titles)." Apart from this more grandiose presentation of the main titles, Edward's music is most often heard in a more gently happy, yet touching presentation, first heard in "Storytime" and appearing throughout the score. The highlight moment for this theme comes in "Ice Dance," a moment of absolute magic where it is fully expanded upon for the first time, a beautiful and moving moment that unfortunately comes to an abrupt end as the scene is suddenly interrupted.

On a more darker note comes "The Cookie Factory," a quirky cue of conveyor belt rhythms and a sense of the macabre that is echt Elfman. The lengthy "Castle on the Hill" features a recap of the main title music a shade more darker and featuring the choir in a little more harshly dissonant style. I could even hear a small trace of Batman's theme there which is only expected from the young Elfman. The second part of the album concentrates more on the darker material found from the latter half of the film. The cues "The Tide Turns" and "The Final Confrontation" are both in the vein of standard action music that is very dark indeed. As Elfman said, he was so captivated in writing this finale music that he descended in a state of depression and anguish, basically being submerged in the darkness of it all. However, the absolute highlight of the entire score comes at the very end. "The Grand Finale" brings us a grandiose and very emotional climax on Edward's theme, an emotional release that always makes my spine tingle. And when coupled with the film, it is a moment that will bring tears to your eyes, no doubt about it.

1. Introduction (Titles) (2:36)
2. Storytime (2:35)
3. Castle on the Hill (6:25)
4. Beautiful New World/Home Sweet Home (2:05)
5. The Cookie Factory (2:14)
6. Ballet de Suburbia (Suite) (1:17)
7. Ice Dance (1:45)
8. Etiquette Lesson (1:38)
9. Edwardo the Barber (3:19)
10. Esmeralda (0:27)
11. Death! (3:29)
12. The Tide Turns (Suite) (5:31)
13. The Final Confrontation (2:17)
14. Farewell… (2:46)
15. The Grand Finale (3:26)
16. The End (4:47)
17. With These Hands (horrible song performed by Tom Jones) (2:43)