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Everyone knows the best songs in Disney movies are the villain songs. What’s your favorite?
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Discussion What’s the best Disney Villain song?
- Thread starter Red Monster
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Hellfire.
Hellfire.
Hellfire.
God have mercy on those that pick otherwise.
Hellfire.
Hellfire.
God have mercy on those that pick otherwise.
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I'm probably showing my age but "Be prepared" is literally the first thing coming to my mind when thinking about "Disney Villain songs". I have no good reasoning for it other than Lion King being extremely iconic and "Be prepared" being just a fantastic (and catchy) song.
Gaston is a close one but I like it a lot less because it got memed to hell and back.
Gaston is a close one but I like it a lot less because it got memed to hell and back.
TheMindOfThomas
Kalosian
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Be Prepared. It really does its job well of getting you anticipated (and kind of hyped?) for Scar's plan to kill Mufasa.
Catsylvania
Koopa
Obviously:
For realsies, this is actually really difficult.
I’ll tentatively go with “Poor Unfortunate Souls” which was pretty much “check out these slaves I have and you can be one too”. They literally cowered in Ursula’s presence. It ended with Ariel very reluctantly signing away her voice (essentially her soul). And because that wasn’t f’d up enough, Ursula didn’t even bring Ariel to the surface. Drown, I guess. LOL. Overall a bad time.
“Be Prepared” was a close second since it’s an entire song about Scar planning the murder of his own brother set on the backdrop of obvious Nazi imagery.
For realsies, this is actually really difficult.
I’ll tentatively go with “Poor Unfortunate Souls” which was pretty much “check out these slaves I have and you can be one too”. They literally cowered in Ursula’s presence. It ended with Ariel very reluctantly signing away her voice (essentially her soul). And because that wasn’t f’d up enough, Ursula didn’t even bring Ariel to the surface. Drown, I guess. LOL. Overall a bad time.
“Be Prepared” was a close second since it’s an entire song about Scar planning the murder of his own brother set on the backdrop of obvious Nazi imagery.
Gingerbread Man
Paratroopa
"Be Prepared" is incredible. Awesome song in its own right. Then you realize it is a dark mirror of "I Just Can't Wait to Be a King". And then you see how it plays with Nazis iconography -- the Hyenas are Nazi soldiers following Hitler/Scar. The shadows and the overall direction are also reminiscent of German expressionism.
A masterpiece, really.
A masterpiece, really.
OP
OP
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The answer for me is clearly Be Prepared. It is head-and-shoulders above every other song in the poll. So that’s what I voted.
But I really love Poor Unfortunate Souls, Friends on the Other Side, and Gaston. Those are all excellent villain songs.
Hellfire is a bit too intense for me. It’s dark, it’s heavy, it’s creepy. It’s just a lot.
But I really love Poor Unfortunate Souls, Friends on the Other Side, and Gaston. Those are all excellent villain songs.
Hellfire is a bit too intense for me. It’s dark, it’s heavy, it’s creepy. It’s just a lot.
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The easy answer for me is the same as a lot of people, it seems: Be Prepared. I saw the thread title, and even with my general apathy for music the song immediately started playing in my head.
I've really come to like Poor Unfortunate Souls, though.
I've really come to like Poor Unfortunate Souls, though.
Pillydillsy
The greatest banana sherif in town
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If I was gonna be honest with myself, hellfire. But if I wanna lie to myself, it’s gotta be the song the sing for Ratigan in the great mouse detective. It’s just the perfect mix of being menacing, goofy, and catchy
Phosphorescent Skeleton
It's a hard world for little things.
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Hellfire, and Hunchback is the best Disney Renaissance movie apart from those dang goyles
Nmanic
Bob-omb
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I appreciate Mother Knows Best being on this list. I'd specifically like to shout-out the reprise (Rapunzel Knows Best) which redoes the tune in a minor key while her mood shifts after finally being stood up to.
Actual main part of the song starts around 40 seconds (though the scene lead in is definitely part of the piece as a whole), it's always stood out to me as one of my favorite Disney villain pieces.
Oh, but the real answer for the best Disney villain song is clearly Ursula's Revenge from KH2. Mommy's poopsies didn't stand a chance
Actual main part of the song starts around 40 seconds (though the scene lead in is definitely part of the piece as a whole), it's always stood out to me as one of my favorite Disney villain pieces.
Oh, but the real answer for the best Disney villain song is clearly Ursula's Revenge from KH2. Mommy's poopsies didn't stand a chance
JazzPotatoes
Koopa
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Hunchback is pretty mid as far as the Disney Renaissance films go, but Hellfire the song is operating on a whole other level to any villain song. It's ridiculously good.
When you look at most other villain songs, it's basically the villain doing their version of an "I Want" song: Scar wants to be King, Ursula wants Ariel's voice, etc. It's the villain laying out their stall for what they want, in a fairly straightforward way, to propel the plot.
Hellfire goes way beyond this. While, yes, Frollo is singing about wanting Esmeralda, the song itself is him questioning how his faith and conviction have still led him to sinful thoughts. He's using the song as a vehicle to examine and then justify his own damnation to Hell:- he's tried being just and pure, and it's still led him to the same destination, so he may as well use his position to get what he desires, even if it costs him his immortal soul. The actual wanting of Esmeralda is just a smaller part of a bigger song dealing with really heavy themes of choice, consequence and damnation.
When you look at most other villain songs, it's basically the villain doing their version of an "I Want" song: Scar wants to be King, Ursula wants Ariel's voice, etc. It's the villain laying out their stall for what they want, in a fairly straightforward way, to propel the plot.
Hellfire goes way beyond this. While, yes, Frollo is singing about wanting Esmeralda, the song itself is him questioning how his faith and conviction have still led him to sinful thoughts. He's using the song as a vehicle to examine and then justify his own damnation to Hell:- he's tried being just and pure, and it's still led him to the same destination, so he may as well use his position to get what he desires, even if it costs him his immortal soul. The actual wanting of Esmeralda is just a smaller part of a bigger song dealing with really heavy themes of choice, consequence and damnation.
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You can really imagine Disney suits seeing bits of the movie at times and being like "oh god this is too intense and heavy we need some stupid jokey mascots STAT"
Supreme Overlord
Look on my Works, ye Mighty, and despair!
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As soon as I saw the thread title, the answer was obvious: Hellfire!
This reflects my thoughts on why some attempts at musicals work and others fall flat, even. There are some that throw in musical numbers without considering what the music is actually accomplishing. It's a reference to something, or just a humorous bit, but it doesn't actually accomplish anything for the actual story. At a base level, it should at least highlight a theme or develop/showcase some character or further the plot, do something for the story in some way.
I liken it to the epistemological bits in, say, Pride and Prejudice. The letters accomplish something. If a song wouldn't even do so much as those, why is it here?
But, as in any scene, it becomes so much stronger when it does a bit more, and "Hellfire" is a brilliant example here.
Yes, it establishes this burning desire, Frollo's "I want," but it also develops his conflicting and contradictory nature, his status as a holy man yet the depths of his fallenness as well as the lengths he will go to justify his descent and to get what he wants -- or get rid of what he perceives to be the source of his conflict.
"Beata Maria, you know I am a righteous man; of my virtue I am justly proud. Beata Maria, you know I'm so much purer than the common, vulgar, weak, licentious crowd. Then tell me, Maria, why I see her dancing there [...]" is a strong opening, telling the listener exactly what is happening here, the self-righteous man facing a burning desire of sin. We see immediately what the core is here.
Even as he continues deeper into his twisted prayer, he displays the depth of his depravity but insists on his innocence and even proposes that God who he purports to serve is ultimately to blame. And in the background, as Frollo is insisting it's not his fault, he's not to blame? Priests chanting: "Mea culpa, mea culpa, mea maxima culpa." -- "It's not my fault (Mea culpa), I'm not to blame (Mea culpa); it's the gypsy girl, the witch who sent this flame (Mea maxima culpa)! It's not my fault (Mea culpa) if in God's plan (Mea culpa) He made the devil so much stronger than a man (Mea maxima culpa)." These lines present an alternation between pleading that it's not his fault and knowing that it is, to it's absolutely his fault but it's his ultimate fault.
He's torn because he knows he's righteous and holier than others, but this sinful burning lust is consuming him like fire, hellfire; since he's so pure, it's not possible this is his fault -- it's God's fault, even! -- but he also knows this his his most grievous fault. He is a contradiction, as all are, and his contradiction is tearing him apart and driving him to become a monster.
And beyond that? This is all interrupted by a guard who barges in to inform Frollo that Esmerelda has escaped -- framing the dark room on one side with hellfire and on the other with the soft light of salvation. It's an answer to prayer, an open door to salvation. And what does Frollo choose? "I'll find her if I have to burn down all of Paris! Hellfire, dark fire!"
On that note, we can juxtapose this holy righteous man with the hideous monster Quasimodo, who has his own song reflecting on Esmerelda, "Heaven's Light." The two songs, with the same base subject matter, stand in stark contrast, which further heightens the intense depravity of "Hellfire" and adds some thematic inference to consider (And also there's that other dude, but I don't think he got a song).
They're even combined together for the official soundtrack release.
"I'm so much purer than [...]" / "No face as hideous as my face"
"The witch who sent this flame" / "Suddenly an angel has smiled at me"
"Like fire, hellfire" / "I swear it must be heaven's light"
"Hellfire" is intense, and it's dark, and it delves into the twisted heart of a man. It's a lot, and that's to its benefit, for were it less, it would be to its disservice.
"Hellfire" gets my vote.
"The World's Greatest Criminal Mind" is a delightfully dark piece to make sure you know exactly who you're [Read: Basil] dealing with, though. I couldn't say it's the best villain song, but I'm glad you mentioned it.
It's been ages since I've seen that movie though, so maybe it's time to check it out again. Almost surprising they never made follow-ups; a Sherlock Holmes sort of setup lends itself well to that. I wonder if the originating children's book series is any good.
This reflects my thoughts on why some attempts at musicals work and others fall flat, even. There are some that throw in musical numbers without considering what the music is actually accomplishing. It's a reference to something, or just a humorous bit, but it doesn't actually accomplish anything for the actual story. At a base level, it should at least highlight a theme or develop/showcase some character or further the plot, do something for the story in some way.
I liken it to the epistemological bits in, say, Pride and Prejudice. The letters accomplish something. If a song wouldn't even do so much as those, why is it here?
But, as in any scene, it becomes so much stronger when it does a bit more, and "Hellfire" is a brilliant example here.
Yes, it establishes this burning desire, Frollo's "I want," but it also develops his conflicting and contradictory nature, his status as a holy man yet the depths of his fallenness as well as the lengths he will go to justify his descent and to get what he wants -- or get rid of what he perceives to be the source of his conflict.
"Beata Maria, you know I am a righteous man; of my virtue I am justly proud. Beata Maria, you know I'm so much purer than the common, vulgar, weak, licentious crowd. Then tell me, Maria, why I see her dancing there [...]" is a strong opening, telling the listener exactly what is happening here, the self-righteous man facing a burning desire of sin. We see immediately what the core is here.
Even as he continues deeper into his twisted prayer, he displays the depth of his depravity but insists on his innocence and even proposes that God who he purports to serve is ultimately to blame. And in the background, as Frollo is insisting it's not his fault, he's not to blame? Priests chanting: "Mea culpa, mea culpa, mea maxima culpa." -- "It's not my fault (Mea culpa), I'm not to blame (Mea culpa); it's the gypsy girl, the witch who sent this flame (Mea maxima culpa)! It's not my fault (Mea culpa) if in God's plan (Mea culpa) He made the devil so much stronger than a man (Mea maxima culpa)." These lines present an alternation between pleading that it's not his fault and knowing that it is, to it's absolutely his fault but it's his ultimate fault.
He's torn because he knows he's righteous and holier than others, but this sinful burning lust is consuming him like fire, hellfire; since he's so pure, it's not possible this is his fault -- it's God's fault, even! -- but he also knows this his his most grievous fault. He is a contradiction, as all are, and his contradiction is tearing him apart and driving him to become a monster.
And beyond that? This is all interrupted by a guard who barges in to inform Frollo that Esmerelda has escaped -- framing the dark room on one side with hellfire and on the other with the soft light of salvation. It's an answer to prayer, an open door to salvation. And what does Frollo choose? "I'll find her if I have to burn down all of Paris! Hellfire, dark fire!"
On that note, we can juxtapose this holy righteous man with the hideous monster Quasimodo, who has his own song reflecting on Esmerelda, "Heaven's Light." The two songs, with the same base subject matter, stand in stark contrast, which further heightens the intense depravity of "Hellfire" and adds some thematic inference to consider (And also there's that other dude, but I don't think he got a song).
They're even combined together for the official soundtrack release.
"I'm so much purer than [...]" / "No face as hideous as my face"
"The witch who sent this flame" / "Suddenly an angel has smiled at me"
"Like fire, hellfire" / "I swear it must be heaven's light"
"Hellfire" is intense, and it's dark, and it delves into the twisted heart of a man. It's a lot, and that's to its benefit, for were it less, it would be to its disservice.
"Hellfire" gets my vote.
A Great Mouse Detective reference out in the wild? Why, this is a thing unheard of! ... I was going to mention it in some context recently but never did. What was that for?
"The World's Greatest Criminal Mind" is a delightfully dark piece to make sure you know exactly who you're [Read: Basil] dealing with, though. I couldn't say it's the best villain song, but I'm glad you mentioned it.
It's been ages since I've seen that movie though, so maybe it's time to check it out again. Almost surprising they never made follow-ups; a Sherlock Holmes sort of setup lends itself well to that. I wonder if the originating children's book series is any good.
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Pillydillsy
The greatest banana sherif in town
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Nobody appreciates the great mouse detective enough. It’s not Disney’s most impactful movie by any stretch of the word, but I honestly think it’s the most entertaining movie they ever made. The characters are consistently incredible, the animation slaps, the art style is amazing, it’s perfectly paced, and Ratigan is SOOOO GOOD. Can you believe the made a sequel to the rescuers instead of great mouse detective? Insane
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Vincent Price as Ratigan is incredible and I've always loved The Great Mouse Detective, it's so underrated. I wonder if it being just before the 'renaissance' started makes people not give it the attention it deserves. Ratigan even has two villain songs in it, sort of! He gets the classic villain song with The World's Greatest Criminal Mind, but also has Goodbye, So Soon which gets to play just to taunt the heroes as his diabolic death trap gets ready to kill them. And that final fight in the clocktower is so good too.
Mer.Saloon
Chain Chomp
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"World's Greatest Criminal Mind" has these really interesting deleted lyrics going over Ratigan's various schemes over the years, replacing the segment where the song interrupted, and it's such a shame we don't have a Vincent Price recorded version of it. Because the only part of the song I don't like is that it gets cut off halfway.
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Mekanos
YOU は SHOCK
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I saw it as a kid and all the adult stuff went riiiiiiiight over my head, so I guess they were right to put those bloody gargoyles in it. Conversely it was one of the more forgettable Disney movies until I rewatched it as an adult.
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The song where the villain threatens to burn down an entire city if he can't get some with the sexy gypsy women he met.
D
Deleted member 5862
Guest
As much as I appreciate menace and gravitas, I have to admit, I’m the lone Gaston vote here. I have a real soft spot for a villain who is just a dipshit.
Mer.Saloon
Chain Chomp
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This is one of those songs where I almost, almost prefer the remake, if only because it uses the incredible extended lyrics by Howard Ashman that were always bloody hilarious. It loses in the coreography department for me, but as a song I almost prefer it over the original.
space_dragon
Cunning Commander
The Great Mouse Detective is so good. I was obsessed with it as a kid, haha. The whole vibe of the movie is just perfect, and I always loved the voice work--especially Vincent Price.
