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Doldinger’s score makes the film worthwhile, along with an amazing performance by the entire cast (Jurgen Prochnow, who plays the captain, also starred as Paul’s father in Dune (1984)) The film was dubbed into English by the original cast so you wouldn’t have to worry about watching a subtitled film. If you get the chance, I highly recommend watching this film at least once. The theme is very symmetrical in the way it rises and falls (it’s actually a good kind of music to get stuck in your head).
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It seems to me that Doldinger purposefully modeled the theme after the rising and falling swells of the ocean, where the U-Boats patrolled (and which also served as the tomb for tens of thousands of German sailors).Īs sad as this music sounds, I actually find it rather soothing to listen to.
#Das boot soundtrack songs full#
The full track actually begins with the faint sound of sonar (but most versions I find cut this moment out) and then the cello begins the main theme, starting very low and steadily rising up. There is a haunting quality to this piece that makes it irresistible to me. The music was composed by Klaus Doldinger and his main theme for Das Boot is one of those pieces of film music that you HAVE to hear, even if you never see the film. Most of the crew is injured or killed (including the captain) and the U-96 sinks into the ocean. Despite everything they have gone through, shortly after limping into the dock at La Rochelle, the entire area is strafed by American fighters. After a harrowing 16 hours spent making repairs, the ship is able to surface and the engines are successfully restarted.īut (MASSIVE spoilers ahead), there is no happy ending for the U-96. A climactic moment comes when the U-96 has been damaged by depth charges so badly that it sinks to the bottom of the ocean near Gibraltar. The film shows every aspect of life in the submarine: unrelenting boredom, the sudden excitement of battle and the dangers that faced submarines at every turn. (Though *this* boat is fictional, some of the exploits were inspired by the actions of the REAL U-96). a virtual guarantee to draw a full house, before any symphony board would consider programming it.Before I go back to my regular series, I thought I would share with you a theme that I recently re-discovered: the main theme from Das Boot (1981), a German epic war film that recounts the (fictional) exploits of the (fictional) U-96, a German U-Boat patrolling the Atlantic during World War II. With those additional score and parts rental fees taken into account, the score would have to be known to be very widely popular, i.e. The costs to a symphonic organization are a significantly greater amount of their budget when royalties to perform newer works are involved. Some highly popular scores are arranged into concert suites (John Williams' Star Wars, along with a few others by various composers, but there number is comparatively low. If the score and parts can be had, they are then only available upon rental, which heaps additional fees well above and beyond the usual copyright fees whenever the piece is performed. Ditto the one and only recording, owned lock stock and barrel by the film company, and perhaps the record company if an independent one, sealed in on contract conjunct with the film company on that particular recording.Īlmost no film scores are ever published. Almost all film scores, the full copyright, the score and orchestral parts are owned, lock stock and barrel, by the film company, not the composer.