 |
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
May 18, 2009 - 5:13 PM
|
|
|
|
By: |
KevinSmith
(Member)
|
Two things about the score:
1) The synthesizers are somewhat distracting from the film. If money was an issue (which I doubt that it could have been because this movie is one of the most expensive German films of all time. However, they could have elected to skimp the money on the music), then I can understand using synthesizers instead of an orchestra. But if there was no money problem, why use a synthesizer when you can get a real orchestra to play to express the same musical ideas/feelings?
An example where I feel a real orchestra could have given a different result is when the captain, the chief, and Lt. Werner board the U-boat for the first time in the submarine pen. We hear the synthesized french horns/brass fanfares trying to rouse the audience and to make the musical statement that "captain aboard, the boat is ready to go". However, given the weak power/audio technology of the synthesizers (which were very novel in the early 80s), the brass fanfares sound a little limp and date the film.
2) The overwhelming repetition of the title theme can get on the nerves in the ocean scenes in the longest version (TV miniseries). I would agree that the title theme in catchy, but through lack of variation, it becomes rather stale.
|
|
|
|
|
|
|
|
|
|
|
I love this score, I certainly don't think it would be any better if performed by an orchestra.
I do agree the lack of variation in the main theme calls attention to itself after awhile. It does get a little redundant. But what a great theme!
|
|
|
|
|
|
|
 |
Posted: |
May 18, 2009 - 5:43 PM
|
|
|
|
By: |
betenoir
(Member)
|
. . . Perfectly scored, and proof that period movies don't need orchestral scores all the time . . .
Doldinger should have kept scoring big movies, in my opinion. For such a brief run in the limelight he sure made a great impression.
I agree with ahem, and Michael. This is a superb score! Oddly, the first time I saw the film, I immediately loved the score, but the film itself was so powerful that I kind of spaced out the music afterward. I saw it again, and made a mental note to get the score. It took quite awhile, because I had to special order the LP.
The expanded CD was a welcome addition, and was a rare occasion when the rearrangement of tracks from the chronological was good, I think, because it ended with a bit of an upbeat rather than tragedy. Makes a less draining stand-alone listen that way. It's also one of the very few discs where I don't mind some dialog, since those are in tracks at the end.
I too would like to have heard more from Doldinger.
|
|
|
|
|
|
But if there was no money problem, why use a synthesizer when you can get a real orchestra to play to express the same musical ideas/feelings
The score for Das Boot does use an orchestra. It is a small orchestra, with a prominent number of synths, but those are real horns and trombones as they board the U-Boat. And those are real strings when they escape Gibraltar.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
That`s another nice Doldinger melody. The theme from the Fa soap commercials in the 70s. Too bad only that extended pop version has been released since they produced many cues with that theme that had a wonderful lush exotic flair.
I`m sorry that doesn`t have anything to do with DAS BOOT.
http://www.youtube.com/watch?v=btys15P1h4M
|
|
|
|
|
|
The standard American Blu-ray of Das Boot is the Director's Cut version, which is a medium between the theatrical release and the mini-series version. I happen to prefer this version to the theatrical (I don't think I've ever come across anybody who didn't), but I've never seen the mini-series.
This is one of the greatest war films ever made… definitely worth checking out.
I happen to really like the score. There are several different themes that are developed throughout, and their use in at least the director's cut of the film is spread out enough that I never found any of it too repetitive. For my money the expanded soundtrack album has enough variation and a good flow to keep the score fresh to the end.
The synths never bothered me. I always felt that the synthetic sounds were well matched to the claustrophobia of the submarine, and that may be one of the reasons why this score made such an impression on the genre. I do think that the overall sound of The Hunt for Red October and Crimson Tide bear the influence of this score.
|
|
|
|
|
|
|
|
|
|
|
|
