“Das Boot” or “The Boat” (1981) is based on the best-selling novel by Lothar-Günther Buchheim, who had written down his experiences as war-correspondent on board the U96 during WWII. The movie is considered to be one of the greatest of its kind, featuring probably the greatest amount of historical detail you could get in a motion picture. From the interior of the ship, to the cast (including a variety of German dialects, indicating their various heritages), director Wolfgang Petersen put every effort into the project to make it not just a piece of entertainment but more like a document without any airs we often find in Hollywood productions. There are no glimpses of heroism and no pathos. Just a crew on their mission (to survive the war), deservingly resulting in six Academy Award nominations. The music (especially the main theme), composed by German jazz-icon Klaus Doldinger, became an absolute classic in Europe, eventually spawning one of the first commercially successful techno tracks ever (Das Boot by U96, 1991). The score itself is carefully used throughout the lengthy movie and rather sparsely orchestrated. Against the usual expectations, we even get utilization of synthesizers, resulting in haunting cues like “Angriff”, where the implemented sounds of a destroyer’s radar will raise the hairs on your neck, serving the movie and its timelessness. Enjoy the dive!
Not all U-boat captains were devoted Nazi-sympathizers. Please find out more about captains like Werner Hartenstein, 1908 - 1943 (Korvettenkapitan) Sank 20 ships, 97,504 grt Commanded: U-156. Hartenstein's memory lives on to this day for his remarkable feat during his rescue of the survivors of his torpedo attack in the Laconia Incident. Many have revered him as a friend and a gentleman. His boat was sunk with all hands on her fifth patrol in March 1943.
Grazie Fred❤👍🏻 Well done Klaus Doldinger In 1997, the Director's Cut version was released, lasting 209 minutes. The film was received with great admiration by critics and is still considered one of the best German films of all time, as well as one of the best war films ever made worldwide. It got six Oscar nominations. In addition to its technical qualities, attention to detail and special effects, the film was the first to describe German soldiers as victims rather than "bad guys", completely overturning the classic canons of war cinema, especially Hollywood cinema. While a film seen "on the side of the Germans" was a big risk, as an even slightly biased product could attract accusations of revisionism, an anti-militarist film would have risked being judged trivial. Petersen put aside ideologies, clichés and rhetoric and focused on a single objective: the soldier, his life on board, his fear and disbelief in the face of the sad events of the war. It seems almost incredible, but the extraordinary nature of "Das Boot" lies precisely in this: a simple subject, with an overall predictable epilogue, but an engaging narrative, one might say "live", which brings the viewer into the drama, making him feel close to the protagonists. The film also had an enormous success with the public, especially in Germany and the USA, and is part of a trend of war films, so to speak, anti-militarist but not too much, which also includes “Stalingrad” by Joseph Vilsmaier and “Platoon” by Oliver Stone.
One of the first VHS movies my dad rented after we got our first VCR. It really affected my dad who was a USN submariner at the close of WW II. There is a brotherhood among sub crew, even from opposing sides. The other films we rented were Mel Brooks' "History of the World, Part One" and Sam Peckinpah's "Cross of Iron". It was a weird weekend. Thanks for the reminder and a great suite.
It took a certain man to live and fight inside that pressure-cooking tin can. Who would volunteer for such duty? My father fought in WWII, but he was on land in the Philippines. Unsafe conditions all around.
Thanks for the reply. @@yaffayafo82 Submariners are a special breed. I don't know if I could have done it. War is war. It doesn't matter if it is on land, above, or under the water.
"U96" is my favourite track. That shot of the boat crashing through the waves as the Royal Navy go all out, the Captain urging his boat on, the crew below chaotic and all sealed by the music. Like how Angriff segued into U96 12:58 "not yet, kameraden! Not yet!!!" Likewise the end as the captain watches U-96 sink and pitches over.
Sensational contribution, one of my classics in my club; daring and innovative electronic style for a IIWW war film, which adapts like a glove both in the moments of anguish and oppressiveness under the sea, as well as in the action on the waves.
Hello, Fred! " Das Boot " was the gateway to making filmmaker Wolfgang Petersen known on a global scale. But Klaus Doldinger's musical excellence could already be detected in , for example, the police series " Tatort "(1970) and " Ein Fall Fur Zwei "(1981). Here, Doldinger creates a very thick and suitable score for the story's human drama. At the end of the credits, in his style, he performs a pop/ symphonic version of the main theme that is one of the richest and most of exciting of all time, with impeccable melody & orchestration, an unforgettable theme as would be " Bastian's Happy Flight " from " Die Unendliche Geschichte "(1984, aka " The Neverending Story " ) _ two of our dearest memories from the 80s! Thanks and bye!!
Listening to this score with its innovative use of sampled sounds and synth, you almost can't tell it's from a 1981 film, save for a few clues here and there. Just goes to show how timeless and beautifully crafted this score is. The "U96" with its intense driving rhythm is my favorite. You can feel the suspense just by listening to music alone.
Nada q añadir al comentario de soundtrack....maravillosa pelicula. Banda sonora. Fotografia...cuando emerge el submarino a la superficie te acuerdas de respirar la belleza del mar y del submarino es inenarrable...obra de arte! Malditas guerras.
Unfortunately I can't find any official information about the location but it looks like a river course through a city to me. Maybe the Spree in Berlin (Doldingers hometown).
Klaus Doldinger was one of the first musicians in Germany to own and use a Fairlight C.M.I. ( C.M.I = computer musical instrument ), the first ever sampling synthesizer and digital recording device, that came on the market at the end of the seventies and was quite expensive at the time, costing something from 40,000 up to 220,000 Deutsche Mark at the time, for that sum you could buy a villa in Spain with swimming pool. I'm German and I still remember quite a row of documentaries, which had been shown on German TV at the time about the making of the movie. It was co-produced by the ARD/WDR, one of the two public broadcasting and TV stations at the time in Germany, and since this was the biggest budgeted ever produced movie up to that time in Germany it was quite a lot reported about in German television. Among the several documetaries I still remember is one about Klaus Doldinger in his studio in Munich working on the score for "Das Boot". You could clearly see him working with his Prophet V Synthesizer and his Fairlight C.M I., whose then state of the art sampling functions he explained and demonstrated in detail. Those stomping sounds, evocating the sound of the diesel engine of the submarine, and those plings, reminding of the sonar, were all done with the Fairlight C.M.I.. Then the docu showed Doldinger conducting a string section, which consisted foremost of real cellos, and a drummer, a timpanist and a percussionist, who all played along the pre-recorded synth layers. Very innovative indeed at the time, this early crossover of natural sounds and synthesizers and Fairlight samplings. Such much and quite literally over years the German TV reported about the making of "Das Boot", that after some time I myself got quite annoyed about it, and in all honesty I finally came to the conclusion that this movie would probably never ever get finished and see the light of the day, a fear that many German media shared at the time, because the tales about the constant failures and problems in filming it seemed utterly endless. I cynically thought: "Oh, my dear fellow Germans! Just leave making movies of this scale to the Americans and Hollywood ! They are used to it making them on a daily basis, you will only go broke even trying it !" At the time of the movie's final theatrical release, after over three years of production, everyone was completely baffled: What ?!! They did finally finished this desaster of a movie, REALLY, DID THEY...?! It was an absolute miracle indeed ! 😄👍🏻
Quite possible ! Klaus Doldinger was one of the first musicians in Germany to own and use a Fairlight C.M.I. ( C.M.I = computer musical instrument ), the first ever sampling synthesizer and digital recording device, that came on the market at the end of the seventies and was quite expensive at the time, costing something from 40.000 up to 220.000 Deutsche Mark at the time. I'm German and I still remember quite a row of documentaries, which had been shown on German TV at the time of the making of the movie. It was co-produced by the ARD/WDR, one of the two public broadcasting and TV stations at the time in Germany, and since this was the biggest budgeted ever produced movie up to that time in Germany it was quite a lot reported about at the time in German television. Among the several documetaries I still remember is one about Klaus Doldinger in his studio in Munich working on the score for "Das Boot". You could clearly see him working with his Prophet V Synthesizer and his Fairlight C.M I., whose then state of the art sampling functions he explained and demonstrated in detail. Those stomping sounds, evocating the sound of the diesel engine of the submarine, and those plings, reminding of the sonar, were all done with the Fairlight C.M.I.. Then the docu showed Doldinger conducting a string section, which consisted foremost of real cellos, and a drummer, a timpanist and a percussionist, who all played along the pre-recorded synth layers. Very innovative indeed at the time, this early crossover of natural sounds and synthesizers and Fairlight samplings. Such much and quite literally over years the German TV reported about the making of "Das Boot", that after some time I myself got quite annoyed about it, and in all honesty I finally came to the conclusion that this movie would probably never ever get finished and see the light of the day, a fear that many German media shared at the time, because the tales about the constant failures and problems in filming it seemed utterly endless. At the time of the movie's final theatrical release, after over three years of production, everyone was completely baffled: What ?!! They did finally finished this catastrophy of a movie, REALLY, DID THEY...?! It was a total miracle indeed ! 😄👍🏻
Das Boot. ... Das lässt keinen kalt. Werde nie vergessen wie der TV Vierteiler zum ersten mal gesendet wurde 😊. Hatte den auf VHS und das Making Of auch. Es gibt keinen besseren Film. Leider sind ab da nur Deutsche Filme in den USA mit dem Thema 2. Weltkrieg beachtet worden. Schade das er keinen Oscar bekam.
“Das Boot” or “The Boat” (1981) is based on the best-selling novel by Lothar-Günther Buchheim, who had written down his experiences as war-correspondent on board the U96 during WWII. The movie is considered to be one of the greatest of its kind, featuring probably the greatest amount of historical detail you could get in a motion picture. From the interior of the ship, to the cast (including a variety of German dialects, indicating their various heritages), director Wolfgang Petersen put every effort into the project to make it not just a piece of entertainment but more like a document without any airs we often find in Hollywood productions. There are no glimpses of heroism and no pathos. Just a crew on their mission (to survive the war), deservingly resulting in six Academy Award nominations.
The music (especially the main theme), composed by German jazz-icon Klaus Doldinger, became an absolute classic in Europe, eventually spawning one of the first commercially successful techno tracks ever (Das Boot by U96, 1991).
The score itself is carefully used throughout the lengthy movie and rather sparsely orchestrated. Against the usual expectations, we even get utilization of synthesizers, resulting in haunting cues like “Angriff”, where the implemented sounds of a destroyer’s radar will raise the hairs on your neck, serving the movie and its timelessness. Enjoy the dive!
Thnx for your comment. I would love to see a remake , of course german production but with the same soundtrack , maybe a bit modified❤
Not all U-boat captains were devoted Nazi-sympathizers. Please find out more about captains like Werner Hartenstein, 1908 - 1943 (Korvettenkapitan) Sank 20 ships, 97,504 grt
Commanded: U-156.
Hartenstein's memory lives on to this day for his remarkable feat during his rescue of the survivors of his torpedo attack in the Laconia Incident. Many have revered him as a friend and a gentleman. His boat was sunk with all hands on her fifth patrol in March 1943.
Grazie Fred❤👍🏻
Well done Klaus Doldinger
In 1997, the Director's Cut version was released, lasting 209 minutes.
The film was received with great admiration by critics and is still considered one of the best German films of all time, as well as one of the best war films ever made worldwide. It got six Oscar nominations.
In addition to its technical qualities, attention to detail and special effects, the film was the first to describe German soldiers as victims rather than "bad guys", completely overturning the classic canons of war cinema, especially Hollywood cinema.
While a film seen "on the side of the Germans" was a big risk, as an even slightly biased product could attract accusations of revisionism, an anti-militarist film would have risked being judged trivial. Petersen put aside ideologies, clichés and rhetoric and focused on a single objective: the soldier, his life on board, his fear and disbelief in the face of the sad events of the war.
It seems almost incredible, but the extraordinary nature of "Das Boot" lies precisely in this: a simple subject, with an overall predictable epilogue, but an engaging narrative, one might say "live", which brings the viewer into the drama, making him feel close to the protagonists.
The film also had an enormous success with the public, especially in Germany and the USA, and is part of a trend of war films, so to speak, anti-militarist but not too much, which also includes “Stalingrad” by Joseph Vilsmaier and “Platoon” by Oliver Stone.
The TV series transmitted on the BBC in the mid-1980's was nothing short of a masterpiece.
Finally the High quality version!
"Die sitzen im Casino und feiern unsere Versenkung"
Not yiet camarade ! Not yiet !!
Probably one of the best lines in the movie
One of the first VHS movies my dad rented after we got our first VCR. It really affected my dad who was a USN submariner at the close of WW II. There is a brotherhood among sub crew, even from opposing sides. The other films we rented were Mel Brooks' "History of the World, Part One" and Sam Peckinpah's "Cross of Iron". It was a weird weekend. Thanks for the reminder and a great suite.
It took a certain man to live and fight inside that pressure-cooking tin can. Who would volunteer for such duty? My father fought in WWII, but he was on land in the Philippines. Unsafe conditions all around.
Thanks for the reply. @@yaffayafo82 Submariners are a special breed. I don't know if I could have done it. War is war. It doesn't matter if it is on land, above, or under the water.
"U96" is my favourite track. That shot of the boat crashing through the waves as the Royal Navy go all out, the Captain urging his boat on, the crew below chaotic and all sealed by the music.
Like how Angriff segued into U96
12:58 "not yet, kameraden! Not yet!!!"
Likewise the end as the captain watches U-96 sink and pitches over.
Sensational contribution, one of my classics in my club; daring and innovative electronic style for a IIWW war film, which adapts like a glove both in the moments of anguish and oppressiveness under the sea, as well as in the action on the waves.
Hello, Fred! " Das Boot " was the gateway to making filmmaker Wolfgang Petersen known on a global scale. But Klaus Doldinger's musical excellence could already be detected in , for example, the police series " Tatort "(1970) and " Ein Fall Fur Zwei "(1981). Here, Doldinger creates a very thick and suitable score for the story's human drama. At the end of the credits, in his style, he performs a pop/ symphonic version of the main theme that is one of the richest and most of exciting of all time, with impeccable melody & orchestration, an unforgettable theme as would be " Bastian's Happy Flight " from " Die Unendliche Geschichte "(1984, aka " The Neverending Story " ) _ two of our dearest memories from the 80s! Thanks and bye!!
Love ❤️ this soundtrack from the movie 🎬 🎞 🎥 🎦 📽 and music 🎶 🎵 🎼🎛🎚📻🎹🎷🎺🎻 from the '80s. Thank you for the upload.
Thank 🇺🇸 😊 🙏🏼 you
from 11:57 feels like when my Coffee starts kicking in
Masterpiece
Listening to this score with its innovative use of sampled sounds and synth, you almost can't tell it's from a 1981 film, save for a few clues here and there. Just goes to show how timeless and beautifully crafted this score is. The "U96" with its intense driving rhythm is my favorite. You can feel the suspense just by listening to music alone.
Nada q añadir al comentario de soundtrack....maravillosa pelicula. Banda sonora. Fotografia...cuando emerge el submarino a la superficie te acuerdas de respirar la belleza del mar y del submarino es inenarrable...obra de arte! Malditas guerras.
Fluuuten!!!!!
Alle Mann voraus
Das Boot Danken sehn!
ALARM!!!
Très bon film et bande sonore❤❤❤
Zitat: Das Geistige kommt hier zu kurz.
Yes, Fred!
SCHNELLER!!!! SCHNELLLLLLLLLLLLERRRRRR!!!
Tiefer LI, tiefer…!
@@JohannesFabender Schwerer, Vati, Schwerer!!!
Ll, genau Tiefe halten!!
UZO auf Brücke
In the accompanying photo of Maestro Doldinger, is that possibly where the old U-boat pens were?
Unfortunately I can't find any official information about the location but it looks like a river course through a city to me. Maybe the Spree in Berlin (Doldingers hometown).
Klaus Doldinger was one of the first musicians in Germany to own and use a Fairlight C.M.I.
( C.M.I = computer musical instrument ), the first ever sampling synthesizer and digital recording device, that came on the market at the end of the seventies and was quite expensive at the time, costing something from 40,000 up to 220,000 Deutsche Mark at the time, for that sum you could buy a villa in Spain with swimming pool.
I'm German and I still remember quite a row of documentaries, which had been shown on German TV at the time about the making of the movie.
It was co-produced by the ARD/WDR, one of the two public broadcasting and TV stations at the time in Germany, and since this was the biggest budgeted ever produced movie up to that time in Germany it was quite a lot reported about in German television.
Among the several documetaries I still remember is one about Klaus Doldinger in his studio in Munich working on the score for "Das Boot".
You could clearly see him working with his Prophet V Synthesizer and his Fairlight C.M I., whose then state of the art sampling functions he explained and demonstrated in detail.
Those stomping sounds, evocating the sound of the diesel engine of the submarine, and those plings, reminding of the sonar, were all done with the Fairlight C.M.I..
Then the docu showed Doldinger conducting a string section, which consisted foremost of real cellos, and a drummer, a timpanist and a percussionist, who all played along the pre-recorded synth layers.
Very innovative indeed at the time, this early crossover of natural sounds and synthesizers and Fairlight samplings.
Such much and quite literally over years the German TV reported about the making of "Das Boot", that after some time I myself got quite annoyed about it, and in all honesty I finally came to the conclusion that this movie would probably never ever get finished and see the light of the day, a fear that many German media shared at the time, because the tales about the constant failures and problems in filming it seemed utterly endless. I cynically thought:
"Oh, my dear fellow Germans! Just leave making movies of this
scale to the Americans and Hollywood ! They are used to it making them on a daily basis, you will only go broke even trying it !"
At the time of the movie's final theatrical release, after over three years of production, everyone was completely baffled: What ?!! They did finally finished this desaster of a movie, REALLY, DID THEY...?!
It was an absolute miracle indeed !
😄👍🏻
Çok güzeldi
Pretty sure that most of the brass is sampled/synth'd? The Appell cue definitely is.
Quite possible !
Klaus Doldinger was one of the first musicians in Germany to own and use a Fairlight C.M.I.
( C.M.I = computer musical instrument ), the first ever sampling synthesizer and digital recording device, that came on the market at the end of the seventies and was quite expensive at the time, costing something from 40.000 up to 220.000 Deutsche Mark at the time.
I'm German and I still remember quite a row of documentaries, which had been shown on German TV at the time of the making of the movie.
It was co-produced by the ARD/WDR, one of the two public broadcasting and TV stations at the time in Germany, and since this was the biggest budgeted ever produced movie up to that time in Germany it was quite a lot reported about at the time in German television.
Among the several documetaries I still remember is one about Klaus Doldinger in his studio in Munich working on the score for "Das Boot".
You could clearly see him working with his Prophet V Synthesizer and his Fairlight C.M I., whose then state of the art sampling functions he explained and demonstrated in detail.
Those stomping sounds, evocating the sound of the diesel engine of the submarine, and those plings, reminding of the sonar, were all done with the Fairlight C.M.I..
Then the docu showed Doldinger conducting a string section, which consisted foremost of real cellos, and a drummer, a timpanist and a percussionist, who all played along the pre-recorded synth layers.
Very innovative indeed at the time, this early crossover of natural sounds and synthesizers and Fairlight samplings.
Such much and quite literally over years the German TV reported about the making of "Das Boot", that after some time I myself got quite annoyed about it, and in all honesty I finally came to the conclusion that this movie would probably never ever get finished and see the light of the day, a fear that many German media shared at the time, because the tales about the constant failures and problems in filming it seemed utterly endless.
At the time of the movie's final theatrical release, after over three years of production, everyone was completely baffled: What ?!! They did finally finished this catastrophy of a movie, REALLY, DID THEY...?!
It was a total miracle indeed !
😄👍🏻
Nein ,sie sind 1:18 auferstanden, jedes Jahr fahre ich nach Möltenort ,da darf mich keiner stören
✡️
Masterpiece
Doldinger's score for BODY PARTS is a horror masterpiece.
Also love this score but it's but Loek Dikker, not Doldinger I'm afraid!
Das Boot. ... Das lässt keinen kalt. Werde nie vergessen wie der TV Vierteiler zum ersten mal gesendet wurde 😊. Hatte den auf VHS und das Making Of auch. Es gibt keinen besseren Film. Leider sind ab da nur Deutsche Filme in den USA mit dem Thema 2. Weltkrieg beachtet worden. Schade das er keinen Oscar bekam.
This is a glorification of the Nazis. That’s why it didn’t and won’t get the Oscar.
Спасибо. Это круто
Vielen Danke Fred