Make no mistake, Das Boot is high cinematic art, but Doldinger's score, while it is inseparable from the film's narrative, is a stunning and moving work of art on its own. There are no moments of filler on this soundtrack, made longer by the fact that it now accompanies Petersen's director's cut issued in 1998. In the more driven parts of the score where battle is to be engaged, Doldinger offers simultaneous portraits of horror and grandeur as his strings become the pulse of approaching death and his horns and synths become the courageous, fearless, steely eyed gaze into its face.
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His subtle yet profound use of synthesizers as well as a symphony orchestra and the classical guitar created an atmosphere that made the footage under the sea tense and suffocating, full of the kind of adrenaline-pumping wonder Petersen's narrative called for. In his episodic moments where merely incidental music was called for, Doldinger composed mini-epochs of motion and emotion. Doldinger fashioned a score that felt more like a symphony than a soundtrack. Doldinger apparently felt it was a gift from the heavens because he put everything he'd forgotten into creating a soundtrack that was every bit as fine a piece of work as the film it accompanied. Enter director Wolfgang Petersen who was a Doldinger fan and recruited him to write a score for his WWII epoch about the war in the ocean. But this album was my soundtrack to the summer of 1978. The rest of the album is great in parts (ie 'Reng Ding a Dong' and 'Loco-Motive'), though the last track is, as another reviewer here writes, a disappointment. His groundbreaking jazz-rock fusion band Passport had become mired in the muck of schlocky feel-good instrumentals that didn't even register with his most ardent fans anymore, and he had lost his musical direction. You can see how Doldinger was evolving into a soundtrack composer ('Never-Ending Story', 'Das Boot' etc). It was a good thing Klaus Doldinger was offered this opportunity: to write a score for a German film utilizing all the various forms of his musical training.
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