DUNKIRK.

 

I was not intending to write a review of this soundtrack, but after trying to listen to it a few times I decided that maybe it should be written. DUNKIRK the movie is quite brilliant, director Nolan I think has got it right and the way in which he approaches the subject matter and shoots the actual story is impeccable and affecting. The score however is yet again another disappointment, Hans Zimmer once again has created a soundscape rather than a musical score, because musical it cannot be called or labelled. The composer utilises musical and unmusical sounds at times to create his soundtrack, but although at times the sounds are effective within the context of the film I found it a distraction rather than supporting the proceedings. Zimmer is without a doubt a talented man, and I get so frustrated about the way in which many film music collectors put him on a pedestal as if everything the man has done is filled with brilliance, yes there have been a few scores that have hit the mark both in the films and away from them BACKDRAFT for example, GLADIATOR another such example. The soundtrack for DUNKIRK was another case of a missed opportunity in my opinion and yes before you all shout it I do realise film scoring has changed since the days of 633 SQUADRON, WHERE EAGLES DARE and BRIDGE OVER THE RIVER KWAI, but would it have hurt to include a few bars that bared some resemblance to a march or an inspiring or patriotic sounding theme. As I say within the context of the movie Zimmer’s efforts work to a degree.  they build the tension and also create the stressed atmosphere and the feeling of hopelessness but. this is not music. One of the longest cues on the soundtrack is SUPERMARINE which I have to admit I dislike with a vengeance, it is grating and perplexing, repeat, repeat ,ad nauseum.  I get the use of the  ticking clock, but that’s a sound that has been utilised many times in film scores by the likes of Morricone, Zimmer’s sounds on this film are for me a nightmare and also an experience that I will not repeat ever I do not think. Make up  your own mind.as this review like all others is a personal opinion, but film music this is not, it’s more like one of those odd dance tracks that everyone raves about says how great it is, but never actually dances to it because it’s just too weird and so they never buy it and rave on about it because they think it’s COOL to do so. Zimmer as always was not alone in this venture, two other composers are credited Lorne Balfe and Benjamin Wallfisch, but I cannot hear anything different or original within their cues that sets them apart from the rest of this soundtrack, it just grates on and on, never really getting anywhere, apart from the end two tracks in which Edward Elgar is also credited, and in which we can just about pick out his Nimrod composition. which is heavily masked by the electronics of Zimmer and Balfe, sorry don’t like it, and if Christopher Nolan is to direct a Bond movie, please, please, please no Hans Zimmer. If that ever happens I will start collecting blown light bulbs.