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Dunkirk (Original Motion Picture Soundtrack) is the soundtrack to the 2017 film of the same name directed by Christopher Nolan, released under WaterTower Music on 21 July 2017, the same day as the film's theatrical release.[1] The score was composed and created by Hans Zimmer, who collaborated with Lorne Balfe, Andrew Kawczynski, Steve Mazzaro, and Benjamin Wallfisch to provide additional music.[2][3] It was recorded at a 11-month period during early-2016 and several instrumentation and sounds were modified to create intensity in the score. Nolan and Zimmer wanted to create suspense through cinematography and music, hence Zimmer had written several tracks to accommodate the auditory Shepard tone illusion, a feature that has been explored in Nolan's previous films.

The score received critical acclaim, praising Zimmer for the unique composition and the Shepard scale, being pitched in the film, highlighting a "haunting experience of the film that creates a suspense". Several critics analysed the soundscape of the film, and the instrumentation and sound design, praising Nolan and Zimmer for creating a "haunting score" different to previous war film scores. Zimmer received a nomination each at the Academy Award, BAFTA, Golden Globe and Grammy awards for Original Score, though he did not receive a win. Some critics, highlighted it as "one of Zimmer's best score".[2]

Completely agree with the sentiment here. I see praise for this soundtrack all around, but I cannot for the life of me get myself to listen to the album in its entirety without turning it off halfway through.

As it should be judged as sound editing in the way Zimmer used his composition within the movie I wonder if the people that find it a marvelous SCORE mean they actually liked the movie because of the effect it creates. As musical score it has nothing to do with the art form we all love.
Hence why it is not on Screensoundradio.

Apart from making the score effective, talented composers (!) in addition will compose intelligent music that function as an incredible addition to the human emotion. This noise adds nothing in that regard.

Alternatively, purchasing through any of the links to amazon.com from this website means I get a small amount of commission - it costs you nothing extra but does offer a minor contribution towards the running of this site. Thanks!

I actually agree with that statement. Especially with the first part when the soldiers are taking the injured man to the boot and the strings are going in the background. Some scene would have worked better without the score actually.

This is possibly the worst score I have ever heard in a major movie. It is baffling why Nolan thought that his images needed this god awful accompaniment. I think he is clueless when it comes to music and he left it up to Zimmer to handle it on his own. Zimmer, trying desperately to be innovative falls flat on his face here. Truly terrible.

But the fact of the matter is that the situation these soldiers found themselves in was utterly terrifying and the film conveys the tension and how it would have been to be on the beaches perfectly. There are no backstories because no one man was more special than the other they all just want to get home. Any flashbacks would be obtrusive.

What a brilliant film with a brilliant score. I cannot stop watching the film nor listening to the music. Film soundtrack at its best, akin to Last of the Mohicans. Sorry Mr Music Critic, I disagree with your views on Mr Nolan too. His films are complimented by masterful scores.

Pre-ordering has begun for composer Hans Zimmer's Dunkirk score, and with these pre-sales comes the release of the always cryptic soundtrack list that give us small hints of what's to come in the war drama.

Zimmer has been working with director Christopher Nolan for over a decade, crafting memorable and soon to be classic scores for films like The Dark Knight, Inception, and Interstellar. The two compliment each other extremely well, as Zimmer orchestrates these beautiful, grand themes to go with Nolan's beautiful, grand visual imagery. Their partnership has yielded great results up to this point, making the soundtrack for Dunkirk among the most anticipated of this year.

Courtesy of Entertainment Weekly, the soundtrack won't go on sale until the film's day of release on July 21st, but the track names that will be on that album have been revealed. As with most of Zimmer's scores for Nolan films, they don't reveal any specific plot details, but they do offer a bit of unrevealed context and add fuel to the speculation of how Dunkirk is structured:

Soundtrack titles like "The Mole" and "Home" fit right in with past Zimmer-Nolan soundtrack titles like "Aggressive Expansion" from The Dark Knight or "Dream is Collapsing" from Inception. They don't give anything away about Dunkirk, but they do get minds racing about what they could mean. Who is "The Mole"? What is "The Tide"? Where is "Home"? By only using key words as their titles, the already sky-high expectations and excitement for the film and it's musical score only ratchets up a month from release.

Zimmer has been on tour throughout the U.S. and Europe for most of the year, performing medleys of his most famous scores at concerts and music festivals. Having been busy on tour, the only 2017 release he's composed a score for thus far is DreamWorks' The Boss Baby. That will change when Dunkirk is released next month.

An overwhelming, extraordinary filmmaking achievement, Christopher Nolan's Dunkirk is the dramatisation of World War II's famous Operation Dynamo evacuation in May and June 1940. The Dark Knight and Inception director brings to life the tremendously fraught and terrifying scenario in which close to 400,000 Allied troops found themselves surrounded by encroaching Nazi forces on the French beaches of Dunkirk. With death seemingly inevitable, it fell to a flotilla of British civilian vessels across the English Channel to help save the troops and bring them home again, victory snatched from the jaws of disaster. Shot on celluloid using IMAX cameras, the movie is a grandiose, handsome and harrowing experience that forgoes dialogue and memorable characterisation to throw audiences headlong into the conflict. Playing out through three different perspectives on land, sea and air, the movie has been hailed as one of the finest war movies made in recent years, with the likes of Kenneth Branagh, Tom Hardy, Mark Rylance, Cillian Murphy, Harry Styles and newcomer Fionn Whitehead putting a human face on the drama.

Unsurprisingly given Nolan's reputation the movie is an immaculate technical achievement, from Hoyte van Hoytema's enveloping cinematography (especially in the jaw-dropping aerial sequences involving Hardy's Spitfire pilot, Farrier) to the ear-shredding sound design. The latter in particular is a vital character in the movie, ripping through the speakers as machine gun fire strafes the beach and aerial bombardments roar and subside with the sound of waves and pattering sand. Out of the latter emerges Hans Zimmer's score, sure to be one of the most contentious and intriguing aspects of the movie.

Zimmer's collaborations with Nolan have always proved divisive, whether it's the murky tone of the Dark Knight trilogy and its ostensibly simplistic two note 'theme' for Batman, or the unashamedly bombastic organ textures of Interstellar. That's not to say that the two are incapable of producing memorable score material: the closing 'Time' sequence of Inception is a rare moment where Nolan allows the music to carry the visuals (albeit heavily temp tracked with Zimmer's own The Thin Red Line), whilst Interstellar showcased a far more romantic, emotional side of their collaboration. Even so it is true that Nolan often favours tone and texture above all else, often regarding music as an extension of the sound design rather than a distinct entity in its own right. In the likes of The Dark Knight this was a problem, denying the superhero genre one of its key assets: a memorable theme for the title character. However in Dunkirk it's a different story: Nolan's intention is to simulate the chaos and terror of the situation and the music likewise is designed to sonically suffocate the audience, working in tandem with the sound effects.

For this reason it's one of the more dramatically and technically accomplished of their collaborations, working superbly in the movie even though as a standalone listening experience it's intentionally difficult and confrontational. Nolan has spoken extensively about the score's need to replicate the Shepard tone, in which the music ascends or descends in pitch without appearing to get higher or lower. The uncompromising approach is evident from the off in 'The Mole' in which a ticking watch (a recording of Nolan's own) merges with a haze of distorted strings. A groaning brass glissando, heavily processed as is Zimmer's way, creates a sense of dread and anxiety, setting us up for what's to come.

The remainder of the music is much of a muchness but there is more nuance than one might expect given Zimmer's bombastic reputation. A haunting trumpet in 'Shivering Soldier' lends tortured humanity to Cillian Murphy's shellshocked soldier whilst 'Supermarine' is a relentlessly building, uncomfortable mastaerclass in driving, tapping percussion, eventually building to ear-shattering heights. It recalls the eerie nature of the Joker's material in The Dark Knight. Even so tracks such as 'We Need Our Soldiers Back', 'The Tide', 'Impulse' and 'The Oil' tend to merge in a blur of escalating, harsh intensity, a brilliant dramatic feat within the context of the movie but a harder sell outside of it.

This being a Zimmer score, it's something of a group effort with tracks credited to the likes of Lorne Balfe ('Regimental Brothers') and Benjamin Wallfisch ('Home'). The latter's material is likely what listeners will return to the most, Wallfisch sensitively adapting the melancholic strains of Elgar's iconic 'Nimrod' from the Enigma Variations to honour the moral victory of the British civilians. Adjusting the tempo and temporal space of the music, the composer's work is a stirring and effective counterpoint to Zimmer's own material, reprised in the climactic, moving 'Variation 15 (Dunkirk)' and the 'End Titles'.

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