Even one of the best and most well-established film music composers had to face a challenge he has never had before. Hans Zimmer won an Oscar for his fantastic work on Dune: Part One, but with Dune: Part Two, he had to follow up on his success. If you are familiar with Hans Zimmer’s music, you may know that Zimmer likes to create melodies and soundscapes that are perfect for the scenes in the film. While he does not tend to go for a thematic approach, this rule has some exceptions. Interstellar, for instance, contained some fantastic themes, and Dune: Part One also had a few wonderful thematic ideas. It is only natural for some of these themes to reappear in its sequel, starting, for example, with the theme representing the fall of the Atreides House in “Eclipse” or the cries of women symbolizing the Bene Gesserit, whose unnerving plans are becoming more evident in this movie.
As with Part One, the theme that represents Paul, but also desert power in a broader sense, keeps reappearing throughout the whole score. My favorite variation on this theme is present in “Travel South,” because of the inclusion of the distorted low cello sounds. This addition represents the dark mental powers Paul is starting to possess. What makes these sounds even more interesting is that the cello sounds also turn up in “Harkonnen Arena,” suggesting the similarity between Paul Atreides and his nemesis Feyd-Rautha Harkonnen.
New themes were introduced for story development too, such as the hissing-like voices representing Lady Fenring. One new main theme stands out, however, and is the highlight of the score. This theme, first introduced in “Beginnings Are Such Delicate Times,” is a gorgeous, emotional piece with the melody performed on a duduk with musical support of synths, illustrating the love between Paul and Chani. The beauty of the piece takes me back to the music for Interstellar, showing Zimmer’s emotional side, which you do not see often. The theme gets more powerful when used during the right moments in the film.
The music for Dune: Part Two is another marvelous work mixing real instruments with amazing synth sounds. There are some sound design-like moments in the score, but overall, there is much greatness to be found. The music also shows another great strength of Hans Zimmer: the power of collaboration. This film’s music would not have been that impressive without the true skills of Pedro Eustache on many different woodwinds, Tina Guo’s electric cello, the impressive chants by Loire Cotler, as well as many other outstanding musicians who have participated in creating this score.
The movie had its conclusion, finishing the plot of the first book, but the finale set the foundation for the continuation of the story from the second novel as well. With Part Two being a success as well, I do not see a reason why Dune: Messiah should not be made. Hopefully, Zimmer will return to create even more brilliant new themes.
Listen or buy
- Buy this soundtrack from Amazon.com or Apple Music
- Listen to this soundtrack on Spotify
Tracklist
The highlights are in bold.
- Beginnings Are Such Delicate Times (8:56)
- Eclipse (5:13)
- The Sietch (2:34)
- Water of Life (3:06)
- A Time of Quiet Between the Storms (4:21)
- Harvester Attack (3:40)
- Worm Ride (2:19)
- Ornithopter Attack (2:10)
- Each Man Is a Little War (1:21)
- Harkonnen Arena (5:22)
- Spice (0:37)
- Seduction (2:02)
- Never Lose Me (1:16)
- Travel South (1:10)
- Paul Drinks (1:47)
- Resurrection (2:16)
- Arrival (1:40)
- Southern Messiah (5:22)
- The Emperor (1:38)
- Worm Army (3:33)
- Gurney Battle (2:25)
- You Fought Well (1:42)
- Kiss the Ring (3:12)
- Only I Will Remain (6:44)
- Lisan Al Gaib (6:36)
Total length: 1 hour and 21 minutes
WaterTower Music (2024)
