10 Best Songs Used In Doctor Strange In The Multiverse Of Madness

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Like Doctor Strange in the Multiverse of Madness continues to smash 2022 box office records, it’s worth noting the major role played by music in this audience-pleasing blockbuster. While the official soundtrack is composed by superstar composer Danny Elfman, director Sam Raimi uses music from other MCU releases wisely, arranging a deft balance of musical score with pre-existing source music to create an unforgettable mood and atmosphere. .

From classic compositions by Bach and Beethoven, to jazzy instrumentals, soulful ballads and musical cues that reinforce the film’s themes, the best songs used in Doctor Strange 2 are a timeless mix of memorable orchestrations.

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Doctor Strange Main Theme – Michael Giacchino


Stephen enters through a purple brick door in Doctor Strange in the Multiverse of Madness

While most of the interstitial music is composed by the great Danny Elfman, one of the cleverest things Sam Raimi did was to reuse the familiar chorus from the main theme used for strange doctor. Michael Giacchino’s beautiful instrumental immediately takes viewers back to when they saw the first film and plays on their nostalgia as the new story unfolds.

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With sad, somber notes to begin the nearly seven-minute theme, the track evolves into a thunderous orchestration that’s far more uplifting and upbeat, traits Stephen Strange (Benedict Cumberbatch) required to face the cursed multiverse. A great reminder!


Multiverse of Madness – Danny Elfman


Stephen wears a white streak in his hair in Doctor Strange in the Multiverse of Madness

As its title suggests, the thematic weight of the whole film is written in the musical notes of “Multiverse of Madness”, the dreamy track composed by Danny Elfman immediately sets the tone, tenor and temperament of the character and of his future actions. Like a true operatic arrangement, the song begins slowly and calmly before exploding into a driving sonic crescendo. In many ways, it mirrors Strange’s arc.

Also playing over the second end credits, the song has a sense of finality, giving the song an added sense of gravity that is both haunting and oddly pressing at the same time.

Cosmic Beam Experiment – Francisco Lupica


Stephen fires a bolt of lightning from his hand in Doctor Strange in the Multiverse of Madness

Taken directly from the opening title track of the 1976 album cosmic beam experiment by Francisco Lupica, the jazzy psychedelic rock song perfectly encapsulates the trippy transcendental themes of Strange’s perilous journey through the fabric of space and time. Groovy, upbeat and colorful as can be, the polyrhythmic track is the perfect antidote to the slower, sadder music played throughout.


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The darkness of the song goes well with the great originality of the film, which contrasts quite well with the first strange doctor film. Director Scott Derickson chose to use hit pop songs like Beyonce’s “Single Ladies” for ironic purposes. For the sequel, Raimi wisely went the opposite route, bolstering the film’s outlandish and exotic themes with impressive international music that few know about.

All I Have To Do Is Dream – The Everly Brothers


Wanda levitates above a circle of candles in Doctor Strange in the Multiverse of Madness

Also heard in some of the film’s trailers, Raimi brilliantly uses a well-known hit pop song from the 1950s to thematically convey being stuck in the past. The Everly Brothers’ “All I Have to Do Is Dream” also alludes to the surreal, nightmarish nature of Strange and the others stuck in a liminal state of consciousness as they navigate the multiverse.


Additionally, with Wanda (Elizabeth Olsen) playing a big role in the film, the song is a reminder of how the producers of Wanda Vision used the song “Daydream Believer” similarly, linking the notion that the multiverse is possibly a dreamy hallucination, a Raimi trademark. A subtle touch indeed!

Every time we say goodbye – Oscar Peterson


Stephen and Wong look at each other in terror in Doctor Strange in the Multiverse of Madness

Oscar Peterson’s lavish jazz piano instrumental version of “Every Time We Say Goodbye” is a beautiful, slow song used to express the impending sadness of parting with a loved one. Not to spoil the action for those who haven’t seen the movie yet, but it comes at an emotional moment in the story that is sure to tell viewers for a while.


The classic jazz song was written by legend Cole Porter in 1944, again hinting at the timeless nature of the plot as the characters move back and forth in the 4th dimension. It’s a beautifully simple arrangement on its own, but once contextualized, the song hits much harder.

X-Men ’97 Theme – Haim Saban & Shuki Levy


Xavier's hand appears on his vehicle in Doctor Strange in the Multiverse of Madness

One of the coolest pieces of music used in Doctor Strange 2 is the “X-Men ’97 Theme” composed by Haim Saban and Shuki Levy for the animation x-men series that ran from 1992 to 1997. Not only is the song extremely up-tempo compared to some of the soulful musical scores, but it also plays straight into the nostalgia of Marvel fans for the past 25 years.

A lot of time and effort has clearly gone into choosing songs to use on behalf of fan service as well as thematic continuity, and the “X-Men ’97 Theme” has momentous drumlines and sound triumphant that could not make Charles Xavier (Patrick Stewart) sudden entry into history better.

Symphony No. 5 in C minor – Ludwig Van Beethoven


Stephen conjures musical notes in Doctor Strange in the Multiverse of Madness

The sound of Beethoven’s “Symphony No. 5 in C Minor”, which Raimi uses to great diegetic effect in the film, instantly classifies the joint. When Strange is confronted by his evil counterpart who wants to rob Christine (Rachel McAdams), he brings up the ability to fire musical notes like a projectile weapon, which begins playing songs on impact.


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The dueling Strangers begin to pit some of the most famous classical music compositions against each other in a hilarious showdown that reinforces the absurdity of the plot and pokes fun at the silliness of Strange’s circumstances.

Tocatta and Fugue in D minor – Johann Sebastian Bach


Stephen conjures up a pink magic ball in Doctor Strange in the Multiverse of Madness

After the good Strange throws a note of Beethoven’s 5th at his doppelganger, the plucky but somber stand-in Strange retorts with one of Bach’s “Tocatta and Fugue in D minor,” a sinister arrangement that perfectly intones the wicked malevolence of the impostor. Playing the two songs back-to-back also creates a counterpoint that subconsciously aligns viewers with the good Strange while berating the bad guy.

These classic songs are often used as background music, but here Raimi has the characters literally interact with Beethoven’s and Bach’s most famous works and turn them into deadly symphonies, doing it in a playful and inventive way that is sure to delight. stick with viewers for a while. weather.

Gargantos – Danny Eflman


Gargantos grabs a bus in Doctor Strange in the Multiverse of Madness

Of all the different Elfman arrangements used in the film, “Gargantos” tends to stand out the most. Named after the giant squid-like monster (Yenifer Molina) from Earth-616 who is summoned by the Scarlet Witch, the song is used when Strange, Wong (BD Wong), and Chavez (Xochitl Gomez) battle Gargantos as well as to convey emotions. of Strange when he goes into a psychological breakdown before waking up his third eye.


In one of Elfman’s best themes to date, “Gargantos” has all the components of a great MCU orchestral score, starting slow and mysterious before climbing to an operatic tone with soaring instrumentation. It feels both new and familiar, a very difficult balancing act that only someone as skilled as Elfman could pull off.

They Will Be Loved – Danny Elfman


Wanda kneels down to talk to Billy and Tommy in Doctor Strange in the Multiverse of Madness

One of the film’s big revelations concerns Wanda and her children. With swelling violins to tug on the chord, the song played when Wanda has a candid conversation with her children before destroying Mount Wundagore is a lyrical piece titled “They Will Be Loved.”

Composed by Elfman, the song becomes more haunting and angelic as it continues, perfectly embodying the feelings conveyed by the characters in the scene. While most songs slowly build to a triumphant climax, “They’ll Be Loved” is more subdued in the way it relays soulful melancholy, staying grounded in much the same way Wanda is forced to.

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