*This review contains no spoilers*
Dunkirk is a World War II epic directed by Christopher Nolan, whose body of works has consistently received critical acclaim. The man is arguably one of the most respected filmmakers of our time.
But as far as personal taste goes, there are two Nolans for me: the Nolan of Memento, Prestige and Dark Knight days, whom I’m a huge fan of; and the recent, rather self-indulgent Nolan of Inception and Interstellar fame, whose exposition-heavy films I’m reluctant to rave about.
With Dunkirk in theaters this weekend, which Nolan should we expect when the curtain rises?
STORY
Dunkirk recounts the events of Operation Dynamo – an effort from the British high command to evacuate Allied troops, who are trapped by the Nazis on the French coast of Dunkerque in May 1940. With the impending threat of Panzers (Nazi tanks) slowly closing in on land, and the Luftwaffe (Nazi planes) already in the sky, laden with bombs ready to be dropped, these Allied soldiers of mostly British and French nationals look to the sea, awaiting help sent from home.
The film inter-cuts between 3 parallel perspectives: land, sea and air. On land, troops are desperate for help; at sea, boats are en route to the rescue and up above, the Royal Air Force pilots keep watch, protecting their ships from the terror of the Luftwaffe.
If you’re among those who were put off by Inception and Interstellar’s exposition-heavy scenes (where characters verbally explain the film’s over-complicated plot to its audience) – Rejoice! Dunkirk has none of that. In fact, it barely even has a beginning and a middle. We’re dropped right in the midst of the action and things just keep getting more and more intense from that point onwards… The film plays like a two hour climax, creating tension not only with the chaos and confusions around our characters, but also the turmoil and trauma within them.
Amidst the horror of random deaths and fear of impending doom, our protagonists are often forced to make impossible ethical decisions. Dunkirk being both physically and psychologically tense is probably why its running time is so much shorter than the average Nolan film (107 minutes). Such anxiety can only be sustained for so long, before losing its effect and wearing out its audience.
Although the Nazis’ presence is felt throughout the film, they’re never seen. Referred to merely as “The Enemy”, they are given no other personality than that of random chaos and destruction. With such an antagonist, Dunkirk feels more like a disaster movie than a war film, in which retaliation is out of the question, and survival is the only objective.
CHARACTERS
The film features an ensemble cast led by the likes of Tom Hardy, Mark Rylance, newcomer Fionn Whitehead and teenage pop star Harry Styles.
Hardy plays Farrier, an RAF pilot who spends the majority of the story inside a cockpit, his face masked and his voice muffled (yet again). Rylance is Mr Dawson, one of the many steadfast civilian sea-men (be careful how you pronounce that word) who volunteer to sail their little ships across the English Channel, bringing hope to the stranded troops. Whitehead and Styles are Privates Tommy and Alex, respectively, standing among the many soldiers trapped on the beach at Dunkerque, doing whatever they can to be the next on board the rescue boats.
Every member of the cast does an impressive job, which is no easy task, considering how little time each is given to shine. Hardy deserves special mention for being able to evoke emotions and a sense of urgency merely through his eyes. His character is easily my favourite and is given some of the most memorable moments as the story enters its final stages.
Dunkirk doesn’t employ strategic story-telling tricks to sell us its protagonists. The film introduces its characters in a minimal fashion, hardly giving them any backstories. The relative anonymity of Dunkirk‘s protagonists enables them to serve as avatars for the many nameless individuals involved in the actual evacuation, helping to broaden the scope of the story. While this approach has worked wonders for my own enjoyment of the film, it’s been known to put off some members of the audience, who find themselves rather detached from the characters and, by extension, their stories.
PRODUCTION VALUES
I was slightly too young back in 1940 (also I’m not European and am from an entirely different part of the world), so I wasn’t there in person when the evacuation of Dunkerque took place. But had I been, I’m pretty sure this is exactly how it would have looked, felt, and sounded like.
75% of the film is shot on IMAX, the only format large enough to bring such scale and realism to the big screen. The sets, ships and planes are all replicated (in real life) to look and feel as historically accurate as they can. (Hell, some of the ships used in the film were actually there on that beach in 1940 themselves.) All that effort eventually results in two hours of mind-blowing spectacles as the film carries us though its settings and characters.
The sound of Dunkirk is frightfully realistic. The howling of the Luftwaffe bombers shall replace Darth Vader’s breathing as the primary soundtrack for my nightmares from now on. (Thank you very much, Mr Nolan sir.) Hans Zimmer’s score harmonizes so seamlessly with fighter planes’ engines and naval destroyers’ horns that it’s impossible to tell exactly where those sounds fade out and his music fades in. The score is also instrumental in heightening the drama of the film, filling the void left by scarcity of dialogues. (Dunkirk’s script was only 76 pages long.)
CLOSING THOUGHTS
Dunkirk is the most unusual Nolan film to date. It’s extremely experimental with its structure and takes a rather minimalistic approach with the handling of its protagonists.
While no one will (because no one can) dispute that Dunkirk is a well-crafted epic with staggering realism, impressive set pieces and gripping action sequences; some will cite the lack of character backstories as the film’s only weakness – a sentiment which I personally don’t share. Elaborated introductions aren’t required because I know these characters. They’re us – the everyday men and women, dropped in the middle of a military disaster, either trying to survive or helping others do so. At the center of its larger than life spectacles, I’m relieved to find that Dunkirk does have a heart – one that warms us with tales of everyday heroism.
Is it Nolan’s best film? No – The Dark Knight is. But Dunkirk‘s undoubtedly one of the best theatrical releases of the year and has deservedly earned its place among the most respected war epics in cinematic history. A must-see. Watch it on the biggest screen you can.
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