Dunkirk

The events that unfolded on the beach at Dunkirk in 1940, as the allied soldiers were being pressed on from all sides and surrounded against the sea is probably one of the most well known stories of the Second World War. There are many angles that it can be seen from. It can be looked at as a victory snatched from the jaws of defeat, as a civilian armada rallied to the call and rescued our brave soldiers from the enemy, or also as a crushing defeat that exemplified just how underprepared we were for the full scale of a war on foreign soil, or even – as with many historic events – both at the same time. To address these conflicting readings seems like a lot of work, even for a documentarian. To try and address these varying viewpoints in a fictional account, albeit one based on a mantra of historical accuracy, would seem foolhardy in its intent, and impossible in its execution. After all, a story teller should have a clear view of the story that they’re trying to tell, right? Well, somehow Christopher Nolan has done it. The tone is perfect, mixing reverence with criticism, and giving true credit to the actions of those involved whilst still representing the horror of the situation. It works, and it’s nothing short of genius.

The movie unfolds through three perspectives. One from the land, as we find the troops lined up on the beach, nervously awaiting their exodus); one from the sea, as we follow civilian sailor Mr Dawson (Mark Rylance), his son Peter (Tom Glynn-Carney), and his son’s friend George (Barry Keoghan) as they make their way across the channel as part of the civilian flotilla who volunteered to help with the evacuation, and one from the sky, where Spitfire pilots Farrier (Tom Hardy) and Collins (Jack Lowden) desperately defend the retreating soldiers and civilian sailors against the German bombers and fighters.

The movie is well written, and Nolan’s propensity for playing with time is used to great effect, interweaving the three main story threads in a way that allows moments of exposition to occur almost simultaneously with the action. What he doesn’t do, however, is allow his trademark timeline tomfoolery to overshadow the story and the main focus of the movie. So, what you get is a perfect balance of plot and device that avoids cries of pretension, and is yet so undeniably clever.

It’s fair to say that dialogue has never been Nolan’s strongest bow string, and perhaps that’s why the script is minimal at best, but whatever the reason this is a movie that uses show over tell to bring the story to life. Actions definitely speak louder than words as Nolan’s direction (which definitely IS what he does best) plays with the various perspectives of the main characters. One minute you’re scouring the skies from a first person viewpoint trying to see a just-off-screen German fighter, but when you hear the impending dive of the bombers on the beach coming closer to the lined up allied ranks, you’re denied the ability to search for the source, instead forced to watch the fear on the faces of the men as they dive for cover. It’s so utterly immersive, like no other movie I’ve seen, and Hoyte van Hoytema’s cinematography is truly breath-taking. I’ve never felt as close to the action as I did watching this movie. It’s Kubrick good, and I do not say that lightly. I felt transported whilst viewing it, and physically drained afterwards. Speaking of things not to say lightly, this is Nolan’s best film. Hands down. It goes beyond telling a story, and sucks you in so deeply that you feel as if you are a part of it.