Originally posted on gCaptain. Reposted with permission.
Christopher Nolan’s movie, Dunkirk, opened Friday to rave reviews. The New York Times calls it “a tour de force …both sweeping and intimate.” The Guardian calls it “utterly immersive” and predicts that the movie “will doubtless become the definitive cinematic depiction of this remarkable chapter of history.” I saw the film last night and while I generally agree with many of the points made by the reviewers, I found the movie to be somewhat of an incongruous muddle, and with containers cranes, no less.
The movie is, as one might expect, based on the evacuation of over 300,000 British and French troops over 8 days in June, 1940 from the beaches of Dunkirk, France — one of the greatest maritime rescues in history. While under attack by German fighters and dive bombers, an entire British Army was saved by a mix of Royal Navy destroyers and other naval vessels, as well as by an armada of close to a thousand private and commercial craft, sailing back and forth across the channel to ferry the troops to safety.
How does one capture both the very human experience of being on the beach and on the boats and ships at Dunkirk, while also communicating the vast sweep of the evacuation? How can any movie-maker compress 8 days of horror and heroism into just over 100 minutes of screen time? Continue reading