The harbor was so shallow that large British naval ships couldnt get close enough for a rescue.
The men on the beach were stranded with nowhere to go.
Salvation was so close, yet so far.
From that seemingly hopeless situation sprang one of Britains finest moments of the war.
The history books wouldnt just look very different today, theyd also be printed in German.
Nolan has for all intents and purposes conjured the British response to Steven SpielbergsSaving Private Ryan.
I dont think the director would mind being called old school.
I certainly dont mean it as a backhanded compliment.
For two hours, all of your senses are taken over.
And he weaves his three narrative threads together seamlessly.
He doesnt say much.
He doesnt have to.
you’re free to read the fear and confusion on his face.
His editing is like a metronome, picking up speed and nail-biting suspense.
The sound of a stopwatch ticking adds a sense of ratcheting tension until you almost cant take it anymore.
Layered on top of it all is Hans Zimmers propulsive score.
It leaves you emotionally exhausted by the time the end credits roll.
By the end ofDunkirk, what stands out the most isnt its inspirational message or everyday heroism.
Its the small indelible, unshakeable images that accumulate like the details in the corner of a mural.
A PTSD soldier walking into the surf to his death.
The sight of a hit German plane silently pinwheeling down into the sea like a paper airplane.
The female nurses handing out tea and comforting words to the haunted men when theyre rescued.
This is visceral, big-budget filmmaking that can be called Art.
Its also, hands down, the best motion picture of the year so far.A
