Best Picture Countdown #5: Dunkirk

“There’s no hiding from this, son. We have a job to do.” – Mark Rylance as Mr. Dawson, Dunkirk (2017).

Dir: Chris Nolan
Starring: Mark Rylance, Cillian Murphy, Tom Hardy, Kenneth Branagh, Fionn Whitehead, James D’Arcy, Harry Styles, etc.
Rating: PG-13
Runtime: 1hr 47min

Dunkirk is a war film that utilizes three different perspectives (land, air, and sea) and a trio of timelines to depict the events of the Dunkirk evacuation during WWII. Over the course of the film, the three viewpoints gradually sync up and the characters collide with one another as a brave fleet of civilian boats seeks to rescue the stranded soldiers.

This film is probably higher on my list than on most, but it’s not just because I’m a Chris Nolan fangirl with a penchant for war films. I mean, as much as I admire him, I don’t think he’s going to take home the Best Director award, though I was pleased to see him get his first nod. I’m actually stunned he’s never been nominated before, but that’s a convo for another time…

Dunkirk_Film_posterOne of the film’s greatest strengths is in what it lacks: dialogue. The tension builds in conjunction with the cinematography, sound effects, and pulse-pounding music, not the words and conversations of the characters. The whine of the planes and the rat-a-tat of dogfights, the crashing of bombs on a beach, the yells of frazzled soldiers and the unnerving creak of a ship about to sink, all combine with the vivid imagery of bleak sands, the dour grey of a morning sky, the bobbing of civilian ships forging a path across the waves, and a shivering soldier stranded on floating debris. Seeing this film in IMAX was a cinematic experience unlike any I’ve seen before, and I was so engrossed the entire time I forgot to eat my candy – something I can safely say has never happened before. This film came out in wide release months ago, long before most of the other nominated films, and I can still clearly visualize several scenes because of how much of an impact they had and how brilliantly they stood out onscreen.

While the entire cast is great, Dunkirk is truly an ensemble effort; I found myself invested in each character’s journey, as a significant portion of time is spent on each of the three perspectives, giving each story the chance to unfold without feeling rushed or drawn out. The timelines weave in and out from one another, but do not come together until the very end, which forces the viewer to put some pieces together and heightens the suspense in crucial moments. And the presence of Harry Styles isn’t a major distraction.

As immersed as I was by the performances and atmosphere of this film – and the apparent historical accuracy in comparison to Darkest Hour – I doubt it will take home the ultimate award on March 4th. I’m not putting money on Nolan either, though Dunkirk might be the best example of his directing chops to date. It’s a dark horse for Best Cinematography, but I actually have another favorite in mind for that race, and though it’s my personal favorite for Original Score (as in, Zimmer’s score seriously enhanced the film, arguably more so than the others) I don’t see it taking that one home either. But, as with the BAFTAs, I think it has an excellent shot at the other technical awards, both sound mixing and sound editing, and has a good chance at film editing as well.

The events of WWII have been depicted countless times across various media and in countless films over the years, but Dunkirk still manages to present something refreshing and new. Nolan may get flak for being “pretentious” and “cerebral” with his films (the end of Interstellar comes to mind…) but in this outing, his experimentation with new narrative styles, his striving for authenticity, the intense focus on visual elements, and the reliance on generating an intense atmosphere with limited dialogue and mostly nameless characters is a cinematic triumph worth seeing on the big screen, and well-deserving of a Best Picture nomination.

Oscar Nominations
Best Director (Nolan)
Best Cinematography
Best Original Score
Best Production Design
Best Sound Mixing
Best Sound Editing
Best Film Editing 
Best Picture 

My full review of Dunkirk from July 2017 is available HERE


Film Review: Dunkirk (2017)

Dir: Chris Nolan
Starring: Mark Rylance, Cillian Murphy, Tom Hardy, Kenneth Branagh, Fionn Whitehead, James D’Arcy, Harry Styles, etc.
Rating: PG-13
Runtime: 1hr 47min
Spoiler Level: Light

A lot of the early buzz about the latest WWII drama Dunkirk has called it Christopher Nolan’s best film to date. Considering he’s the man who brought us both critically-acclaimed Inception (2010) and widely-lauded The Dark Knight (2008), that’s a statement that isn’t to be taken lightly. Now that I’ve seen it, I have one thing to say about the monumental praise this film’s gotten thus far; it is 100% deserved, and Dunkirk may well be Nolan’s best so far.

Dunkirk_Film_poster.jpgBased on true events, Dunkirk presents three different timelines (land, sea, and air) within a non-linear narrative that chronicles the journeys of various characters – from struggling soldiers to stalwart civilians – during the evacuation of Dunkirk in 1940.

Story-wise, I didn’t find the three different timelines too difficult to follow – it was compelling to see land, air, and sea diverge from and intersect with one another. The timelines are a bit disjointed, and it might take a bit to get used to the switching between perspectives (at one point it’s day, then night, then day again, though less than 24 hours have passed) but the narrative is consistently captivating, and as the timelines merge, it’s intriguing to see how certain characters meet and interact with one another.

The entire cast is strong; newcomer Fionn Whitehead delivers a mesmerizing performance as an Army private desperately trying to survive a relentless wave of peril, Tom Hardy, a Royal Airforce Pilot, evokes powerful emotion even while most of his face is concealed, and Mark Rylance is solid as a civilian mariner heading to Dunkirk to try and save some of the stranded soldiers. No one really stood head or shoulders above the rest, but in that same vein, I don’t think there was a weak link among the cast. Performances all around were impressive, especially considering the sparse dialogue, as great acting speaks much louder when there are no words at all. The narrative is carried by everyone, and even though about 90% of the character’s names don’t get spoken onscreen, it’s easy to get invested.

And for those of you wondering, Harry Styles is fine in it – definitely holds his own against the talented veterans. From what I’ve seen browsing around the internet, I imagine a significant chunk of this film’s box office will come from 1D fangirls, because anytime I’ve looked up anything about this film I have to slog through pages upon pages of Harry Styles swooning before getting anything of use, and there were as many middle-aged history professor type men in the theater last night as there were middle-school and high-school 1D fangirls. That’s not a criticism, though; it was actually awesome to see the IMAX theater in my local cinema close to full for a film that isn’t from Marvel. But I find the voracious media attention Styles has received simply for being in a popular boy band prior to this film is unfortunate because Dunkirk is an ensemble effort, and the other actors all deserve just as much, if not more, attention and praise for their performance.

Visually, the film is absolutely stunning – that’s an odd thing to say about a war film, I suppose, but the cinematography (per usual for Nolan) is gorgeous and the film is beautifully shot and edited. Dunkirk is also Nolan’s tightest film to date, as it offers nothing in excess; it’s clean and concise, presenting a well-balanced narrative and a clear picture without delving too deep or dragging too long. Sure, the film doesn’t show too much in the way of blood or gore, but it also didn’t need crimson spills in the sea or severed limbs splayed around craters to convey the horror and cost of conflict, nor does the lack of blood and guts glorify the idea of war in any way. The unseen enemy threat closing in, the stark faces of fear, a foot sticking out from a sandy grave, and the dead bodies floating in with the tide, are all images that stand out long after the credits have rolled.

The music (by Hans Zimmer) and the sound weave together to enhance the intense, knuckle-biting atmosphere. The scream of sirens, the whine of engines, the creak of sinking ships, the wails of dying men, the boom of torpedoes and crash of bombs and the ticking of precious time running out – and at times, silence – all serve to make the events of the film more visceral, more engrossing. The sound of bullets made me jump out of my seat on more than one occasion and honestly, I was so stressed out and tense throughout this film that I forgot to eat my Reeses Pieces. (I’m eating them now, don’t worry).

If it is possible for you to see this film in IMAX, you MUST do so – it’s worth splurging for the price of the ticket. The sound is incredible (VERY loud, but not deafening) and the sweeping shots of the beach and the sea and the dogfights in the air are best seen on a massive screen. My only quibble with the IMAX experience was the dialogue, as it was difficult to discern at times. It didn’t detract too much, since the gist of the narrative is easy to follow, but there were times that I genuinely had no idea what the characters were saying and wish I could have picked it up better. This might be different for the standard version, as it usually is.

I don’t know if this is Nolan’s best, but it is certainly a contender for the spot, and well worth seeing for fans of Nolan and war cinema alike. A sprawling film with a strangely intimate feel, Dunkirk shares bleakness and hope in equal measure, and though countless war films have been made, especially about WWII, there are still so many stories to be told, and Nolan’s put a unique stamp on this one. There’s not much bravado, virtually no soap-boxing, no victory-touting, no medals doled out, and the film doesn’t offer a lot of chit-chat about the horrors and toll of war; it simply shows it, along with the dedication and perseverance of the soldiers who yearn for home, and the civilians striving to get them there. It’s not as gory as Saving Private Ryan or as in-depth as Band of Brothers, but it certainly deserves a place among the memorable high-tier war films.

Overall Rating: 9/10