When it comes to Christopher Nolan’s brand of cinema you probably are assured of something new. His vision is certainly one which is both brilliant and unique. Possibly one of the few directors who pushes the envelope to bring something beyond the obvious. Or make the obvious served in a way that it becomes a masterpiece.
“Dunkirk” his latest film is another landmark in Nolan’s filmography. Considering Nolans penchant for masterfully directing thrillers. Nolan takes an interesting subject and makes another epic film which is all of bold and mesmerizingly riveting.
Be it the cast which has a few usual Nolan actors like Chillian Murphy and Tom Hardy, and some new faces like Harry styles, Mark Rylance, Fion Whitehead, Barry Keoghan and Kenneth Bragnah which possibly deliver impactful performances and make this film a possible frontrunners for this year’s academy award nominations as well.
The film gives you a start and keeps the momentum until the very end. Never losing its grip on the subject and the audiences. The set up being a Second World War backdrop where the Axis is breathing heavy on the necks of the Allied forces, and a young Brit soldier trying to wade through the situation which can give anybody a thrill of how it is be in the midst of a combat zone. The power of this film lies in the experience of the audience getting a feeling of being amongst one of the true to life battleground stories. You literally live the experience- kind of a virtual reality experience. The film pole-vaults about in time, with each thread of action moving ahead fitfully, until the threads unite in the movie’s evident conclusion, the successful retreat of more than three hundred thousand soldiers (about two-thirds of them British, one-third French) across the English Channel from Dunkirk, France, to Great Britain. (The movie is centered on British soldiers; the French are a brief but melodramatic afterthought.) The preservation of this fighting force was, of course, crucial for the preservation of Great Britain and the eventual outcome of the war; the retreat was the defeat that helped to secure victory.
With multiple sub-plots weaved in seamlessly in the film, makes Dunkirk a thoroughly wow experience. The best part is the film covers all three defence arms (the army, navy and the air force) and how they team up to go into the battle and their trails during the war in a real time basis. Special mention of the flight combat scenes, which are seductively awe-inspiring to watch. The film scores in all the departments both technical and creative. A special mention for “Hans Zimmer” who gives a back-ground score that takes the cinematic experience to another level. Dunkirk” is also differs from the typical war film formats and effaces the actual differences that were overcome with difficulty in pursuing the war—not just personal ones but also the typical issues of scepticism of red-tape protocols, resentment of military discipline and hierarchy, social and political conflicts—the full spectrum of public discord that may have been muted in the midst of the war but that were detailed afterward by journalists, historians, and artists. “Dunkirk” seems, rather, like one of the self-censoring persuasion of wartime itself. Nolan’s sense of memory and of history is as flattened-out and untroubled as his sense of psychology and of character.
Its certainly must watch for all “cineholics” and is probably going to be a part of the hall of fame films. Nolan simply outdoes himself.