The last couple decades, box office world have featured myriad of movies that set place amidst the World War II. Each item takes distinct approach on their method to gain the horrifying sensation that war citizen had endured, albeit it was real at the time. Saving Private Ryan brings up the horror that stay-at-home parents needed to deal with when their descendant fought with their compatriot. Fury is pulp at best – albeit that tank battle scene of Sherman against Tiger is the deal. But Dunkirk is nothing sort of that kind.
While other movie had made an attempt to set the trend for what elements were accepted in a World War movie, Dunkirk dwells in his own rhythm and uncouthly flips those predefined element to our amusement. No direct gunfire between The Axis and The Allies, or uber-dramatic strategic meeting among comrades on the military headquarter.
There is no swashbuckling hero to feed your fantasy, and neither does the existence of the character who shares zeitgeist attitude. To my understanding, Dunkirk is slightly more human than any world war movie I have ever watched. There is little dodging-a-bullet action involved here – when you are in a battlefield, playing hero is the last thing you will ever think of.
When a movie set place amidst World War, the narrative is usually about who is the triumphant winner. What Gen X and Y fails to realize is that there were millions of individuals who barely shared the same concern with their supreme leader at the time of the battle. It had always been about homecoming and Dunkirk successfully brings that hidden narrative to the top of the iceberg.
I am no expert in cinematography or movie technique, but Dunkirk assaults my sense from start to end. And thanks to Nolan, it doesn’t require me to be one. To his credit, he did the right thing by the addendum of Hans Zimmer’s music score to the shelf. The lionshare of the movie is not filled with dialogue but a couple of crescendos, and it gives me a reminiscent of classic silent movie. If it was other producer and music composers, the outcome may sound obsolete to the amusement of today’s audience.
I never loathe One Direction’s Harry Styles and I believe he does a pretty good job to play such important role. The fact that Nolan believes on such inexperienced actor to deliver the line about someone having “an accent thicker than sauerkraut sauce” is a spectacular display of faith. Oh, and Tom Hardy, his exit is so manly that I need to question my own sexual orientation. Above all of that, the accent and soldier’s style preference wonderfully feeds my Anglophilia side to the top of its pinnacle.
Out of all things, the actor’s name is anything but relevant to the storyline of this masterpiece. I can barely remember which one is which. The only relevance is face, rank, and survival ability. It is that irrelevant that I was forced to make my own reference during the playtime such as “The Boy”, “The Comrades”, “The Pale White Boy”, or just Harry Styles.
I left the theatre marvelled at film of such scale. There is no logic-defying scene or over-dramatic arch to give it a bit of taste. This movie is not a product of one person’s brilliance, but a manifestation of every part in this project that lives up to the expectation. Dunkirk is not defined by its action sequences or cinematography – as immersive as it is. But through demonstration of hope and suffering and survival. That no matter how often we come up short on life, hope always exists.
Four hours past the post credit, and it still haven’t escaped my pipe dream.