Signed up the 28/03/2017
From the opening few minutes of the movie we're introduced to violence and the sound assault that every other review has been bangin' on about. It becomes quite clear that Christopher Nolan will stop at nothing to bring forth any scene at all in its most naked and and vile form. The brute nature of Dunkirk is supported by Nolan's long-time music-guy, Hans Zimmer. Throughout the movie we're bullied into submitting to our survival instincts as we protect our chests from the next sharp rattlings of a plane crash, or the drumming of suicide bombs.
If you know Zimmer, you would know that he's merely Nolan in super-composer form. These two go together like milk and... I forgot the saying but, yes, that. In this movie we witness Zimmer stripping down his otherwise bass-filled score to a more focused, menacing, panning of different instruments and sounds at a time. The sound editing and mixing gives a punch to Zimmer's hostile score. The sound itself takes from Zimmer's editing style for his compositions; building up to a big sound and then suddenly cutting off the music altogether as it's at its peak, and then ballooning it once more when you least expect it. He's an emotional manipulator of note this way.
The film's dialog sometimes unfolds as though it were written by J.D. Salinger. The visuals, especially the long-shots, give it an intense biblical vibe. Ones you would see in a stripped down 300. Especially when it becomes completely silent. I especially shivered at these words:
"The tide's turning now"
"How can you tell?"
"Bodies come back"
This happens as bodies of soldiers are being spat out back to shore by the threatening sea.
There are various plots explored in the short time that Dunkirk plays. All these short stories are given but a mere few seconds on screen at a time- so to build up the suspense. This makes the audience feel like they're slowly falling into danger, just as the performers on screen are. None of the known actors are given special attention, or any real big piece of the storyline, but Mark Rylance and Tom Hardy's apperances are well appreciated.
Dunkirk is, 'goes without saying, a satisfying film to invest your time and emotions in. The story sticks, and the performers do their part. I've said to a few of my film friends, though, that if you're not invested in how Nolan tells his stories then this one might fly right over your head. It's ever-changing pace might get in the way of those who just simply want a straight-forward (war) movie, where there are guns, soldiers dying, and then the victory at the end. It is, however, a must-watch for all who enjoy a kickass movie with a lot of interesting moments to decipher.
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