Masked or unmasked, I love the idea of a higher power looking out for us, and this time he has no humor.
Why do we end up here? Always? Revisiting the dreadful history. That we started, ended, celebrated and mourned for. It cannot just be a “quick” recall. And it shouldn’t be that. I may not know the real pulp behind all this passion and necessity but Christopher Nolan, the writer and director, surely tells you, it shouldn’t just be a recall. Quick one, surely compared to his other films, but more than an experience and a moral lesson. Poem, it sings and poetic is its run. To me the film felt like a marathon. A sprint, to be precise. “The mole” tries to run away from the enemy, the air support towards the enemy but the real heroes, the common man, are kept in hault.
Mid way. They are stretched and strained from the responsibilities of both the kind, the personal and towards the nation. And that is exactly how Nolan pitches this incredibly noble deed by these brave hearts in one lap. Setting the parameters, he never breaks any boundaries for obvious reasons, but hovers very close to the red zone marked in this film. And that is another way how he elevates a most simplistic act or a decision that lives up to the clean soundtrack of Hans Zimmer.
The same year, Steven Spielberg’s The Post released which dealt with the similar highly tensed close up shots. But the tension never communicates for no one actually points out or marginalizes the “normal” behavior. And in here, Nolan keeps Cilian Murphy to strike fear, a simple meter to explain the stakes of Tom Hardy and a know-it-all Harry Styles to guide Fionn Whitehead. Dunkirk is still at the end of the day comes under the catalogue of Nolan’s filmography. He cannot help but whisper secrets if he can in a storyline, I mean he even packs a humorous punch as a big reveal for that scene.