Christopher Nolan is one of those movie people
that has been close to the laureates from the very beginning of his stellar
career, but somehow always failed to materialize his enormous talent.
One of the most inspiring wartime stories of all
time, English evacuation of expeditionary forces from the coast of Dunkirk in
1940, was one of those scripts waiting for a diversely capable man behind the
camera to take it to the stars.
And Nolan did it, creating one of the most tense
war movies ever filmed, using everything he has to recreate the unique
claustrophobic atmosphere through three overlapping stories (beach, air,
water). He also didn’t abandon his trademark storylines intertwining
masterfully leading them to the major problem of this movie.
Its ENDING.
If it weren’t for the bottom quarter of the
script, we would be now talking about „Dunkirk” as the best directed war movie of this
century. If it weren’t for the surreal heroism, pathetic patriotism and sudden
lack of brutality,
„Dunkirk” would’ve been known as a
total triumph of Nolan’s supreme cinematography. Unfortunately, loss of the
control over the script managed to severely diminish perfect sound, sound
mixing, wide angle, handheld camera and realistic sea and sky battles, as well
as some solid acting (Murphy, Whitehead, Rylance) and that is a real shame.
„Dunkirk” is one masterfully directed war story
that will awe you in the first three quarters of its course.
