Dunkirk

If, or I suppose that should read when, you go to see Dunkirk do ensure, if physically possible, that you can get to an IMAX screen because here we have a film, and indeed a filmmaker, that truly understands the power of cinema.

Like Gravity before it, Dunkirk is a true ‘cinematic experience’, a roller-coaster journey built for the thrill of sitting in front of a screen bigger than your house and with speakers designed to lift you out of your seat every time a gun is fired.

Enough, deserved, plaudits have already been lavished upon the mighty Christopher Nolan at this point for me to wax lyrical about his cinematography, sheer drive and creativity in getting this film made. It’s a clear labour of love from the off and the scale and realism on show is mightily impressive (no CGI here, these are real dogfights above the real Channel.)

Likewise, you’ll have heard all about (and even seen in the trailer) Hans Zimmer’s nerve-shredding score. A constant buzz, whine or ticking to leave your senses never able to truly relax.

Nolan does away with exposition in favour of a single title card with five solitary lines. He doesn’t need anything else, the title alone gives you the backstory and Nolan is concerned with those who matter; the people on the ground, rather than the politicians tucked up at home.

You could level criticism at Nolan that, throughout his career, he caters to those with an intelligence like his own and to hell with explaining himself to anyone else but, whilst this certainly hindered the science-laden Interstellar, here the lack of any break from the action better suits the experience.

We have three intersecting, and intelligently overlapping, stories here following soldiers on the beach (let's get it out of the way here: Harry Styles' performance is pretty damn good), in the sea and in the air (a typically bad-ass Tom Hardy) fraught with tension as they try and get back home. This is not an American-styled, flag-waving war film. Nolan makes it plain in the soldier’s downbeat expressions and discussions that they considered the experience a loss and, whilst he celebrates the heroism, guile and ingenuity in saving so many lives, he understands that, for these soldiers, the war was far from over.

There has been an overbearing amount of hyperbole thrust onto this film, though, and it becomes a victim of this. Whilst, as aforementioned, Nolan is particularly astute in his depiction of this traumatic event and, when seen in the IMAX it is an experience to behold (the gunshots! The explosions!) I am legitimately suspicious if the film would hold up on repeat viewing. It’s a treat for the senses rather than the mind and, whilst that is no bad thing given the gluttony of war films out there and the magnitude of Dunkirk’s achievement, it won’t be the next Christmastime classic.

What pushes it to the maximum level though is the scale of the thing. It truly is an incredibly impressive feat, mind boggling in scope but still wonderful to behold visually.

Despite this, though, it’s certainly not, as some have dared to suggest, Nolan’s best film but it truly is a visceral, beautiful and honest depiction of a moment in history that encapsulates the British spirit and tenacity. A paean to the heroes of Dunkirk who turned defeat into victory. A worthy tribute.

5 stars *****