Megan McArdle was very impressed with the new Christopher Nolan movie on the evacuation of Dunkirk in 1940:
I was perhaps unreasonably excited to see Dunkirk, Christopher Nolan’s new movie about the evacuation of British forces from a French beach during World War II. The historical event on which it is based is astonishing: unable to get enough warships close to the beach to load their fleeing troops, the British government mobilized a flotilla of small private craft, which ultimately helped evacuate more than 330,000 soldiers ahead of the German army. I was eager to see what one of my favorite directors would do with the story.
He did not disappoint. This nearly flawless film put me on the edge of my seat for two hours. It is the best thing I’ve seen about war since the stunning opening of Saving Private Ryan — and Nolan, bless him, is not prey to Steven Spielberg’s compulsion to mar his creations by slopping them over with speechy goo.
As with all of Nolan’s films, it’s emotionally distant from its characters. Cillian Murphy plays an officer credited only as “Shivering Soldier,” and none of the characters have much in the way of backstory or goals, other than survival. Matt Zoller Seitz calls it an “Ant Farm Picture,” a portrait of society in which individuals are almost incidental. That’s rather the point.
A lesser director would have given in to the temptation to make this a story about the righteous crusade against the Germans, men fighting other men, but Nolan shows us a world in which the enemy is a plane, a torpedo, the water and the flying bullets, and men are reduced to little more than their rage to live.
The result is less a war film than a disaster movie. An exquisite disaster movie. I didn’t expect such a vivid and visceral illustration of how quickly a ship can sink, or just how difficult it is to hit a target in the sky. I left the theater almost too overwhelmed to talk.
Having recovered, I began to wonder why we can’t have more pictures like Dunkirk. The easy answer is, of course, that there is only one Christopher Nolan, and only so many people willing to give him $150 million to spend putting thousands of extras and some World War II-era ordnance onto a French beach. But the easy answer is incomplete.
I haven’t seen the movie, but I’ve been impressed with the reviews I’ve seen so far (except the ludicrous “it doesn’t have any women or POC characters in lead roles” criticism from historical illiterates).
