Similarly, characters never regale their peers with tales of back home or rouse them with perfectly measured speeches they’re terrified young men, not much older than boys, trying to survive. But compared to most movies, there’s almost nothing – Nolan instead focuses on the immediacy of their plight. In fact, the smattering of exposition results in the movie’s clumsiest scene, in which two soldiers overhear officers outlining their dire predicament. It’s a bold decision, creating a starkness at the level of plot and character, but it never bothered me in the slightest such is the quality of filmmaking and acting on show. There can’t be more than a handful of pages of dialogue scattered within its 106-minute runtime. (I even laughed a couple of times, unintentionally, because I didn’t quite know how else to cope with the mounting tension.)īut amidst the sound and fury, Dunkirk possesses a meditative quietness. This is only heightened by Han Zimmer’s colossal score, which plays a crucial role in making Dunkirk feel so intense and suspenseful. The sound design is incredible, and I spent entire scenes forcibly pressed into my comfy IMAX seat. Moments of eerie silence are violently broken by thunderous walls of sound – piercing gunfire and screeching Spitfires. In fact, “horror” isn’t the right word – Dunkirk evokes the sheer terror of it all the huge, abstract forces surrounding and threatening to swallow the lives of ordinary people. Unlike other WW2 movies, such as Saving Private Ryan or the more recent Hacksaw Ridge, Dunkirk never lingers on gruesome shots of mangled corpses to convey the horror of war.
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