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Dunkirk (2017 film) by Christopher Nolan The scenario is simple — hellishly so. Eight months into World War II, following a series of setbacks, roughly 400,000 British troops find themselves stranded on the shores of Northern France. Behind them, Nazis are closing in. Bombs fall from Stukas in the sky, torpedoes whizz in from U-boats in the sea. And ahead lie 39 nautical miles of grey, churning water separating the soldiers from home, with nary a boat to come to their rescue. In glib movie-pitch terms, it’s reverse D-Day, or Helm’s Deep with seashells. While there is a high-ranking naval officer on hand (Kenneth Branagh) to play Admiral Exposition, filling in the big picture while surveying the nightmare from a pier, Nolan doesn’t bombard us with information. He knows it’s more powerful to sell the hopelessness of the wind-blasted beach with a stark, simple image, such as the moment in which a Tommy simply gives up and wades into the water. Dunkirk is first and foremost a mood-piece, and a hugely effective one. It doesn’t hurt that Hans Zimmer is on ferocious form, his score by turns throbbing like a heart and ticking like an angry stopwatch, so nerve-wracking that at times it feels like an additional enemy front. But if the movie’s set-up is basic, its structure is anything but. No filmmaker is as fascinated by time as Nolan, or as deft at playing with it, and here he applies the temporal tricksiness he pioneered with Inception, intercutting three timelines that move at different speeds. So we follow wan young soldier Tommy (Fionn Whitehead) on the land for a week, plucky Ramsgate yachter Dawson (Mark Rylance) on the sea for a day, and stoic RAF pilot Farrier (Tom Hardy) in the sky for an hour. The result, as the crisis hurtles towards its climax and the trio of perspectives converge (and overtake each other), is meticulous and mesmerising. And, in the case of a sequence which cuts between two characters trying not to drown, almost unbearably stressful. Another point of differentiation: there’s little emphasis on derring-do. Rather than heroics, Nolan is concerned with what men can endure. Dunkirk is a study of people under immense pressure, from Rylance’s civilian-on-a-rescue-mission (call him the FBG — Friendly Boat Guy) to Cillian Murphy’s traumatised wreck-survivor (credited only as ‘Shivering Soldier’) to Harry Styles’ bolshy infantry grunt (an impressive debut performance, and definitely not the Rihanna-in-Battleship debacle you may have feared). At this darkest of hours, some of them crack; others hold firm

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