Under Dunkirk kan vi se några nazistiska tyska flygplan, som He 111, Junkers Ju 87 och Bf-109. Också i slutet, när Farrier fångas, kan vi känna igen nazistiska tyska soldater. Men under hela filmen finns det inget enda omnämnande av nazistiska Tyskland, bara en allmän "fiende".
Jag har aldrig sett en film så här och jag undrar, finns det någon särskild anledning till att nazister kallas bara "fienden" i Dunkerque ?
Möjligen att göra det mer av en suspense thriller, snarare än en typisk krigsfilm. (Tack Napoleon Wilson för att peka mig i en riktning).
You save a lot of money on paper,” he jokes about his 76-page script, which is roughly half the length of his typical screenplays. “Dunkirk” relies on visual imagery, not conversation, to propel the story, which can be a gamble. The characters are blank slates who offer no details about the lovers they left back home, their senses of humor or their previous heroic deeds.
“My idea was that, instead of trying to explain through dialogue why we should care about them, we use the language of suspense — we use the language of the Hitchcock thriller — to create immediate empathy with the people on-screen by virtue of their physical situations,” he says.
Man skulle kunna hävda att man med vissa ord eller vissa ord för ofta skulle ta bort från / dra oss ifrån den rena spänningen och rädda betraktaren med soldaterna, eftersom det påminner oss om " tid ", -specifik tid och även om det säkert finns hänvisningar att utan tvekan peka på Dunkerque och World Krig II under filmen är de subtila och är inte det viktigaste.
AP: What kind of fascination does time hold for you as a filmmaker? It’s a sometimes underrated element of the medium, isn’t it?
Nolan: It is and it’s a misunderstood element of the medium. Conventional film grammar has an unbelievably sophisticated approach to modulating an audience’s sense of time. The films I’ve made, I’ve tried to grab a hold of what in most films is a subtlety. It’s there but the audience isn’t particularly conscious of it. I’ve tried to take it and use it for the tool that it is because I think it’s a tool that’s unique to cinema. The idea that we can go to the same movie theater, look at the same screen for the same period of time, and we could be watching something that represents hours or we could be watching something that represents millennia, and we’re fine with that. Cinema has this amazing ability to change and manipulate people’s feelings about time while they’re watching a film.
En filmrecension som jag tycker beskriver det bra:
Dunkirk is overwhelming in an exceptional sort of way, a film that demands close study of everything seen and heard. It’s a series of functioning contradictions, walking a tightrope in a stomach-dropping exercise of assured craftsmanship. It’s a film both timeless and of-the-moment. Airy, yet packed to the brim. Fast, but reflective. It’s a white-knuckle fable that strips the politics and gore of war down to the most elemental and essential storytelling. This is a film of fear, hope, and survival. The technical acumen, fleet-footed pacing, traversing narratives, and insistence on precise artistry and design make Dunkirk unlike any other blockbuster on the market. And yet it learns and borrows from the great films, taking the time to maximize its photographic, editorial, and musical elements to stirring effect.
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