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The [[Royal Navy]] is commandeering private boats to participate in the evacuation. Mr. Dawson, a civilian, cooperates without question, but rather than let a navy crew take his boat, he and his son Peter take her out themselves; their teenage hand George impulsively joins them as they leave, hoping to do something noteworthy. As they head towards Dunkirk, Mr. Dawson points out three [[Supermarine Spitfire|Spitfires]] flying overhead. They encounter a [[Posttraumatic stress disorder|shell-shocked]] soldier on a wrecked ship, the sole survivor of a U-boat attack, and take him aboard. When he discovers that Dawson is sailing for Dunkirk rather than to England, he tries to wrest control of the boat, and in the scuffle George falls and takes a severe blow to the head. Peter treats George's wounds as best as he can, but George is rendered blind. Duty-bound to aid in the evacuation, Dawson continues towards France.
The [[Royal Navy]] is commandeering private boats to participate in the evacuation. Mr. Dawson, a civilian, cooperates without question, but rather than let a navy crew take his boat, he and his son Peter take her out themselves; their teenage hand George impulsively joins them as they leave, hoping to do something noteworthy. As they head towards Dunkirk, Mr. Dawson points out three [[Supermarine Spitfire|Spitfires]] flying overhead. They encounter a [[Posttraumatic stress disorder|shell-shocked]] soldier on a wrecked ship, the sole survivor of a U-boat attack, and take him aboard. When he discovers that Dawson is sailing for Dunkirk rather than to England, he tries to wrest control of the boat, and in the scuffle George falls and takes a severe blow to the head. Peter treats George's wounds as best as he can, but George is rendered blind. Duty-bound to aid in the evacuation, Dawson continues towards France.


They see a Spitfire ditch in the ocean, and Dawson steers for it in case the pilot can be rescued, despite not seeing a parachute. Collins is trapped in his Spitfire as the canopy becomes stuck. With Collins almost drowning, Peter breaks open the canopy of the plane and pulls Collins aboard. Peter reveals that his elder brother was a [[Hurricane (plane)|Hurricane]] pilot, lost in the opening weeks of the war. They encounter a minesweeper under attack from a German bomber. Dodging fire from the accompanying fighters, they manoeuvre to take on troops from the sinking ship, which is spilling oil, and just get clear before the oil is ignited. Dawson and his crew pull as many survivors aboard as they can take, among them Alex and Tommy. As the boat fills with men, Peter tells them to be careful with George, assuming he is still in critical condition. Alex responds by saying that George has died. Peter returns above board, and the shell-shocked soldier asks him if George is alright. Peter lies, telling him that George will be fine. Back in Weymouth, Dawson is congratulated for the number of men he has saved, as George's body is carried off the boat. The soldier sees this before he leaves for the train and sits in a compartment with Alex and Tommy. Peter later gives a photograph of George and the story of his participation to the local newspaper, which hails him as a young hero.
They see a Spitfire ditch in the ocean, and Dawson steers for it in case the pilot can be rescued, despite not seeing a parachute. Collins is trapped in his Spitfire as the canopy becomes stuck. With Collins almost drowning, Peter breaks open the canopy of the plane and pulls Collins aboard. Peter reveals that his elder brother was a [[Hurricane (plane)|Hurricane]] pilot, lost in the opening weeks of the war. They encounter a minesweeper under attack from a German bomber. Dodging fire from the accompanying fighters, they manoeuvre to take on troops from the sinking ship, which is spilling oil, and just get clear before the oil is ignited. Dawson and his crew pull as many survivors aboard as they can take, among them Alex and Tommy. As the boat fills with men, Peter tells them to be careful with George, assuming he is still in critical condition. Alex responds by saying that George has died. Peter returns above board, and the shell-shocked soldier asks him if George is alright. Peter lies, telling him that George will be fine. Back in Weymouth, Dawson is congratulated for the number of men he has saved, as George's body is carried off the boat on a stretcher. The shell-shocked soldier sees this before he leaves for the train and sits in a compartment with Alex and Tommy. Peter later gives a photograph of George and the story of his participation to the local newspaper, who send it to the national newspaper, which hails him as a young hero.


===III. The Air===
===III. The Air===

Revision as of 21:09, 9 August 2017

Dunkirk
Theatrical release poster
Directed byChristopher Nolan
Written byChristopher Nolan
Starring
CinematographyHoyte van Hoytema
Edited byLee Smith
Music byHans Zimmer
Distributed byWarner Bros. Pictures[3]
Release dates
  • 13 July 2017 (2017-07-13) (Odeon Leicester Square)
  • 19 July 2017 (2017-07-19) (France)[1]
  • 20 July 2017 (2017-07-20) (Netherlands)[1]
  • 21 July 2017 (2017-07-21) (UK / US)[1]
Running time
106 minutes[4]
Countries
LanguageEnglish
Budget$100 million[5]
Box office$316.9 million[5]

Dunkirk is a 2017 suspense film[nb 2] written, co-produced, and directed by Christopher Nolan. It features an ensemble cast starring Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James D'Arcy, Barry Keoghan, Kenneth Branagh, Cillian Murphy, Mark Rylance, and Tom Hardy. It portrays the Dunkirk evacuation of the Second World War. The film is an international co-production between the United Kingdom, the United States, France, and the Netherlands,[citation needed] distributed by Warner Bros. Pictures.

Nolan wrote the script, told from three perspectives — land, sea and air — with little dialogue and to create suspense through visuals and music. Filming began in May 2016 in Dunkirk, France, and ended in Los Angeles, where it also began post-production. Cinematographer Hoyte van Hoytema shot the film on IMAX 65 mm and 65 mm large format film stock. It made extensive use of practical effects, such as employing thousands of extras, gathering boats that had participated in the real Dunkirk evacuation, and using era-appropriate planes for aerial sequences.

Dunkirk premiered on 13 July 2017 at Odeon Leicester Square in London, England and was released in the United Kingdom and United States on 21 July 2017 in IMAX, 70 mm and 35 mm film. The film has grossed over $316 million worldwide and received critical acclaim for Nolan's screenplay and direction, the acting and cinematography, with some critics calling it Nolan's best film to date, as well as one of the greatest war films ever made.

Plot

The narrative follows three inter-connected perspectives covering different but overlapping periods: on land covering one week, on the sea covering one day, and in the air covering one hour. The trilogy interweave to create a non-linear narrative.

An introductory text says that in 1940, after the invasion of France by Nazi Germany, thousands of Allied soldiers retreated to the seaside town of Dunkirk. As the Allied perimeter shrinks and German forces close in, the soldiers await evacuation in a seemingly hopeless situation.

I. The Mole

The remains of the East Mole of Dunkirk harbour, pictured in 2009.

On land, Tommy, a young British private, is one of several soldiers who come under fire from unseen German forces on the streets of Dunkirk. He is the only one to make it to the beach, where he finds British and Allied troops waiting for evacuation. He meets Gibson, another young soldier, who appears to be burying a friend. After a German air attack, they happen upon a wounded man left for dead, and they rush his stretcher up to the front of the queue to a ship evacuating the wounded. They are denied passage themselves, and hide on the mole, hoping to sneak aboard the next vessel. However the ship is attacked as it departs; in the chaos they save another soldier, Alex, from being crushed by the sinking ship. They get on another departing boat that night, but this is sunk by a torpedo from a U-boat. Gibson saves Tommy and Alex and they are taken to shore by the shell-shocked soldier.

Commander Bolton and Colonel Winnant review the situation. Winston Churchill has said that he will not be seeking peace and has committed to evacuating 30,000 soldiers. In order to evacuate more men the navy has requisitioned smaller civilian vessels which can sail up closer to the beach.

The next day, they join a group of Scottish soldiers that has located a grounded fishing trawler in the intertidal zone outside of the Allied perimeter. They hide in it hoping to use it to evacuate when the tide rises. Its owner, a Dutch-speaking seaman, returns and explains that he had left the boat to wait for the rising tide. Soon after, Germans shoot at the boat for target practice, unaware of the soldiers sheltering inside. When the tide rises, the bullet holes in the hull make it difficult to keep the boat afloat. Seeking to reduce their weight, Alex accuses Gibson, who has remained silent throughout, of being a German spy, and demands that he be put off. Tommy defends him, but Gibson reveals that he is French, and had stolen the identity of the soldier whom he had been burying, hoping to evacuate with the British. The ensuing physical altercation rocks the boat upright and the seaman is able to start the engine. However, they are unable to get very far before it sinks. The men abandon ship, except for Gibson, who becomes tangled in a chain and drowns. Alex and Tommy swim for a nearby minesweeper, but this is sunk by a German bomber. Mr. Dawson's boat arrives and takes them on board, rescuing them from a burning oil slick. They cross the English Channel, see the coast of Dorset, and are placed on a train. Alex and Tommy expect that their retreat will earn them the scorn of the British public; instead, they receive a hero's welcome as Tommy reads the 'We shall fight on the beaches' speech to Alex from a newspaper.

Back on the beach, Commander Bolton watches as the last British soldiers are evacuated. He confirms that 300,000 have been evacuated, ten times the number that they had hoped. He stays behind to oversee the evacuation of the French rearguard.

II. The Sea

The Royal Navy is commandeering private boats to participate in the evacuation. Mr. Dawson, a civilian, cooperates without question, but rather than let a navy crew take his boat, he and his son Peter take her out themselves; their teenage hand George impulsively joins them as they leave, hoping to do something noteworthy. As they head towards Dunkirk, Mr. Dawson points out three Spitfires flying overhead. They encounter a shell-shocked soldier on a wrecked ship, the sole survivor of a U-boat attack, and take him aboard. When he discovers that Dawson is sailing for Dunkirk rather than to England, he tries to wrest control of the boat, and in the scuffle George falls and takes a severe blow to the head. Peter treats George's wounds as best as he can, but George is rendered blind. Duty-bound to aid in the evacuation, Dawson continues towards France.

They see a Spitfire ditch in the ocean, and Dawson steers for it in case the pilot can be rescued, despite not seeing a parachute. Collins is trapped in his Spitfire as the canopy becomes stuck. With Collins almost drowning, Peter breaks open the canopy of the plane and pulls Collins aboard. Peter reveals that his elder brother was a Hurricane pilot, lost in the opening weeks of the war. They encounter a minesweeper under attack from a German bomber. Dodging fire from the accompanying fighters, they manoeuvre to take on troops from the sinking ship, which is spilling oil, and just get clear before the oil is ignited. Dawson and his crew pull as many survivors aboard as they can take, among them Alex and Tommy. As the boat fills with men, Peter tells them to be careful with George, assuming he is still in critical condition. Alex responds by saying that George has died. Peter returns above board, and the shell-shocked soldier asks him if George is alright. Peter lies, telling him that George will be fine. Back in Weymouth, Dawson is congratulated for the number of men he has saved, as George's body is carried off the boat on a stretcher. The shell-shocked soldier sees this before he leaves for the train and sits in a compartment with Alex and Tommy. Peter later gives a photograph of George and the story of his participation to the local newspaper, who send it to the national newspaper, which hails him as a young hero.

III. The Air

One of the Spitfires used in the film, seen here in its original livery.[8]

A flight of three RAF Spitfires – piloted by Farrier, Collins and their Squadron Leader (callsign 'Fortis Leader') – head across the English Channel to provide air support to the operation at Dunkirk, knowing that the time they can spend there is limited by their fuel supply. They encounter German fighters and get into a dogfight, during which 'Fortis Leader' is shot down. Farrier assumes command, and although his fuel gauge is shattered, they continue towards France. They shoot down another Luftwaffe plane in their next skirmish, but Collins's Spitfire is badly damaged and he opts to ditch in the Channel rather than bail out. Farrier assumes Collins is fine after seeing his waving hand and continues on alone.

Farrier sees a German bomber making an attack run on a minesweeper, switches to reserve fuel, and engages both it and a fighter overhead . He shoots down the bomber which crashes into the oil slick from the sinking warship, and ignites it around survivors in the water. He reaches Dunkirk, in time to shoot down a dive bomber, saving British ships and the troops squeezed onto the docks. Then, his fuel supply exhausted, he glides over the beach to cheers from the soldiers and sailors below. Farrier just manages to crank his landing gear down as the wheels touch the sand beyond the Allied perimeter. He sets fire to his plane with his flare pistol and calmly awaits to be taken prisoner by German soldiers, who appear from the dunes.

Cast

Michael Caine appears in a spoken cameo role as Fortis Leader.[19][20] According to D'Arcy and Nolan, Winnant and Bolton act as the film's Greek chorus to give the audience context.[17] To get acclimatised to cold water, Whitehead and Styles underwent training sessions at Point Dume in Malibu, California.[21]

Production

Development

The empathy for the characters has nothing to do with their story. I did not want to go through the dialogue, tell the story of my characters… The problem is not who they are, who they pretend to be or where they come from. The only question I was interested in was: Will they get out of it? Will they be killed by the next bomb while trying to join the mole? Or will they be crushed by a boat while crossing?

— Christopher Nolan on the main purpose of the film[22]

In the mid-1990s,[21] director Christopher Nolan came upon the idea when he and his then-girlfriend Emma Thomas sailed across the English Channel in a recreation of the Dunkirk evacuation.[23][17] Nolan originally considered not writing a script, but instead to improvise the entire film. He was persuaded to change his mind by Thomas.[24] In 2015,[17] a seventy-six-page screenplay was written,[22][25][17] about half the length of Nolan's usual scripts[26] and his shortest to date.[12][27] It was written with a precise mathematical structure, requiring the basis of the characters to be fictional rather than taken from actual eyewitnesses.[28]

Nolan decided to make the film from three perspectives – the land, sea, and air.[29] He structured the story from the point of view of the characters, with the intention that most of it was to be told visually, which meant doing away with dialogue and backstory.[30][31] Nolan investigated silent films to influence crowd scenes with suspense using only details given the minuscule presence of dialogue in the film.[32] The entire film was made to encompass the snowball effect that had only been used in the third acts of his previous films.[25] He approached the research as though it were for a documentary film.[19] What made the project attractive to Nolan was its inherent contradiction to Hollywood formula, as the Battle of Dunkirk was not a victory, did not involve America, and yet demanded a big-scale production to be put on screen.[12]

Nolan decided to postpone Dunkirk until he had acquired sufficient experience directing large-scale blockbuster action films.[28] To accurately convey the perspective of the soldiers on the beach – for whom contact with the enemy was "extremely limited and intermittent" – he made a conscious decision to never show Germans on screen.[33] Also omitted were Winston Churchill and any scenes of generals in a war room, as Nolan did not want to get "bogged down in the politics of the situation".[34] He screened eleven films that inspired him for key crew members – All Quiet on the Western Front, The Wages of Fear, Alien, Speed, Unstoppable, Greed, Sunrise, Ryan's Daughter, The Battle of Algiers, Chariots of Fire, and Foreign Correspondent – only two of which are war films.[17][35] The film's historical consultant was author Joshua Levine,[12][11] who also wrote the book adaptation, Dunkirk: The History Behind the Major Motion Picture.[36] Levine accompanied Nolan while interviewing veterans.[23][37][38] During these interviews, Nolan was told a story of soldiers who were observed walking into the sea in desperation and incorporated it into the screenplay.[37]

The production team and scouting locations were chosen before Nolan and Thomas solicited Warner Bros. Pictures to make the film.[17] Nolan and his production designer Nathan Crowley toured the beach while location scouting, having decided to film there despite the logistical challenges of shooting on-location,[12] discarding the county of Suffolk as an alternative location. Crowley set up a makeshift art department in Nolan's garage, where he would begin colourising twenty or thirty black-and-white photographs to better understand the visual representation. The design aesthetic was made to look as contemporary as possible.[17] Hoyte van Hoytema, who previously collaborated with Nolan on his 2014 film Interstellar, was chosen as the cinematographer.[39] Nolan made a deal with Warner Bros. whereby he would receive a $20 million salary plus 20% of the box office gross, the most lucrative deal since Peter Jackson received the same amount for King Kong.[40] Pre-production officially began in January 2016.[17]

For the uniforms, costume designer Jeffrey Kurland aimed to create a balance between historical accuracy and aesthetics that would favour the film stock. As the heavy wool fabric in the original uniforms had not been produced since 1940, it was made from scratch, tailored for the main cast and over a thousand extras. Uniforms were assembled in a factory in Pakistan, while the boots were made by a shoemaker in Mexico; these were shipped to Longcross Studios, where Kurland's costume department would spend three weeks ageing and altering the colours of the garments.[21]

The East Mole was rebuilt in accordance with the original blueprints and took four months to manufacture.[21]

Casting

Tom Hardy, Kenneth Branagh and Mark Rylance were in talks to join the ensemble as supporting characters in late 2015.[41][42] Fionn Whitehead was cast as the lead in March 2016,[43] while Jack Lowden, Aneurin Barnard and Harry Styles were added to the list shortly after.[44][45] Cillian Murphy joined the following month.[46] James D'Arcy, Barry Keoghan and Tom Glynn-Carney were included in the line-up later that May.[47][48] After first-hand accounts of the Dunkirk evacuation revealed to Nolan how young and inexperienced the soldiers were,[49] he decided to cast young and unknown actors for the beach setting.[50] Nolan was also adamant that all of the cast be British.[12][nb 3] John Papsidera and Toby Whale were the casting directors for Dunkirk.[17]

Filming

Moonstone during filming with Nolan, Rylance, Glynn-Carney and Keoghan on board.
Maillé-Brézé at the port of Dunkirk during filming.
MLV Castor was modified to resemble HMS Basilisk (H11).

Principal photography commenced on 23 May 2016 in Dunkirk, France, where they spent the first month. This was planned so as not to occur in the final days of winter or interrupt Bastille Day. The schedule was also chosen to coincide with the dates during which the evacuation took place.[52][21][nb 4] Production proceeded for four weeks in Urk, Netherlands,[54][55][21][nb 5] one week in Swanage and Weymouth in Dorset, United Kingdom,[57] and the Point Vicente Interpretive Center and Lighthouse in Rancho Palos Verdes, United States.[58][nb 6]

Filming in Dunkirk took place in the same location as the real historical evacuation,[11][60] while street scenes were shot in Malo-les-Bains on account of most of the buildings in Dunkirk having been destroyed in the war.[61] They determined when and where to shoot on the beach and mole based on tidal patterns. French labour strikes affecting dockworkers, tugboat companies and lock operators also affected which days to shoot, while their established working hours had to be abided by as well.[21] Six thousand extras were used amidst the filming in France.[62][63] Early scenes were shot on a harbour in Weymouth, while the final scenes took place at the Swanage railway station.[21] Because French authorities had ruled against pyrotechnic charges being used for simulated explosions, for fear of damaging the marine life of Dunkirk, air cannons were put to use instead.[21] Universal Pictures' Falls Lake studio in Los Angeles was used to film the interiors of a sinking ship, which took place in a water tank with around fifty stuntmen present.[11]

To minimise the need for computer-generated imagery (CGI), cardboard cut-out props of soldiers and military vehicles were employed to create the illusion of a large army.[60][62] The use of real fighter aircraft (full size or scale models), war ships and many private boats was also intentional, to provide greater realism than would be possible with CGI.[64] As the mole was frequently damaged by the harsh environment, it repeatedly needed rebuilding.[21]

Crowley and marine coordinator Neil Andrea located up to sixty ships over the course of five months[64][17] which Nolan had reconditioned for the shoot,[11][65] including the retired French Navy destroyer Maillé-Brézé,[66] which was made to look like a British destroyer from 1940.[12] This was done as there were no British destroyers left with engines intact.[17] Three retired Royal Netherlands Navy ships were used – the minesweeper Hr. Ms. Naaldwijk portrayed HMS Britomart (J22), Hr. Ms. Sittard portrayed HMS Havant (H32) and HMS Jaguar (F34), and MLV Castor portrayed HMS Basilisk (H11).[67] MTB 102, one of the last boats to leave Dunkirk in June 1940, and the 1930s Norwegian steamer Rogaland, were also used.[68][17] Over fifty other boats were used in filming, including twenty actual Little Ships of Dunkirk, steered by their owners.[17] A small motor yacht called Moonstone, built in the 1930s, served for six weeks of filming as one of the key sets. Its most demanding scenes, including placing up to sixty people in a boat designed for fewer than ten, were shot on the Dutch lake IJsselmeer.[11][12][64]

Hardy and Lowden spent a bulk of their two-week shooting schedule inside purpose-built cockpit gimbals and had limited exposure to the rest of the cast and crew.[11][69][17] Aircraft had to be equipped with two cockpits so as to allow filming in-flight.[70] For this purpose, a Yakovlev Yak-25TW[54][71] was modified to resemble a Supermarine Spitfire, in which a given actor and pilot would be situated.[72] Two Supermarine Spitfire Mk.IAs, a Spitfire Mk.VB and a Hispano Buchon (masquerading as a Messerschmitt Bf 109E) were also used to film the aerial combat scenes. Large-scale radio controlled model aircraft, including Heinkel He 111 and Junkers Ju 87 bombers, were filmed crashing into the English Channel.[8][12] The real Spitfires were provided by the Imperial War Museum Duxford.[17] IMAX cameras were attached to the fighter planes using specially-made snorkel lenses – in the back and the front[11][12] – and large-scale mockups were submerged with cable rigs for a crash scene.[11]

The film was shot on a combination of IMAX 65 mm and 65 mm large format film stock in Panavision System 65,[41][73] with more IMAX footage shot than in any of Nolan's previous films[74] – an estimated seventy-five percent.[12] The infrequency of dialogue made it possible for IMAX cameras, which are notable for making noise, to to be utilised as the primary format.[21] Panavision and IMAX lenses provided the ability to shoot at night.[28] For the first time in a feature film, IMAX cameras were used in a hand-held capacity,[75] advised by Steven Spielberg and Ron Howard as the best way to shoot on vessels.[37]

Post-production

Nolan's regular collaborator Lee Smith returned to edit Dunkirk.[28] Smith assembled the shots unsupervised while filming was still in progress.[76] Editing took place in Los Angeles, composed of an audio mixing team of eight people. Nolan said of the process, "You stop seeing the wood for the trees", concluding that detail was its most predominant purpose.[12] Nolan singled out the editing of aerial sequences as a particular challenge,[76] likening them to a chess game.[26] Limited computer-generated imagery was applied to improve certain scenes, but none were created entirely with CGI.[76] Double Negative undertook the visual effects work while FotoKem, which assisted as the production's film laboratory, also handled the release prints.[77]

Music

Dunkirk: Original Motion Picture Soundtrack
Soundtrack album by
Hans Zimmer
Released21 July 2017[78]
GenreFilm score
Length59:46
LabelWaterTower Music[78]
Hans Zimmer chronology
The Boss Baby
(2017) 		Dunkirk: Original Motion Picture Soundtrack
(2017) 		Blade Runner 2049
(2017)

By January 2016, composer Hans Zimmer had already begun working on the score.[79] For the purpose of intensity, the script was written to accommodate the auditory illusion of a Shepard tone, which had previously been explored in Nolan's 2006 film The Prestige. This was coupled with the sound of a ticking clock, that of Nolan's own pocket watch, which he recorded and sent to Zimmer to be synthesised.[80][76] Additional music was provided by Lorne Balfe, Andrew Kawczynski, Steve Mazzaro, and Benjamin Wallfisch.[81][82] "Nimrod" from Edward Elgar's Enigma Variations is part of the theme,[83][84] which was slowed down to six beats per minute with added bass notes to avoid it sounding sentimental. Instrumentation included a double bass and fourteen cellos played in high register. Sound designer Richard King relayed to Zimmer the sound of a boat engine, which served as a reference for the tempo.[82] The music was recorded at AIR Lyndhurst Hall in London with Geoff Foster as mix engineer.[85]

Dunkirk: Original Motion Picture Soundtrack
No.TitleWriter(s)Length
1."The Mole"Hans Zimmer05:36
2."We Need Our Army Back"Zimmer06:28
3."Shivering Soldier"Zimmer02:52
4."Suparmarine"Zimmer08:03
5."The Tide"Zimmer03:49
6."Regimental Brothers"
  • Zimmer
  • Lorne Balfe
05:04
7."Impulse"Zimmer02:37
8."Home"
  • Zimmer
  • Benjamin Wallfisch
06:02
9."The Oil"Zimmer06:11
10."Variation 15 (Dunkirk)"
  • Wallfisch
  • Sir Edward Elgar[86]
05:52
11."End Titles"
  • Wallfisch
  • Elgar
  • Balfe
  • Zimmer[86]
07:13
Total length:59:46

Release

The world premiere was held on 13 July 2017 at Odeon Leicester Square in London, England.[87][88] The film was theatrically released on 21 July,[89] projected on IMAX, 70 mm and 35 mm film.[90] It is the fourth Nolan film to be released in the third week of July, a period in which the studio has previously achieved success.[91] It was Nolan's preference that the film open in July instead of the northern-hemisphere autumn awards season.[92] The film was initially screened in 125 theatres in 70 mm,[93][94][95] which proved to be the widest release in that format in twenty-five years.[96]

Marketing

The announcement teaser debuted in cinemas ahead of Suicide Squad[97] and was released online on 4 August 2016.[98] According to data analytics firm ListenFirst Media, it generated the most Twitter engagement of all the trailers that were released that week.[99] The first full-length trailer was released on 14 December 2016,[100] alongside a five-minute[101] cinema-exclusive prologue displayed prior to select IMAX showings of Rogue One.[102] Dunkirk was the most discussed film that week, according to media measurement firm comScore,[103] and the trailer garnered over twenty-one million views on YouTube.[104] The prologue returned to the screen for one week with select IMAX showings of Kong: Skull Island.[105] Footage from the film was displayed at CinemaCon 2017 to significant acclaim.[106] Warner Bros. aired a TV spot in partnership with the NBA to coincide with its 2017 playoffs.[107] The official main trailer was released on 5 May 2017 after a countdown on the film's website[108][109] and four fifteen-second teasers leading up to it.[110][111][112][113] Once again, Dunkirk was the most discussed film that week according to comScore.[114] The video game developer Wargaming included in its titles World of Tanks, World of Warships and World of Warplanes missions and rewards related to the film.[115] On 6 July, Warner Bros. released another trailer, which for the third time caused Dunkirk to be the most discussed film that week.[116] The prologue was shown at select Wonder Woman IMAX screenings in July.[117][118]

Sue Kroll, president of Warner Bros. Worldwide Marketing and Distribution, disclosed that it was of crucial importance that Dunkirk was marketed as a summer event movie as opposed to a period war film to highlight its "magnificent scale and originality". This strategy was maintained throughout the campaign. To convince the audience that the film was best experienced in theatres, the prologue was never made available online. TV spots were distributed in sporadic portions during sports games and notable television series for the sake of establishing the film's themes. Social media was put to use with infographics describing the scale and importance of the Dunkirk evacuation. Additionally, a Google 360 Experience interactive adventure, an Amazon Alexa programme, and a 360-degree short film were created. In partnership with fast food restaurant Carl's Jr., the film was branded on four million cups, as well as pop-ups at nearly three thousand locations.[119]

Reception

Box office

As of 7 August 2017, Dunkirk has grossed $135.8 million in the United States and Canada and $181.1 million in other countries for a worldwide total of $316.9 million, against a production budget of $100 million.[5]

In the United States and Canada, industry tracking for the film's opening weekend ranged from Variety's $30–40 million[120] to Deadline.com's $35 million,[118] while BoxOffice speculated an opening weekend of $55 million and a total $220 million domestic gross,[121] and IndieWire speculated an opening weekend of $50 million and $500 million in worldwide gross.[122] Dunkirk made $19.8 million on its first day, including $5.5 million from preview screenings. It went on to finish first at the box office and marked the third-largest opening for a World War II film (behind Captain America: The First Avenger's $62.1 million and Pearl Harbor's $59.1 million), as well as the fourth largest opening of Nolan's career.[92] In its second weekend, the film grossed $28.1 million (a drop of 44.3%), beating newcomer The Emoji Movie to the top spot.[123] The film grossed $17.1 million in its third weekend, falling to second place at the box office behind newcomer The Dark Tower ($19.2 million).[124]

The film opened in France on 19 July 2017, and made $2.2 million on its first day. It was released in seven markets the following day, earning an additional $6.3 million. On 21 July, the film was released in forty-six more countries and grossed $12.7 million from over ten thousand theatres, with $3.7 million from the United Kingdom.[125] It ended up with an international debut of $55.4 million, including $4.9 million in France, $12.4 million in the U.K. and $10.3 million in Korea.[126]

Critical response

Dunkirk received critical acclaim, with praise for its direction, cinematography and acting, with some critics calling it Nolan's best film to date[127] and one of the greatest war films ever.[128][129] On the review aggregator Rotten Tomatoes, it holds an approval rating of 93% based on 319 reviews, with an average of 8.7/10. The site's critical consensus reads: "Dunkirk serves up emotionally satisfying spectacle, delivered by a writer-director in full command of his craft and brought to life by a gifted ensemble cast that honors the fact-based story."[130] On Metacritic, the film has a weighted average score of 94 out of 100 based on 52 critics, indicating "universal acclaim".[131] According to AlloCiné, the film has an average note of 4.1/5, based on 22 critics.[132] Audiences polled by CinemaScore gave an average grade of "A−" on an A+ to F scale.[92]

Peter Bradshaw of The Guardian awarded the film five out of five and called it Nolan's best to date, saying: "Nolan surrounds his audience with chaos and horror from the outset, and amazing images and dazzlingly accomplished set pieces on a huge 70mm screen, particularly the pontoon crammed with soldiers extending into the churning sea, exposed to enemy aircraft".[133] Todd McCarthy of The Hollywood Reporter also lauded the film, calling it "an impressionist masterpiece" and writing: "Although the film is deeply moving at unexpected moments, it's not due to any manufactured sentimentality or false heroics. Bursts of emotion here explode like depth charges, at times and for reasons that will no doubt vary from viewer to viewer. There's never a sense of Nolan – unlike, say Spielberg – manipulating the drama in order to play the viewer's heartstrings. Nor is there anything resembling a John Williams score to stir the emotional pot".[134] Peter Debruge of Variety praised the detailed plot (although calling Zimmer's musical score "bombastic"), writing: "Christopher Nolan has found a way to harness that technique in service of a kind of heightened reality, one that feels more immersive and immediate than whatever concerns we check at the door when entering the cinema."[3] Manohla Dargis of The New York Times described the film as a "tour de force of cinematic craft and technique" while she lauded Nolan's elastic approach to narrative as "beautiful".[135] Mick LaSalle of San Francisco Chronicle also praised the film, calling it a "triumph" and "masterpiece", while commending Nolan's unique style and approach to directing a war film, as well praising the performances.[136] The Economist labelled Dunkirk as "a remarkable film" and a new classic.[137]

Chris Nashawaty of Entertainment Weekly scored the film an "A", calling it the best of 2017: "By the end of Dunkirk, what stands out the most isn’t its inspirational message or everyday heroism. It’s the small indelible, unshakeable images that accumulate like the details in the corner of a mural".[138] Robbie Collin of The Daily Telegraph gave the film five stars out of five, lauding it as "a work of heart-hammering intensity and grandeur that demands to be seen on the best and biggest screen within reach".[139] Peter Travers of Rolling Stone awarded it his first four-star rating of 2017 as "may be the greatest war film ever" and a work of significant artistic merit: "There's little doubt that [Nolan] has, without sentimentality or sanctimony, raised that genre to the level of art. Dunkirk is a landmark with the resonant force of an enduring screen classic". He also called it the first major Oscar contender of the year.[140] Matt Zoller Seitz of RogerEbert.com gave three-and-a-half out of four stars despite not liking the film, stating that he "loathed parts of it and found other parts repetitious or half-baked. But, maybe paradoxically, I admired it throughout, and have been thinking about it constantly since I saw it.... This is a movie of vision and integrity made on an epic scale, a series of propositions dramatized with machinery[,] bodies, seawater and fire. It deserves to be seen and argued about".[141]

Jacques Mandelbaum of Le Monde praised the realism of the feelings conveyed, but regretted that the film ignores the part played by French troops in the evacuation.[142] Kevin Maher in The Times gave it two out five, saying "[Dunkirk] is 106 clamorous minutes of big-screen bombast that's so concerned with its own spectacle and scale that it neglects to deliver the most crucial element – drama." Maher also stated that in comparison to other war films such as The Longest Day, A Bridge Too Far and Saving Private Ryan, Dunkirk felt like a Call of Duty video game.[143] David Cox of The Guardian criticised the historical inaccuracies, the paucity of female characters, its small scale, and over-dramatisation, thinly characterised cast and lack of suspense.[144]

Historical accuracy

Hispano Buchon masquerading as a Bf 109E, wearing a temporary paint scheme for the film.[8]

The film received praise for its generally realistic representation of the historical evacuation.[145] It accurately depicts a few Royal Air Force planes dogfighting the Luftwaffe over the sea, limited to one hour of operation by their fuel capacity. Destroyers and fighter planes were held back from battle, as the Royal Navy and Royal Air Force would have been the sole defenders of Britain in case of an invasion attempt. Also praised were accurate depictions of how a small boat attempted to evade aerial attack, and how soldiers returning to England saw a civilian population largely unaware of or unaffected by the war.[146] Leaflets demanding that the British surrender were dropped from the air, but not of the design used in the film.[145]

However, although some events are loosely based on true history, the characters and storyline are fiction. Branagh's character is a composite of several historical figures.[147] When the beach scenes were shot, the weather was worse than during the real evacuation; Nolan explained that this helped to understand the danger faced by the pleasure boats.[148] In one scene, an officer gives a salute without wearing his military beret, which a veteran pointed out as inaccurate protocol.[149] The German planes had their noses painted yellow in the film to better distinguish them; in reality, this was not done until a month after Dunkirk.[147] The involvement of French, African and Indian soldiers was either limited or left out of the film.[142][145] Modern shots were used for the aerial photographs, whereas in reality the town was substantially in ruins by the time of the evacuation. British officers did initially refuse to evacuate French soldiers, with conflict arising from both sides, although Churchill later insisted that the French be evacuated alongside the British.[145][146]

Notes

  1. ^ Additional production by Warner Bros. Pictures, RatPac-Dune Entertainment, Canal+, Ciné+, and Studiocanal.[6]
  2. ^ Asked about its PG-13 rating, Nolan explained that he did not consider Dunkirk to be a war film, but rather a suspense film that "does not necessarily concern itself with the bloody aspects of combat".[7]
  3. ^ Barry Keoghan and Cillian Murphy, however, are Irish.[51]
  4. ^ Dunkirk was approved under the French international tax rebate scheme.[53]
  5. ^ The film received $1.2 million through the Netherlands' rebate incentive programme.[56]
  6. ^ In the course of shooting, Dunkirk operated under the working title "Bodega Bay",[58][59] which production designer Nathan Crowley suggested and was based on a town in Northern California.[17]

See also

References

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