Movie re­view

Macclesfield Express - - MACCLESFIELD PEOPLE -

JAMES Burgess is a 27-year-old per­for­mance, drama and the­atre grad­u­ate. The for­mer Fal­li­b­roome High School pupil has at­tended the BAFTA Film Awards in Lon­don ev­ery year since 2009, meet­ing stars in­clud­ing Dame Helen Mir­ren, Chris­tian Bale, Joseph Gor­don-Le­vitt and Emma Thomp­son.

James lives on St. Ives Close in Mac­cles­field. You can visit his web­site at jab­film­re­views.blogspot. com. Dunkirk 12A, 106 mins, Warner Bros/Syn­copy. Star­ring: Fionn White­head, Aneurin Barnard, Tom Glyn­nCar­ney, Tom Hardy, Jack Low­den, Sir Ken­neth Branagh, Cil­lian Murphy, Harry Styles, Billy Howle, Sir Michael Caine, and Sir Mark Ry­lance. an epic scale; glossy, crisp, strik­ing au­then­tic­ity which is now the hall­mark of his work – and in­stantly recog­nis­able.

Even when he’s op­er­at­ing within the most elab­o­rate nar­ra­to­log­i­cal pa­ram­e­ters, struc­ture, tone, time and per­spec­tive are ei­ther fore­grounded or sub­verted – with­out ever being over­shad­owed by the in­no­va­tive tech­niques im­ple­mented.

In many ways, Dunkirk, is his most avun­cu­lar work: stripped-down, back-to-ba­sics, vis­cer­ally intense, ex­tremely im­mer­sive and au­then­tic – his most con­ven­tional, risky, and both ut­terly sub­jec­tive and ob­jec­tive, si­mul­ta­ne­ously – with­out ever los­ing that cus­tom­ary qual­ity of being su­perbly mounted and staged.

As a writer, his pol­ished screen­play re­mains as know­ingly sparse and cut-to-the-quick as ever. Nolan’s stated in­ten­tion was to make a sus­pense­ful survival story – not a war film. In­stead, Nolan frames a stun­ningly re­alised tech­ni­cal achieve­ment of plac­ing the au­di­ence on those fate­ful dunes, in the fre­netic cock­pit, or on a sink­ing ship – with land, air and sea each being rep­re­sented through their in­creas­ingly tense time-lines to ab­so­lutely stun­ning ef­fect.

All per­for­mances are ex­cel­lent. Fionn White­head in­fuses in­tegrity as the lead sol­dier, the much-hyped cast­ing of a solid Harry Styles com­pletes the trio; it’s Aneurin Barnard’s al­most mute Gib­son who re­ally stands out. Barnard, has such a depth of soul­ful in­ten­sity of pathos in his eyes.

Tom Glynn-Car­ney is es­pe­cially grip­ping as Peter, the el­dest son of the unas­sum­ing Mr Daw­son (sub­tly, ex­cep­tion­ally played by the king of humble hu­mil­ity in act­ing clas­si­cism: Mark Ry­lance).

Ry­lance may end up fight­ing it out with a pre­cise Ken­neth Branagh, or con­flicted PTSD sol­dier Cil­lian Murphy for Sup­port­ing Ac­tor ac­co­lades. As should Hoyte Van Hoytema’s peer­less cin­e­matog­ra­phy.

Blis­ter­ing aerial set-pieces, mean real spit­fires fill the screen, with Tom Hardy’s pi­lot adding grav­i­tas as al­ways. This is all en­hanced ten­fold, by Hans Zim­mer’s inim­itably propul­sive, per­pet­ual thrum of score; ratch­et­ing up the ten­sion even fur­ther.

Fan­tas­tic, ex­tremely slickly as­sured, pro­foundly emo­tion­ally pre­scient – a leviathan piece of bravura film-mak­ing.

A scene from Dunkirk

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.