The Duellists (1977)

2018 #26
Ridley Scott | 96 mins | DVD | 1.78:1 | UK / English | PG / PG

The Duellists

It’s 40 years this month since Ridley Scott’s debut feature appeared in British cinemas, which perhaps makes now the most appropriate time to have awarded him the BAFTA Fellowship (as he was this past weekend, of course).

Adapted from a short story by Joseph Conrad, which was itself inspired by a true story, The Duellists stars Keith Carradine and Harvey Keitel as a pair of soldiers in Napoleon’s army who, for reasons only properly known to one of them, end up fighting a series of duels — or, really, one duel constantly reignited — over the better part of two decades. They become renowned for it (Conrad discovered the story through a newspaper article noting the death (by natural causes) of one of the real-life pair), to the chagrin of Carradine’s reluctant duellist. He dreads every potential encounter, aware of the fight’s futility and danger, but honour keeps drawing him back.

Ultimately, honour and the futility of fighting are what The Duellists is most about, if it’s about anything — if you like, you can enjoy it as merely a series of well-staged combats between two men, each stubborn in their own different way. They also each have slightly different ideas of honour, it would seem, but they’re compatible enough that it keeps drawing them back to the fight. “Acting with honour is all well and good,” the film seems to be saying, “but look where it gets them.” It doesn’t completely ruin their lives, but it does take a serious toll. A bit of common sense goes a long way, and acting with so-called honour, which might seem to be the moral course, doesn’t actually involve a great deal of common sense.

The bad duellist

Scott also intended the pointless, never-ending fight to represent a microcosm of war. Speaking to Empire magazine, Scott described Conrad’s story as “a very nice pocket edition of the Napoleonic Wars” because it “somehow encapsulated the craziness of an argument and how at the end of a 20-year period one of them forgot the reason why they were fighting. Isn’t that familiar?” Fighting for fighting’s sake; not wanting to be the one to back down… it seems it’s human nature, just as much in a conflict between two men as in between two nations. A bit of common sense would go a long way…

The other aspect of the film most worthy of comment is its photography. Reportedly Scott set out to imitate Stanley Kubrick’s Barry Lyndon, released just a couple of years earlier. It’s an appropriate inspiration: both tales are set in the same era, and Lyndon looks incredible. Scott undoubtedly succeeds in his goals — both that of copying Kubirck’s visuals and that of such copying being a good idea: much of The Duellists looks gorgeous, particularly wide scenery shots. Although the cinematography is credited to Frank Tidy, Scott says he operated the camera himself for the entire shoot, so who’s to know where exactly the credit for that achievement lies.

The good duellist

Resemblances to Barry Lyndon extend beyond just the visuals, mind. As noted, it’s set in the same era, so various visual trappings are similar, from costumes to some of the locations — if not direct copies, they certainly evoke Kubrick’s film more than once. There’s also the story itself: a tale focused on just one or two characters but spanning decades, and during a particularly tumultuous and eventful period in history. As Tim Pelan puts it (in this piece at Cinephelia & Beyond), “while Barry Lyndon advances with the forward momentum of one of Napoleon’s columns in its telling of a fool’s misfortune and slow glide towards the destruction of all he worked for and holds dear, The Duellists dashes pell-mell between the very different clashes of the antagonists.” Scott’s film feels like it thinks it is, or wants to be, an epic, just like Lyndon, even though it only lasts a little over 90 minutes.

Comparisons to such a lofty cinematic success would damn a lesser film, but The Duellists is a very fine work in its own right. Despite the similarities I’ve highlighted, it’s really a very different film: Barry Lyndon has a kind of leisurely elegance, whereas The Duellists is more economical and straightforward. It’s certainly not Scott’s greatest film (his next two immediately put paid to that), but it’s perhaps his most under-appreciated one.

4 out of 5

Advertisements

Eddie the Eagle (2016)

2017 #116
Dexter Fletcher | 106 mins | streaming (HD) | 2.35:1 | UK, Germany & USA / English, German & Norwegian | PG / PG-13

Eddie the Eagle

The unlikely hero of the 1988 Winter Olympics — ski jumper Eddie “the Eagle” Edwards — gets the Cool Runnings treatment in this comedy-drama. I make the Cool Runnings connection because, firstly, they’re both about unlikely competitors in the Winter Olympics (from the same year, in fact — what was in the water in ’88?!); and, secondly, because in their transition to the big screen they were both heavily fictionalised.

The story, at least as it goes in the film, sees young Eddie (played as an adult by Kingsman‘s Taron Egerton) keen to participate in any Olympic sport, eventually settling on ski jumping because no Brit has participated in it for six decades. Disavowed by the British officials, he heads off to Germany to train himself. Trials and tribulations ensue that are by turns hilarious and heartwarming, but which eventually see him qualify for the 1988 Olympics — that’s not a spoiler, it’s why he’s famous!

Helping Eddie along his way is Bronson Peary (Hugh Jackman), a washed-up former US ski jumper who begrudgingly becomes Eddie’s coach, transforming the Brit from a no-hoper to someone who’s… not entirely bad. This is probably the film’s biggest whopper, because Peary didn’t even exist. It’s kind of brazen to make your co-lead and major subplot 100% fictional in a ‘true story’ film, isn’t it?

The Eagle has landed

But, hey, this isn’t a documentary — it’s a feel-good underdog story, about having a can-do attitude and dedication to your dreams in the face of adversity. It’s also about how it’s not the winning but the taking part that counts, in a very literal sense. That probably makes the film sound more twee than it is, but it’s not a grittily realistic take either — it’s a colourful, light, entertainment-minded film. It’s a good pick for Egerton too, getting to stretch different performance muscles than in Kingsman as our naïvely optimistic hero. Jackman makes for an easygoing co-star, getting to mix his Wolverine loner gruffness with a dash of his chat-show charm.

Eddie the Eagle is a thoroughly charming little film. Even if its tone and overall narrative may be familiar, it navigates them with a light touch and consistent good humour that — much like the eponymous Olympian — wins you over, even if it’s in spite of yourself.

4 out of 5

The 2018 Winter Olympics officially commence tomorrow, though some events have already started — including, appropriately enough, ski jumping.

The Straight Story (1999)

2017 #133
David Lynch | 108 mins | TV (HD) | 2.35:1 | France, UK & USA / English | U / G

The Straight Story

“What would a G-rated Disney movie directed by David Lynch be like?” It sounds like a sketch show pitch, but in 1999, between Lost Highway and Mulholland Drive, it happened for real.*

And, talking of “happening for real”, this is a true story about an old fella, Alvin (Richard Farnsworth), who decides to visit his estranged brother after he suffers a stroke. Unable to get a driving licence, he sets off on his 30-year-old ride-on lawnmower, with a maximum speed of 5mph, to make the 240-mile trip. Yes, I said it’s a true story. Of course, it’s not just 100 minutes of Alvin riding a lawnmower along county roads — through the people he meets and the stories he tells, we learn he’s certainly lived a whole life.

Such a simple, straightforward, grounded (well, relatively grounded) narrative seems so very un-Lynch-like at first, but its tale of quirky Americana, peopled by a ragtag selection of endearing oddballs, isn’t so far outside his wheelhouse. There’s a definite Lynch touch detectable in how its made — the shot choices, editing patterns, and so on. There’s even a shot of a grain silo with a background hum that feels straight out of Twin Peaks. Then there are pretty scenery shots which are less obviously him.

Lawnmower man

Lynch has called The Straight Story his “most experimental movie”, which, considering the rest of his oeuvre, probably says more about what he considers experimental than it does about the film itself. What it does demonstrate is that the director, normally known for producing movies that befuddle the mind and chill the blood, is capable of producing something understatedly human and kind of heartwarming.

4 out of 5

* In the US, anyway — other distributors released it elsewhere, including Film4 here in the UK. ^

Hidden Figures (2016)

2017 #170
Theodore Melfi | 127 mins | download (HD) | 2.39:1 | USA / English | PG / PG

Hidden Figures

Based on a true story, Hidden Figures is about three black women working at NASA in the early ’60s, a time when segregation was still in force in the US.

It’s a double whammy of timely issues, then: they struggle to prove they’re clever and have scientific know-how because they’re women, and they struggle to prove they’re worth treating with respect because they’re black. How depressing that these things are still relevant over 50 years later. That said, any right-minded person watching it will still be suitably appalled that this kind of thing went on at all — even when you know about it, seeing it played out is something else.

Of course, it comes with a positive message attached: these people overcome their societally-imposed disadvantages to be awesome nonetheless, fighting everyday sexism and racism left, right and centre to eventually prove their worth. Hurrah! It’s a strong message, even more powerful thanks to it being a true story, and no doubt goes a long way to explaining the film’s success. As a movie in its own right, it’s nothing particularly special. There are good performances from a high-calibre cast, but everything else is pretty standard for a biopic — well done, but there’s a reason the film’s Oscar nominations were for acting and screenwriting.

4 out of 5

Hidden Figures is available on Sky Cinema from today.

Napoleon (1927)

aka Napoléon vu par Abel Gance

2016 #184
Abel Gance | 333 mins | Blu-ray | 1.33:1 + 4:1 | France / silent (English) | PG / G

Napoleon

At one point in time, arguments over rights made it seem unlikely you’d ever be able to see Abel Gance’s epic biopic of French leader Napoléon Bonaparte if you were a regular person not prone to attending all-day cinema screenings with a live orchestra and multiple intermissions. But a year ago this week things panned out so that the BFI were finally able to release it on Blu-ray. While a theatrical marathon is probably still the best way to see the film (if only for the full effect of the famed triptych finale), this release is certainly more convenient and accessible. Apparently it sold better than expected, too — I guess that’s what happens when you combine years of anticipation with being a worldwide-exclusive release of a film of this stature. It’s also a daunting film to review — for the aforementioned reasons, plus its length and its artistic importance. Nonetheless, here are what thoughts I had.

At 5½ hours, Napoleon is rather like a miniseries from the silent era — a comparison that feels more apt than ever in this age of binge-watching. It’s divided into four acts, each running anywhere from 49 to 114 minutes, but it could even be subdivided into further episodes: Napoleon’s schooldays; his observation of the French Revolution; his opposition to Corsica being sold to England; the siege of Toulon (which takes up all of Act 2 and is the best bit, in my opinion); the reign of terror (a half-hour section that barely features Napoleon); a chunk where he falls for and woos Josephine that plays like a rom-com; the invasion of Italy… Yet despite that length, the film doesn’t even reach the Napoleonic Wars. No wonder Gance wanted to do six movies — or six seasons, as we might interpret it today. (In the end, he went over-schedule and over-budget on this first film, covering just two-thirds of the story he’d intended and spending the budget for the entire series. I imagine I’d outrage some silent film fans/scholars if I called him the Peter Jackson of his day…)

Albert Dieudonne as Napoleon

Part of the fourth act is that triptych climax, a 21-minute sequence shot with three cameras side-by-side, and therefore designed to projected on three 1.33:1 screens side-by-side, to create a 4:1 widescreen image. It’s undeniably less powerful when rendered as a thin strip across a 16:9 television, suddenly shrinking the height of the image rather than suddenly tripling its width, but what other choice is there? (Well, if you’ve got three sets of equipment, the three-disc Blu-ray contains each screen full size, one per disc, so you could set it up yourself.) Even shrunk like that, the imagery in the sequence remains stunning. I bet the effect is marvellous when seen as intended. (There’s an alternate single-screen ending, which is quite different. It contains fundamentally the same ‘plot’, but there’s one whole new sequence, and the others are truncated or slightly rearranged. Worst of all, it loses the tricolour-inspired finale.)

Widescreen properly arrived when CinemaScope was invented in 1953, so Gance was about 25 years ahead of his time with that technique. It’s Napoleon’s most striking innovation, but the whole film shows off a surfeit of cinematic techniques: a wide variety of shot lengths (close-ups, medium, long, wide, etc, etc); tracks and pans, many of them fast; handheld photography, including what we’d now call ShakyCam; swaying back and forth, in and out of focus, or swinging over a large crowd; mounted on fast-moving vehicles, including dipping under the waves on a boat; in the thick of the action rather than observing it from a distance; multiple exposures and superimposition; animated maps to indicate Napoleon’s strategising; split screen; split-second impressionistically-fast cutting… and most of that’s found in just the first hour! Some of this is stuff that would still feel revolutionary when filmmakers were doing it 20, 30, even 40 years later. The fast-cut pulse-racing action scenes, like a horseback chase on Corsica, are not what you commonly expect from a silent movie, especially an ‘artistic’ one rather than a swashbuckler, say.

Epic

Lest you think a film of this vintage must be in black and white, Napoleon features a lot of tinting and toning, which works very well at times to create striking and meaningful imagery: golden sunlight illuminating the debut of La Marseillaise; the burning red of revolution forged in a furnace; a tumultuous purple ocean… Similarly, Carl Davis’ original score is great, helping to emphasise the emotion and lend the images a storytelling shape. Again, the sequence with La Marseillaise is a good example; a particularly effective tour de force. Davis makes good use of other familiar tunes for shorthand — there are variations on Rule, Britannia whenever the British are involved, for instance.

Making Abel Gance’s Napoleon was an epic undertaking, as was its decades-long reconstruction, as is the viewing experience (it is 5½ hours, after all). It may not be perfect for all of that immense running time (which does not merit adjectives like “indulgent” or “excessive” but is, nonetheless, long), but it is a monumental achievement in cinema that undoubtedly deserves full marks.

5 out of 5

That completes my reviews from 2016, finally.

Awakenings (1990)

2017 #154
Penny Marshall | 116 mins | TV | 16:9 | USA / English | 12 / PG-13

Awakenings

Based on a true story, Awakenings tells of Dr Malcolm Sayer (Robin Williams), who stumbles across an element of responsiveness in previously catatonic patients on his hospital ward. Finding a condition that links them buried in their medical histories, he supposes that a newly-invented drug might help their condition, subsequently testing it on Leonard (Robert De Niro), who ‘wakes up’ for the first time in 30 years. As Sayer continues his work, the new treatment reinvigorates the lives of more people than just the patients.

I hadn’t even heard of Awakenings until the untimely passing of Robin Williams, when it was brought to my attention by Mike of Films on the Box (er, I think — I can’t find where this occurred. Either it’s on someone else’s blog or I’ve entirely misremembered the circumstances). Frankly, I’m not sure why it isn’t better remembered. Okay, it’s a little schmaltzy towards the end, but there are plenty of films that are worse for that which are held in higher esteem by some. Perhaps it’s not schmaltzy enough for those people, but still too much for people who hate that kind of thing? Or maybe it’s something else — but I don’t know what, because the rest of the film is packed with quality and subtlety.

Such qualities are to be found in its writing — a screenplay by Steven Zaillian that conveys not only the usual story, character, and emotion, but also relates medical facts and processes in a way that is expedient to the narrative but still seems genuine. Whether it is or not I couldn’t say, but I didn’t feel conned by movieland brevity. Such qualities are to be found in the directing — unshowy work by Penny Marshall which matches the screenplay for its attention to detail in a way that never makes it feel as if we’re being fed a lot of information (although we are); that finds moments of beauty and life in the humanity of the characters, their plights, their successes, and their connections.

You waking up me? Well I'm the only one here...

Such qualities are to be found in the acting — De Niro’s immersive performance as a teenager trapped in a 50-year-old’s body, bookended by a medical condition so extreme that in lesser hands it could easily have become a caricature. Also Williams, giving quite possibly the most restrained performance of his career, but fully relatable as the socially inept doctor who is slowly, almost imperceptibly, brought out of his shell. And also an array of supporting performers, who each get their moment to shine in one way or another — although “shine” feels like the wrong word because, again, it’s understated. One or two moments aside (the schmaltziness I mentioned), there’s no grandstanding here.

Combine those successes with the knowledge that this is a true story (heck, you wouldn’t believe it if it weren’t) only makes the film’s events — and its messages about being attentive of others and embracing the life we’re given — all the more powerful.

4 out of 5

Musical Review Roundup

My blog is alive with the sound of music, courtesy of…

  • Sing Street (2016)
  • Jersey Boys (2014)
  • Sing (2016)
  • Into the Woods (2014)


    Sing Street
    (2016)

    2017 #13
    John Carney | 106 mins | streaming (HD) | 2.35:1 | Ireland, UK & USA / English | 12 / PG-13

    Sing Street

    A struggling busker — sorry, a failing record exec — no, sorry, a misfit teenage boy… sets out to impress a beautiful fellow busker — sorry, a promising singer-songwriter — no, sorry, a cool girl… by helping her record a record — sorry, by coercing her to record a record — no, sorry, by persuading her to star in the music video for the record he’s recorded. Except he hasn’t actually recorded that record yet. In fact, he doesn’t even have a band.

    Yes, the writer-director of Once and Begin Again has, in some respects, made the same film again. Yet somehow the formula keeps working. Here there’s extra charm by it being school kids dealing with first love and finding their place in the world. It’s something we all go through, so there’s a universality and nostalgia to it that perhaps isn’t present in the story of twenty/thirty-somethings who are still floundering around (especially Begin Again, which made them cool twenty/thirty-somethings living in cool New York).

    It’s fuelled by endearing performances, particularly from young leads Ferdia Walsh-Peelo and Lucy Boynton, and a soundtrack of era-aping toe-tappers — in an alternate (better) universe, The Riddle of the Model and Drive It Like You Stole It competed for the Best Original Song Oscar, and one of them won it too. And those are just the highlights — the rest of the soundtrack is fab as well. I imagine if you were a music-loving teenager in the ’80s, this movie is your childhood fantasy.

    5 out of 5

    Sing Street placed 7th on my list of The 17 Best Films I Saw For the First Time in 2017, which can be read in full here.

    Jersey Boys
    (2014)

    2017 #97
    Clint Eastwood | 134 mins | streaming (HD) | 2.35:1 | USA / English | 15 / R

    Jersey Boys

    A musical biopic about Frankie Valli and the Four Seasons doesn’t seem like a very Clint Eastwood film at first glance, but when it turns out to be kind of Goodfellas but with the music industry, it becomes at least a little more understandable.

    Based on the hit Broadway musical, it retains a staginess of structure — the four band members take turns narrating the story by speaking to camera — while also opening out the settings so it feels less “jukebox musical” and more “biopic with songs”. It takes some liberties with the chronology of events for dramatic effect, but that’s the movies for you.

    The shape of the story feels familiar and it feels leisurely in the time it takes to tell it, but the songs are good and most of it is perfectly likeable. It’s by no means a bad movie, just not one that’s likely to alight any passion.

    3 out of 5

    Sing
    (2016)

    2017 #107
    Garth Jennings | 108 mins | download (HD+3D) | 1.85:1 | USA / English | U / PG

    Sing

    The seventh feature from Illumination (aka the Minions people) comes across like a cut-price Zootopia: in a world where animals live side-by-side in cities like humans, a struggling theatre owner launches an X Factor-esque singing competition to revive his fortunes. Naturally there’s a motley cast of participants, all with celebrity voices, and hijinks ensue.

    Apparently the film features 65 pop songs, the rights to which cost 15% of the budget — if true, that’s over $11 million just in music rights. The big musical numbers (all covers, obviously) are fine, with the best bit ironically being the new Stevie Wonder song on the end credits, which is accompanied by Busby Berkeley-ing squid. Elsewhere, there are some moments of inventiveness, but it doesn’t feel as fully realised as Zootropolis. Perhaps that’s part and parcel of Illumination’s ethos: to make films that translate internationally, presumably by being quite homogeneous. And to make them cheaply (their budgets are typically half of a Pixar movie), which has its own pros and cons.

    Anyway, the end result is fine. Much like Jersey Boys, Sing is perfectly watchable without ever transcending into anything exceptional.

    3 out of 5

    Into the Woods
    (2014)

    2017 #118
    Rob Marshall | 125 mins | streaming (HD) | 2.39:1 | USA, UK & Canada / English | PG / PG

    Into the Woods

    Fairytales are combined and rejigged in Stephen Sondheim’s Broadway musical, here brought to the screen by the director of Chicago. The original is a work that definitely has its fans, but doesn’t seem to have crossed over in the way of, say, Phantom of the Opera or Les Mis — I confess, I’m not sure I’d even heard of it before the film was announced.

    The film adaptation readily suggests why that might be. For one, it’s light on hummable tunes. It’s almost sung through, with only a few bits seeming to stand out as discrete songs in their own right. For example, it takes the opening number a full 15 minutes to reach its culmination, having been diverted into a few asides. Said song culminates with most of the main characters going into the woods while singing about how they’re going into the woods, and yet the film doesn’t put its title card there. The placement of a title card is a dying art, I tell you.

    Performances are a mixed bag. Everyone can sing, at least (by no means guaranteed in a modern Hollywood musical adaptation), and the likes of Emily Blunt, James Corden, and Anna Kendrick are largely engaging, but then you’ve got Little Red Riding Hood and her incredibly irritating accent. Fortunately, she gets eaten. Unfortunately, she gets rescued. On the bright side there’s Chris Pine, his performance well judged to send up the romantic hero role. You may remember Meryl Streep got a few supporting actress nominations for this, which is ludicrous. It’s not that she’s bad, but she’s in no way of deserving of an Oscar.

    There are witty and clever bits, both of story and music, but in between these flashes it feels kind of nothingy. It’s also overlong — the plot wraps up at the halfway point, with the second half (presumably what comes after an interval on stage) feeling like a weak sequel to the decent first half. All in all, another one for the “fine, but could do better” pile.

    3 out of 5

  • 21 (2008)

    2017 #114
    Robert Luketic | 123 mins | streaming (HD) | 2.35:1 | USA / English | 12 / PG-13

    21

    21 is based on a true story. Actually, it’s based on a book that’s based on a true story. Bringing Down the House by Ben Mezrich was a non-fiction bestseller, telling the fun and exciting story of the MIT blackjack team, a bunch of college kids who learnt card counting and took Vegas for millions of dollars. It was such a popular book that all the attention made people look into it, and it turned out it was heavily fictionalised — Mezrich not only exaggerated events, he flat out invented whole chunks of the story. (At the same time, he also left out some good stuff.) In turn, the book has itself been heavily melodramatised for this movie adaptation. What we’re left with is probably about as close to the truth as Game of Thrones is a fair depiction of the Wars of the Roses: some of it happened, but not to those people, not in that way, not at that time, and certainly not all of it.

    As a film, it’s been mashed broadly into the heist movie template. Setting aside the veracity and treating it purely as an entertainment, this has pros and cons. Whenever it’s whizzing around in Vegas it’s kinda fun, with flashy camerawork and a slick feel for the excitement of being a successful high-roller. But when it puts that aside to get stuck into the characters’ thinly-drawn personal lives, it gets kinda dull. Part of the point of the book is how boring normal life began to seem to the team when compared to their Vegas lifestyle, but 21 tacks on more interpersonal subplots that just become finger-drumming.

    Counting cards

    Trying to make the chosen genre function isn’t helped by the fact that there’s no complicated heist here. The blackjack team are doing the same thing over and over — that’s basically how their system works as a moneymaker — and once the system’s been explained and we see it in action, the film only has a few ways to jazz that up. Between that and those subplots, at over two hours 21 is much longer than it needs to be, but doesn’t focus that time in the right areas: at least one major character undergoes a huge personality change across a single montage.

    21’s got enough pizzazz to make it enjoyable purely as a lightweight movie experience, but you do have to wonder: would the incredible real story, by dint of being true and not movieised to fit a genre template, actually have been more interesting?

    3 out of 5

    Dunkirk (2017)

    2017 #102
    Christopher Nolan | 106 mins | cinema | 2.20:1 | UK, USA, France & Netherlands / English | 12A / PG-13

    Dunkirk

    Batman Begins. The Dark Knight Rises. Memento. The Prestige. Interstellar. Inception. The Dark Knight. Of his previous nine feature films, Christopher Nolan has seven on the IMDb Top 250 (in descending order as listed). I’m sure Following and Insomnia have their advocates as well. Nonetheless, many reviews are hailing Dunkirk as his best film yet. Some are even say it’s his first genuine masterpiece. Some that this is the film where he finally lives up to those endless Kubrick comparisons.

    And some just harp on about how we have to see it in bloody IMAX, even though most of us can’t.

    Personally, coming out of it I felt pretty much the same way I have about every Christopher Nolan film bar The Dark Knight: it was very good, but was it great?

    We shall wait for them on the landing grounds

    I don’t know how well the Battle of Dunkirk is known outside British shores (a lot better after this film, I’d wager), but I think it has a kind of ‘national myth’ status here; the sort of thing the phrase “our finest hour” was invented for. In 1940, British and allied troops retreated from the Nazi advance across Europe, ending up with their backs to the sea on the beach at Dunkirk, France, waiting for rescue from the British Navy. As their ships were plagued by German bombers and U-boats, eventually civilians were mobilised, with hundreds of fishermen and hobbyists sailing their tiny craft across the Channel to save as many as they could — in the end, over 330,000 troops. That’s ‘The Story’, anyway — I’m sure the truth is more nuanced. It’s also what provoked Churchill’s “We shall fight on the beaches” speech, which is probably even more famous.

    So why hasn’t Dunkirk been more widely depicted on screen before now? Well, it didn’t involve the Americans, so I imagine that’s a big part of it. Also, it was technically a defeat — not exactly uplifting fodder. And where do you lay your focus? To take D-Day as a counterpoint: sure, it was a massive operation involving multiple beaches and thousands of troops, but you pick a handful of men to follow and you’re depicting the general experience. With Dunkirk, you’ve got the men who made it on to boats, those left on the beach, the civilians coming to their rescue, the sailors, the airforce… Or maybe I’m trying to make it sound more difficult to film than it actually is, and it all just comes back down to “the yanks weren’t there”.

    Wherever did they find sand for all those bags?

    But Christopher Nolan is allowed to basically do what he wants nowadays, and so Christopher Nolan is the one who’s finally made a film of Dunkirk. (I say “finally” — there have been others, a long time ago.) Despite it being the shortest film of his Hollywood career, Nolan gets round the perspective problem by making it an epic, driven by spectacular visuals and universal themes rather than a focused tale of just a character or two. In aid of this, it’s a three-pronged affair: in separate storylines we follow the soldiers on the beach and in the boats; a civilian craft on its way to rescue them; and a pilot providing air cover.

    To complicate matters, Nolan stages each of these stories at a different time period — respectively, one week, one day, and one hour before the film’s climax — but intercuts them all as if they were happening at once. At times, literally: rather than limit each storyline to whole scenes one by one, events in each (like, say, a boat sinking with the soldiers on it and the pilot in a dogfight) are intercut as if they’re occurring simultaneously. It’s… an unusual choice. I’m not saying it’s bad, but I’m not sure what its goal is, exactly. For the film as a whole, it works effectively, especially spotting background details in each story that then crop up again later when other storylines catch up to them.

    Background details

    I think the main effect Nolan was aiming for is intensity. Not of war, so much, but of survival. That this is a PG-13 war movie caused some to balk — how can you depict war nowadays without blood and gore? But this isn’t a war movie per se, it’s an escape movie. It’s not about the reality of someone getting their arm or head blown off, it’s about escaping a sinking ship, or running out of fuel, or keeping going when the odds are against you. Couple this with the aforementioned visual spectacle, and a thunderous sound mix, and Dunkirk is definitely an Experience.

    Indeed, for those without access to an IMAX — and, let’s face it, that’s the vast majority of viewers — the film’s sound is the main reason to see it in the cinema. It’s loud. I saw other people in my screening actually covering their ears at some points. That’s not just because my cinema had the volume too high (well, I don’t think it is), but I think it’s purposefully part of the effect. Of course, if you’ve got a decent sound system at home and are prepared to crank it up, maybe the Blu-ray will yet offer a similar experience. Certainly, in terms of the visuals, the disc release is likely to use the film’s IMAX Digital version, which features 80 minutes of 1.90:1 footage (vs. the constant 2.20:1 framing that you’ll see in most cinemas); and, if we’re lucky, they’ll include the IMAX footage in its full 1.43:1 ratio too (they did for Nolan’s Batmans, but not for Interstellar). It’s kind of ironic that this is a new-release film from a director hell bent on the sanctity of the theatrical experience (you probably saw his comments about Netflix earlier this week), where most of us will better see his intended visuals on a home video format than we will at the cinema.

    We shall wait for them on the beaches

    In trying to think how to sum up, I’ve come to the conclusion that early reviews have put too much weight on Dunkirk. I’m sat here pondering “is it Nolan’s best film?” or “is it the greatest war film ever made?”, rather than just “how was it as a film in itself?” On first blush, I wasn’t as enthralled by it as I was by The Dark Knight, or even Inception, but in some respects it’s a more mature, maybe even more cinematic, movie than either of those. As for being the greatest war film, I can’t help but instantly think of Saving Private Ryan, whose opening scene remains the one to beat, but also follows through with the rest of its story; and if we expand our scope to allow cinematic TV series, can anything top Band of Brothers? But, as I said earlier, Dunkirk isn’t trying to out-war those war movies.

    So, setting aside questions of its place in film history, Dunkirk aims to be an intense experience about trying to survive events bigger than yourself. In that regard, it’s as successful as the evacuation itself.

    5 out of 5

    Dunkirk is in cinemas everywhere now. It’s also been released in IMAX, donchaknow.

    It placed 9th on my list of The 17 Best Films I Saw For the First Time in 2017, which can be read in full here.

    Sully: Miracle on the Hudson (2016)

    aka Sully

    2017 #58
    Clint Eastwood | 96 mins | download (HD) | 2.39:1 | USA / English | 12 / PG-13

    Sully: Miracle on the Hudson

    You remember that time someone landed a passenger plane on New York City’s Hudson River, right? This is about that. At the time the pilot was widely hailed as a hero… or so we thought! Turns out that, behind closed doors, some investigators seemed keen to put the blame on his poor decision-making (or they did in movieland, anyway — the real world may’ve been a bit different). So rather than just an exciting drama about a guy landing a plane (which does sound like a thin story for an entire movie), Sully is almost a legal drama: was the heroic captain actually heroic, or did he make a stupid decision that lucked out? (I’m sure you can guess which wins.)

    Tom Hanks is perfect for the lead role: he’s the exact right mix of everyman and hero; the unassuming guy who knows the right thing to do, and does it. He even doubts himself after the fact, just so we can be even more sure that he’s a genuinely good guy. The rest of the supporting cast fade into the background a little, with Aaron Eckhart solid as his supportive co-pilot (I assumed he’d turn on Sully, for some reason, so that was nice) and Laura Linney as his wife on the other end of the phone, in a subplot that I suppose is meant to help humanise the hero pilot but really goes nowhere. The same is true for a scattering of flashbacks to Sully’s previous adventures in flight. Even having expanded the film out to the post-landing investigation, it still struggles to find enough material to fill its short 96 minutes.

    Landin', landin', landin' on the river

    I liked Sully a lot while it was on. It’s well made (though sadly not available in its IMAX format for home viewing), Hanks is always watchable, the supporting cast are good too, and the headline incident is effectively staged, including the post-landing rescues. It’s a heartwarming story of real-life drama and heroism, with a punch-the-air-type moment when Sully is vindicated. But as that outcome never seems in doubt, and the film sometimes twiddles its thumbs in getting there, it’s not all it could be. Or, actually, maybe it is all it could be — and that’s fine.

    3 out of 5

    I could tenuously link this review to American Independence Day by talking about Sully being an American hero or somesuch, but… oh wait, I just did.