Dunkirk (2017)

Reviewers have been so effusive in their praise for Christopher Nolan's Dunkirk that one suspects that something is very wrong here.  Their words are over the top and cliche.

The New York Times, for example, called it a "tour de force", "a brilliant new film",  and "a characteristically complex and condensed vision of a war in a movie that is insistently humanizing, despite its monumentality."  The Guardian called the film "structurally immaculate" and "a jaw-dropping spectacle in which the picture for the most part stretched beyond [the reviewer's] field of vision, both vertically and horizontally."  Vanity Fair, among others, calls the film Nolan's "most artistic, impressionistic film yet."

But the Vanity Fair reviewer gives us a clue that something is amiss with his very first sentence. He describes the challenge of trying to find words to describe this film. "It was a dance piece, then a music video, then a poem, then a prayer."  His words clearly failed him.

After all, these are bizarre ways to describe a movie about the defeat of Britain and France in early 1940 at the hands of an invading German army. In the actual events, Britain only avoided a catastrophe by a combination of muddling, luck, and improvisation. The story of Dunkirk is a spectacle in its own right.  It is spectacular in the wider context of defeat and conquest at the opening phase of the largest war in human history. 

Thematically, Dunkirk is the antithesis to Normandy: retreat in defeat versus attack leading to victory. Dunkirk: improvised. Normandy:  meticulously planned. The one is the prelude to the other.  This is such a potentially rich mine of a story that it is amazing that no one has done more with it before.  And it is such a well-documented story - read Julian Thompson's history, if nothing else - that it is astounding that Nolan has buggered the whole thing rather badly.

There are lots of ways to describe an event such as Dunkirk and indeed lots of ways to present the story.  But dance piece?  Music video? A poem you might buy into but it would be a great insult to Sassoon or Owen to liken their work to Dunkirk's pristine, one-dimensional soldiers, sailors, and pilots.

What becomes plain fairly quickly in these effusively positive reviews is that the reviewers clearly know very little of the actual events or indeed or war movies as a genre. Go read the New York Times review of the one movie made about Dunkirk before now, the one made in 1958. Now look at the reviews of the 2017 movie. The recent ones seem thin. Insubstantial. Lacking in depth either of knowledge or indeed even of morality.  They inadvertently describe the 2017 movie precisely, then. 

Traces of the Grossly Impudent Lie #nlpoli

There's a phrase in Pam Frampton's Saturday column on Muskrat Falls.

A bunch of words dropped in easily,  maybe offhandedly.

Nothing that really stands out.

Just a simple fact.

The kind of thing that you might just skip past, unless maybe you'd been writing about this Muskrat Falls project since before it was a gleam in some old twitchy-shouldered man's eye.

"Now, the project is more than 75 per cent finished, two years behind schedule and 70 per cent over budget."

Heretics and Believers

Peter Marshall's Heretics and believers:  a history of the English Reformation from Yale University Press (2017) arrived as a belated birthday present on Friday past.  It's proven to be well worth the wait.  

As the official blurb describes it, "Peter Marshall’s sweeping new history—the first major overview for general readers in a generation—argues that sixteenth-century England was a society neither desperate for nor allergic to change, but one open to ideas of “reform” in various competing guises. King Henry VIII wanted an orderly, uniform Reformation, but his actions opened a Pandora’s Box from which pluralism and diversity flowed and rooted themselves in English life.

With sensitivity to individual experience as well as masterfully synthesizing historical and institutional developments, Marshall frames the perceptions and actions of people great and small, from monarchs and bishops to ordinary families and ecclesiastics, against a backdrop of profound change that altered the meanings of “religion” itself. This engaging history reveals what was really at stake in the overthrow of Catholic culture and the reshaping of the English Church."

-srbp-