This is the new film directed by Christopher Nolan. He is not only an extremely talented filmmaker but also one who appreciates the superior qualities of ‘reel’ film. In an interview in Sight & Sound (August 2017) he explained that
“The entire film is shot on 65mm film. Seventy per cent of the film is 15 perf IMAX 65 and the other 30 per cent is 5 perf 65mm [‘perf” refers to the number of perforations on the print: the IMAX format runs horizontally rather than vertically]. …
Also, the entire film is finished photo chemically and so where we’re doing 70mm prints and were doing reductions of the IMAX photography, those are done on an optical printer. [A device for copying or altering film prints].”
However, the 70 mm version does not appear to be screening in West Yorkshire and the IMAX screenings all seem to be digital. So the screening of a 35mm print at the Hyde Park is definitely the best version on offer locally.
The epic of Dunkirk, a ten day military disaster that somehow is presented as a victory, looms large in the British psyche. And it also figures frequently in British cinema.
The Foreman Went to France (Ealing Studio 1942, in black and white) presents a parallel story about the evacuation of vital machinery from France to Britain.
A fictional treatments of the actual evacuation appears in a Hollywood product, M-G-M’s Mrs Miniver (1942 in black and white) with Greer Garson holding up the home front whilst husband Walter Pidgeon joins the heroic armada rescuing British and allied soldiers.
The definitive version to date is Ealing Studio’s Dunkirk (1958, in black and white and standard wide-screen) with John Mills, Richard Attenborough and Bernard Lee leading a familiar cast of British characters. This is very much in the mould of the low-key British war movies. It combines scenes of military action with the intervening moments of the troops waiting and watching as the evacuation proceeds.
Intriguingly there is a French treatment, Week-end à Zuydcoote / Weekend at Dunkirk (Paris Film Production, 1984 in colour and a scope format). This deals with French troops stranded on the beaches.
More recently Atonement (Universal Pictures and Studio Canal 2007, in colour and standard wide screen) has a fine sequence as James McAvoy’s Private Turner waits and dies on the crowded beaches.
Most recently Their Finest (BBC Films, Pinewood Pictures , 2016 in both colour and black and white and a scope format] offers a film-within-a film [The Nancy Starling] celebrating the event, whilst the main narrative celebrates British filmmakers of the period with a certain amount of irony.
It will be interesting to see where the treatment by Nolan and his team fits into this cinematic discourse.