In the last of our series, Andrew Pulver salutes Christopher Nolan’s second world war drama, a dazzling blockbuster on an intimate, human scaleIt’s fair to say that Dunkirk is not a frontrunner for the best picture Oscar: it contains no showpiece, emotion-arousing acting performances, it eulogises a wartime episode that doesn’t really register on Us consciousnesses as it does in Britain, and – on first sight – it’s a big fat commercial movie of the kind that rarely makes inroads at the top end of the Academy Awards.
Its reported budget, $100m, is twice as much as the next highest (The Post, $50m), and it has become clear over time that Oscar voters like a scrappy, up-and-at-’em production rather than one that can spend its way out of trouble.There may be a whiff of stodginess about its basic subject matter – and indeed, Brexit-endorsing little-Englanderness – that
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