There are often serious disadvantages to be labeled an Oscar-bait picture. The perception of being a movie greenlit partially with the intent of earning Academy Award nominations (because let’s be frank, it’s always about making money first from a studio perspective) can be a heavy burden to bear. In many ways, it’s something Christopher Nolan has dealt with ever since he burst onto the scene in 2000 with “Memento” and earned a Best Original Screenplay nomination the next year.
Following a historic snub for “The Dark Knight” (which helped push through the new expanded Best Picture nominee rule), Nolan earned Best Picture (as a producer) and another Best Original Screenplay nod for “Inception” and there is certainly an argument to be made that he deserved a Directing nod over “The Fighter’s” David O. Russell that year. Now, after a critically bumpy ride with “Interstellar” three years ago, Nolan is back with what on paper looks like prime Oscar-bait, the WW II era thriller “Dunkirk.” The good news is, while it certainly fits the definition of that term, it’s more than worthy of the Academy’s adoration.
“Dunkirk” is in many ways a directing tour-de-force. There is no central performance that dominates the proceedings, and the screenplay is perhaps the shakiest of the film’s building blocks. It’s Nolan’s vision in capturing this historic moment that deserves the most praise.
Even when he dived into comic book lore, Nolan has always tried to have his subject matter keep one foot on the ground. He has always attempted to bring a realism to the proceedings without shaky handheld cameras or an image that looks like it could have been captured on an iPhone or video camera. In “Dunkirk” that means bombs, bullets and sinking ships that feel as though they are truly right in front of you. You can argue that perhaps too many characters survive the film’s three storylines, but you certainly feel a tremendous amount of genuine tension and fear as they fight for survival. That’s not easy to pull off considering the long lineage of war films before “Dunkirk,” but Nolan’s eye is his greatest gift here, and it is absolutely worthy of recognition and critical kudos.
Nolan has earned love from his peers in the DGA three times, earning nods for “Memento,” “The Dark Knight” and “Inception.” His fellow helmers in the Academy’s smaller Directing branch have not been so kind. That decision is almost six months away, but this year would need to be dominated by some true visionaries for him not to crack through that ceiling (and frankly, that’s possible with Guillermo Del Toro, Daren Aronofsky, Steven Spielberg, Alexander Payne, Kathryn Bigelow and Paul Thomas Anderson, among others, all on deck with new works).
From a bird’s eye view, a Best Picture nomination seems like a safe bet for “Dunkirk.” It’s not a lock – nothing is a lock in July – but this is truly a visceral, cinematic and moving experience that stands with Nolan’s best films. It also has a tremendously moving ending (which will play like gangbusters with the Academy’s British members) and that’s key when judging most Best Picture nominee players. Assuming it will make the cut is a smart bet at this point. Where the film may truly shine next March (remember the next Oscars are pushed back a week because of the Winter Olympics) is in the Production Design, Cinematography and Sound categories.
Shockingly, Hoyte Van Hoytema has never been nominated (he does have two BAFTA and one ASC nod to his credit), but his expert lensing – especially what he captures with such large IMAX cameras – will be hard to ignore. And considering his work on “Tinker Tailor Soldier Spy,” “Her,” “Interstellar” and “The Fighter,” he’s long overdue.
Production Designer Nathan Crowley has already been nominated three times previously for three Nolan films: “The Prestige,” “The Dark Knight” and “Interstellar.” Crowley didn’t work on “Inception,” but it’s worth noting that Nolan film was also nominated in this category. Even at this early date, it’s very hard to see Crowley, who also contributed to the upcoming “The Greatest Showman,” not earning Academy recognition.
Sound mixer Gary Rizzo owes his one Academy Award to Nolan for “Inception,” and was also nominated for “Interstellar” and “The Dark Knight” (as well as a rare animated film nod with “The Incredibles”). Three time Oscar winner Richard King earned two of those statues for Sound Editing with “Inception” and “The Dark Knight.” He was also nominated for “Interstellar.” Think they are safe bets?
Editor Lee Smith has worked with Nolan since “Batman Begins” and earned an Editing nod for “The Dark Knight.” If the Academy truly embraces the film, he has an excellent shot to duplicate that recognition here.
Composer Hans Zimmer is an Academy favorite with nine nominations and a win for his iconic work in “The Lion King.” Zimmer’s last two nods are for Nolan films, “Interstellar” and “Inception,” but we are slightly concerned his work here may simply be too repetitive. It’s certainly possible, however.
As noted previously, the cast is exemplary, but there really isn’t a lead or supporting performance that truly stands out (in fact it’s hard to determine who would truly be a “lead” character in this ensemble). Warner Bros. could easily campaign familiar faces such as Kenneth Branagh, Tom Hardy, Mark Rylance and Cillian Murphy, but it’s hard to see them actually getting nods. Same can be said for newcomer Fionn Whitehead (pictured top), Harry Styles or Tom Glynn-Carney. That being said, a Best Ensemble nomination at the SAG Awards seems like a guild honor that’s worth fighting for.
While Nolan is a two-time Original Screenplay nominee it would likely need to be a weak field for him to earn a third in this category. The film’s three storylines are intriguing, but how they interact at points is sometimes muddled and the shakiest aspect of the picture. Like Zimmer in Score, it’s certainly possible.
Again, we’re only six weeks away from the official start of the season with the kick off of the Venice, Telluride and Toronto Film Festivals. And, obviously, that means there are a large number of contenders that still need to screen. Keeping that in context, you can absolutely place “Dunkirk” alongside expected Oscar players such as “Call Me By Your Name,” “Get Out” and “The Florida Project.” And if you’re Warner Bros. and Christopher Nolan, that means you’ve got a long award season marathon ahead of you.