My thoughts on Dunkirk

As regular readers will know by now, this blog isn't usually in the business of film reviews, so please don't expect a Mark Kermode or Barry Norman style appraisal. As readers will know, I belong to the generation brought up on the classic British war films of the 1950s and 60s and have an in-built suspicion of anything made later than about 1977. In my opinion at least, many of the more recent films of the genre are pretty ordinary and I struggle to take them seriously. It's difficult for me as a military historian and guide to watch these films without forever nit-picking about the accuracy, or lack thereof concerning the uniforms, the equipment, the aircraft, the ships and so forth, at which point my long suffering friends who have been dragged along to watch the film, usually begin to lose the will to live!

However, the new Dunkirk directed by Christopher Nolan is an important work that has attracted much attention and it was because of this that I decided to go along and watch it for myself at the cinema with (hopefully) an open mind.

I still had a fair amount of trepidation and maybe even some misgivings as I entered the Barbican Centre yesterday and perhaps this was because subconsciously, I was allowing comparisons with the 1958 Ealing Studios version of Dunkirk, which starred Richard Attenborough, Bernard Lee and John Mills to prejudice my thinking and was wondering whether the new film would measure up to this British classic.

Firstly - and this doesn't give away any spoilers - the new Dunkirk cannot be compared to the 1958 film as they look at the evacuation of the British Expeditionary Force (BEF) in completely differing ways. The old film tells the story of the whole campaign and covers the fighting withdrawal through Belgium and northern France to the coast and the subsequent evacuation, as well as telling us something of the mood in Britain, of the complacency of the 'Phoney War' period and how people were shaken out of that complacency with a jolt. By contrast, Nolan's work establishes where the British and French allies are inside the opening shots of the film. They have already been defeated and pushed back inside the Dunkirk perimeter, where the armies await evacuation back to England.

The new film contains very little dialogue and is a series of three separate threads that gradually become interlinked. Firstly we follow the stories of two British soldiers, Tommy and Alex played by Fionn Whitehead and Harry Styles (who can act and does so very well) and their various attempts to get home. Next we see the evacuation through the eyes of a small boat owner, Mr Dawson who is assisted by his son Peter and a deck hand, George. Mr Dawson is a plausible character played with great authority by Mark Rylance as are his two young helpers played by Tom Glynne-Carney and Barry Keoghan. The last of the three stories shows the evacuation through the eyes of Farrier and Collins,  two Spitfire pilots played by Tom Hardy and Jack Lowden respectively. In a nice nod to British war films of an earlier era, we hear the voice of Michael Caine as the RAF Fighter Controller coming over the radios of the Spitfires. As would be expected, the Royal Navy features strongly in this film and one of the major supporting characters is Commander Bolton, played by the excellent Kenneth Branagh, who is the Naval Beachmaster in command of the evacuation through the East Mole (a breakwater) in Dunkirk Harbour.

Without giving too much of the plot away, the film follows the attempts of the two soldiers to get away as various ships they are on board are sunk by bombs, torpedo and gunfire in some harrowing and suspenseful scenes before they are eventually rescued by Mr Dawson and his small boat, the Moonstone. On their way to Dunkirk, Mr Dawson and his son rescue a soldier played by Cillian Murphy, who appears to be the only survivor of a destroyer that has been sunk and who is not surprisingly, suffering from severe shock. He at first unwillingly, becomes part of their crew and we see how the Moonstone is first on the scene when one of the Spitfires is shot down and ditches in the sea adjacent to the small boat. Collins the pilot, is rescued just before the aircraft sinks with him inside it and he too ends up helping the others with the evacuation. The Moonstone, along with the remainder of the armada of small boats eventually reach Dunkirk harbour, where they assist in rescuing Tommy and Alex from their sinking minesweeper, as well as the remaining small craft lifting men from the beaches and from the Mole.

There is much more to the plot than this but I do not want to spoil the film for those wishing to see it for themselves. There are, in my opinion, one or two slight holes in the plot and there are some minor criticisms as to the equipment and the look of some of the scenes. For example, we never see more than one large ship alongside the East Mole at any one time and we know that in reality, the breakwater was used extensively by multiple numbers of destroyers, minesweepers and requistioned ferries. This can probably be explained by budgetary restraints and the director's aversion to using CGI in his films, so this criticism can be tempered by Nolan's quest for realistic looking scenes. Another small gripe is that the beaches never quite looked crowded enough for me, although this can probably be answered in a similar way - you can only have so many extras and the days of a "cast of thousands" are probably long gone. Some of the equipment is not quite right but it is not possible to find an authentic 1940 vintage destroyer or minesweeper without resorting to CGI - the vessels used do by and large, have the right look to them. Also, in one scene, we see container cranes in the background when we are supposed to be in 1940, some thirty years or so before the invention of the shipping container - could these not have been airbrushed out of the picture?

We also see the three Spitfires buzzing across the Channel at wavetop height - this is absurd, as for them to enter into any sort of air combat with the Luftwaffe, they would need to be at height in order to have any sort of advantage with the Bf109s that they were likely to encounter. This was the main reason for the perception amongst the soldiers of the BEF that the RAF were not there to protect them. Of coure, the RAF were there but much of their combat with the Luftwaffe took place at high altitude or inland from the beaches. The Spitfires in the film also seem to have an unlimited supply of ammunition for their machine guns, when in reality the Mark 1 only had enough for fourteen seconds firing. There is also too much emphasis placed on the role played by the 'Little Ships', which in reality were only responsible for lifting between five and seven percent of the total number of 338,226 British and French soldiers evacuated, although they did perform vital work in ferrying men off the beaches. The vast majority of those evacuated were lifted from the Mole at night by the Royal Navy destroyers and minesweepers, as well as the requisitioned ferries and excursion steamers of the Merchant Navy and in this respect, the film does perpetuate the myth of the Little Ships of Dunkirk. My only other very slight criticism is not specifically aimed at this film but is a more general complaint in that it is extremely loud. I know war is loud but whenever I see any film in the cinema these days, the volume in the theatre does always seem to be set at level eleven but perhaps this is more to do with the vagaries of my ears rather than anything else!

However, the above are minor criticisms in the scheme of things and there are a whole lot more positives than negatives about this film. Much of the location filming was shot in and around Dunkirk and that counts for much with me, at least. The three Spitfires we see are all Mark 1s, absolutely authentic for the period. Amongst the ships used for the film, we see MTB 102, which in reality was one of the final vessels to leave Dunkirk in June 1940 and some twelve of the surviving 'Little Ships' were also used in various scenes to recreate the evacuation.

The film is also extremely respectful to the period as well as to the people of this time and succeeds in capturing something of the real spirit of 1940. Also, although there are some understandably harrowing scenes of battle and of ships sinking - it would be impossible to make a film of this nature without showing people getting killed - it is done in a restrained way. There is no gratuitious blood and gore in the way that some recent war films seem to delight in. 

In one important respect, this film does resemble the 1958 version of Dunkirk, as well as many other British war films of the period, in that it is extremely understated and almost modest in the portrayal of events that helped shape history and director Christopher Nolan together with his cast and crew are to be congratulated on having achieved this, especially as this is an American production that covers events from a British perspective during a period that was long before America entered the war.

As has to be the case with any film portraying real life events, much of the action is compressed and many of the characters are amalgams of several real people. For example, Branagh's character, Commander Bolton appears to be a mix of Captain Bill Tennant, the Senior Naval Officer at Dunkirk and of Commander James Campbell Clouston, a Canadian officer in command of the East Mole, who was drowned when his motor launch was bombed and sunk whilst returning to Dunkirk from Dover after a short rest period. Mark Rylance's character, Mr Dawson seems to be at least in part based upon Charles Herbert Lightoller, one time Second Officer of the Titanic, who survived that particular disaster and who in retirement, took his yacht named Sundowner, across to Dunkirk with his son as a deck hand and rescued the implausibly large number of 130 soldiers, squeezed into the cabin and on deck. On arrival back at Ramsgate, the men filed out in a seemingly never ending stream, at which point a bystander suddenly said to Lightoller "God's truth mate, where did you put them all?" a line that is repeated in the film. Some of the exploits of the Spitfire pilot played by Tom Hardy appear to be at least in part based on Al Deere, the New Zealander who became a Battle of Britain 'ace' and who also took part in fierce air combat over Dunkirk.

There was one scene towards the end of the film that even had this cynical old military historian slightly moist eyed. As they disembark from the Moonstone at Dover, one of the young soldiers we have been following and who is by now caked in oil and dirt says to an elderly man who is handing out blankets "I'm not a hero, all I've done is survive." The old man, who we assume is himself a veteran of the previous conflict replies "Well, that's good enough - well done!"

If you haven't yet seen this film, I urge you to do so as I feel it is a respectful and moving tribute to all of those who took part in the real life evacuations some seventy seven years ago.

Liquid History, HMS Arethusa, and the London Fire Brigade at Dunkirk

The River Thames has always been one of the main arteries of London. In 1940, the Thames was home to far more commercial traffic than we can see today, with five great expanses of enclosed docks on the north side of the river, the Surrey Commercial Docks to the south and all manner of wharves, power stations and the vast Woolwich Arsenal site strung out along either side of the tideway.

The Thames has always held a special place in the hearts of Londoners, who have used it for leisure, for work, for travel and have seen pageantry and tragedy unfold upon it in equal measure. It was described by the trade unionist and Labour MP John Burns as ‘Liquid History’ which is probably the most eloquent description of the river that has ever been penned.

Before the outbreak of war in 1939, the Germans had already begun aerial reconnaissance of likely targets along the river and today, we can still see these photographs which have been published under the somewhat distastefully named series Adolf Hitler’s Home Counties Holiday Snaps. Despite the trivialisation implied by this title, reconnaissance photography was a serious business which pre-war was often undertaken by concealed cameras aboard German civilian aircraft en route to or from London’s embryonic airports such as Heston and Croydon. In these photos, sites such as the Woolwich Arsenal, power stations, railways, docks and other potential targets were identified well before war was declared.

In those days before airborne radar sets and guidance beams, the best way for aircraft to find a target was to follow easily identifiable landmarks such as rivers and railway lines. London of course, has no shortage of the latter and the River Thames was and is an un-disguisable pathway to the centre of the capital and all a potential enemy had to do was to follow the course of the river from the Estuary to the centre of London. Today’s flyers call this Visual Flight Rules or 'VFR' and by using this method, it was inevitable that the Luftwaffe would be able to find their target when the time came.

When, at 4.30 p.m. on Saturday September 7th 1940, the sirens sounded to mark what proved to be the beginning of the Blitz, it was the course of the Thames that the bombers followed before unloading their bombs on the Woolwich Arsenal, Silvertown, West Ham Power Station and the Surrey Docks, lighting huge conflagrations that acted as beacons for the second wave of bombers that came that night. This was to be that start of fifty seven consecutive nights bombing and even after a brief lull in early December the bombers would continue to return right the way through until the night of May 10th/11th 1941. The docks and industries along the Thames were invariably part of the targets being attacked and with an un-knowing nod as to what was to happen some three years hence, the Luftwaffe gave the London dock system the code name ‘Hamburg’ and one can only wonder whether the irony of this was not lost on the Germans when the Allied air forces unleashed havoc on the German port city some three years later.

In 1940, the British anti-aircraft defences, although enthusiastically manned and well led by General Sir Frederick Pile – who incidentally would remain in this role throughout the war – were proving fairly ineffective against the German onslaught. The guns at this time were sighted in London’s open spaces such as Hyde Park, Blackheath, Southwark Park, Wanstead Flats and many similar places but being without the advantage of radar guidance, the chance of hitting a relatively fast moving bomber at night with only the assistance of searchlights to pick out the target, was fairly remote. As the war progressed, their performance and equipment was to improve drastically but in 1940 the anti aircraft or 'Ack Ack' guns’ crews needed all the help they could get. So it was that in November 1940, the cruiser HMS Arethusa (pictured), that had been refitting at Sheerness following arduous service in the Norwegian Campaign and covering the evacuations from France was moved to the Lower Pool of London, close to Tower Bridge to augment London’s defences. Her impressive anti-aircraft armament of eight four inch guns plus smaller calibre two pounder ‘pom poms’ joined in the nightly barrage against the Luftwaffe and although it was questionable whether they actually hit anything, they did have the advantage of forcing the bombers to fly higher and also of boosting the morale of the civilian population, who always liked to hear the sound of the guns firing back, despite the fact that on the principle of 'what goes up must come down’ the shrapnel caused by the shells fired were just as likely to cause death and damage to Londoners and their property as the German bombs.

Her brief stay in London ended in early 1941 and HMS Arethusa went on to enjoy further distinguished wartime service in the Mediterranean Fleet, on the Malta Convoys and at Normandy on D-Day before being eventually scrapped in 1950.

The sterling work of the London Fire Brigade, the Auxiliary Fire Service and later the National Fire Service in fighting the fires of the Blitz is well known and whilst everyone is familiar with the land-based fire engines and fire fighters, perhaps less well known was the small armada of fire boats, or what were effectively floating fire engines. Many of these fire boats were converted tugs and barges, hastily pressed into service on the outbreak of war but amongst their number was the purpose built fire float (as the London Fire Brigade called her) Massey Shaw (pictured) which was named after Sir Eyre Massey Shaw, first head of the Metropolitan Fire Brigade, predecessor of the London Fire Brigade. Built in 1935 by J Samuel White’s Yard at Cowes on the Isle of Wight, Massey Shaw was designed to fight fires in peacetime along the vast expanses of London’s industrial riverside and was capable of pumping three thousand gallons of water per minute from each of her two Merryweather pumps. Now in 1940, she was fighting different kinds of fires – huge out of control timber fires in the Surrey Docks, exploding rum barrels that sent sheets of blazing spirits flying through the air, pepper fires, rubber fires, paint fires, the list was endless and the possibilities were unfortunately horrendous.

Perhaps the best personal account of events on the Thames on the night of 7th September 1940 was given by Sir Alan Herbert, in command of the Thames Auxiliary Patrol’s vessel Water Gypsy, which was coming downriver: “Half a mile or more of the Surrey shore was burning. The wind was westerly and the accumulated smoke and sparks of all the fires swept in a high wall across the river.” He pressed on into the clouds of smoke: “The scene was like a lake in Hell. Burning barges were drifting everywhere. We could hear the hiss and roar of the conflagrations, a formidable noise but we could not see it so dense was the smoke. Nor could we see the eastern shore.”

Not only did the Massey Shaw fight fires during the Blitz. She had already earned herself a battle honour in May 1940 when she joined in the evacuation of the British Expeditionary Force from Dunkirk. Originally sent across with a volunteer crew to fight the fires in the port of Dunkirk, she had a scare on the voyage across the English Channel, when in poor visibility her large water monitor on the foredeck was mistaken for the gun of a German fast patrol boat by a British destroyer which almost opened fire on her before realising her true identity. Fire fighting in Dunkirk proved to be a non-starter as the inner harbour area was so blocked with sunken ships and rubble as to be impassable but instead of returning to England, the crew decided to assist with the evacuation. The bulk of her service came off the beaches at Bray Dunes and La Panne, where she ferried some five hundred men from the beaches out to the destroyers and larger vessels waiting in deeper water but when the time came for her to return to England, she brought twenty eight British soldiers back to Ramsgate on 2nd June before heading back up the Thames to resume her London Fire Brigade duties.

Not retired until 1971, the Massey Shaw is still in existence and is currently being restored to her former glory, ironically at the old South Dock of the Surrey Docks where she fought fires seventy years ago. When restored, she will be a living memorial to the Blitz and the Dunkirk Evacuation and will hopefully be able to once again attend the Dunkirk ‘Little Ships’ return to the French port.

Published Sources:

Backs to the Wall – Leonard Mosley, Weidenfeld & Nicolson 1971
B.E.F. Ships before, at and after Dunkirk – John de S Winser, World Ship Society 1999
Cruisers of The Royal & Commonwealth Navies – Douglas Morris, Maritime Books 1987
London’s Docks – John Pudney, Thames & Hudson 1975
The Thames on Fire – LM Bates, Terence Dalton 1985
Pillar of Fire, Dunkirk 1940 – Ronald Atkin, Sidgwick & Jackson 1990