👋 a quien le doy gracias por este excelente concurso. En esta oprtunidad elegí una de mis peliculas preferidas "Dunkerque", espero que mi comentario los anime si aun no la han visto a disfrutarla.
Greetings dear friends of Hive!!, followers and visitantes😘. Welcome to my post in which I share with you the League of Movies (Fifth Edition | Week 04), created by
“DUNKIRK”
Español//English
War is a determination, that may or may not be satisfactory, but, at the end of the day, it is a determination of the human spirit, mind, and body. And Chris Nolan has it all clear by now. War does not necessarily have to be depicted as a black milieu; it may have colorful moments, just like an artist’s piece of work. But, amidst that creative process, the most impactful creation arises during its production. The same happens at war: in order to win or lose, one has to fight; there is no shortcut to the end, which is, in fact, the final work of art. And, yes, it is certainly filled with deaths and casualties, but it is also filled with hope and commitment. Why is it important to romanticize these aspects of war? Because in the middle of it all lie the explosions that cause the suffering, but at the same time tightens the relationships at hand. That is war: deaths that lead to love and, ultimately, to winning. This, my friends, is “Dunkirk”, a highly personal and action filled movie, based on real events, where the protagonist is not Chris Nolan, but rather Hans Zimmer, the composer of an astonishing soundtrack that depict the true essence of this film.
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Zimmer es el confidente de Nolan, y todas sus colaboraciones tienen algo en común: la música es la pieza esencial de ese rompecabezas, ya que exacerba los sentimientos del personaje de una forma que las palabras no podrían describir. Esto sucede en la trilogía de "El Caballero Oscuro", "Inception" e "Interstellar", y "Dunkerque" no es una excepción. En primer lugar, "Dunkerque" no es una película sobre la guerra; es una película que tiene lugar durante la guerra, pero ese no es su tema principal. Al contrario, es la supervivencia, todos esos instintos de aferrarse a la vida, durante un momento depreciado de la naturaleza humana. Y, para expresar la amalgama de esos sentimientos, es necesaria una buena banda sonora. Sin embargo, evidentemente, una película de guerra necesita una banda sonora de guerra y efectos de sonido - entrar en las explosiones. Nolan narró esta película desde el punto de vista de todos los personajes que participan en esta guerra entre Inglaterra y Francia: aviadores, soldados y civiles; por lo tanto, tiene lugar en el cielo, el mar y la tierra. Y, en lugar de mostrar los aspectos espantosos de la guerra, mostró los aspectos espantosos de la naturaleza humana, durante un conflicto bélico, con todos sus elementos distinguidos. Por eso, "Dunkerque" no tiene muchos diálogos, porque se centra en la musicalidad de las experiencias.
Zimmer is Nolan’s confident, and all their collaborations have something in common: music is the essential piece of that puzzle, since it exacerbates the character’s feelings in a way that words could not describe them. This happens in “The Dark Knight” trilogy, “Inception”, and “Interstellar”, and “Dunkirk” is not an exception. First of all, “Dunkirk” is not a film about war; it is a film that takes place during war, but that is not its main theme. On the contrary, it is survival, all those instincts of grabbing on to life, during a deprecate moment of human nature. And, in order to express the amalgamation of those feelings, a good soundtrack is necessary. Nonetheless, evidently, a war movie needs a war soundtrack and sound effects – enter the explosions. Nolan narrated this film from the point of view of all the characters that participate in this war between England and France: aviators, soldiers, and civilians; thus, it takes place in the sky, sea and land. And, instead of showing the gruesome aspects of war, he showed the gruesome aspects of human nature, during a warlike conflict, with all its distinguished elements. That is why, “Dunkirk” does not have a lot of dialogues, because it is centered in the musicality of experiences.
Lo que hicieron tan hábilmente en la sala de edición fue aumentar el volumen de la banda sonora y disminuir un poco las voces de los personajes. De esa manera, las múltiples explosiones y disparos a lo largo de la película minimizaron todos los demás factores externos. Se podía ver el sufrimiento en los ojos de los soldados cuando una bomba explotaba justo al lado de ellos. Podías sentir lo que estaban sintiendo. Los ruidos eran tan fuertes, que su hipoacusia y el zumbido comenzaron a formar parte de ti mismo. Podías sentir como si los aviadores estuvieran disparando a una víctima que estuviera a tu lado. Podías identificarte con los civiles que vivían esta guerra en la primera página. Era una resonancia constante de los sonidos: si era un barco disparando a otro barco, o si era un soldado tratando de derribar algún tipo de avión de combate con su uso de armamento, podías sentir tangiblemente el poder de la banda sonora, hasta un punto en el que te sentías algo aliviado cuando la película terminaba. Celebraste con los soldados ingleses cuando fueron rescatados, por los civiles, de las manos de Francia. Ese es el poder de esta película: una película de guerra que se centraba más en cómo se sentían los personajes, que la banda sonora era su principal prioridad. De hecho, un grupo de veteranos que participaron en esta guerra declararon que la película captaba el evento real, sólo con la forma en que las explosiones sonaban. Esto prueba, una vez más, que la colaboración de Nolan-Zimmer es un regalo para la cinematografía de la historia y no puede darse por sentado.
What they so cleverly did in the edition room was to increase the volume of the soundtrack and diminish a little the voices of the characters. In that way, the multiple explosions and firing throughout the movie minimized all the other external factors. You actually could see the suffering in the eyes of the soldiers when a bomb exploded right next to them. You could actually feel what they were feeling. The noises were so loud, that their hypoacusis and tinnitus started forming part of yourself. You could actually feel like if the aviators were shooting a victim that was standing next to you. You could identify yourself with the civilians that were living this war on first page. It was a constant resonation of the sounds: whether it was a ship firing to another ship, or if it was a soldier trying to bring down some kind of combat aircraft with their use of weaponry, you could tangibly feel the power of the soundtrack, up to a point you were somewhat relieved when the movie ended. You celebrated with the English soldiers when they were rescued, by the civilians, from the hands of France. That is the power of this movie: a war film that was more focused in how the characters felt, that the soundtrack was its main priorities. As a matter of fact, a group of veterans that participated in this war stated that the movie actually grasped the real event, just with the way of how the explosions sounded. This proves, once again, that Nolan-Zimmer’s collaboration is a gift to history’s cinematography and cannot be taken from granted.
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