About Dunkirk

Sunny Singh writes in the Guardian:

What a surprise that Nigel Farage has endorsed the new fantasy-disguised-as-historical war film, Dunkirk. Christopher Nolan’s movie is an inadvertently timely, thinly veiled Brexiteer fantasy in which plucky Britons heroically retreat from the dangerous shores of Europe. Most importantly, it pushes the narrative that it was Britain as it exists today – and not the one with a global empire – that stood alone against the “European peril”.

To do so, it erases the Royal Indian Army Services Corp companies, which were not only on the beach, but tasked with transporting supplies over terrain that was inaccessible for the British Expeditionary Force’s motorised transport companies. It also ignores the fact that by 1938, lascars – mostly from South Asia and East Africa – counted for one of four crewmen on British merchant vessels, and thus participated in large numbers in the evacuation.

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Perhaps Nolan chose to follow the example of the original allies in the second world war who staged a white-only liberation of Paris even though 65% of the Free French Army troops were from West Africa. 

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All storytellers – and novelists, poets, journalists, and filmmakers are, ultimately, just that – know the power we hold. Stories can dehumanise, demonise and erase. Such stories are essential to pave the way for physical and material violence against those we learn to hate. But stories are also the only means of humanising those deemed inhuman; to create pity, compassion, sympathy, even love for those who are strange and strangers. Stories decide the difference between life and death. And that is why Dunkirk – and indeed any story – is never just a story.