Fin de semana en Dunkerque

Weekend at Dunkirk somewhat deceives us. The presence of Jean-Paul Belmondo, but also, for example, Pierre Mondy, entices film fans with expectations of a lighthearted war romp like The Seventh Company or an adventurous film full of heroic acts, masculinity, and coolness. However, this film is tuned to a tragic tone because it depicts the bitterness of defeat after a lightning-fast German invasion of France. Allied units are cramped into a small enclave near Dunkirk, and not only every day but literally every hour, surrender and capture loom. Despite heavy losses during continuous bombing, soldiers desperately try to board British ships, and our hero is no exception. He fires only once during the 48 hours that our story takes place, and it is characteristic that his fellow soldiers fall victim. Belmondo, in contrast to his traditional roles, remains moderate in his acting and the overall atmosphere plays a leading role. The camera captures crowd scenes of men squeezed onto the beach and a huge amount of war machinery abandoned on access roads. At that time, it must have been a very expensive film, even though there were surely models involved, but today it would be almost unfinanceable. Overall impression: 80%. (27.11.2010)

In the first weekend of June 1940, the sergeant of the retreating French army must decide whether the greater danger lies in the surroundings of Flanders or in the flundras. Belmondo, as Verneuil’s dynamo, moving partially by his own will and mostly by fate after Zuydcoote, has a single, clearer goal: to get drunk on Pernod to celebrate the end of all this pointless dying. If it weren’t for the weekend, one might say it’s about the heroes of everyday life—about friendship, morality, and humor masking uncertainty and fear. The setting is simply spectacular. I believe Nolan was paying very close attention. (19.06.2023)