Informações da cena à qual você vinculou e as escrita (download em pdf).
Existem aviões alemães diferentes da 2:
1) Stuka
Abatido por Farrier como descrito na Cena 71.
Me-2
Cena 72:
O 109 pisca ... Collins assiste-o retroceder. COLLINS Ele está fora. SR. DAWSON Peixe maior para fritar.
O Me-109 não os ataca e voa, nunca mais é mencionado (e não há mais brigas aéreas). Parece que ele tinha um alvo diferente. Era um Lutador e atacar a Moonstone com metralhadora pode não ter sido muito eficaz.
Farrier atira no Bombardeiro de mergulho (Stuka), mas não conhece o Me-109.
Informações adicionais interessantes que esclarecem Dunkirk:
1) Quanto o público conhece
De Eliza Berman entrevista com Christopher Nolan em Tempo, Julho 2017:
There are very few “God shots.” Everything is about trying to have the camera there on the beach with the soldiers. In the aerial sequences, the camera is always in the cockpit or mounted to the plane, always somewhere where it would need to be to photograph that kind of combat. And on the small yacht crossing the Channel to come to the rescue of the men, we almost never take the camera off the boat. Everything is shot from the point of view of the characters.
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Films have a sophisticated level of grammar that’s developed over the hundred years of cinema to be able to tell the audience everything and have them know much more than the characters. I actually wanted to take a step back and say, “What would you know if you were actually stuck on that beach?” The more I read firsthand accounts, the more apparent it became that part of the terror, part of the real sense of fear and isolation and vulnerability of these men, was not knowing what was happening. Not knowing, lining up on the beach out to sea, if somebody was going to come and get them or not.
Além disso, do 2017 de março de Dave Trumbore entrevista com Christopher Nolan em Collider:
The challenge of taking on what I call a present-tense narrative – that is to say, we don’t learn a lot about the people we’re experiencing this with. We really just try to live in the moment and experience it with them, and look through their eyes.
2) Linha do tempo
Do 2018 de fevereiro de Christina Radish Collider entrevista com Christopher Nolan:
Q: Time has been a recurring central theme of your films, particularly Inception, Interstellar and Dunkirk. With Dunkirk, you cut between three storylines that take place in an hour, a day and a week. What was the thought process behind that and how a Shepard tone influenced the writing and the music?
NOLAN: The structure of the script was created to try to give a feeling of relentless tension. It was short because I didn’t want to exhaust the audience. It was only a 76-page script, and I based the structure on a principle from the musical world, called the Shepard tone. It’s essentially an audio illusion, whereby you can make it seem like the tones are continuously rising and never stop. We used that in the music for The Prestige. We used it in the sound effects for the Batpod in The Dark Knight. It never downshifts. The engine is always going up. What I did with Dunkirk was apply the mathematical principle of how that works to the script structure, so that one of the three storylines is always peaking, one after the other. There’s a tumbling forward quality to the narrative, so that it never really lets you relax or rest.
3) Não é um filme de guerra
De um livro de Joshua Levine entrevista com Christopher Nolan:
So I don’t see it as a war film. I see it as a survival story. That’s why we don’t see the Germans in the film and why it’s approached from the point of view of the pure mechanics of survival rather than the politics of the event.
Conclusão
- Não sabemos mais do que os soldados e eles sabem apenas o que vêem. Então não há o Me-109 atacando a Moonstone, é apenas a Eu-109 fazendo isso, e a tripulação do barco de pesca tem que lidar com isso. O que esse Me-109 faz então, nem nós nem os homens no barco sabemos (e devemos saber). Na luta pela sobrevivência, o inimigo permanece sem rosto.
- O filme é filmado e as linhas do tempo se cruzam de uma maneira que sempre existe tensão e elas atingem um pico após o outro, daí a maneira como os dois ataques são filmados na cena.