This is a very interesting article that expounds on the longevity or legacy of WWII films in American cinema. After participating in the conversation here, I think it is a worthwhile read.
https://melmagazine.com/how-the-world-war-ii-movie-has-evolved-over-the-last-75-years-13b4b49b2764
I do disagree with a couple things the author says about Dunkirk though. First, “On screen, Dunkirk depicts war against the Nazis.” I suppose that could technically be true, but as IL pointed out, we hardly ever see any Germans beyond some faceless aircraft and blurred out figures whose most distinguishingly German feature are their helmets. In reality, this film was about a flight from the Nazis, not a heroic fight against them. Other than the RAF scenes and the one soldier who tries to shoot a Stuka with his rifle, the Brits really don’t fight back much at all. They just take it. It definitely isn’t a typical bad guys vs good guys war film.
Secondly, I disagree that Dunkirk is a push back against Trump-esque fascism. No where in this film is fascism evident. The German enemy, whom all contemporary media generalize and demonize as fascist Nazis, is not even shown. The British in the film are fighting against the elements and time more than they are against Nazis. For one thing, Nolan strikes me as culturally far more British than American, even if he holds dual citizenship. To think that he would make a historical film in England/France, for English people with even subconscious commentary on contemporary foreign leader is preposterous.
Dunkirk has no American actors or characters in it. To ascribe American politics to this movie is a mistake. Dunkirk can hardly connect with modern American audiences politically when (a) the story follows only accented Europeans and (b) doesn’t involve any direct American history. Likewise a British audience, for whom this film is most poignant, American politics are in no way going to resonate. Implying as such would be a bewildering and stupid move on the part of the director. Dunkirk may be a product of Hollywood money, but it can hardly be pigeonholed into American-Hollywood groupthink. Nolan has demonstrated over years of filmmaking his careful, precise crafting of scripts and screenplays. His success has allowed studios to give him a long leash and not meddle with his creations.
These points go beyond the fact that Trump wasn’t even elected President yet by the time the movie had been made. Or that linking a WWII film to a fight against fascism is something of a cop-out; the entire war was predicated on that theme. So any film, from any era, could be interpreted as such.
The comparison that the author didn’t make, but I think far more appropriate, was to parallel the themes in Dunkirk to Britain and the entire West’s continuing fight against radical Islam. Islamofascism if you will. Post 9/11 and the transition from Al-Qaeda into ISIS, the great western powers are seemingly today under siege at home from violence and terrorism unlike any other time since the 1940s. Dunkirk is a definite analog for today’s sentiment: it doesn’t feel like we are winning. England itself is like a last bastion in a Europe overrun with failed multiculturalism and the dangers it has bred. Dunkirk is not a joyful film, but it is an unashamedly patriotic reminder of what British “Dunkirk spirit” did back then and how it will manifest itself again today. In that, it becomes a rallying cry for the West as a whole. There have been defeats, but in surviving there is yet hope.
I don’t think Nolan made the film with the above explicitly in mind. He is filmmaking is far too genuine and he strikes me as detached from the fickleness of contemporary politics. However, if a subconscious cultural impetus and resultant effect can be drawn from Dunkirk, I think my theory above is far more plausible than whatever schlocky politics the author of the article wishes to attribute to this film.