As mentioned in several short reviews, this is another "British anti-German film" this year that did not feature half a German soldier. Interestingly, the whole film gave me the most intimate experience of the decline of the British Empire, not in the shock of the news that 300,000 "lads" could not go home, not in the mainstream Conservative Party's submissive gesture of seeking peace, not in war. At that time, the embarrassing dilemma between the cabinet and the generals was raining sweat, and it was not because of the helplessness of the King of England to retreat to Canada - but in the small space hidden in the "Men's House" late at night, connecting the "old world" and the "new world" ”, that trans-oceanic phone call with an unbelievably low profile and a bitter and amusing laughter. Americans, who sell their own weapons, receive the money they lent themselves, and are unwilling to deliver in the end (such activities have been tried and tested in the United States, and they are not new), because they adhere to the "isolationism" that is as effective as "appeasement". . The French, a thousand miles of defense, terrible mobilization, and a lightning-quick (heh.) retreat. "Don't Mr. Prime Minister have a counter-offensive plan?" "No." The British Prime Minister, who was embarrassed to be sincere, still vowed in his final speech, mentioning "our French ally" again and again. The Italians...Although I have reservations about the words of later generations' infinite criticism of the "appeasement policy", I am still amused by the British dream through Halifax in this film - peace talks with Hitler, through the Italians as an intermediary? British. Each person in the film is either deep, or rigid, or violent, or gentle, and their figures flashed in two charming long shots, like the sun and the drizzle, outline the pride of this nation that is completely different but ends in the same way. , charm and glory. The amount of information conveyed by the obscure words in the intertwining of Gongchou is tacit understanding; the secret door of the king's room and the right hand that is reluctantly stretched out are etiquette; the closed lips and high head of the foreign minister are principles; those who sit side by side on the edge of the bed The two backs, one fat and one thin, are straight and sullen, which is dignity; the expressionless eyes of the Calais garrison general looking into the night sky are honors; a calm voice in the wartime cabinet "We lost the Prime Minister" , is composure; the seats of the ruling party in the House of Commons are admirably dead, and it is loyalty... Miss Secretary caressed the war map and left tears, which at first glance seemed too hypocritical; The little image, the eternally restrained love of the English style, rises from the ground, like a violin on a high note. "Is it a lover?" "No, it is a brother." When it comes to the character creation in this film, the most exciting ones are undoubtedly Qiu Pang and Ying Wang. And the most regrettable is that the glory of the British Empire is no longer, but it is the "Prime Minister of Peace" Chamberlain. The diamonds of Britannia gleamed on him. That was the trial of England when it created the modern world. Prudence, moderation, rationality and trustworthiness, advocating "fair-play" as the supreme principle - as long as players act according to the rules, they can enjoy the order dividends of the global network built by the UK. England taught the world a lesson about "liberty", which unfortunately the world understands very little... This one England did not survive the ferocity of the twentieth century. Every time she tried to save Europe from fire, she seemed to fall into the field of loneliness - first from Napoleon, then from Hitler - but Churchill's England was no longer the England of Peter and his son; The "atypical British" who escaped the traditional British conduct can complete the ultimate confrontation with "that madman" - this is evident from the erratic partisan stance of Qiu Pang; and Chamberlain, like the one he represented, has passed away , The glorious Britain of the empty phantom, what is destined to be only a distant echo that resonates rarely. (The "appeasement policy" is notorious and has no choice; if Britain declared war on Germany in 1938, the consequences can only be left to hypothesis; however, his government seized the opportunity within ten years to greatly expand the British armament , is an indisputable fact; and at the beginning of the film, he denounced Chamberlain's colleagues in the Labour Party, until Hitler invaded the Czech Republic and voted against all the armament bills of the Chamberlain government. Who should be the first place to sit for this "mistaken country"? It’s worth reflecting on.) As for the last speech (the second eardrum baptism in the year, Nolan chose to read it in the mouth of a soldier next door, and the effect is no less than the deity), I remember that Boris Johnson once gave a vivid analysis of this, For example, the deafening comparison sentence ("we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills - we shall never surrender.
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