Even 77 years after the fact the staggering reality of World War Two’s Dunkirk evacuation is hard to grasp. Three hundred and forty thousand British and Allied soldiers troops were tactically outmaneuvered, pushed back to a French beach facing the German army on one side, with their backs to the English Channel. The water was too shallow for heavy ships to get close enough for rapid rescue The men were easy targets for the Luftwaffe, or as an officer in the film Dunkirk says, “we are being picked off from the air like fish in a barrel”. The call went out to any English vessel, however small, to cross the Channel and rescue as many as their tiny sailing vessels could hold.
“Dunkirk’s” director Christopher Nolan is known for his themes exploring time (“Inception” and “Interstellar”) yet this film is a little different. “Dunkirk” takes three elements of the evacuation: land, sea and air, and places these together in a non-linear narrative. In a recent interview Nolan said “I strip away dialog and use the language of suspense, which Hitchcock did and that is why Hitchcock may be one of the greatest directors of all time”. Nolan added “In “Dunkirk” we tried to be authentic in the right way”. To achieve this Nolan met with veterans of the 1940 evacuation. They explained what it was like. To get close to reality the movie is a non-stop drama unfolding on the screen with accelerating tension as the actual ten-day evacuation is condensed into a tight one hour and forty-five minutes of nail-biting apprehension. The movie successfully interprets the real “Dunkirk” evacuation, which Winston Churchill called “a miracle of deliverance”.
Hans Zimmer’s score to “Dunkirk” can be divided into two elements. A pervasive throb, a ticking which works well in creating fear of what the next moment will bring. There is hope as soldiers see rescue coming and for these scenes Zimmer, with assistance from Benjamin Wallfisch, uses a popular classical melody – “Nimrod” from Elgar’s Enigma Variations – and stretches the notes and time intervals to elevate the mood, but he keeps the main theme underneath as if to say relief may be coming although it is by no means a certainty. As a movie “Dunkirk” may be difficult to watch but it’s also one you cannot look away from. ... See MoreSee Less
On The Score this week: Music for Your Inner Child
Edmund shares music from movies inspired by live action and animated classic children’s stories, including Mary Poppins, Alice in Wonderland, Beauty and the Beast, The Chronicles of Narnia, and many more. Tune-in to All Classical Portland this Saturday at 2pm! ... See MoreSee Less
This week on The Score, with Edmund Stone, our look at the big movies this year, including Wonder Woman, Guardians of the Galaxy, Vol. 2, Transformers: The Last Knight, Spider-Man: Homecoming, War of the Planet of the Apes, Cars 3, The Mummy, Despicable Me 3, Alien Covenant and one or two surprises. Next time on The Score. Tune in to All Classical Portland this Saturday, July 15 at 2PM. www.allclassical.org/... See MoreSee Less
The results of Willamette Week’s Readers’ Poll, Best of Portland 2017 are in, and for the second consecutive year, The Score has been voted Best Local Radio Show! “Edmund Stone’s deep dive into the history of classical music and film scores is a must listen for music lovers and cinephiles alike.” Wi...
I am honored to share news that for the second year in a row, The Score with Edmund Stone, has won the Best of Portland contest with Willamette Week for Best Local Radio Show. The citation reads: "Edmund Stone's deep dive into the history of classical music and film scores is a must listen for music lovers and cinephiles alike". If you have never heard the show tune in to All Classical Portland 89.9 each Saturday and Sunday at 2 pm. Enjoy archive shows at www.allclassical.org or www.thescore.org. This Saturday's program is "2017 Summer Blockbusters". Please enjoy - and thank you for your continued support. By the way ,the photo is of me holding a real Oscar, won by Erich Wolfgang Korngold for his 1936 Best Score to "Anthony Adverse". Thanks to the great composer's granddaughter, Katherine Korngold Hubbard, for loaning this priceless staue for the photo. ... See MoreSee Less