With the highly anticipated release of Dunkirk now less than two weeks away (!!!), I thought I’d kick off this series by looking at the works of one of my favourite writer/directors: Christopher Nolan.

Known as much for his artistic and innovative filmmaking as well as his commercial success (his films have raked in over $4 billion worldwide), Nolan has become a household name auteur loved by audiences and critics alike. He produces original and ambitious films that attract big names and big audiences, making him one of the most exciting filmmakers working today.

He is renowned not only for his wholly original stories, but technologically innovative ways of filming. He has pioneered new ways of using and filming with IMAX cameras (his films are definitely made for the big screen), but at the same time he is a huge advocate for the continued use of film (as opposed to digital). His films feature beautiful imagery (from Wally Pfister primarily, up until Interstellar when Hoyte van Hoytema took over), and powerful scores (from Hans Zimmer); every department and every detail plays a key part.

Despite each film being entirely original and unique, there are a few Nolan trademarks that feature in many of his films. He often uses non-linear narratives in his stories and the manipulation of time (leading to mind-bending results), which add another layer to what’s happening on screen and force you to engage, showing his trust in an audience’s intelligence (something many other blockbusters fail to have). He doesn’t patronise and often leaves the audience to draw their own conclusions. His films also sometimes have a noir feel, and general have quite deep things giving an overall seriousness to whichever genre he is working in (but he still perfectly balances the tone with lighter, comedic moments). His films are also noted for their complex characters – there isn’t necessarily a good vs bad guy, each character is given depth so that you’re not always entirely sure of which side they are on, or whether you feel like you should fully root for them as a hero. Incredible world-building and spectacular visuals are also guaranteed in any Nolan film, showing the director’s attention to detail in all aspects of his films.

Nolan’s films are also linked by the recurrence of certain castmembers, with the director choosing to frequently collaborate with stars such as Christian Bale and Cillian Murphy. The most consistent though is the presence of Michael Caine, who has appeared in every Nolan film since he first starred as Alfred in 2005’s Batman Begins, oddly though, it seems that Caine has not been announced as part of the cast for Dunkirk. Although, of course, with Nolan surprises would be of no cause for shock – he is notoriously secretive about his films, revealing little in trailers and interviews, and even managing to keep presence of a big name star a secret prior to a certain film’s release. This only goes to further reinforce the commercial value Nolan’s own name has come to have, that he can have the power and ability to keep what would potentially be a marketing tool under wraps for the benefit of the audiences experiencing the film. His name alone evokes immense trust in the provision of a high quality, exciting motion picture experience… he is one of few without a dud on his resume, and has earned himself the seeming right to do and make whatever he wants.

I’m going to take a look at his feature films, although he has also made a few shorts as a student that you might be able to find, as well as a short documentary on the Quay brothers (released in 2015).

Following
Nolan’s first feature film already displays many of what would become his trademarks. As a noir filled with twists, it is a solid film on its own, but as Nolan’s weakest, it is perhaps best viewed in examining Nolan’s style and how his vision was clear from early on. Shot on the weekends with friends over the period of about a year, it is a lesson in how to use low-budget to your full advantage.

Memento
The film that really made people sit up and take notice is a stunningly original piece of cinema. The story follows Leonard (Guy Pearce) as he tries to avenge the murder of his wife. However, he suffers from anterograde amnesia meaning he can only remember things for half an hour at a time, before his memory is wiped clear. Taking polaroids and tattooing facts, these become not only Leonard’s only crumbs as to what has happened, but ours as well. This is because the film is shown backwards. In a hairpin structure, we see the scenes in reverse order (interspersed by cuts of one long black and white scene), putting us in the same position as Leonard in terms of not knowing what has gone before. It is this uniquely clever structuring that gives the film and its twists and turns more impact, as well as masters the act of telling a tale subjectively. It is where Nolan’s penchant for the mind-bending first comes into the forefront. You need to pay attention whilst watching this; look at your phone for even a minute and you will be very confused. This is what makes it such an enthralling, engaging and satisfying watch, even if it may leave you scratching your head.

Insomnia
The only remake in Nolan’s filmography, this thriller marks Nolan’s first foray into the studio zone and away from indie (in terms of budget and scale, not necessarily sensibility). Based on the 1997 Norwegian film of the same name, and featuring an all-star cast headed up by Al Pacino, Robin Williams and Hilary Swank, the film tells the story of an older police detective (Pacino), sent to solve the murder of a teenage girl in an Alaskan town. The film is propelled into psychological thriller territory through the relationship between the cop and his number one suspect (an against-type Williams). It is a strong noir thriller, which, despite not being based on an original story by Nolan, still boasts many of his signatures, not least in the high quality of the film itself. Maybe remakes aren’t always a bad thing.

The Dark Knight Trilogy
The Dark Knight trilogy (Batman Begins – 2005, The Dark Knight– 2008, The Dark Knight Rises – 2012) is often credited as changing the modern superhero landscape. Nolan’s Batman reboot forwent the cheesy and heightened reality antics that had characterised many superhero films, and instead grounded his hero in a sense of gritty realism. The Dark Knight is often considered up there in the greatest films of all time, whereas previously any films of the genre would automatically be relegated to lesser fare. It didn’t feel like a specifically superhero film necessarily, just a great film in itself. Often people rank this as the best of the trilogy, then followed by Batman Begins. Whether you think you are a superhero person or not, it is worth giving these films a try.

The Prestige
In between the first two Batman films came Nolan’s only book adaption. It follows the story of two 19^th-century magicians (Christian Bale and Hugh Jackman) who enter into an ever-escalating competition with one-another after a tragic accident involving a loved one in a joint illusion. Again, the narrative structure is played with here, keeping you guessing up until the final reveal (and even then you’ll still be piecing bits together). It is a psychological thriller which almost plays out in a self-refferential fashion; the stages of the magic tricks explained to you (culminating in the prestige), relate to the stages of the film, wrapping the film in further enigma. It also features a certain David Bowie in a great supporting performance.

Inception
Did the top stop spinning? Another film where you are left to your own conclusions, this tale set in the world of dreams is one of the most unique and brilliant films to enter the cinema pantheon and intrigue and baffle viewers in equal measure. Centering on Leonardo DiCaprio’s Cobb, the film follows him and his team of thieves who can intrude on an individual’s subconscious and extract their secrets, however, in this film, they are tasking with planting an idea in someone’s mind. This results in the team entering ‘dream’ within ‘dream’ within ‘dream’, with each level producing more danger and complexities, on top of the mysteries of the inner-lives of certain characters and their troubled pasts. It is another one where re-watching is certainly valuable. It will keep you hooked and take you far beyond a regular heist film; it is one not to miss.

Interstellar
Nolan’s last film (before Dunkirk) was this space epic that managed to be a blockbusting spectacle that remained emotionally intimate. Set in the not-to-distant future, our planet is dying, and a team must travel into space, through a wormhole to find a new home. Whilst that essentially encapsulates the barebones of the plot, it is hard to do the film justice in a short explanation (or without spoilers). It is full of remarkable twists and a father-daughter thread of emotion that leads to many powerful moments. It is perhaps Nolan’s most emotional and funny film (there are plenty of laughs sprinkled amongst the edge of your seat tension and moving moments). It features yet another phenomenal Zimmer score, perhaps a bigger player in this film than in most of their other collaborations. It is also grounded in real science; the science was all run by theoretical physicist Kip Thorne, and even managed to assist in real science afterwards. It is an intimate epic that goes more into the consequences of space-and-time travel, and beyond the fake movie science so many sci-fis fall back on.

Dunkirk
[Updated] Dunkirk is Nolan’s first time tackling real life events, and he does so brilliantly, doing justice to the event whilst putting his Nolan twist on it. Telling the tale of Operation Dynamo, the evacuation of hundreds of thousands of British soldiers from the Dunkirk beaches, it is a tale of the human spirit that rises out of the chaos and horror of survival.
For more, check out the review: ‘Dunkirk’ Review

Suggested Viewing Order

Chances are you have almost certainly seen at the very least one Nolan film (although it is more likely to be a few), but even if you have managed to avoid them (how?), and you don’t have time to catch up on any prior to Dunkirk’s imminent release, then that should be your first one. Like his others, it is bound to be a film to experience on the big screen so every effort should be made to see it that way.

As for his previous works, there are none to avoid, so any would be a great place to start. Following, as his first film, is his weakest, but is still worth a watch. However, I would argue this would be better appreciated after seeing some of Nolan’s other works, Memento in particular, as it will allow you to more clearly see his development as a filmmaker, and show how his calling cards were there from the start.

With the Dark Knight trilogy, each film can stand alone, although no doubt are better viewed in chronological order. If you think that superhero films aren’t your thing, maybe start with The Dark Knight which perhaps plays most like a non-superhero film out of the three (although, as aforementioned all three tied into this new grounded world for comic book characters), and I’m sure you will change your mind – at least for this film or trilogy.

As for the rest of them, watch them in whichever order.

And, as for all filmmakers, if you happen to watch one and dislike it, don’t discount their entire filmography, especially when they can be so incredibly varied.