I’m newly arrived on Redcar beach, surrounded by Second World War wreckage, having just been introduced to Joe Wright, the director of Atonement, the recent film of Ian McEwan’s novel. He says to me ‘It’s a four-and-a-half minute shot. I don’t know why, I just thought it would be a good idea.’ Joe and I start walking along the route the camera will take during the shot. Looking around, I breathe a sigh of relief about the way the location looks. Next time you find a film’s historical or military accuracy lacking, bear in mind that very often the advisor isn’t called onto a production until the cameras are almost ready to roll.
On this occasion the art department has done an excellent job of matching our beach with photographs and accounts of the real evacuation of Dunkirk in 1940. The seafront has been completely re-constructed with authentic damaged buildings, signs and a ferris wheel – just as an old Royal Engineer neighbour of mine, who was there, remembers. Anti-aircraft gun emplacements line the promenade, a copy of the crimson-sailed Thames sailing barge Glenway lies stranded on the beach, and period vehicles and military equipment are strewn everywhere around a makeshift field hospital.
We finish walking. ‘Any questions?’ ‘Yes. Where are the Stukas?’ ‘Too expensive.’ ‘Why no officers among the extras?’ ‘To accentuate the lack of order.
’Detail of History Today article
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