Let me just say it: 1917 is easily the best war film since Saving Private Ryan, and ranks up there among the absolute very best, including Stanley Kubrick's Paths of Glory.
“Nothing like a patch of ribbons to cheer up a widow...”
Directed by Sam Mendes (American Beauty, Road to Perdition, Skyfall) and shot by legendary cinematographer Roger Deakins (Sid and Nancy, Fargo, Blade Runner 2049), 1917 follows two soldiers in the First World War who are tasked with delivering a message to a battalion far in enemy territory that will prevent them from being massacred. The conceit devised by Mendes and Deakins is that virtually the entire film feels as though it's happening in a single shot, in one long, uninterrupted take.
“Nothing like a patch of ribbons to cheer up a widow...”
Directed by Sam Mendes (American Beauty, Road to Perdition, Skyfall) and shot by legendary cinematographer Roger Deakins (Sid and Nancy, Fargo, Blade Runner 2049), 1917 follows two soldiers in the First World War who are tasked with delivering a message to a battalion far in enemy territory that will prevent them from being massacred. The conceit devised by Mendes and Deakins is that virtually the entire film feels as though it's happening in a single shot, in one long, uninterrupted take.
The craftsmanship and skill on display here is unprecedented. Mendes wrote the script (with Krysty Wilson-Cairnes) in part based on stories he'd heard from his grandfather. The soldiers (Dean-Charles Chapman and George MacKay) are realistic everyman characters who have no idea what they've got themselves into, both delivering utterly compelling performances grounded in reality.
Deakins' one-shot execution is no gimmick, completely immersing the audience in the experiences and environments the characters encounter, avoiding the temptation to rely on shaky, hand-held camerawork. Instead, the camera is fluid in such a way that you feel like you're right there with them, experiencing their journey like the world's most immersive dream. Navigating the horrors of no-man's-land and the labyrinth of trenches, the camera is somehow able to move with incredible versatility, despite some incredibly tight quarters. Deakins shot a huge portion of the film just using available light, creating a completely raw and immediate mood. Massive props to production designer Dennis Gassner, who does a simply remarkable job of recreating battlefields, bunkers and destroyed towns that look completely authentic.
While there's more than one "shot" in 1917, the various takes are woven together in such a way that the film truly feels like a participant's ongoing experience, the composition of each shot as we move from one sequence to another is amazing. I have no idea how Deakins pulled all of this off (cranes?), but they may as well engrave his Oscar now. Nobody can touch him here. In a career full of amazing highs, his work here is a historic achievement.
My advice is to race to the theater as quickly as possible and see this for yourself. I have a feeling this is going to win Best Picture, and quite probably Best Director. It's simply extraordinary work by all involved, and an unforgettable experience. Very, very highly recommended.
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