1917 (2019)
Director: Sam Mendes
Starring: George MacKay, Dean-Charles Chapman, Mark Strong, Andrew Scott, Richard Madden, Colin Firth
Primary genre: War
Secondary genre: Drama
Nominated for: Best picture, director, original screenplay, makeup and hairstyling, original score, production design, sound editing, sound mixing, visual effects, cinematography
Won: Best cinematography
Sam Mendes was always an uneven director for me. Despite having a solid record, most of his efforts are academically inclined (awards attracting). With the sudden turn in the world of Bond with “Skyfall” (2012) and “Spectre” (2015), he flexed his action muscles. Now after an almost four year hiatus, he has brought a particularly vivid (and true) war story to life with “1917”.
A high concept film trapped in the themes and conveniences of the war genre, “1917“ sees the effort of two British soldiers to deliver a message that will call off an impending attack against the Germans that is doomed to fail. Inspired partly by a story that was told from the director’s paternal grandfather, “1917” does not lose momentum and aims to deliver a simplistic and straightforward objective in an Oddysean approach: the journey to the front line is populated with German soldiers, snipers, traps, explosions, planes, (lots of) dead bodies, destroyed habitats, allies and civilians. World War I, one of the most important event of the last century is at the foreground, a sad and miserable canvas of pointless death and destruction.
This simplistic logic might turn some folks off, particularly if you are used to watch more nuanced and philosophical war films such as Coppola’s “Apocalypse now” (1978) and Malick’s “The Thin Red Line” (1998). Yet, there is cinematic beauty in this laconic presentation with plenty of rhetoric statements about war’s nature and strong visual storytelling that takes off in the last act the way few films dream at doing son.
A large bag of British cameos provide much needed gravitas for our heroes’ journey but the film lives and dies within the two leads. Their chemistry is evident and their obstacles many, yet their tremendous spirit is showcased under the most extraordinary and impossible circumstances with the actors doing a splendid job of selling to the audience varied emotions over the course of day: hope, fear, courage, despair.
Through a refined first-person perspective in (almost) real time, Mendes captures vast landscapes under the devastation of war in beautiful single takes creating an ominous feeling, a constant sensation that the duo is being watched even when fields and deserted towns seem empty. The horrible depiction of war gives the feeling of a zombie apocalypse elevated by a concrete production design that aims to displease the senses. It is a remarkable achievement further enhanced by the pulse pounding (but not overwhelming) music of Thomas Newman and the subtle cinematography of the legendary Roger Deakins. A segment within a remote French town has to be seen to be believed, a testament of the filmmakers skill to push the boundaries of what can be achieved physically. However, the one-shot take does feel a bit gimmicky since Paraguay created the “La Casa Muda” in 2010, Alfonso Cuaron took it on extreme levels with “Gravity” (2013), and then Alejandro Iñárritu created his “Birdman” (2014) based on the same logic. Thus “1917” feels that it has come late in the party.
“1917” boasts tremendous visuals, excellent direction, exquisite cinematography and realistic (yet ultimately terrifying) production design. The performances are top notch and the long take makes the film an experience that has to be seen to be believed. Highly recommended.
A thrilling achievement
+Incredible cinematography
+Believable performances
+Fantastic direction
+Gloomy and realistic production design
+Powerful score
+Anti-war message
-A bit gimmicky
-Straight forward story with no layers