This Film has already been built into a giant off-scale epic. Since this is Sam Mendes ‘next project, having breathed new life into the Bond Franchise, and the source material has a personal connection to Mendes (the stories of Mendes’ grandfather, Alfred H. Mendes), everything indicates that this Film would be very personal and therefore achieve all the goals he wants to achieve. 1917 is all you think is that I would go so far as to say that for a war movie, I don’t think my breath was held that long.
What captures them from the moment the Mission is presented to the characters, with the contribution to this almost instantaneous acquisition of attention, is arguably the film’s biggest selling point. Cinematography and cut combine to make the Film feel like it’s shot in a take that is an important step to take from a creative point of view, because it all depends on how convincing it plays. Fortunately for 1917, as cinematographer and editor, he has arguably two of the best people in their respective fields, Roger Deakins and Lee Smith, and this Film is their greatest work to date. Even Deakins ‘ work on Blade Runner 2049, in my opinion, can not compete with what was achieved in 1917. The camera tracking images show an authentic and technological master class.
I could talk for hours about the cinematography in 1917, so I’ll keep it short with a summary, every shot in 1917 is painstakingly designed to convince the audience that the characters we follow are never safe. There is a beautiful scene where our young British soldiers, Corporal Blake (Dean-Charles Chapman) and Corporal Schofield (George MacKay), travel through no Man’s Land at the beginning of their Mission. The camera allows the audience to see the abundance of corpses, craters and barbed wire fences, all of which suggest that this Mission will go wrong on so many levels. If a cameraman needs a master class to follow the shots and staging, this is the perfect lesson.
Lee Smith worked primarily on Christopher Nolan’s projects, including the very familiar Dunkirk and Sam Mendes ‘ recent film, Spectre, which also includes a one-take opening sequence, making 1917 Familiar Ground for him. The fact that this Film looks like a catch means that the audience is on the lookout for one thing when the Film is cut. Sometimes they are obvious as entering a dark scene or an object passes the frame, but at other times it feels very transparent. The fact that it takes place mainly outdoors, you need to take into account a lot of things like The Time of day, natural lighting and weather, to name but a few. Mixing any of these changes is a huge task, but Smith makes it so simple.
It is no surprise when you consider how this Film could be a filmmaker’s dream, that the scope of 1917 is remarkable. Many factors need to be considered here, but the one that caught my eye was the production design. You hear that historical pieces are so good that they are transported to that time, I hardly stopped thinking that I was in a film while I saw them. The gaze attracts them so much that they take the Moment, like a private curtain that closes around them. The costumes, props and decor are stunning in detail.
Another remarkable achievement in the setting of 1917 is the way the giant scenes are well choreographed. I’m sure most of you have seen the scene where Lance Corporal Schofield walks through a battlefield, with bombs exploding all around him, and in the distance hundreds of thousands of soldiers charge. It not only highlights the peril that persists in 1917, but it also helps to understand a bold vision among all those who worked on the Film.
I will say that unlike her 1917 alure is shot in a take they also have some great, British acting talent also lends their hand in this Film. Benedict Cumberbatch, Colin Firth, Mark Strong and Andrew Scott, among others. I know that only a mention of these names will get people flocking to the movies, but don’t worry about seeing their faces too much. Although their names carry a lot, their roles are very tiny, one could almost say cameo appearances. This is a little disappointing for anyone who has seen him see their favorite, but I can assure you that all the points I have touched on are more than compensated by short appearances.
At first I was looking for films like Saving Private Ryan for comparison, but I felt Dunkirk was more appropriate. The two films are very similar in a way, but it has the advantage that I believe because it has made the characters more known to the audience. I think it’s very refreshing to be able to talk about a Film starting with the filmmakers and not the actors, because in a way, it’s the filmmakers who are the actors. Every element of great film has a role, and they are all as great as any other. I can see how 1917 becomes immortal, which, when I think about it, does not happen very often.