From the very start of the year, Sam Mendes’s 1917 has loomed over 2019, waiting until the last minute to drop and make its impact felt. Throughout the year more and more hype formed for the film, as more details got revealed. From technical elements, such as the film being edited to make it seem as if it was shot in one continuous take, to the early word being beyond positive claiming this could easily be the next Best Picture Oscar winner. Then came the screenings, and it is easy to see why the film is getting insane level of hype and praise.
1917 is truly a work of art. The film is masterfully crafted and structured, creating not just a technical masterpiece, but a compelling and moving work of cinema.
During World War I, Lance Corporal Blake (Dean-Charles Chapman) is asked to pick someone to help him with an unknown mission. He chooses his buddy, Lance Corporal Schofield (George MacKay), and together they receive their mission. Germany seems to be retreating, but really it is a trick to lure the British in. A battalion of 1,600 men are about to walk into a trap on the other side of enemy territory – including Blake’s brother. Blake and Schofield are tasked to go through the dangerous enemy territory to reach these men before they walk to their deaths in the morning.
The technical achievement of this film is to be applauded from the very first scenes. This movie takes on the gimmick of seeming like it was shot in one continuous take. If you want to, I guess you can tell that there are cuts. But such careful approach and structure this film has to maintain when it comes to the cinematography by the legendary Roger Deakins, and the editing by Lee Smith, is nothing short of brilliant.
Yet maybe the most impressive element of this structure is the production design by Dennis Gassner. Much more so than a film like Birdman, which took on this one-shot novelty in the setting of New York City. This film has to create this illusion in warzones and trenches. The sheer scope of the production design is insane to experience. An effective, and constant, reminder of the death, danger, and sorrow our two leads will be facing.
Another bravado element within this film would be the score from Thomas Newman. This is a film that has many of scenes with no dialogue at all, putting the score front and center. It is so well crafted, specifically with how it flows with the visuals of the film. The swells are powerful and intense, perfectly complementing the tone the film, and certainly adding depth to the experience of the film.
1917 does a great job at bringing new elements into play, keeping the film feeling fresh. From injuries, to changes in location, the movie keeps moving at a pace where it never feels dull or too drawn out. It also is a masterclass at building tension. As the two corporals first start to make their journey, my entire theater was seemingly silent with worry.
1917 is easily the most stressful theater experience I have had this entire year – and that’s a positive. The film also has a level of stakes that added to the stress. Injuries and mistakes actually seem to matter, and there are consequences for these boys. So many films like this would have everything turn out perfect, with no moments of loss or regret. But 1917 embraces these, almost taking you on that journey with the characters.
A lot of the audience engagement is due to the screenplay. Going into the movie the screenplay was not something I was expecting to love nearly as much as I did. Not only does it carry a lot of charisma and humor, but it also is deep and poignant.
From the very start, you really invest in the dynamic that Blake picked Schofield to go on this mission. Sure, he didn’t know what the mission was when he was picking a partner, but in a way, Blake picking Schofield is also condemning one of both of them to death. That immediately starts an engaging relationship between the two, which only grows as the film plays out.
There also are clear signs of social commentary. Which the film never fully dives into where it becomes the main thesis it is building. The movie does have things to say about the enemy, loss, what you should be proud of, and more. There is depth in the screenplay that definitely helps push it beyond just being a war film.
A more surprising highlight of 1917 was the acting. At no point was an all-star cast something that had a lot of conversation surrounding it leading up to the release. But honestly, these are two of the best performances of the year. Dean-Charles Chapman is full of charm and energy, offering the film a break from its nail-biting tension.
And without ever taking away from it. George MacKay is the standout of the two, the sheer physicality of his performance at times is breathtaking. He transforms into a desperate and scared man trying to accomplish the impossible, and really delivers an emotionally captivating performance that can stand up to nearly any other this year.
1917 is so much more than just another average war movie. This is a technical masterpiece that comes together with genuine powerful emotion to become a captivating work of art. These characters are multi-dimensional, while the plot takes the time to create a relevant commentary, while also keeping you on the edge of your seat. A big film that you feel the weight of, not to leave you, or be pushed aside. 1917 demands your attention, and deserves to be seen on the largest screen possible.
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