1917 was one of my most anticipated films of the year. Combining the incredible talent of director Sam Mendes with arguably the best cinematographer in the business at the moment, Roger Deakins; together tackling a WWI story of two men crossing into enemy territory to deliver a message to save thousands of lives, all presented as though it was filmed in a single take.
I’m glad to say that 1917 not only lives up to my expectations but massively exceeded them. From the moment our protagonists leave the relative safety of the allied trenches to cross a harrowing no-mans land, the first of many hurdles they must face, the film grips you with such an intense sense of dread and paranoia and never lets up until the final few minutes of the film. I am shattered after watching 1917, my heart was beating out of my chest, I was gripping the arm rests of my seat and I was scanning the entire screen looking for danger, just waiting for something to go wrong, much like the films central characters.
Deakins delivers yet again on his incredible ability to produce visually stunning scenes. Many times I was baffled as to how exactly they managed to get that shot, how they managed to get the camera across that terrain so smoothly, and how perfectly timed all of the action sequences were to provide such amazing scenes. If you were to pause the film at almost any moment it would look incredible.
Much criticism has been levelled to the story of the film, or should I say the supposed lack of it. This is almost entirely false and I question whether people have forgotten what visual storytelling is. The film has little dialogue but we are told what we need to know. Two British soldiers must travel from point A to point B to deliver a message to save thousands of soldiers from walking into a trap. We are not provided with backstories for the characters because why would two friends explain who they are to each other? Why would we need expositionary dialogue from a new character they encounter, when instead we can be shown what we need to know and learn about it in a natural way at the same time as the main characters. The film has heaps of story and character development, it’s just not in dialogue.
1917 is one of the most thrilling film experiences I have ever had, I felt as though I was there in the action and whilst it may not carry some grand, epic tale of heroism that we are used to in major blockbusters; it does tell a heartfelt story of two young men who are so prepared out of loyalty to each other, to put their lives aside for the sake of so many more and all they are to receive is, and I quote from the film “nothing but a piece of tin” in the form of a medal.
I can find very little I disliked about this film and I enjoyed it so much I can almost guarantee I will see it again before it leaves the cinema. British film at its best, I would argue unmissable.
I’m glad to say that 1917 not only lives up to my expectations but massively exceeded them. From the moment our protagonists leave the relative safety of the allied trenches to cross a harrowing no-mans land, the first of many hurdles they must face, the film grips you with such an intense sense of dread and paranoia and never lets up until the final few minutes of the film. I am shattered after watching 1917, my heart was beating out of my chest, I was gripping the arm rests of my seat and I was scanning the entire screen looking for danger, just waiting for something to go wrong, much like the films central characters.
Deakins delivers yet again on his incredible ability to produce visually stunning scenes. Many times I was baffled as to how exactly they managed to get that shot, how they managed to get the camera across that terrain so smoothly, and how perfectly timed all of the action sequences were to provide such amazing scenes. If you were to pause the film at almost any moment it would look incredible.
Much criticism has been levelled to the story of the film, or should I say the supposed lack of it. This is almost entirely false and I question whether people have forgotten what visual storytelling is. The film has little dialogue but we are told what we need to know. Two British soldiers must travel from point A to point B to deliver a message to save thousands of soldiers from walking into a trap. We are not provided with backstories for the characters because why would two friends explain who they are to each other? Why would we need expositionary dialogue from a new character they encounter, when instead we can be shown what we need to know and learn about it in a natural way at the same time as the main characters. The film has heaps of story and character development, it’s just not in dialogue.
1917 is one of the most thrilling film experiences I have ever had, I felt as though I was there in the action and whilst it may not carry some grand, epic tale of heroism that we are used to in major blockbusters; it does tell a heartfelt story of two young men who are so prepared out of loyalty to each other, to put their lives aside for the sake of so many more and all they are to receive is, and I quote from the film “nothing but a piece of tin” in the form of a medal.
I can find very little I disliked about this film and I enjoyed it so much I can almost guarantee I will see it again before it leaves the cinema. British film at its best, I would argue unmissable.