Film Review: ‘1917’ AF Contributor December 23, 2019 Film Review: '1917'2019-12-234.5StarsSince Birdman claimed Best Picture, Director, and Cinematography at the Oscars there’s been an inherent fascination with long, imperceptible takes in filmmaking. With Oscar winner Sam Mendes’ 1917, he aims to raise the bar even higher. The difference being that 1917 primarily takes place outdoors in very real elements, on top of being a war movie with massive amounts of actors in the frame at any given time. The sheer technical audacity of the feat demands that it be see on the big screen. It’s like a cinematic magic trick, allowing you to sit in awe at the sheer ambition and technical wizardry of the filmmakers and continue muttering, “How did they do that?” When done right, it can reawaken that magical feel of watching something impressively new, but is there any more than a gimmick? It’s 1917 and two ordinary British soldiers, Lance Corporals Blake (Dean-Charles Chapman, a.k.a. “Tommen” from Game of Thrones) and Schofield (George MacKay), are tasked with a life-saving mission. A military unit is walking into a trap, and if they do not deliver this dire message in mere hours, hundreds of men will die, including Blake’s older brother. They have only hours before the fateful attack is launched and must traverse into enemy territory that may not be as deserted as they have been lead to believe. Whatever else you think about 1917, it is worth watching simply to witness the awe-inspiring technical vision from director Sam Mendes (Skyfall, American Beauty). The sheer scope of this movie is overwhelming when it comes to the logistics of being able to keep the camera roaming, which will go from handheld to crane to swooping lines above. It feels alive with that vitality of theater, knowing that if something were to go wrong that everyone would just adjust and move onward. When you see someone tip-toeing along the edge of a bridge, that’s them doing so. When you watch someone diving for cover, it’s really happening, and Mendes wants you to know. It brings an interesting verité feel to something that must have been planned within an inch of its existence. But was it? Did the actors meet the exact same blocking marks every take? Were the clouds aligned just so each time? I’m willing to credit legendary cinematographer Roger Deakens (Blade Runner 2047) with extra plaudits not just for arranging all the logistics of the busy camerawork but for finding pleasing visual compositions on the spot, using what was available. He deserves all the awards because this movie is nothing but brilliant photography and production design. A segment where we run through the ruins of a French village at night, with German flares providing momentary bursts of visible light above, is astounding. I think about the meticulous precision of the camerawork, the timing of the lighting cues, the practice of the actors and story decision to run in darkness and hide for cover in light, the pursuers giving chase, and it just makes my head hurt from all the daunting coordination. It might be dismissively viewed as a WWII video game and the characters as the avatars we urge onward, and I don’t disagree. I found the entire enterprise to be deeply immersive, visceral, and thrilling in its stunning sense of verisimilitude. Given its proximity to being in real time (the trek we are told should take 6 hours) it means early on there is a lot of walking. Before we venture out into No Man’s Land, it feels like we’re just watching people walk and walk and walk through the lengthy English trenches. It can become a bit repetitive and your mind may wander, but there is a rationale for this from Mendes and company. It communicates what the geography of battle and day-to-day life was like for the soldiers, to go from one supposedly safe section, snaking round and round to the front lines, noting the distance but also, in practical terms, how close life and death were from one another. It’s also a recognition of the reality of trench warfare and you can stop and think, “Wow, the production actually built this entire miles-long trench,” but then you can just as easily transition to, “Wow, people really dug in and built these structures back in 1912.” The long walk serves as the confirmation not just of a top-notch film production but also of the hardened reality of a soldier bogged down in a trench for months. The First Act is essentially them walking to the front line, crossing over into No Man’s Land, and approaching the German trench on the other side. On paper, that doesn’t sound like too much in the way of story events, but it’s our introduction as an audience into the life that these soldiers experienced. Each crater, each corpse strewn on the battlefield, it helps paint a larger picture of the unseen stories leading to this moment. It’s a very real equivalent of “show, don’t tell” storytelling, and the long walk better cements in our minds just how daunting this trial will be, especially since every step after the trench is fraught with danger. I figured that 1917 was going to be more about its gimmick and that the characters would suffer under the weight of this setup, and it’s true that they could be sharper, but 1917 succeeds in ways that I found Christopher Nolan’s Dunkirk lacking. By focusing primarily on two characters and hinging success or failure on them alone, the film does a better job of providing me a personal entry point into the larger conflict. I have someone I can follow from the start, and that’s not just because the camera is confined to their immediate orbit. About halfway through, the movie makes a turn that really ups the stakes as well as my emotional involvement in a way that I never felt during 2017’s Dunkirk, which felt too removed with its interchangeable, faceless characters. With Dunkirk, it was a race against time but this was muddled by its non-linear, time-hopping structure. It’s a race against time but you were given three different sets of time that would crash into one another. It was too clever to feel the urgency. With 1917, it’s streamlined to the essential (get to point A before X time) and the urgency is alive in every moment. Not only do our characters not know what they’ll discover past the German lines, if they deviate too long, they may well arrive too late to stop a doomed attack. I assumed our characters would persevere, but as the film carried on, and the setbacks mounted, I began to doubt. Would this be another Gallipoli scenario of pointless death at the behest of arrogance, stubbornness, and bad information? By the end I didn’t know and that gnawing uncertainty provided a tremendous spark of tension. It can be episodic, it can feel more like a gimmick than a movie, but 1917 is a prime example of why we go to the movies. We go to be dazzled and transported through the magic and marvels of expert craftsmen and to throw ourselves into the complicated, messy, intriguing world of strangers that we get to cheer for, laugh with, and possibly cry over. The technical accomplishments will be heralded for years and studied long after. It’s a technical feat but, thankfully, the movie is more than merely its magic act. The human drama becomes personalized, universal, and engaging. There are several moments meant to breathe, including one gorgeous moment in hiding with a Frenchwoman and a baby that is beautiful in its cross-language connection on a human level. The suspense can be overwhelming and I was rocking back and forth whether or not characters would be caught, seen, or make it out alive, always remembering the stakes of failure. Watching 1917 is like holding your breath for two hours and then exhaling at long last upon the end credits. I feel that there are enough resonating elements that provide substance for the movie to stand on its own merits but it will forever be known for its long, coordinated feature-length tracking shot. Even if that is its lasting legacy, 1917 is still a thrilling and immersive achievement in filmmaking ambition.