By the Astute film critic, Thomas Hogge, Y 11
In this new First World War epic directed by Sam Mendes (director of Skyfall, and American Beauty), two British soldiers embark on a perilous mission, by venturing into enemy territory in order to deliver a message to call off an attack that would result in the death of some 1600 men.
As the audience, we experience this immersive journey through what seems to be just two continuous shots; a feat which could only be pulled off by the sheer ambition and experience of cinematographer Roger Deakins.
The two lead actors (Dean-Charles Chapman, and George MacKay) each give great performances in 1917, and at multiple points throughout the film, more well-known actors like Colin Firth and Benedict Cumberbatch appear in cameo-like roles, seemingly only existing in order for the big stars to be featured in the trailer. However, don’t let that thought take anything away from the actual movie. From a technical standpoint, it’s one of the most impressive films I’ve ever seen.
The amount of effort put in to create all of the sets and coordinate the extras is entirely paid off by 1917’s jaw-dropping visuals, and the fact that these visuals are all made to look as though they were produced from two continuous takes is the gargantuan cherry on top that really makes the film stand out from your average war movie. The decision to shoot the film in this manner was obviously going to garner a significant amount of interest, and ended up being the largest talking and selling point of the film. I admit that when I first caught wind of this, I was slightly skeptical as to whether this choice was going to come off as gimmicky instead of as an artistic choice. However, I am glad to confirm that this is not at all the case.
What we get from the one-take visuals are some incredibly atmospheric and thrilling scenes. One, in particular, being when the two soldiers leave their trench into no man’s land, having to navigate the muddy wastelands by trudging through disgustingly squelchy-bogs and stumbling across many a decaying corpse. Not at any point does the film feel restricted by the two shots; it completely maintains its level of excitement for the 2-hour runtime. This is definitely the best film currently in cinemas and I urge anyone reading this to go and see it, if they have not already done so.
1917 deserves to be seen and appreciated on a massive screen in a cinema.
