1917

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 I remember my days at school, when we were forced to watch ‘The World at War’, a 1970s documentary series that our teacher believed would help seven-year olds not to forget about the Nazis and the second world war. School also taught us about the first world war, about the trenches, the mustard gas, the gas masks, the mines, the tanks, and the German ‘Hun’. It also made sure we knew that millions of soldiers died a horrible death to save us. 

Writer/Director Sam Mendez (Skyfall/Spectre amongst many) has managed an astonishing feat with his latest cinematic offering. By adding to the annuals of war movie history, his film ‘1917’ brings those 70s child-hood classroom horror stories agonisingly to life for the 21^st century. 

We know that war is hell there’s no argument, and our fascination with it, endless. Mendez knows this too, as he drags us like a warped holiday-ride attraction, through the battle lines of no-man’s land. 

On the surface, the story is a simple one, Lance Corporal Blake (Dean-Charles Chapman) and Lance Corporal Schofield (George MacKay) have been set a goal by their commanding officer (Colin Firth in low-lit perfection). It could be medals or death. They have no idea what they are about to face, no one does, but they are not the architects of their fate, war will dictate that for them. Mirroring a sort of Odyssey quest, they seemingly overcome hurdles through sheer naivety.

It’s a war ravaged 1917 springtime landscape, where the cherry blossoms shed their petals onto the decomposing corpses of men littering the French countryside, as rats scamper about and peril lurks in the shadows. This film wasn’t conceptualized on a Dorset rifle range where CEOs spend weekends shooting paintballs for teambuilding. It’s edge-of-your-seat action-drama stuff, and then some.

 

What appears outstandingly like a continuous tracking shot, the action seems to have been filmed in one take. Often, you’ll feel as if you’re sitting on the shoulders of the protagonists as they splash their way through the muddied alleyways of the trenches, attempting to reach the front line and not knowing what they will encounter around the next corner. 

Outside of its ‘war’ genre, 1917 is an exceptional film, particularly for its technical production.  With sound, music, and editing, fuelling an experience of ‘being there’, it’s the Cinematographer Roger Deakins who should bag one of the ten Oscars it’s been nominated for. The film hasn’t been forgotten this awards season and is full throttle for bagging the main gong; ‘Best Film’. It might just get it. 

1917 is a stunning visual masterpiece of film making that is more than a war film. Keep an eye out for some of your favourite actors too, (Bodyguard anyone?) putting in their cameos, because that's what they are. The main feature IS the visual spectacle of the film - the entity itself! Highly recommended, especially for those who love drama and war movies but still understand the futility of it. Remember to pack plenty of water, and maybe a tissue. 


Writer / Director: Sam Mendez

Co. Writer: Krysty Wilson-Cairns

Cinematographer: Roger Deakins

Music: Thomas Newman

Editing: Lee Smith

Production Design: Dennis Gassner