And as one would expect, the environments of 1917 are gorgeously lit, whether they're empty trenches horrifically strewn with corpses and barbed wire, or bombed-out buildings reduced to rubble by the war. There are a few occasions when it's obvious where a pair of extended takes were welded together in post-production, but otherwise Mendes, Deakins, and editor Lee Smith do a seamless job of creating the illusion that everything was photographed in a continuous take.
Fueled by Thomas Newman's anxiously dramatic score (which channels Hans Zimmer's music from Dunkirk a little too much at times), the film imbues every second of Blake and Schofield's odyssey with a sense of urgency, in a way that a more traditional filmmaking style wouldn't have been able to. Related: Krysty Wilson-Cairns NYCC Interview: 1917įor the most part, 1917 succeeds in pulling audiences into the headspace of its protagonists and using its single take structure to capture the psychological experience of being in a combat zone where death could come for you in the blink of an eye. With the British army's phone lines disabled, Blake and Schofield must brave a treacherous journey by foot and reach the battalion by the next morning, in order to warn them about the Germans' intended ambush before time runs out. Their top commander, General Erinmore (Colin Firth), believes this retreat is actually strategic and the Germans are laying a trap for a British battalion of 1,600 men, Blake's brother among them. With WWI raging on around them, young British soldiers Blake (Dean-Charles Chapman) and Schofield (George MacKay) are tasked with an urgent mission that will require them to cross into enemy territory recently vacated by the German army.
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The movie picks up on April 6, 1917, in northern France. 1917 is well-acted and an undeniable technical achievement, yet its real-time storytelling is both the film's greatest strength and biggest problem. To their credit, Mendes and his legendary cinematographer Roger Deakins rarely call attention away from whatever's happening onscreen with their camerawork - which is not to say their approach is completely effective, either.
Sam Mendes' WWI epic (which was loosely based on a story Mendes' paternal grandfather told him about his time in the war) was shot and edited to look like it was captured in a single take, similar to the Best Picture Oscar winner Birdman and other one-shot movies before it. It would've been easy for 1917 to feel like a gimmick film.
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