By Nadia Ranaputri
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| Image source: IMDB |
Director: Sam Mendes
Cast: George MacKay, Dean-Charles Chapman, Andrew Scott, Mark Strong, Colin Firth, Benedict Cumberbatch, Richard Madden, Claire Duburcq.
Unlike Steven Spielberg's Saving Private Ryan or Christopher Nolan's Dunkirk ; Sam Mendes' war epic 1917 doesn't start with a bang, but with a view of the fields, untouched by the trenches and the stench of death and battle. Our two leads are seen in a peaceful slumber. It is then with the thud of a boot from another corporal, that they are lead to their faithful mission. "Blake, pick a man, grab your kit," are one of opening lines uttered in 1917. Blake, having been asleep, immediately picks a companion on the spot. Having so easily picked a companion, both had expected nothing of the job, as if it was just another supply run. Little did our characters know, this job was no ordinary run of the mill job. Sounds like a fairly simple story for a film based around the World War I, but rest assured, this film packs in plenty in compensation of its simple premise.
1917 begins in the midst of the First World War with Lance Corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay) as they are informed that across enemy territory, a battalion, lead by the ruthless Colonel Mackenzie (Benedict Cumberbatch); is ready to charge the very next morning towards the Germans, who have seemingly retreated from the front lines. Blake and Schofield later find out, however, that the Germans' retreat is a trap, with evidence of a new and deadlier line of defense being built right under their noses. If this battalion moves forward with the attack, there is a possibility that this will lead to the massacre of 1,600 men, one of them being Blake's older brother. Because of this, Blake and Schofield are tasked with the mission that requires them to cross the trenches and towards enemy territory in order to send a message to the battalion to call off the attack before it is too late.
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| Image source: Digital Spy |
While 1917 has big names on its roster such as the likes of Colin Firth, Mark Strong, Andrew Scott, and Benedict Cumberbatch; it is the younger ones that are brought to the spotlight. In this case, it's the film's two main leads, played by George MacKay and Dean-Charles Chapman. Both MacKay and Chapman are exceptional in their roles, playing polar opposites of one another, but somehow having a genuine established bond. By the opening of the film, it is Chapman's Blake that takes the lead through the beginning of the film, the mission being personal since Blake's brother is in the group of men heading into potential massacre. Chapman exudes some much needed charm, as Blake is the more sympathetic and passionate of the two. MacKay's Schofield, on the other hand, is a much more reserved person, refusing to writhe and dwell on something as simple as a medal, or something as horrid as a cut on the hand from a barb wire. MacKay portrays a more tactical person as opposed to Chapman, and Schofield becomes the one to ground Blake throughout their mission. Hence, the two complement each other brilliantly, enticing the audience by their banters and their developing bond. But out of the two, it is MacKay who stands out, as Schofield's character slowly opens up as he delves deeper towards the turmoils of the war.
1917 is the kind of film where it's more of a "in the moment" type of film. While the characters aren't explicitly shown of their backgrounds, there's cleverly subtle hints of it through dialogue and visuals. Take any scene where Chapman's Blake and MacKay's Schofield are in a conversation. Whether they are talking about the risks of the mission or a talk about a medal, which Schofield believes is nothing more than a piece of tin that doesn't make him anymore special (in which Blake disagrees with. "It’s not just a bit of tin. It’s got a ribbon on it," Blake points out with a smile); says volumes upon their characters. It is through this that we truly care for the characters. Sure, the film focuses more on them in the moment of crisis, but the more hints we get about each of their character, the more charismatic they become. Between the intense moments, the film gives some space for the characters to breathe a little, but it doesn't dwell on it much; though that's not inherently negative in the case of this film. Through their actions and their banters, the film gives enough glimpses of its two main characters, efficient yet not to the point of full ambiguity. There are times where characters take a glimpse of a token from home, eventually taking short focus of it and move on with their mission. This is war after all, and time isn't on their side.
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| Image source: IMDB |
The fact that it consists of single continuous takes that make the entire film look like a one-shot, just elevates the film even more. It's an artistic choice, yes, but it enhances the film's tension and use of a unique perspective. The camera glides seamlessly alongside the characters as they make their way through the trenches, with only a fraction of a standstill moment. In a way, you're placed in the shoes of the soldiers that traverse through the horrors of the trenches. This makes the scenes even more intense, leaving no room for mercy as our protagonists fight their way through a playground of horrors, never really knowing what comes next. We're constantly on the move, as if we're also racing against time alongside them. This is also helped immensely by Roger Deakins' spectacular cinematography. Every single shot is pure beauty, particularly one of Schofield running through a ruined village at night whilst lights from flares and the darkness of the night continuously engulf him as he moves. That for me, was the moment I knew that this was going to be one of my all time favorite scenes ever in a film. It's in these moments where you realize that you're witnessing a visual spectacle, a moving painting of masterful proportions. You could take any frame from this film and place it as your wallpaper. This is especially accompanied perfectly by Thomas Newman's masterful score, a gorgeous addition to the already stunning visuals that this film had to offer.
1917 is a masterful film that grips you right from the very beginning until the very end. It beautifully captures the danger and the horrors of war. Through its limited perspective, the film was able to break out of the shell and make use of its vast setting to showcase the consequences and the horrific lives of the soldiers in the battlefield. Horses are found slaughtered in the trenches, dogs lay long dead in an abandoned farmhouse, but then comes in a moment of beauty in the middle of the ruins; like the orchard trees that Blake and Schofield pass through. It may seem as if 1917 has no depth on the surface, yet when you look further, it's there in subtle fashion, and once you find it, it lingers with you. It shows more than it tells, it's simply visual storytelling at its finest. The fact that Mendes took inspiration from his grandfather's stories during his time in the First World War makes this film even more endearing. It is clear that Mendes really took the time and heart into crafting a masterpiece of a film. Because of its use of continuous take, you feel every second of tension, every brash decision, every change of reaction, as if we're experiencing it in real time. Once it ended, it felt as if very nerve that I held back from all the tension and intensity that this film gave me; fell in relief and left me in tears. Sam Mendes has created a masterful film that spans beyond visual beauty, a tension-filled ride, but an overall effectively riveting film.
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| Image source: IMDB |
Overall verdict: 1917 is a captivating film, adding one incredibly tense
sequence after another. Every one of these scenes are meticulously and
intricately choreographed, elevated by its technique of continuous
shots. Its two lead actors, MacKay and Chapman; bring powerful and nuanced performances as Schofield and Blake respectively. Whilst Chapman exudes charisma and empathy, MacKay's performance is a subdued one, hence both are able to complement each other as their characters bond throughout the film. In terms of cinematography, there is no doubt that Roger Deakins is a masterclass, and 1917 yet another example of Deakins' master work. The use of one-shot technique isn't exactly new anymore, having already been used in present day films in the likes of Alejandro Iñárritu's Birdman and most recently, The Revenant; but 1917 is able to bring something new to the table by applying it in the subject of war. Every shot in the film, despite being shot as one continuous take; is gorgeous, showcasing the horrors of the trenches. Through its runtime, 1917 was able to showcase the consequences and the horrific battles that men had to face during the First World War. In the end, 1917 is a masterful film that should be seen in the biggest screen possible, expanding beyond its already impressive technical aspects. While 1917 has a simple story, it's able to make use of its vast setting and create a poignant and riveting tale of war, sacrifice, and brotherhood.
Stars: 5/5
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