GuideDoc Watch Movie 1917

2020年05月08日

Dean-Charles Chapman

8,9 of 10

writers Sam Mendes

2019

Genre Drama, War

country Spain

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Greetings again from the darkness. It's now been over 100 years since World War I ended. The Great War garners barely a mention in high school history books these days, and Hollywood has devoted much more time and energy to WWII. Filmmaker Peter Jackson did his part with last year's stunning documentary THEY SHALL NOT GROW OLD, a video and photographic look at the actual people involved in the First World War. And now, Oscar winning director Sam Mendes (AMERICAN BEAUTY) delivers another glimpse. and another technical marvel.

Mr. Mendes, working with Oscar winning Cinematographer Roger Deakins (BLADE RUNNER 2049) and Oscar winning Film Editor Lee Smith (DUNKIRK) has shot and edited the film to give the look of one continuous take in real time. Although used previously in such films as Hitchcock's ROPE and Inarritu's BIRDMAN, the single take approach is certainly no gimmick here. We open on two young British soldiers lounging in a prairie as they are summoned to report to the commander. Their mission is described as critical, as a British battalion is preparing to walk into a deadly trap set by the Germans. More than 1600 lives are at stake and the phone lines are down. It's up to Lance Corporal Blake and Lance Corporal Schofield to work their way across No Man's Land to the front line and hand-deliver an order stopping the attack. Oh, and one more detail: Blake's older brother is in the battalion he is tasked with warning.

The real time approach serves the purpose of allowing viewers to take on the urgency of Blake and Schofield. We experience the tension and horrors of war. Barbed wire, booby traps, slushy trenches, snipers, rats, dead bodies, dogfights (the aerial type) and towns under siege all play a part here as the men rush towards their goal of saving fellow soldiers lives, including a beloved family member. Dean-Charles Chapman ( Game of Thrones" plays Blake, and George MacKay (CAPTAIN FANTASTIC) plays Schofield. We spot the personality differences between them. Blake is super focused and determined to save his brother, while Schofield doesn't welcome the assignment, but is a dutiful soldier and loyal friend.

It's really the Schofield character with whom the viewer mostly relates. He's no super soldier or Jason Bourne-type, but rather a young man trying to stay alive and fulfill his orders. With the relentless pacing of the film, we feel the fear and admire the courage. There is an especially touching scene in a bombed-out town where paths are crossed with a French woman (Claire Duburcq) caring for an orphaned infant. It's a reminder that humanity still exists, even within the bounds of war.

There is no clock ticking in the corner of the screen, but we know time is of the essence, and quite limited. The camera seems to be always moving forward, rarely allowing for us or the characters to exhale. As you might expect, running is done frequently - sometimes towards something, sometimes from it. Roger Deakins is in prime form here with his camera, and there are too many remarkable moments to mention them all; however, the river rapids and waterfall, and the town under siege at night, are two of the most incredible sequences I've seen on screen.

Along the journey, some familiar faces pop up as military men: Andrew Scott, Benedict Cumberbatch, Richard Madden, Mark Strong, and Colin Firth. Although each appears only briefly, it's a testament to their acting prowess that each is memorable. The chaos and relentless terror of war is on display, more often than not. But this isn't a film designed to create deep thoughts or serious debates on the merits of war. Instead, it's meant to focus on one of the countless personal stories that occur during war. War is fought by people, not faceless countries, and each person has their own story.

Non-linear story telling has been a movie-thing since even before MEMENTO, but director Mendes (and co-writer Kristy Wilson-Cairns, Penny Dreadful" show us the true presentation of linear. in the moment and by the moment. GALLIPOLI and PATHS OF GLORY are about the closest comparisons I can come up with, and the weight of the film is felt physically and emotionally as we are drawn in. The exceptional score from Thomas Newman (14 time Oscar nominee) serves to accentuate the chaos and relentless terror. It's a work of art and a unique viewing experience.

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There was a problem filtering reviews right now. Please try again later. Reviewed in the United States on January 4, 2020 Stunning technique and talent in perfect form. Written and directed by Sam Mendes, this riveting movie has immense meaning because it was actually inspired by Sam Mendes’ own grandfather’s experiences in WWI and based on his book Autobiography Of Alfred H. Mendes, 1897-1991 (The UWI Press Biography Series) and the movie was made in his memory. TIPS FOR PARENTS: Some profanity and F-bombs. You see dead horses and bodies (all prosthetic, of course), complete with circling flies, rats, and black crows. You see a man’s life blood drain from his face. Spoken French with subtitles You see a man kill another man with his hands like in that devastating scene in Saving Private Ryan. That scene has haunted me for years. THINGS I LIKED: Fantastic cinematography by 14 times Academy Award nominee Roger Deakins. Surely the work he does in this movie will win him an Oscar. I loved the long sequences in the beginning of 1917 when they walked through the trenches. The entire film is shot and edited to make it look like one long, single shot that takes place in real time. Wow. Seriously, the camera work is next level. For example, the camera keeps running from the ground level, water level, and over the shoulder in incredibly realistic shots that make you feel like you’re standing right next to the characters in the middle of all the action. The cast is very good and includes excellent performances by George MacKay, Dean-Charles Chapman, Mark Strong, Colin Firth, Benedict Cumberbatch, Andrew Scott, and Richard Madden. Some salty humor provided by Andrew Scott’s character. It’s the only time the audience I sat with laughed. The music provides a feeling of non-stop tension yet doesn’t become monotonous. How they prepared the fields and landscapes to really look like war-torn Europe was truly amazing. I loved how Blake hurt his hand on barbed wire at the very beginning of his journey so that he had to continue babying it amidst his struggles. For a truly visceral experience, watch this movie on the biggest screen you can. I loved the way the movie began and ended. Perfect. It doesn’t feel like a Hollywood movie where everyone has endless ammunition. It feels real. You can read the rest of my movie review at or watch my review on the Movie Review Mom YouTube channel!
Reviewed in the United States on January 8, 2020 1971 was a fabulous year: Jiffy Peanut Butter was 59 cents a can, you could take home an Etch-A-Sketch for $2. 83, a Datsun 1200 Sports Coupe was yours for $1, 866, a gallon of gas was 40 cents, and the average rent was 150 bucks. But this crazy movie mentions none of it -- not even the opening of Disney World or those fab Velour pant suits, Carole King’s Tapestry or the coming of David Bowie. I don't get it.
Reviewed in the United States on January 10, 2020 As "1917" (2019 release; 119 min. ) opens, we are told it is "April 6, 1917", and Lance Corporals Schofield and Blake from the British army are summoned by the General: the two soldiers must deliver an urgent message to 2 battalions who are about to fall into a massive German trap. Blake's brother is among the 1600 soldiers in peril. Off they go, Schofield and Blake. At this point we are less than 10 min. into the movie but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out. Couple of comments: this is the latest movie from British director-writer-producer Sam Mendes, who brought us the 2 most recent James Bond films, and American Beauty way before that. Here he brings a WWI story to the big screen as it was relayed to him by his grandfather, who served in WWI. I don't want to spoil anything by revealing more of the plot. Instead let me make the following general observations: as the movie opens, we watch as Schofield and Blake walk to the General's camp, get his orders, and get underway, and after a couple of minutes, I realized that all if this was being shown in one continuous take. Then it became 5 min., then 10, then 15 min., and I thought to myself, how much longer can this be just one continuous take? (Sorry, I'm going to to tell you. ) The movie is just epic on so many levels. There are some stretches where there is little to no dialogue and it is then how critically important the movie's sound design is. You may recall that in 2018 there was a fabulous documentary called "They Shall Not Grow Old" (directed by Peter Jackson), in which WWI archive footage is restored gloriously. And in 2017 there was Christopher Nolan's epic WWII drama "Dunkirk". To me "1917" recalls both those films in the best possible way. Kudos also to Thomas Newman for the massive original score, which plays almost non-stop during the movie. "1917" went wide this weekend, and i couldn't wait to see it. The Friday evening screening where I saw this at here in Cincinnati in a mid-size theater was pretty much sold out, I am very happy to say. Winning Best Picture and Best Director at last weekend's Golden Globes will only reinforce the strong word-of-mouth this movie surely will generate. I am going on record that this movie will get multiple Oscar nominations (and then win them). If you like an epic war movie, you are in for a treat, and I would readily suggest you check this out, be it in the theater, on Amazon Instant Video, or eventually on DVD/Blu-ray, and draw your own conclusion. *UPDATE 1/13/20* As predicted, "1917" won multiple Oscar nominations today, and I am going on record that it will win Best Movie and Best Director Oscars (as it did at the Golden Globes)
Reviewed in the United States on January 19, 2020 Bad filming; poor digital quality, overdone music to make you feel hyped. bad acting, continuous camera / no breaks. No plot, bad writing. The end that I was waiting for was not even there clearly. He hunts and hunts to tell someone as men ARE running across the field at Dawn and should not have been instructed to do so -- or be killed. No real ending. Gotta remember no phones, no communications are evident to tell them to "fall back". NOTHING. Poor plot story. Don't waste your $20. See it on Redbox or later on Netflix/Prime. DULL.

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With more than £45m in the bank, 1917 is the year’s highest-grossing film in UK cinemas by a country mile, and as things stand, nothing’s breaking that record for the foreseeable future. If Sam Mendes’s big, punchy first world war epic was still on your to-see list when cinemas succumbed to lockdown in March, its digital release on Monday will come as a welcome quarantine care package.
You will have missed an opportunity, though. Justly rewarded at the Oscars for Roger Deakins’s propulsive, sleight-of-hand cinematography and its layered, pummelling sound design, 1917 remains involving and impressive in any format, but had more immediate sensory grandeur on the big screen. Setting aside the commotion over its smartly executed illusion of being shot in two long takes, Mendes’s film is a man-on-a-mission tale in a simple, even classical vein, thinly characterised in ways that somewhat curtail its emotional impact. The technical showmanship here isn’t mere window-dressing. It’s what makes the film distinguished and immersive in the canon of films about the first world war – which rarely gets such elaborate cinematic treatment, at least relative to the ongoing parade of pyrotechnically enhanced second world war spectaculars.
Perhaps it’s the knowledge of all that deathly bravado to come, however, that gives an additional sense of piercing tragedy to the greatest first world war films – many of which are available to stream, if you feel like situating Mendes’s blockbuster in context. Lewis Milestone’s All Quiet on the Western Front (BFI Player) is, astonishingly, 90 years old this year, and hasn’t dated a whit, neither in its strikingly crisp, clean, unadorned film-making, nor in its tough, unsentimental perspective.
All Quiet on the Western Front (1930). Photograph: Ronald Grant Archive
It remains pretty much the master template for any anti-war film, its non-partisan depiction of daily life for German soldiers in the trenches as vividly harrowing in its way as Mendes’s missive from the opposite side. That it deservedly won the best picture Oscar in 1930 is all the more remarkable when you consider that the same award went the year before to Wings (Amazon), a sweeping, silent action romance that seems largely enamoured of its WWI airman derring-do until its slightly ungainly “war kills” coda. It’s smashing, old-school entertainment, but hasn’t aged nearly as gracefully. See also Howard Hughes’s ludicrously glamorous planes-and-dames spectacle Hell’s Angels (1930), available on the Internet Archive. It’s not much of a history lesson, but it’s a glistening romp.
More stately decorum returned in A Farewell to Arms (Amazon Prime), a handsome, stirring 1932 adaptation of the Hemingway novel that accrues a genuine lump-in-throat gravity to its doomed romance between Gary Cooper’s dashing ambulance officer and Helen Hayes’s Red Cross nurse. Still, Hollywood depictions of the war veered ever more toward grandstanding and patriotism: see Howard Hawks’s flawed but fascinating Sergeant York (Chili), a war-hero biopic caught between its subject’s anti-war principles and conservative cheerleading that spoke very much to the moment in 1941. It would take the French to bring some cynicism to proceedings: Jean Renoir’s peerless La Grande Illusion (1937), currently streaming on Mubi, still cuts deep with its humane, complex comedy, astutely threading class solidarity through opposing factions in its prisoner-of-war escape saga.
After that, it wasn’t until Stanley Kubrick’s still-breathtaking Paths of Glory (1957; iTunes) that the Great War got a cast-iron classic film, with a portrayal of trench warfare as unflinching as its thorny examination of the moral consequences. In 1981, Gallipoli, Peter Weir’s majestic, sun-scorched study (Amazon Prime) of Australian soldiers swallowed whole in the eponymous allied war campaign, brought a fresh national perspective to a genre dominated by American and European points of view.
Watch a trailer for Testament of Youth.
Recent decades have brought fewer essential first world war dramas, unless you count Steven Spielberg’s claggy, custardy War Horse adaptation (2011), or a serviceable but standard-issue 2017 remake of that old chestnut Journey’s End. Over both of those – indeed, over 1917 – it’s James Kent’s exquisite, underrated 2014 Vera Brittain biopic Testament of Youth (Amazon Prime) that I return to. A rare, bracing treasure for its foregrounding of female perspective in a tale of war, it has the soaring swirl and plunging sadness of the very best.
More titles new to streaming this week
Matthew McConaughey in The Beach Bum (2019). Photograph: Allstar/Vice Films
The Beach Bum (Blue Finch, 18) Harmony Korine’s first all-out stoner comedy never found a Spring Breakers -level following, but it’s mellow and enveloping if you’re in the mood, so to speak. If you’re not, at least the ice-cream tones of Benoît Debie’s cinematography make it a beautiful indulgence.
Richard Jewell (Warner Bros, 15) The businesslike nature of Clint Eastwood’s recent films works to the benefit of this gripping, dourly ambiguous biopic of the security guard caught up in the Atlanta Olympic Park bombing. The script wobbles, particularly on its gender politics, but Paul Walter Hauser and Kathy Bates are superb.
Water Lilies (Mubi, 15) With Portrait of a Lady on Fire having woken up a wider audience to Céline Sciamma’s brilliance, the time is right for Mubi to stream her shimmering 2007 debut – long unavailable in any format – which demonstrated her sensual command of the female gaze early on.
The Family Way (StudioCanal, 12) This re-release of the 1966 Britcom about newlyweds trapped under the same roof as the groom’s family certainly makes for timely quarantine viewing. The film itself is a charming time capsule, no longer edgy but gently wry, buoyed by Paul McCartney’s score.
This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase. All our journalism is independent and is in no way influenced by any advertiser or commercial initiative. By clicking on an affiliate link, you accept that third-party cookies will be set. More information.

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The director, writer, and cast of 1917 take us behind the scenes to reveal the inspirations for the World War I epic and explain why it was important to film it as one shot. Watch the video
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Storyline
April 1917, the Western Front. Two British soldiers are sent to deliver an urgent message to an isolated regiment. If the message is not received in time the regiment will walk into a trap and be massacred. To get to the regiment they will need to cross through enemy territory. Time is of the essence and the journey will be fraught with danger.
Written by
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Plot Summary
Plot Synopsis
Taglines:
Time is the enemy.
Did You Know?
Trivia
This is the second time George MacKay portrays a soldier in WW1 - the first was in Private Peaceful. See more »
Goofs
When Schofield leaves the truck at Écoust due to the bridge being out, he's told that the nearest intact bridge is 6 miles. When he is later going down-river, an intact bridge can be seen in the background.
However, the first crossing was of a canal, while after running around/across the village it may be a different river he is reaching. See more »
Quotes
Lance Corporal Blake:
Sir, the General is sure the enemy have withdrawn. There are aerials of the new line...
Lieutenant Leslie:
Shut up. We've fought and died over every inch of this fucking place, now they suddenly give us miles? It's a trap.
[ Leans in to Schofield]
But, chin up. There's a medal in it for sure. Nothing like a scrap of ribbon to cheer up a widow.
See more »
Crazy Credits
The opening logos are shortened and tinted blue. See more »
Alternate Versions
In India, the film received multiple verbal cuts in order to obtain a U/A classification. Also, two anti-smoking video disclaimers and a smoking kills caption were added. This version also features local partner credits at the beginning and an interval card after Schofield is hit. See more »
Soundtracks
I Am A Poor Wayfaring Stranger
Arranged by Craig Leon
Performed by Jos Slovick See more »
Frequently Asked Questions
See more
»
Details
Release Date: 10 January 2020 (USA)
Box Office
Budget: $95, 000, 000
(estimated)
Opening Weekend USA: $576, 216,
29 December 2019
Cumulative Worldwide Gross: $368, 027, 644
See more on IMDbPro »
Company Credits
Technical Specs
See full technical specs ».