'1917' directed by "Sam Mendes"
'1917' is a technical achievement in cinema. It's done in a way as to imply a one(or two) continuous take shot. Roger Deacons, the deservedly renowned cinematographer of the Coen brothers and famous for working alongside Denis Villeneuve, pushes his craft forward and is successful in so many ways, and hit or miss(mostly hit) director Sam Mendes delivers an obviously heartfelt and personal story that echoes Spielberg's Saving Private Ryan. In fact, it really feels inspired by the best parts of that film.
The story told is so historically earnest, grounded, visceral and simple I don't know if I have the right to criticize this film at all except to say that I found the end result mysteriously alienating. Maybe it was the gimmick of it being a one-shot film because, in fact, that aspect of the film did nothing to enhance the emersion or connection I felt as an audience member in 2020 watching these soldiers endure their mission. I was taking myself out of the film thinking to myself oh well they must have hid a cut here at this whip pan or there at this or that turn. I am interested to hear if other people felt this way. I don't know if it as only me and my cinema brain crying out "I can see the cuts, I'm so clever" maybe my cinema brain is just a bastard that won't let me enjoy an honest modern work. But I would recommend watching this with a few beers or a joint or both or whatever will turn your cinema brain off, because I found the gimmick presented by this movie to not allow me to do that.
And there is so much to enjoy here. The camera movement here is legendary. Samwise Mendes and Deacons' use the hell out of the new Arri Alexa Mini LF(Large Format) Camera and its accompanying steadycam-like contraption to create something audiences haven't seen before. I think it is a clever use of technology I really don't know if it enhances the story in a significant way. I am glad they tried it. From my perspective, this technique both gives and takes away from the film. As a war film, it stands with the best of them. Both leads are amazing. Dean Charles-Chapman looks to me like the male version of Rachel Weiss, great performance, innocent and compelling on screen. And George McKay has a look about him like an Aardman animated character and a bit like a young Alan Tudyk also phenomenal.
Beautiful work, and a beautiful film with a built-in gimmick. Definitely worth checking out on the big screen.
The story told is so historically earnest, grounded, visceral and simple I don't know if I have the right to criticize this film at all except to say that I found the end result mysteriously alienating. Maybe it was the gimmick of it being a one-shot film because, in fact, that aspect of the film did nothing to enhance the emersion or connection I felt as an audience member in 2020 watching these soldiers endure their mission. I was taking myself out of the film thinking to myself oh well they must have hid a cut here at this whip pan or there at this or that turn. I am interested to hear if other people felt this way. I don't know if it as only me and my cinema brain crying out "I can see the cuts, I'm so clever" maybe my cinema brain is just a bastard that won't let me enjoy an honest modern work. But I would recommend watching this with a few beers or a joint or both or whatever will turn your cinema brain off, because I found the gimmick presented by this movie to not allow me to do that.
And there is so much to enjoy here. The camera movement here is legendary. Samwise Mendes and Deacons' use the hell out of the new Arri Alexa Mini LF(Large Format) Camera and its accompanying steadycam-like contraption to create something audiences haven't seen before. I think it is a clever use of technology I really don't know if it enhances the story in a significant way. I am glad they tried it. From my perspective, this technique both gives and takes away from the film. As a war film, it stands with the best of them. Both leads are amazing. Dean Charles-Chapman looks to me like the male version of Rachel Weiss, great performance, innocent and compelling on screen. And George McKay has a look about him like an Aardman animated character and a bit like a young Alan Tudyk also phenomenal.
Beautiful work, and a beautiful film with a built-in gimmick. Definitely worth checking out on the big screen.
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