1917-2019

Director Sam Mendes

Starring George Mackay, Dean-Charles Chapman

Scott’s Review #979

Reviewed January 14, 2020

Grade: A

My tastes do not always lean towards the standard war film, so when I first heard about 1917 (2019), I was less than enthusiastic for no other reason than my pre-conceived perceptions.

Though it peaked with the idea of a World War I film rather than the standard World War II or Vietnam War film, I anticipated a run-of-the-mill experience or a story that had already been told.

Boldly told with incredible intensity and a brilliant technical style, director Sam Mendes creates a memorable cinematic treasure.

In April 1917, during the height of World War I, two British soldiers are tasked with a daring assignment: to hand-deliver crucial news to the 2nd Battalion of the Devonshire Regiment, calling off their planned attack on the German forces.

The Germans have faked a retreat to the Hindenburg Line and are ready to ambush the battalion, intending to kill sixteen hundred soldiers.

Schofield (George MacKay) and Blake (Dean-Charles Chapman) are chosen, with Blake’s brother Joseph among the soldiers bound to meet their fate.

As they journey, the young men face a myriad of hurdles including booby traps left by the Germans, terrain littered with dead bodies of their comrades, a precarious helicopter crash, giant rats, and the rapidly approaching deadline to deliver their message.

If they do not accomplish their mission in a timely fashion (twenty-four hours), the results will be devastating. Mendes keeps the tension high because he tells his story in real-time.

1917 is raw and emotional, hitting a hard punch.

Powerful scenes of dead bodies riddle the land, fat and pale from days spent immersed in cold water, young soldiers once handsome, now dead and bloated, remind the viewer what a terrible thing war is, and the ravages it causes.

Unlike other war films, patriotism and nationalist pride are not present.

Instead, the soldiers are weary and angry, confused as to why they are sent to fight for land as ugly as where they are, to die for land that is not even their own. They are depressed and confused.

The relationship between Schofield and Blake is excellent. Both men are weary and afraid, but have each other’s backs throughout their assignment.

It is not clear how long they have known each other, but they are at least acquaintances. They each come to the other’s rescue, and a pivotal scene occurs in a dusty hideout where they nearly die after a cave-in.

The characters possess grit and determination, but it is their humanity and connection with each other that resonate powerfully with the viewer.

An incredible scene unfolds as the day turns into night, and Schofield is well into enemy territory. To avoid a pursuing German soldier, he hides in a dusty basement area and finds a cowering young French girl. At first fearful, the pair quickly bonds, and a realization occurs to Schofield.

A newborn child accompanies the girl.

Assumed to be hers, the soldier immediately parts with his stash of food, not realizing the baby can have only milk. A ghastly realization is that the baby is not the French girl’s at all, but was instead found and rescued to prevent its death. The scene is tender and beautiful, perfectly contrasting the ugliness of the war.

The fantastic scene gives the viewer pause, prompting them to wonder what will become of the girl and the baby.

Nearly rivaling this lovely scene, another poignant moment occurs when Schofield stumbles upon a group of soldiers watching another soldier perform a rendition of the melancholy war tune, “Wayfaring Stranger”.

This moment slows the action down to a crawl, dedicated to loneliness and sadness amid the terrible battles.

The technical aspects that Mendes creates are spectacular and meant to be enjoyed on the largest screen possible. He uses a one-take approach, which keeps the action fast and furious.

The lavish and grandiose exterior scenes of immense dry land perfectly counterbalance a terrific watery scene when Schofield is chased into the river and soon embarks on wavy, grand rapids.

The camera remains on the soldier throughout the scene, as the viewer is taken on a wild adventure, sweeping every morsel of up and down motion with the tide.

To piggyback on this point, a scene occurs when one of the young men is knocked unconscious. It is daylight, but when he regains consciousness, it is night. The cinematography is brilliant, with a sharp left turn to translucent colors and blurry images of buildings.

The viewer is as disoriented as the soldier and fears what lurks in the shadows, as is found out when an unknown approaching figure begins to fire his gun.

1917 (2019) is a progressive-leaning gem with an anti-war message and a genuine approach to a “day in the life of a soldier”. It is not glossy or contrived, but a candid, realistic view of the savagery of war.

With a creative technical style, it is one of the best of its genre ever made.

Oscar Nominations: 3 wins-Best Picture, Best Director-Sam Mendes, Best Original Screenplay, Best Original Score, Best Sound Editing, Best Sound Mixing (won), Best Production Design, Best Cinematography (won), Best Makeup and Hairstyling, Best Visual Effects (won)