It has been said before but begs repeating, Roger Deakins is a godlike force who can make one feel like they are in a film. So many of his works have become favorites of many, including movies from acclaimed directors like Denis Villenueve (“Blade Runner 2049,” “Prisoners” and “Sicario”) and the Coen Brothers (“No Country for Old Men,” “Fargo” etc.) The legend also shot “The Shawshank Redemption,” the number one rated all-time film on the Internet Movie Database (IMDb). Seeing him win his first Oscar in 2017 for “Blade Runner 2049” was beyond satisfying and his second will come this year in the form of “1917” by Sam Mendes.
Set during WWI, this story follows two young British soldiers who are tasked with a seemingly impossible mission; delivering a message across enemy lines. This isn’t your standard war flick with tireless action and gore, we are given a story that highlights bravery, perseverance and humanity during times of peril. The low-key moments are devastatingly emotional as well. Like Stanley Kubrick’s “Paths of Glory,” this story hits upon the immoralities of destroying qualities that create a man. The culmination of the style happens in the final 15 minutes alongside Thomas Newman’s powerful score.
Many were concerned that the one-shot technique used would be a gimmick or overdone. There’s a part of me that wants to see this again in IMAX because the films biggest strength is placing the viewer alongside Blake (Dean-Charles Chapman, “Game of Thrones”) and Schofield (George MacKay, “Ophelia”). “Birdman,” directed by Alejandro González Iñárritu, was another fantastic film that maximized the effectiveness of immersion. Even though this story telling strategy could become a new norm, all that matters is that Mendes and Iñárritu released their movies before the influx.
Speaking of MacKay, his performance was outstandingly authentic. Certain expressions and actions demonstrated the vulnerability these men had when placed in hell-like conditions. In terms of other highlighted roles, its entertaining to recognize the British stars who were cast in minimal parts to let the younger actors shine.
In some ways, “1917” is similar to “The Revenant,” also directed by Iñárritu. Both are survival films with technical feats that outshine some aspects of the script. This does not mean the screenplay has severe problems, just not the emphasis of the filmmaker’s effort. Mendes and Co. wanted to focus on a feel rather than adding clichés of characters’ personal backgrounds. Even though “Dunkirk” (Christopher Nolan, “Tenet”) did the same thing, Mendes did a better job at putting us in their shoes, but Nolan still pulled off an awesome war film. Obviously, this has a lot to do with the fact that “1917” had a simpler storyline. What makes these films so successful is the heightened suspense of every move. The directors understood that seeing the enemy is not a guarantee for the soldiers and the viewer. By keeping audiences guessing about where the opposing army is and how the protagonists will complete the mission is key.
This war happened; even with its unfortunate brutality we must never forget the lives of the people who served like Mendes’ grandfather. If audiences want more content about WWI, watch Peter Jackson’s documentary “They Shall Not Grow Old.” “1917” is not going to be everyone’s personal “thing,” but it captured me from the very beginning.
Image from Universal Pictures via YouTube
