What If We All Had Just One Shot in 1917?

When Carl Theodore Dreyer made The Passion of Joan of Arc (ten years after the events of the film in question here) he did not invent the close-up, he merely mastered the use of it as an artistic tool to convey an emotional story. Likewise, Sam Mendes did not invent the idea of filming a movie in one long continuous take, he merely mastered the use of it for 1917 (along with legendary cinematographer Roger Deakins) as an artistic tool to convey an emotional story. Like Dreyer’s film, 1917 is an absolute artistic masterpiece. It is the height of its craft.

While the technical artistry achieved with the continuous shot did not come as a surprise, what did for me was the emotional undercurrent of the film. At its core, it’s a classic riff on the timeless hero’s journey. Mendes and Deakins chose the one shot technique as a way to mirror the film’s central conflict. These poor soldiers only have one shot to deliver crucial orders. The attention to detail both in the script and what appears (or doesn’t appear) in the shot gives the film a gritty immersive pull. We’re constantly moving forward, our adrenaline racing along with the characters as they try to deliver time sensitive orders across enemy lines to stop a massacre at the shifting front of battle in France during WWI. The performances (especially from the young leads) cannot be dismissed and are currently underrated. The actors give the film and the classical story its heart, and the reverent sentimentality of the script and Mendes’ direction (that never romanticizes war, but instead reminds us of the humanity of those thrown into its chaos) pulls on our heartstrings as much as the suspense gives us a lump in our throat.

1917 borrows liberally the visual elements of horror, thrillers, 1st person video games and classic war films. The nighttime shelling of the ruins of a French village is some of the greatest cinematography ever captured. A hungry rat tripping a wire in an underground bunker. A shell-shocked soldier waking in the darkness. A soldier leaping from a stone wall into a river that sweeps him away into rapids. Cherry blossoms. A battalion waiting in the seemingly peaceful woods listening to one of their own sing a folk song before entering the trenches. Longing to be reunited with your family. Everyone will walk away with their own indelible image, feeling, and favorite scene. What’s even more astounding is that all of it was pulled together to seem like it was one shot. 1917 is mythic movie-making at its very best.

Written by D. H. Schleicher

There is Weird Wild Heartbreaking Beautiful Stuff to be Found in The Deep

The Deep is a wildly imaginative bit of fiction anchored in universal truths and spun creatively from real trauma. It is simultaneously a collaborative work based on the mythology created in experimental rap songs, and a uniquely singular novella. Like its main character, the mysterious Yetu, it is both plural and one. It’s quite unlike anything I have ever read. If I tried to ensnare and then relay its essence, imagine if Toni Morrison wrote a piece of science-fiction. It’s that soulful, and that weird. But to reduce it to that type of blurb would do it a disservice.

A fantastic underwater utopia inhabited by strange sentient creatures (the Wajinru) who are descended from pregnant women tossed overboard during the transatlantic slave trade, communal memories, climate change, the end of the world…it’s all woven into the rich tapestry of Rivers Solomon’s tome which reads like an epic poem. Rich in metaphors and bold imagination, it channels both the grief and the triumph of the marginalized.

Love who you love. Own your past. Create your future.

For all the heartache, the novella builds to an amazing closing line that left this reader reeling.

There is hope in the chaos.

Written by D. H. Schleicher

Revisiting Phoenix – The Best Film of the 2010s

Nina Hoss in Phoenix – The Performance and Film of the Decade
Denis Villenueve (directing Amy Adams in Arrival) – The Director of the Decade
Ryan Gosling in Drive – the Performer of the Decade

The 2010s: the decade of Obama and Trump, hope and hate, dashed dreams and heightened anxiety, increasing interconnectedness that lead to both positive grassroots movements and sharper divisions, social media overload, hacks into our privacy and once sacred institutions, political chaos, and drones delivering both presents and bombs.

Personally, this was the decade I traveled abroad for the first time and ultimately visited six different countries. I advanced multiple rungs in my corporate career. I met an amazing woman – our first date was seeing the Roger Ebert documentary Life Itself – who I married. We then bought a wonderful old house together in a charming neighborhood, and became parents to an awesome little boy. I also published a novel, Then Came Darkness, that will likely always be my own sentimental favorite piece of work.

Film was right there with me every step of the way, mirroring the light (La La Land) and increasing darkness (most of Villeneuve’s output) in the world at large, sometimes in the breadth of the same film (Arrival, Drive, The Tree of Life).

It’s terms of consistency of output, Denis Villenueve had a banner decade and directed more list entries than any other auteur: Arrival, Enemy, Sicario, Blade Runner 2049. It was also a great decade for Ryan Gosling, who is the performer who shows up on more list entries than any other: Drive, La La Land, The Place Beyond the Pines, Blade Runner 2049. The Gos also brought my wife and I together as our shared love for him was one of the first topics of discussion the night we met at a rooftop party, both of us reluctant guests of mutual acquaintances. Her favorite Gos performance was Half Nelson, mine was Drive. We abhorred The Notebook. Both of us passed each other’s first test.

But I digress. Back to the decade at hand where some films reflected the anxious yet still somehow hopeful mood of the moment through depictions of complex modern relationship (Moonlight, Waves), while others just flat out broadcast our deepest modern anxieties (Take Shelter, Enemy, Sicario, Us). Still others looked back and reminded us there were times before ours even more tumultuous (Phoenix). Still others bent time (Inception, The Tree of Life, Uncle Boonmee Who Can Recall His Past Lives) while others stood austerely outside of any context and proved the timeless nature of art (Phantom Thread).

Some could’ve only been made with the boldness of young auteurs finding their voice (Moonlight, Us, Waves), while some could’ve only been made by a reflective master looking back on their career (The Irishman). Then there were others that could’ve only been made by auteurs in their prime (Arrival, Inception, Phoenix).

Yet some could’ve only been made by a depressed madman looking for the beauty in the end of the world (Melancholia). And still some blazed a trail so defiant in their logic and reason for being (a continuation of a series thought long dead directed by a senior citizen) that they perfectly reflected the madness of our times by showcasing an even madder future (Mad Max: Fury Road).

But the movie that I think about probably more than any other film of the decade; a film whose climax features a haunting, emotional, draining, and ultimately uplifting rendition of Sarah Vaughn’s “Speak Low” that was so memorable my wife and I later added it to our wedding song list; a film that I compared to such classics like The Third Man (routinely in my Top Five of All Time) and Hitchcock’s Notorious…is none other than Christian Petzold’s neo-noir psychological slow-burner about survivor’s guilt and hidden identities, Phoenix. Just as Nelly (played by Nina Hoss in a performance for the ages) survived her husband’s betrayal, WWII and the Holocaust, so did all of us looking back now survive the wild anxiety-riddled ebbs and flows of the 2010s. Phoenix is without a doubt, the greatest film of the decade.

FilmYearDirectorDecade Rank
Phoenix2015Christian Petzold1
Phantom Thread2017Paul Thomas Anderson2
If Beale Street Could Talk2018Barry Jenkins3
Inception2010Christopher Nolan4
The Tree of Life2011Terrence Malick5
Mad Max: Fury Road2015George Miller6
Waves2019Trey Edward Shults7
Melancholia2011Lars Von Trier8
Uncle Boonmee Who Can Recall His Past Lives2011Apichatpong Weerasethakul9
Drive2011Nicolas Winding Refn10
The Irishman2019Martin Scorsese11
Arrival2016Denis Villeneuve12
12 Years a Slave2013Steve McQueen13
Winter’s Bone2010Debra Granik14
Interstellar2014Christopher Nolan15
Moonlight2016Barry Jenkins16
La La Land2016Damien Chazelle17
Cold War2018Pawel Pawlikowski18
Lean on Pete2018Andrew Haigh19
The Place Beyond the Pines2013Derek Cianfrance20
Take Shelter2011Jeff Nichols21
Biutiful2010Alejandro Gonzalez Innaritu22
Transit2019Christian Petzold23
Us2019Jordan Peele24
Personal Shopper2017Olivier Assayas25
A Separation2011Asghar FarhadiHM
Lincoln2012Steven SpielbergHM
The Grey2012James CarnahanHM
The Impossible2012Juan Antonio BayonaHM
The Master2012Paul Thomas AndersonHM
Gravity2013Alfonso CuaronHM
Inside Llewyn Davis2013The Coen BrothersHM
Mud2013Jeff NicholsHM
Blue Ruin2014Jeremy SaulnierHM
Enemy2014Denis VilleneuveHM
Sicario2015Denis VilleneuveHM
The Salesman2016Asghar FarhadiHM
Dunkirk2017Christopher NolanHM
Blade Runner 20492017Denis VilleneuveHM
Wind River2017Taylor SheridanHM
BlacKkKlansman2018Spike LeeHM
Roma2018Alfonso CuaronHM

Written by D. H. Schleicher