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.
With summer winding down, Hollywood is gearing up for their prestige film season. And with a one-year-old at home it has become increasingly difficult to get out to a movie theater, so this new trend started by Netflix to stream Oscar bait couldn’t have come at a better time for me. My thirty-year-old cinematic purist self would’ve screamed, “You’re tarnishing the purity of the experience!” but my almost forty-year-old self is like, “Let’s stream everything! Who’s got time to go to a theater?”
Here are my most anticipated films of the 2019 Fall Movie season:
The Irishman – Oh thank heaven for Netflix! I don’t think I could find the time to escape to a theater for over three hours, and I’ll likely have to watch this one in chunks. Scorsese, DeNiro, Pacino, Pesci all in their element and Anna Paquin primed for a mid-career revival. I have high, high, hopes for this one.
Marriage Story– the buzz on this one is strong, and the trailers have been excellent. Noah Baumbach is long overdue for a big popular breakthrough as his films have always been niche, and Adam Driver and Scarlett Johansson look to be at the top of their game. This has the feel of Kramer vs. Kramer by way of Woody Allen if he had a millienial’s EQ. Again, thank heaven for Netflix, as I would otherwise not likely be able to get out to this one and its domestic drama looks well suited to emmerse yourself in at home.
1917– Sam Mendes looks to do for WWI here what Christopher Nolan did for WWII in Dunkirk. This looks like an immaculately shot, edited and staged piece of tick-tock wartime suspense with some big emotional payoff. This has Oscars written all over it, and will probably worth the trip to the theater for the experience.
A Hidden Life – Terrence Malick is back, and this three-hour biopic looks to be more like The New World in style than his more recent contemporary endeavors. The buzz on this is his best in years…but it’s still three hours long, and man, do I wish this was streaming, though arguably you’d want to see these images on the biggest screen possible.
Ad Astra – Of all the film’s on the list this one I am most skeptical about. Could it be an Interstellar style masterpiece, or a boring chore? James Gray is one of the best directors yet to make a great film. Brad Pitt is the star power. It’s nice to see Ruth Negga is also onboard, but the rest of the cast all seem a bit tired: Donald Sutherland, Tommy Lee Jones, and Liv Tyler. The trailers have been hit or miss, but there’s still tons of promise here.