Sam Mendes' ambitious World War I film presents the harrowing odyssey of two British soldiers in one seemingly continuous shot. Read the review of '1917':
is the teeth. As we now know from the ample evidence provided by Peter Jackson’s extraordinary rehabilitation of World War I documentary footage in last year’s British soldiers at that time had the most irregular, untended, misshapen, minds-of-their-own choppers seen anywhere in the 20 century.
The film’s plot and format could scarcely be simpler: Two young lance corporals, Schofield and Blake , stuck with 1,600 other British soldiers in trenches on the Hindenburg Line on April 6, 1917, are dispatched to deliver a letter by General Erinmore . The missive, to be handed personally to Col. Mackenzie , commander of the 2 battalion, contains orders not to proceed with a planned advance from the front because of intelligence confirming that it’s an enemy trap.
Not for a moment, however, do the filmmakers pretend that the film has no cuts. As the men traverse a considerable distance over terrain that offers few comforts, there are times where the camera will make a turn, enter some darkness or pass from one realm to another, all providing moments for one interlude to end and another to take up the baton, as it were.
Schofield is a serious, fair-complexioned, rangy lad of the type often associated with young Englishmen of the time, while Blake is shorter and black-haired, more a fireplug of a guy. As they head out on their perilous mission, the fairness of the spring day is overtaken by mud and overcast skies, and accompanied by music that too laboriously stresses the ominous; Thomas Newman’s score will drastically improve before too long. It’s a lifeless, barren landscape, one festooned with barbed wire.
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