The viewer’s doubts about “1917” could well echo their doubts about the war itself: all that effort and expense—and for what?
HALFWAY THROUGH “1917”, the film’s heroes are knocked unconscious and the screen goes black, but that is the only moment, it seems, when the camera stops rolling. Otherwise, Sir Sam Mendes’s first-world-war drama appears to consist of one long, continuous, two-hour take, all shot by a single roving camera.
Why the general entrusts such a vital mission to only two soldiers is never explained, but the task is essentially a pretext to get them out of the trenches and into danger. First they have to cross the mud and tangled barbed wire of no man’s land. Then there is a tunnel system which collapses around them. Then there is an abandoned farmhouse, then a fast-flowing river—and so on.
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