Strangely, the first trailer for this movie hadn't really compelled a strong desire to see this movie, but a combination of building buzz (culminating in some success at last week's Golden Globe awards) and a chance invitation to see it on opening weekend motivated me to leave the house, despite my better judgement.
Comparisons to Saving Private Ryan are inevitable, and 1917 measures up pretty favourably to that modern-day classic. This is despite its being much smaller in scope and even more ambitious in its storytelling.
Like 2014's Birdman (Or the Unexpected Virtue of Ignorance), a combination of long takes and clever editing makes the movie appear as though it is one single take, transpiring in real time. I spent too much time of the first 20 minutes looking for the seams, as it were, but was quickly drawn into the simple but compelling story.
In April of 1917, two British soldiers are tasked with travelling behind enemy lines with a message calling off an attack which actually a German trap, in order to save 1600 lives, including one of the messenger's brother. It is a tale inspired by the memoirs and stories of director Sam Mendes grandfather, Alfred Mendes, but not based on a specific incident.
We dutifully follow Blake and Schofield through seemingly endless trenches, some teeming with fellow Tommies and others seemingly abandoned. We are at their side as they cross the cratered abattoir of no-man's land in order to find a gap in the wire. We share their apprehension as they enter a ruined farmhouse in search of the enemy, or watch a dogfight transpire over their very heads. At no time are we really permitted to avert our gaze from the soldiers or whatever is capturing their attention, and it is used to good effect in creating sensations of both claustrophobia and loneliness.
Despite the limitations of this style of shooting, cinematographer Roger Deakins (Blade Runner 2049) does his normally brilliant work of transforming mundane or horrific scenes into beautiful or captivating tableaux. His work with light and shadow in the third act would be just as staggering in black and white.
The real-time aspect of the movie also ensures that even as Blake and Schofield are running for their lives or seeking concealment, the looming knowledge that the attack will be launched at first light unless stopped maintains both a building pressure and sense of inevitable dread.
Like in Dunkirk, the German forces are a secondary consideration for much of the film, with time being the true enemy (as stated on the poster). The myriad ways in which even a trained and familiarized individual can be harmed are either outlined or demonstrated to good effect long before any type of adversary ever comes into play: barbed wire injuries, corpse-intensified disease, falling into a deep crater, freezing, starving, tripping a booby trap, trench collapses and drowning are all threats to be faced prior to bullets and bayonets.
Even with a relentless deadline and personal stakes with Blake's brother in harm's way, there are still quiet and reflective moments interspersed with the tension and action, even after crossing into enemy territory.
There are lots of familiar faces in the movie, but none of them stay very long, as we are attached to Blake and Schofield and the nature of their mission means all of their interactions are transitory. This doesn't make them any less profound or affecting, as when an officer offering a ride (Mark Strong) also suggests there be witnesses present when the message to call off the attack is given. The sad poignancy of this insight, possibly gained from Alfred Mendes' autobiography, lends a cynical credibility to the tale.
The actors portraying Blake and Schofield themselves, Dean Charles Chapman and George MacKay, were less familiar to me (even though the former played Tommen Baratheon on Game of Thrones), but they do sterling work. In a handful of interactions, they amply demonstrate their individual competencies, strong friendship and hints of resentment of one having been asked along on a spectacularly dangerous mission by the other. Their discussion about the merits of medals and decorations is likely to be seen at the Oscars, with Blake's earnest curiosity counterpointed with what Schofield is unable to put into words.
A technical marvel that is still profoundly emotional, I quipped afterwards that while other movies might trigger existing post-traumatic stress disorder, 1917 has the potential to cause it outright, such is its level of immersiveness. I also can't imagine the difficulties of matching costumes, props, lighting and makeup from footage taken over days that is meant to look like it is transpiring in mere minutes.
With any luck, tomorrow morning's nominations will bring nods for Best Movie, Director, Acting, Editing, Adapted Screenplay, Art Direction, Production Design, Costumes and Makeup. But even if it ends up getting none of those, 1917 is worth seeing, and likely to be referenced as much for WWI films as Saving Private Ryan is for WWII.
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