1917
War movies have been, no pun intended, attacked from all angles. We’ve seen realistic and stylized violence, collapsed timelines, emotional hellscapes, mental descents and everything in between. But the idea of a war movie filmed as if it is one continuous shot is altogether new. And it would be one thing if it was used as a cheap gimmick to buoy a hacky story. But it’s not. The narrative is earnest and perfectly supports the style choices. It is a beautiful blend of form and function and it is overwhelmingly flawless.
At the peak of World War I, Schofield (played by George MacKay) and Blake (played by Dean-Charles Chapman) are sent on a perilous mission. Blake’s brother’s troop is planning an attack on the German forces, but they are unaware that it is a setup. When Schofield and Blake’s commanding officer learns of the potential ambush, he wants to get word to them as soon as possible. Because the message was urgent and the terrain would be impossible in a vehicle, he sends them on foot.
The pair set out on this perilous mission knowing that if they are unsuccessful, many men, including Blake’s brother will certainly die. Along the way, they encounter German traps, combatants, famous British faces (including Benedict Cumberbatch and Colin Firth) and any number of surprises. Through it all, they must keep moving.
In pursuit of the perfect shot, cinematographers will often study angles and think through framing possibilities. There are usually a few shots in a film where you can clearly see the results of this thought process. Here, however, the entire film is that. The camera moves as if riding on the back of a ghost, creating perfect shot after perfect shot. It moves seamlessly from mounted on a vehicle to hand-held, all while maintaining Roger Deakins’ flawless vision. With no obvious cuts or editing artifice, you are left feeling as if you are actually there. A true first-hand account of the type of danger that generally feels remote.
1917 is a technical marvel. That is beyond debate. But what is perhaps most surprising is the emotional gravitas generated by its performances. For most of the movie, Schofield is walking or running toward the camera awash in horror. The perilous predicament weighs on him, and thus the audience, in a way that will no doubt leave you spent at the end of its two hour runtime.
All the movie magic in the world is meaningless if it isn’t in service of the right story. Somehow, like a total eclipse, 1917 manages to be perfectly aligned. The intricate and tightly choreographed camera-work melts away under the audacious storytelling. You are unlikely to see war done better any time soon.
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