In this film, the soldier who ran towards the camera completely captured the audience. How heartbreaking and disturbing he was about World War I. Perhaps no film can capture the intensity of the war, which killed nearly 17 million people and left generations devastated. Director Sam Mendes wisely took the opposite view. Personalizing the experience sent overnight to the veteran by both British soldiers, he has made a film that is tense, exciting, and profoundly moving.
Blake (Dan Charles Chapman) is a soldier. Schofield (George Mackay) is not very old but he seems tired of the world, he is already at war. Mendes immerses viewers in the experience of young soldiers when they are sent on foot across a human territory with a message that can stop the slaughter. They must reach British forces before dawn to carry out a planned attack on the Germans, who have ambushed. With the phone lines down, the fate of 1,600 men remains on these two messengers.
Mendes’s bold strategy behind the camera has already received a lot of attention. Filming takes a very long time and minimizes as many edits as possible. It creates the illusion of a permanent movement as soldiers run through trenches and muddy fields. The technique is amazing, but it’s more than a stunt. It adds to the tension and instability, giving us a sense of belonging to two heroes.
Early Stages Of The Film
Although this relationship is primarily about actors. Chapman (Game of Thrones) and Mackay (Captain Fantastic) are natural wonders on screen. For Blake, the mission is personal because his brother could be among those killed if the attack goes ahead. This is the link that selected the general for this mission (Colin Firth) ruthlessly exploited. In the early stages of the journey, Black Action talks about the process and the danger before it intensifies. Chapman’s rose cheeks may be enough to signal innocence, but his performance undoubtedly captures the good of the character, who is too young to be in such danger, his big Determined to save his brother.
Schofield is calm and has to be pulled. Hesitantly, he admits that he won a medal for fighting in Somme, a medal for which he has no reward and no longer owns it. Despite his illusions, he is just as determined to protect his mission and Blake. In this film, his character is very fast and MacKay is quietly performing amazingly. When he poses a difficult question to Blake, you can see his thoughts fluttering when he hesitates to answer. His face looks sad.
In addition to Firth, Andrew Scott and Benedict Cumberbatch also make brief appearances as British officers. But the film is rightly about Chapman and MacKay, whose lesser-known status helps us believe in their authenticity.
More Publicity Than Ever
If there has been more publicity about his technique than ever before in 1917, one reason may be that the most shocking and extremely annoying episodes come as a shock. There is a lot of work to be done in more detail about why there is so much movement in the film. Another reason is that Mendes ‘direction and Roger Dickens’ cinematography are really amazing. As Blake and Sheffield pass through the trenches, the camera quickly retreats as it runs towards us. As we walk along this narrow path with mud walls, we also notice their rapid movement. When they do not emerge in human land, we are with them as they cross a vast landscape with human corpses and dead horses.
The light itself is a drama, one that enhances the sense of each scene, changing from the deep shadows of the room where Black and Sheffield receive their orders, to the deceptively bright skies, and finally the bright orange of fire. A huge plume of the night sky against a black. In addition to American beauty and underrated jarheads set during the Gulf War, Mendes has directed the last two James Bond films, Skyfall and Specter. All of these experiments were put to good use in 1917 with Bond Action, all of which have amazing set pieces for their proximity, saving them from enemy fire as a result of a plane crash.
The Film Pays Homage To Sacrifice And Bravery
The film pays homage to sacrifice and bravery. But this is not about the cruel motives that are sometimes left behind in the fight. Mark Strong, a captain on the hero’s path to the front, has suggested that if the message is indeed conveyed, ‘make sure there are witnesses,’ so the standing order cannot be ignored. “Some men just want a fight,” he says. Often cannot be ignored. Mendes opposes philosophical action and allows action – around the heroes and explosively on their faces – to express the full, complex, terrifying situation of war.
Like many families, Mendes was touched by World War I. He dedicated the film to his grandfather, who told him stories about his experience of war. They turned past memories into the most moving films of the year.