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Country Spain, UK
Runtime 1 hour 59Minutes
average Rating 8,6 / 10 Star
Reviews It's been already three devastating years into the costly World War I, and the Imperial German Army seems to have retreated from their position in the battle-scarred Western Front--an elaborate scheme designed to lure the Allies into a deadly trap. On April 6, 1917--with the lives of 1,600 fellow soldiers hanging by a thread--the best friends and British Army Lance Corporals, Tom Blake and Will Schofield, undertake a peril-laden mission to hand-deliver an urgent, life-saving message to Colonel MacKenzie's Second Battalion of the Devonshire line infantry regiment. With this in mind, amid the horrors of an uncannily silent no man's land, the young brothers-in-arms must traverse nine long miles of hostile enemy terrain in the French countryside, to reach the 2nd Devons in time and call off the imminent attack. Now, two ordinary troopers walk into certain death. What makes a true hero?
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1917 full movie free. | Dec. 20, 2019, 8 a. m. The new World War I drama from director Sam Mendes, 1917, unfolds in real-time, tracking a pair of British soldiers as they cross the Western Front on a desperate rescue mission. Seemingly filmed in one continuous take, the 117-minute epic has garnered accolades for its cinematography and innovative approach to a potentially formulaic genre. Although the movie’s plot is evocative of Saving Private Ryan —both follow soldiers sent on “long journeys through perilous, death-strewn landscapes, ” writes Todd McCarthy for the Hollywood Reporter —its tone is closer to Dunkirk, which also relied on a non-linear narrative structure to build a sense of urgency. “[The film] bears witness to the staggering destruction wrought by the war, and yet it is a fundamentally human story about two young and inexperienced soldiers racing against the clock, ” Mendes tells Vanity Fair ’s Anthony Breznican. “So it adheres more to the form of a thriller than a conventional war movie. ” Plot-wise, 1917 follows two fictional British lance corporals tasked with stopping a battalion of some 1, 600 men from walking into a German ambush. One of the men, Blake (Dean Charles Chapman, best known for playing Tommen Baratheon in “Game of Thrones”), has a personal stake in the mission: His older brother, a lieutenant portrayed by fellow “Game of Thrones” alumnus Richard Madden, is among the soldiers slated to fall victim to the German trap. “If you fail, ” a general warns in the movie’s trailer, “it will be a massacre. ” While Blake and his brother-in-arms Schofield (George McKay) are imaginary, Mendes grounded his war story in truth. From the stark realities of trench warfare to the conflict’s effect on civilians and the state of the war in spring 1917, here’s what you need to know to separate fact from fiction ahead of the movie’s opening on Christmas Day. Blake and Schofield must make their way across the razed French countryside. (Universal Studios/Amblin) Is 1917 based on a true story? In short: Yes, but with extensive dramatic license, particularly in terms of the characters and the specific mission at the heart of the film. As Mendes explained earlier this year, he drew inspiration from a tale shared by his paternal grandfather, author and World War I veteran Alfred Mendes. In an interview with Variety, Mendes said he had a faint memory from childhood of his grandfather telling a story about “a messenger who has a message to carry. ” Blake and Schofield (seen here, as portrayed by George McKay) must warn a British regiment of an impending German ambush. The director added, “And that’s all I can say. It lodged with me as a child, this story or this fragment, and obviously I’ve enlarged it and changed it significantly. ” What events does 1917 dramatize? Set in northern France around spring 1917, the film takes place during what Doran Cart, senior curator at the National WWI Museum and Memorial, describes as a “very fluid” period of the war. Although the Allied and Central Powers were, ironically, stuck in a stalemate on the Western Front, engaging in brutal trench warfare without making substantive gains, the conflict was on the brink of changing course. In Eastern Europe, meanwhile, rumblings of revolution set the stage for Russia’s impending withdrawal from the conflict. Back in Germany, Kaiser Wilhelm II resumed unrestricted submarine warfare —a decision that spurred the United States to join the fight in April 1917 —and engaged in acts of total war, including bombing raids against civilian targets. Along the Western Front, between February and April 1917, the Germans consolidated their forces by pulling their forces back to the Hindenburg Line, a “ newly built and massively fortified ” defensive network, according to Mendes. In spring 1917, the Germans withdrew to the heavily fortified Hindenburg Line. (Illustration by Meilan Solly) Germany’s withdrawal was a strategic decision, not an explicit retreat, says Cart. Instead, he adds, “They were consolidating their forces in preparation for potential further offensive operations”—most prominently, Operation Michael, a spring 1918 campaign that found the Germans breaking through British lines and advancing “farther to the west than they had been almost since 1914. ” (The Allies, meanwhile, only broke through the Hindenburg Line on September 29, 1918. ) Mendes focuses his film around the ensuing confusion of what seemed to the British to be a German retreat. Operating under the mistaken assumption that the enemy is fleeing and therefore at a disadvantage, the fictional Colonel MacKenzie (Benedict Cumberbatch) prepares to lead his regiment in pursuit of the scattered German forces. “There was a period of terrified uncertainty—had [the Germans] surrendered, withdrawn, or were they lying in wait?, ” the director said to Vanity Fair. The movie's main characters are all fictional. In truth, according to Cart, the Germans “never said they were retreating. ” Rather, “They were simply moving to a better defensive position, ” shortening the front by 25 miles and freeing 13 divisions for reassignment. Much of the preparation for the withdrawal took place under cover of darkness, preventing the Allies from fully grasping their enemy’s plan and allowing the Germans to move their troops largely unhindered. British and French forces surprised by the shift found themselves facing a desolate landscape of destruction dotted with booby traps and snipers; amid great uncertainty, they moved forward cautiously. In the movie, aerial reconnaissance provides 1917’s commanding officer, the similarly fictional General Erinmore (Colin Firth), with enough information to send Blake and Schofield to stop MacKenzie’s regiment from walking into immense danger. (Telegraph cables and telephones were used to communicate during World War I, but heavy artillery bombardment meant lines were often down, as is the case in the movie. ) British soldiers attacking the Hindenburg Line (Photo by the Print Collector/Getty Images) To reach the at-risk battalion, the young soldiers must cross No Man’s Land and navigate the enemy’s ostensibly abandoned trenches. Surrounded by devastation, the two face obstacles left by the retreating German forces, who razed everything in their path during the exodus to the newly constructed line. Dubbed Operation Alberich, this policy of systematic obliteration found the Germans destroying “anything the Allies might find useful, from electric cables and water pipe[s] to roads, bridges and entire villages, ” according to the International Encyclopedia of the First World War. Per the Times, the Germans evacuated as many as 125, 000 civilians, sending those able to work to occupied France and Belgium but leaving the elderly, women and children behind to fend for themselves with limited rations. (Schofield encounters one of these abandoned individuals, a young woman caring for an orphaned child, and shares a tender, humanizing moment with her. ) “On the one hand it was desirable not to make a present to the enemy of too much fresh strength in the form of recruits and laborers, ” German General Erich Ludendorff later wrote, “and on the other we wanted to foist on him as many mouths to feed as possible. ” Aftermath of the Battle of Poelcapelle, a skirmish in the larger Third Battle of Ypres, or Battle of Passchendaele (National WWI Museum and Memorial) The events of 1917 take place prior to the Battle of Poelcappelle, a smaller skirmish in the larger Battle of Passchendaele, or the Third Battle of Ypres, but were heavily inspired by the campaign, which counted Alfred Mendes among its combatants. This major Allied offensive took place between July and November 1917 and ended with some 500, 000 soldiers wounded, killed or missing in action. Although the Allies eventually managed to capture the village that gave the battle its name, the clash failed to produce a substantial breakthrough or change in momentum on the Western Front. Passchendaele, according to Cart, was a typical example of the “give-and-take and not a whole lot gained” mode of combat undertaken during the infamous war of attrition. Who was Alfred Mendes? Born to Portuguese immigrants living on the Caribbean island of Trinidad in 1897, Alfred Mendes enlisted in the British Army at age 19. He spent two years fighting on the Western Front with the 1st Battalion Rifle Brigade but was sent home after inhaling poisonous gas in May 1918. Later in life, Alfred won recognition as a novelist and short story writer; his autobiography, written in the 1970s, was published posthumously in 2002. The “story of a messenger” recalled by the younger Mendes echoes the account of the Battle of Poelcappelle told in his grandfather’s autobiography. On the morning of October 12, 1917, Alfred’s company commander received a message from battalion headquarters. “Should the enemy counter-attack, go forward to meet him with fixed bayonets, ” the dispatch read. “Report on four companies urgently needed. ” Despite the fact that he had little relevant experience aside from a single signaling course, Alfred volunteered to track down A, B and D Companies, all of which had lost contact with his own C Company. Aware of the high likelihood that he would never return, Alfred ventured out into the expanse of No Man’s Land. Alfred Mendes received a military commendation for his actions at the Battle of Poelcappelle. (Public domain/fair use) “The snipers got wind of me and their individual bullets were soon seeking me out, ” wrote Alfred, “until I came to the comforting conclusion that they were so nonplussed at seeing a lone man wandering in circles about No Man’s Land, as must at times have been the case, that they decided, out of perhaps a secret admiration for my nonchalance, to dispatch their bullets safely out of my way. ” Or, he theorized, they may have “thought me plain crazy. ” Alfred managed to locate all three missing companies. He spent two days carrying messages back and forth before returning to C Company’s shell hole “without a scratch, but certainly with a series of hair-raising experiences that would keep my grand- and great-grandchildren enthralled for nights on end. ” How does 1917 reflect the harsh realities of the Western Front? View of the Hindenburg Line Attempts to encapsulate the experience of war abound in reviews of 1917. “War is hideous—mud, rats, decaying horses, corpses mired in interminable mazes of barbed wire, ” writes J. D. Simkins for Military Times. The Guardian ’s Peter Bradshaw echoes this sentiment, describing Blake and Schofield’s travels through a “post-apocalyptic landscape, a bad dream of broken tree stumps, mud lakes left by shell craters, dead bodies, rats. ” Time ’s Karl Vick, meanwhile, likens the film’s setting to “Hieronymus Bosch hellscapes. ” These descriptions mirror those shared by the men who actually fought in World War I—including Alfred Mendes. Remembering his time in the Ypres Salient, where the Battle of Passchendaele ( among others) took place, Alfred deemed the area “a marsh of mud and a killer of men. ” Seeping groundwater exacerbated by unusually heavy rainfall made it difficult for the Allies to construct proper trenches, so soldiers sought shelter in waterlogged shell holes. “It was a case of taking them or leaving them, ” said Alfred, “and leaving them meant a form of suicide. ” British soldiers in the trenches According to Cart, leaving one’s trench, dugout or line was a risky endeavor: “It was pretty much instant death, ” he explains, citing the threat posed by artillery barrages, snipers, booby traps, poison gas and trip wires. Blake and Schofield face many of these dangers, as well as more unexpected ones. The toll exacted by the conflict isn’t simply told through the duo’s encounters with the enemy; instead, it is written into the very fabric of the movie’s landscape, from the carcasses of livestock and cattle caught in the war’s crosshairs to rolling hills “ comprised of dirt and corpses ” and countryside dotted with bombed villages. 1917 ’s goal, says producer Pippa Harris in a behind-the-scenes featurette, is “to make you feel that you are in the trenches with these characters. ” The kind of individualized military action at the center of 1917 was “not the norm, ” according to Cart, but “more of the exception, ” in large part because of the risk associated with such small-scale missions. Trench networks were incredibly complex, encompassing separate frontline, secondary support, communication, food and latrine trenches. They required a “very specific means of moving around and communicating, ” limiting opportunities to cross lines and venture into No Man’s Land at will. Still, Cart doesn’t completely rule out the possibility that a mission comparable to Blake and Schofield’s occurred during the war. He explains, “It’s really hard to say … what kind of individual actions occurred without really looking at the circumstances that the personnel might have been in. ” British soldiers in the trenches, 1917 As Mendes bemoans to Time, World War II commands “a bigger cultural shadow” than its predecessor—a trend apparent in the abundance of Hollywood hits focused on the conflict, including this year’s Midway, the HBO miniseries “ Band of Brothers ” and the Steven Spielberg classic Saving Private Ryan. The so-called “Great War, ” meanwhile, is perhaps best immortalized in All Quiet on the Western Front, an adaptation of the German novel of the same name released 90 years ago. 1917 strives to elevate World War I cinema to a previously unseen level of visibility. And if critics’ reviews are any indication, the film has more than fulfilled this goal, wowing audiences with both its stunning visuals and portrayal of an oft-overlooked chapter of military lore. “The First World War starts with literally horses and carriages, and ends with tanks, ” says Mendes. “So it’s the moment where, you could argue, modern war begins. ” The Battle of Passchendaele was a major Allied offensive that left some 500, 000 soldiers dead, wounded or missing in action. (National WWI Museum and Memorial).
1917 Theatrical release poster Directed by Sam Mendes Produced by Sam Mendes Pippa Harris Jayne-Ann Tenggren Callum McDougall Brian Oliver Written by Krysty Wilson-Cairns Starring George MacKay Dean-Charles Chapman Mark Strong Andrew Scott Richard Madden Claire Duburcq Colin Firth Benedict Cumberbatch Music by Thomas Newman Cinematography Roger Deakins Edited by Lee Smith Production company DreamWorks Pictures Reliance Entertainment New Republic Pictures Mogambo Neal Street Productions Amblin Partners Distributed by Universal Pictures (United States) eOne (United Kingdom) Release date 4 December 2019 ( London) 25 December 2019 (United States) 10 January 2020 (United Kingdom) Running time 119 minutes [1] Country United Kingdom United States Language English Budget $90–100 million [2] [3] Box office $249 million [4] [5] 1917 is a 2019 epic war film directed, co-written, and produced by Sam Mendes. The film stars George MacKay and Dean-Charles Chapman, with Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth, and Benedict Cumberbatch in supporting roles. It is based in part on an account told to Mendes by his paternal grandfather, Alfred Mendes, [6] and chronicles the story of two young British soldiers during World War I who are tasked with delivering a message calling off an attack doomed to fail soon after the German retreat to the Hindenburg Line during Operation Alberich in 1917. This message is especially important to one of the young soldiers as his brother is taking part in the pending attack. The project was officially announced in June 2018, with MacKay and Chapman signing on in October and the rest of the cast the following March. Filming took place from April to June 2019 in England and Scotland, with cinematographer Roger Deakins and editor Lee Smith using long takes to have the entire film appear as one continuous shot. 1917 premiered in the UK on 4 December 2019 and was theatrically released in the United States on 25 December 2019 by Universal Pictures, and in the United Kingdom on 10 January 2020 by eOne. The film received praise for Mendes's direction, the performances, cinematography, musical score, editing, sound effects, and realism. Among its various accolades, the film received ten nominations at the 92nd Academy Awards, including Best Picture, Best Director, and Best Original Screenplay. The film won Best Motion Picture – Drama and Best Director at the 77th Golden Globe Awards, and it has received nine nominations at the 73rd British Academy Film Awards. It also won the Producers Guild of America Award for Best Theatrical Motion Picture. Plot [ edit] On 6 April 1917, aerial reconnaissance has observed that the German army, which has pulled back from a sector of the Western Front in northern France, is not in retreat but has made a tactical withdrawal to the new Hindenburg Line, where they are waiting to overwhelm the British with artillery. In the British trenches, with field telephone lines cut, two young British soldiers, Lance Corporals Will Schofield and Tom Blake, are ordered by General Erinmore to carry a message to Colonel Mackenzie of the Second Battalion of the Devonshire Regiment, calling off a scheduled attack that would jeopardise the lives of 1, 600 men, including Blake's brother Lieutenant Joseph Blake. Schofield and Blake cross no man's land to reach the abandoned German trenches. In an underground barracks, they discover a booby-trap tripwire. This is triggered by a rat, and the explosion almost kills Schofield, but Blake saves him, and the two escape. They arrive at an abandoned farmhouse, where they witness a German plane being shot down in flames. Schofield and Blake drag the injured pilot from the plane. Schofield proposes a mercy kill, but Blake insists they help him. The pilot stabs Blake and is shot dead by Schofield. Schofield comforts Blake as he dies, promising to complete the mission and to write to Blake's mother. Schofield is then picked up by a passing British unit. A destroyed canal bridge near the bombed village of Écoust-Saint-Mein prevents the British lorries from crossing. Schofield chooses to cross alone, and comes under fire from a German sniper. He tracks down and kills the sniper, only to be knocked out by a ricocheting bullet. He regains consciousness and proceeds. Under fire, Schofield stumbles into the hiding place of a French woman with an infant. She treats his wounds and he sings the infant a song, giving the woman his canned food and milk from the farm. Continuing, Schofield is shot at as flares light up the night sky. He meets more German soldiers, strangling one and pushing past another who is inebriated. Other soldiers give chase, but he escapes by jumping into a river. He is swept over a waterfall before reaching the riverbank in the morning. In the forest, he finds D Company of the 2nd Devons, which is in the last wave of the attack. As the company starts to move through the trenches to the front, Schofield tries to reach Colonel Mackenzie. Realising that the trenches are too crowded for him to make it to Mackenzie in time, Schofield sprints across the battlefield, just as the infantry begin their charge into the German bombardment. He forces his way into meeting Mackenzie, who reads the letter and reluctantly calls off the attack. Schofield is told that Joseph was among the first wave, and searches for him among the wounded, finding him unscathed. Joseph is upset to hear of his brother's death, but thanks Schofield for his efforts. Schofield gives Joseph his brother's rings and dog tag, and asks to write to their mother about Blake's heroics, to which Joseph agrees. Schofield then sits under a nearby tree, looking at photographs of his two young daughters and his wife. Cast [ edit] Production [ edit] Development and casting [ edit] Amblin Partners and New Republic Pictures were announced to have acquired the project in June 2018, with Sam Mendes directing, and co-writing the screenplay alongside Krysty Wilson-Cairns. [7] Tom Holland was reported to be in talks for the film in September 2018, though ultimately was not involved, [8] and in October, Roger Deakins was set to reunite with Mendes as cinematographer. [9] George MacKay and Dean-Charles Chapman entered negotiations to star the same month. [10] Thomas Newman was hired to compose the score in March 2019. [11] The same month, Benedict Cumberbatch, Colin Firth, Mark Strong, Richard Madden, Andrew Scott, Daniel Mays, Adrian Scarborough, Jamie Parker, Nabhaan Rizwan, and Claire Duburcq joined the cast in supporting roles. [12] Writing [ edit] In August 2019, Mendes stated, "It's the story of a messenger who has a message to carry. And that's all I can say. It lodged with me as a child, this story or this fragment and obviously I've enlarged it significantly. But it has that at its core. " [13] In Time in 2020, Mendes stated that the writing involved some risk-taking: "I took a calculated gamble, and I'm pleased I did because of the energy you get just from driving forward (in the narrative), in a war that was fundamentally about paralysis and stasis. " The ideas for a script, which Mendes wrote with Krysty Wilson-Cairns, came from the story that Mendes's grandfather, Alfred Mendes, a native of Trinidad who was a messenger for the British on the Western Front, had told him. [14] Filming [ edit] Roger Deakins was cinematographer for the film, reuniting with Mendes for their fourth collaboration, having first worked together on Jarhead in 2005. [14] Filming was accomplished with long takes and elaborately choreographed moving camera shots to give the effect of one continuous take. [15] [16] Time reported, "The camera stays with the two lance corporals from the film's first frame to its last, as if unfolding in one long take, much like the technique used by Alejandro González Iñárritu in his 2015 Best Picture winner Birdman. The aim is to immerse the viewer in a propulsive, at times headlong journey that travels like a lit fuse. " [17] Filming began on 1 April 2019 and continued through June 2019 in Wiltshire, Hankley Common in Surrey and Govan, Scotland, as well as at Shepperton Studios. [18] [19] [20] [21] Concern was raised over the planned filming on Salisbury Plain by conservationists who felt the production could disturb potentially undiscovered remains, requesting a survey before any set construction began. [22] [23] Some shots required the use of as many as 500 background extras. [2] Sections of the film were also shot near Low Force, on the River Tees, Teesdale in June 2019. The production staff had to install signs warning walkers in the area not to be alarmed at the prosthetic bodies strewn around the site. [24] Release [ edit] The film premiered on 4 December 2019 at the 2019 Royal Film Performance. [25] The film began a limited release in the United States and Canada on 25 December 2019 in eleven venues. This made it eligible for 2020 awards, including the 77th Golden Globes, held on 5 January 2020, where the film won both the Golden Globe for Best Dramatic Motion Picture and Best Director for Mendes. Reception [ edit] Box office [ edit] As of 2 February 2020, 1917 has grossed $119. 2 million in the United States and Canada and $129. 8 million in other countries, for a worldwide total of $249 million. [4] [5] In the US, the film made $251, 000 from 11 venues on its first day of limited release. [26] It went on to have a limited opening weekend of $570, 000, and a five-day gross of $1 million, for an average of $91, 636 per-venue. [27] The film would go on to make a total of $2. 7 million over its 15 days of limited release. It then expanded wide on 10 January, making $14 million on its first day, including $3. 25 million from Thursday night previews. It went on to gross $36. 5 million for the weekend (beating the original projections of $25 million), becoming the first film to dethrone Star Wars: The Rise of Skywalker at the box office. [28] In its second weekend of wide release the film made $22 million (and $26. 8 million over the four-day Martin Luther King Jr. Day holiday), finishing second behind newcomer Bad Boys for Life. [29] It then made $15. 8 million the following weekend, remaining in second. [30] Critical response [ edit] On review aggregation website Rotten Tomatoes, the film holds an approval rating of 89% based on 388 reviews, with an average rating of 8. 4/10. The site's critics consensus reads, "Hard-hitting, immersive, and an impressive technical achievement, 1917 captures the trench warfare of World War I with raw, startling immediacy. " [31] Metacritic assigned the film a weighted average score of 78 out of 100 based on 57 critics, indicating "generally favorable reviews". [32] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, and PostTrak reported it received an average 4. 5 out of 5 from viewers, with 69% of people saying they would definitely recommend it. [28] Several critics named the film among the best of 2019, including Kate Erbland of IndieWire [33] and Sheri Linden of The Hollywood Reporter. [34] Karl Vick, writing for Time magazine, found the film to stand up favourably when compared to Stanley Kubrick 's WWI film Paths of Glory, stating, "motion pictures do require a certain amount of motion, and the major accomplishment of 1917, the latest film to join the canon, maybe that its makers figured out what the generals could not: a way to advance. " [35] Rubin Safaya of described the movie as "A visceral experience and visual masterclass. " [36] Writing for the Hindustan Times, Rohan Naahar stated, "I can only imagine the effect 1917 will have on audiences that aren't familiar with the techniques Sam Mendes and Roger Deakins are about to unleash upon them. " [37] In his review for NPR, Justin Chang was less positive. He agreed the film was a "mind-boggling technical achievement" but did not think it was that spectacular overall, as Mendes’s style with its impression of a continuous take “can be as distracting as it is immersive. ” [38] Of the long takes, Manohla Dargis of The New York Times opined that "such demonstrative self-reflexivity might have been deployed to productive effect; here, it registers as grandstanding". [39] Richard Brody of The New Yorker stated that, "far from intensifying the experience of war, [they] trivialize it; the effect isn’t one of artistic imagination expanded by technique but of convention showily tweaked". [40] Top ten lists [ edit] 1917 appeared on many critics' year-end top-ten lists: [41] 1st – Sam Allard, Cleveland Scene [42] 1st – Johnny Oleksinski, New York Post [43] 1st – Tim Miller, Cape Cod Times [44] 1st – Lawrence Toppman, The Charlotte Observer [45] 1st – Mal Vincent, The Virginian-Pilot [46] 1st – Sandy Kenyon, WABC-TV [47] 2nd – Randy Myers, The Mercury News [48] 3rd – Matt Goldberg, Collider [49] 3rd – Jason Rantz, KTTH [50] 3rd – Mara Reinstein, Us Weekly [51] 3rd – Chuck Yarborough, Cleveland Plain Dealer [52] 4th – Lindsey Bahr, Associated Press [53] 4th – Benjamin Lee, The Guardian [54] 4th – Brian Truitt, USA Today [55] 5th – Staff consensus, Consequence of Sound [56] 5th – Bruce Miller, Sioux City Journal [57] 6th – Cary Darling, Houston Chronicle [58] 6th – Peter Travers, Rolling Stone [59] 6th – Ethan Alter, Marcus Errico and Kevin Polowy, Yahoo! Entertainment [60] 6th – Chris Bumbray, JoBlo [61] 6th – Peter Howell, Toronto Star [62] 7th – David Crow, Den of Geek [63] 7th – Tom Gliatto, People [64] 8th – Todd McCarthy, The Hollywood Reporter [65] 8th – Jeffrey M. Anderson, San Francisco Examiner [66] 8th – Anita Katz, San Francisco Examiner [66] 8th – Col Needham, IMDb [67] 9th – Richard Whittaker, The Austin Chronicle [68] 9th – Dann Gire, Chicago Daily Herald [69] 9th – Mike Scott, New Orleans Times-Picayune [70] 10th – Max Weiss, Baltimore Magazine [71] Accolades [ edit] 1917 received ten nominations at the 92nd Academy Awards. [72] It received three nominations at the 77th Golden Globe Awards and won two: for Best Motion Picture – Drama and Best Director. [73] It also received eight nominations at the 25th Critics' Choice Awards and nine nominations at the 73rd British Academy Film Awards. [74] [75] It was chosen by the National Board of Review and the American Film Institute as one of the top ten films of the year. [76] [77] See also [ edit] Dunkirk Real time References [ edit] ^ "1917". British Board of Film Classification. Archived from the original on 19 December 2019. Retrieved 22 December 2019. ^ a b Tatiana Siegel (26 December 2019). "Making of '1917': How Sam Mendes Filmed a "Ticking Clock Thriller " ". The Hollywood Reporter. Archived from the original on 26 December 2019. Retrieved 26 December 2019. ^ Lang, Brent (10 January 2020). "Box Office: 1917 Picks Up Impressive $3. 2 Million in Previews, Kristen Stewart's Underwater Bombing". Variety. Archived from the original on 12 January 2020. Retrieved 12 January 2020. ^ a b "1917 (2019)". Box Office Mojo. IMDb. Archived from the original on 28 December 2019. Retrieved 2 February 2020. ^ a b "1917 (2019)". The Numbers. Retrieved 2 February 2020. ^ Simon, Scott (21 December 2019). " " It Was Part Of Me": Director Sam Mendes On The Family History In '1917 ' ".. Archived from the original on 25 December 2019. Retrieved 25 December 2019. ^ Jr, Mike Fleming (18 June 2018). "Amblin, Sam Mendes Set WWI Drama '1917' As His First Directing Effort Since James Bond Pics 'Spectre' & 'Skyfall ' ". Deadline Hollywood. Archived from the original on 31 March 2019. Retrieved 7 April 2019. ^ Zinski, Dan (5 September 2018). "Tom Holland In Talks To Star In Sam Mendes' WWI Drama 1917". ScreenRant. Archived from the original on 4 April 2019. Retrieved 7 April 2019. ^ Marc, Christopher (24 October 2018). "Oscar-Winning 'Blade Runner 2049' Cinematographer Roger Deakins Might Reunite With Sam Mendes For WWI Movie '1917 ' ". Retrieved 7 April 2019. ^ Jr, Mike Fleming (26 October 2018). "George MacKay, 'GOT's Dean-Charles Chapman In Talks For Leads In Sam Mendes WWI Pic '1917 ' ". Retrieved 7 April 2019. ^ "Thomas Newman to Score Sam Mendes' '1917 ' ". Film Music Reporter. Retrieved 7 April 2019. ^ Galuppo, Mia (28 March 2019). "Colin Firth, Benedict Cumberbatch Join Sam Mendes' WWI Movie '1917 ' ". Archived from the original on 28 March 2019. Retrieved 28 March 2019. ^ Moore, Matthew (7 August 2019). "Mendes epic is a personal battle". The Times (72, 919). p. 3. ISSN 0140-0460. ^ a b Karl Vick. Time magazine. "Escaping the Trench". January 20, 2020. Page 38-41. ^ Giardina, Carolyn (30 September 2019). "New Video Shows How Sam Mendes, Roger Deakins Shot '1917' to Appear as One Continuous Take". Archived from the original on 30 September 2019. Retrieved 30 September 2019. ^ Evangelista, Chris (30 September 2019). " ' 1917' Featurette Teases a War Epic Told in One Continuous Shot". Slash Film. Retrieved 30 September 2019. ^ Karl Vick. Page 38-41. ^ "Chance to star in Hollywood movie filming in Wiltshire". Spire FM. 4 January 2019. Retrieved 7 April 2019. ^ "World War One film to begin production on Hankley Common". Eagle Radio. 18 February 2019. Retrieved 7 April 2019. ^ Diamond, Claire (19 February 2019). "Spielberg movie wants to film in Glasgow". BBC News. Retrieved 7 April 2019 – via. ^ Marc, Christopher (11 December 2018). "EXCLUSIVE: Sam Mendes' '1917' Adds 'Skyfall/Blade Runner 2049' Production Designer and 'Atonement' Art Director – Confirmed To Shoot At Shepperton Studios". Archived from the original on 2 April 2019. Retrieved 7 April 2019. ^ Pulver, Andrew (6 February 2019). "Spielberg and Mendes Stonehenge war film plans hit by locals' objections". The Guardian. Retrieved 7 April 2019. ^ D'Alessandro, Anthony (28 March 2019). "Sam Mendes' '1917' Nears Production: Mark Strong, Colin Firth, Benedict Cumberbatch & More Join Cast". Retrieved 28 March 2019. ^ Chapman, Hannah, ed. (26 June 2019). "Spielberg's new drama filmed in Teesdale warns of prosthetic bodies". The Northern Echo. p. 6. ISSN 2043-0442. Archived from the original on 15 January 2020. ^ Grater, Tom; Grater, Tom (29 October 2019). "Sam Mendes War Movie '1917' To World Premiere As UK Royal Charity Event". Archived from the original on 5 November 2019. Retrieved 21 November 2019. ^ D'Alessandro, Anthony (26 December 2019). " ' Rise Of Skywalker' Rings Up Second Best Christmas Ever With $32M+; 'Little Women' $6M+; 'Spies In Disguise' Near $5M". Retrieved 26 December 2019. ^ Ramos, Dino-Ray (29 December 2019). " ' 1917', 'Just Mercy' And 'Clemency' Open Strong In Limited Debuts Over Busy Holiday Weekend – Specialty Box Office". Archived from the original on 29 December 2019. Retrieved 29 December 2019. ^ a b D'Alessandro, Anthony (12 January 2020). " ' 1917' Strong With $36M+, But 'Like A Boss' & 'Just Mercy' Fighting Over 4th With $10M; Why Kristen Stewart's 'Underwater' Went Kerplunk With $6M+". Retrieved 12 January 2020. ^ Anthony D'Alessandro (19 January 2020). " ' Bad Boys For Life' So Great With $100M+ Worldwide; 'Dolittle' Still A Dud With $57M+ Global – Box Office Update". Archived from the original on 20 January 2020. Retrieved 20 January 2020. ^ Anthony D'Alessandro (24 January 2020). " ' Bad Boys For Life' & '1917' Shooting Past $100M; 'The Turning' Slammed With Second 'F' Of 2020 e". Archived from the original on 24 January 2020. Retrieved 26 January 2020. ^ "1917 (2020)". Rotten Tomatoes. Fandango Media. Archived from the original on 18 December 2019. Retrieved 1 February 2020. ^ "1917 Reviews". Metacritic. CBS Interactive. Archived from the original on 9 December 2019. Retrieved 22 January 2020. ^ Kohn, Eric; Thompson, Anne; Erbland, Kate; Ehrlich, David; Obenson, Tambay A. ; Blauvelt, Christian (11 December 2019). "The 15 Best Film Performances By Actors in 2019". Retrieved 10 January 2020. ^ "Awkwafina – Hollywood Reporter Film Critics Pick the 25 Best Performances of the Year". Archived from the original on 10 January 2020. Retrieved 10 January 2020. ^ "Review: '1917 ' ". AwardsWatch. 26 November 2019. Archived from the original on 21 December 2019. Retrieved 20 January 2020. ^ "1917 movie review: Sam Mendes directs one of the best war movies of all time, will leave you stunned in your seat". hindustantimes. 17 January 2020. Archived from the original on 19 January 2020. Retrieved 20 January 2020. ^ Chang, Justin. " ' 1917' Is A Mind-Boggling Technological Achievement — But Not A Great Film". Fresh Air. NPR. Archived from the original on 18 January 2020. Retrieved 18 January 2020. ^ Dargis, Manohla (24 December 2019). " ' 1917' Review: Paths of Technical Glory". The New York Times. Archived from the original on 29 January 2020. Retrieved 30 January 2020. ^ Brody, Richard (7 January 2020). "The Beauty of Sam Mendes's "1917" Comes at a Cost". The New Yorker. Archived from the original on 13 January 2020. Retrieved 30 January 2020. ^ "Best of 2019: Film Critic Top Ten Lists". Retrieved 15 December 2019. ^ Allard, Sam. "The 10 Best Movies of 2019, According to Scene". Cleveland Scene. Archived from the original on 1 January 2020. 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Retrieved 15 December 2019. ^ Rantz, Jason (18 December 2019). "Rantz: The 10 best films of 2019". Retrieved 22 December 2019. ^ Reinstein, Mara (6 December 2019). "Top Movies of 2019: 'Hustlers, ' 'Avengers: Endgame' and More". US Weekly. Retrieved 15 December 2019. ^ Yarborough, Chuck (23 December 2019). " ' Rocketman, ' 'Tolkien, ' '1917' among year's best: Chuck Yarborough PD critics' picks 2019". Cleveland Plain Dealer. Archived from the original on 24 December 2019. Retrieved 24 December 2019. ^ " ' Once Upon a Time, ' 'Portrait' top AP's 2019 best films list". AP NEWS. 5 December 2019. Retrieved 15 December 2019. ^ Lee, Benjamin. "The 50 best films of 2019 in the US: No 4 – 1917". Retrieved 22 December 2019. ^ Truitt, Brian. "The 10 best movies of 2019 definitively ranked, from 'Avengers: Endgame' to 'Jojo Rabbit ' ". USA TODAY. Archived from the original on 16 December 2019. Retrieved 15 December 2019. ^ "Top 25 Films of 2019". 9 December 2019. Retrieved 15 December 2019. ^ Miller, Bruce. "The Best Films of 2019: 'Hollywood, ' 'Marriage Story' and 'Parasite' top list". Sioux City Journal. Archived from the original on 23 December 2019. Retrieved 23 December 2019. ^ "Here are our 13 Best Movies of 2019". 23 December 2019. Retrieved 24 December 2019. ^ Travers, Peter (5 December 2019). "10 Best Movies of 2019". Rolling Stone. Archived from the original on 17 December 2019. Retrieved 15 December 2019. ^ Alter, Ethan; Errico, Marcus; Polowy, Kevin. "The 25 best movies of 2019". Yahoo! Entertainment. Retrieved 22 December 2019. ^ "Top 10 Films of 2019 (Bumbray) | ".. Retrieved 1 January 2020. ^ "Peter Howell's Top 10 films of 2019: A year of unforgettable characters, despite abundant human frailty | The Star".. Retrieved 1 January 2020. ^ "10 Best Movies of 2019". Retrieved 24 December 2019. ^ "The 10 Best Movies of the Year, According to PEOPLE's Critic".. Retrieved 1 January 2020. ^ McCarthy, Todd. "Hollywood Reporter Critics Pick the Best Films of 2019". Archived from the original on 14 December 2019. Retrieved 15 December 2019. ^ a b "2019: The best in film". The San Francisco Examiner. 31 December 2019. Retrieved 1 January 2020. ^ Needham, Col. "Col Needham's Best Movies of 2019". Retrieved 22 December 2019. ^ Whittaker, Richard (20 December 2019). "Richard Whittaker's Top 10 Films of 2019". Austin Chronicle. Archived from the original on 20 December 2019. Retrieved 22 December 2019. ^ Gire, Dann (28 December 2019). " ' Parasite, ' 'Little Women' and 'Marriage Story' lead list of 2019's best films". Daily Herald. Retrieved 3 January 2020. ^ writer, MIKE SCOTT | Contributing. "The best movies of 2019: Movie critic Mike Scott unveils his favorite films of the year".. Retrieved 1 January 2020. ^ magazine, Baltimore (13 December 2019). "My Favorite Films of 2019". Baltimore magazine. Retrieved 15 December 2019. ^ Rottenberg, Josh (13 January 2020). " ' Joker' tops this year's Oscar nominations, with '1917, ' 'Irishman, ' 'Once Upon a Time' close behind". Los Angeles Times. Retrieved 13 January 2020. ^ Bisset, Jennifer (5 January 2020). "Golden Globes 2020: The full winners list". CNET. Archived from the original on 6 January 2020. Retrieved 9 January 2020. ^ Malkin, Marc (8 December 2019). "Critics' Choice: 'The Irishman, ' 'Once Upon a Time in Hollywood' Lead Movie Nominations". Retrieved 8 December 2019. ^ Ritman, Alex (6 January 2020). "BAFTA Nominations: 'Joker' Leads the Pack". Archived from the original on 7 January 2020. Retrieved 7 January 2020. ^ Lewis, Hilary (3 December 2019). " ' The Irishman' Named Best Film by National Board of Review". Archived from the original on 5 December 2019. Retrieved 4 December 2019. ^ "AFI AWARDS 2019 Honorees Announced". American Film Institute. Retrieved 4 December 2019. External links [ edit].
“Time is the enemy” Truly great film. Well deserved response. Mozart - Introitus: Requiem Aeternam.
Can someone please explain the American soldier that speaks in German when the other leaves? Is he a German soldier in an American uniform. 1917 Full movie page imdb. 
The recent run of World War I centennial anniversaries led to a spike in interest in the conflict, which ended in 1918, and Hollywood has been no exception. The few critically acclaimed Great War movies, such as All Quiet on the Western Front (1930) and Sergeant York (1941), were joined in 2018 by Peter Jackson’s documentary They Shall Not Grow Old. On Christmas Day, that list will get a new addition, in the form of Sam Mendes’ new film 1917. The main characters are not based on real individuals, but real people and events inspired the movie, which takes place on the day of April 6, 1917. Here’s how the filmmakers strove for accuracy in the filming and what to know about the real World War I history that surrounded the story. Get our History Newsletter. Put today's news in context and see highlights from the archives. Thank you! For your security, we've sent a confirmation email to the address you entered. Click the link to confirm your subscription and begin receiving our newsletters. If you don't get the confirmation within 10 minutes, please check your spam folder. The real man who inspired the film The 1917 script, written by Mendes and Krysty Wilson-Cairns, is inspired by “fragments” of stories from Mendes’ grandfather, who served as a “runner” — a messenger for the British on the Western Front. But the film is not about actual events that happened to Lance Corporal Alfred H. Mendes, a 5-ft. -4-inch 19-year-old who’d enlisted in the British Army earlier that year and later told his grandson stories of being gassed and wounded while sprinting across “No Man’s Land, ” the territory between the German and Allied trenches. In the film, General Erinmore (Colin Firth) orders two lance corporals, Blake (Dean-Charles Chapman) and Schofield (George MacKay), to make the dangerous trek across No Man’s Land to deliver a handwritten note to a commanding officer Colonel Mackenzie (Benedict Cumberbatch), ordering them to cancel a planned attack on Germans who have retreated to the Hindenburg Line in northern France. Life in the trenches The filmmakers shot the film in southwestern England, where they dug about 2, 500 feet of trenches — a defining characteristic of the war’s Western Front — for the set. Paul Biddiss, the British Army veteran who served as the film’s military technical advisor and happens to have three relatives who served in World War I, taught the actors about proper techniques for salutes and handling weapons. He also used military instruction manuals from the era to create boot camps meant to give soldiers the real feeling of what it was like to serve, and read about life in the trenches in books like Max Arthur’s Lest We Forget: Forgotten Voices from 1914-1945, Richard van Emden’s The Last Fighting Tommy: The Life of Harry Patch, Last Veteran of the Trenches, 1898-2009 (written with Patch) and The Soldier’s War: The Great War through Veterans’ Eyes. He put the extras to work, giving each one of about three dozen tasks that were part of soldiers’ daily routines. Some attended to health issues, such as foot inspections and using a candle to kill lice, while some did trench maintenance, such as filling sandbags. Leisure activities included playing checkers or chess, using buttons as game pieces. There was a lot of waiting around, and Biddiss wanted the extras to capture the looks of “complete boredom. ” The real messengers of WWI The film’s plot centers on the two messengers sprinting across No Man’s Land to deliver a message, and that’s where the creative license comes in. In reality, such an order would have been too dangerous to assign. When runners were deployed, the risk of death by German sniper fire was so high that they were sent out in pairs. If something happened to one of them, then the other could finish the job. “In some places, No Man’s Land was as close as 15 yards, in others it was a mile away, ” says Doran Cart, Senior Curator at the National World War I Museum and Memorial in Kansas City. The muddy terrain was littered with dead animals, dead humans, barbed wires and wreckage from exploding shells—scarcely any grass or trees in sight. “By 1917, you didn’t get out of your trench and go across No Man’s Land. Fire from artillery, machine guns and poison gas was too heavy; no one individual was going to get up and run across No Man’s Land and try to take the enemy. ” Human messengers like Blake and Schofield were only deployed in desperate situations, according to Cart. Messenger pigeons, signal lamps and flags, made up most of the battlefield communications. There was also a trench telephone for communications. “Most people understand that World War I is about trench warfare, but they don’t know that there was more than one trench, ” says Cart. “There was the front-line trench, where front-line troops would attack from or defend from; then behind that, kind of a holding line where they brought supplies up, troops waiting to go to to the front-line trench. ” The “bathroom” was in the latrine trench. There were about 35, 000 miles of trenches on the Western Front, all zigzagging, and the Western Front itself was 430 miles long, extending from the English Channel in the North to the Swiss Alps in the South. April 6, 1917 The story of 1917 takes place on April 6, and it’s partly inspired by events that had just ended on April 5. From Feb. 23 to April 5 of that year, the Germans were moving their troops to the Hindenburg Line and roughly along the Aisne River, around a 27-mile area from Arras to Bapaume, France. The significance of that move depends on whether you’re reading German or Allied accounts. The Germans saw it as an “adjustment” and “simply moving needed resources to the best location, ” while the Allies call the Germans’ actions a “retreat” or “withdrawal, ” according to Cart. In either case, a whole new phase of the war was about to begin, for a different reason: the Americans entered the war on April 6, 1917. A few days later, the Canadians captured Vimy Ridge, in a battle seen to mark “the birth of a nation” for Canada, as one of their generals put it. Further East, the Russian Revolution was also ramping up. As Matthew Naylor, President and CEO of the National World War I Museum and Memorial in Kansas City, Mo., says of the state of affairs on the Western Front in April 1917, “Casualties on both sides are massive and there is no end in sight. ” Correction, Dec. 24 The original version of this article misstated how WWI soldiers de-loused themselves. The troops used a candle to burn and pop lice, they did not pour hot wax on themselves. Write to Olivia B. Waxman at.
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After watching this trailer, time is of the essence fits perfectly. 1917 full movie مترجم. We need more films set not only in the aspect of war but also in the First World War. With exact descriptions of the proper hell they dealt with. 1917 Full movie reviews. 1917 full movie stream. When I saw that trailer for this one and it ended with that solider running toward the screen and it turned into 1917... I was hooked. 1917 full movie reddit. 1917 full movie 4k. 1917 full movie 2019 hindi dubbed. 1917 Full movie page. 1917 full movie with english subtitles.
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UK RELEASE DATE 10 JANUARY 20
There are only a few films which have been shot in 1 continuous shot and after watching this film honestly the cinematography is absolutely amazing!
As far as I could see there is only 1 transition which is used to turn day into night but this can be very easily ignored as this film in its depiction of how futile war is, is one film to definitely consider going to see.
No spoilers, you follow 2 young soldiers ordered to deliver a message which will save 1,600 other soldiers.
The true devastation of war is shown and I can't even imagine how this film was made as you follow these 2 young soldiers following orders.
Slow in places but as it is set in real time (except for the transition mentioned above) even war can't be action all of the time.
Don't go expecting a Hollywood big blockbuster because this is muddy, bloody and real to the end.
A must see!
Rating 10 out of 10.
This movie is a masterpiece of cinematography and for sure one of the most amazing and beautiful movies I've ever seen. 1917 full movie mp4. 1917 full movie youtube. It’s a typical World War I battle scene, but flipped 90 degrees. Photo: Universal Pictures When it comes to 20th-century military conflicts, there’s no question which one Hollywood prefers. Cinematically, World War II has everything: dramatic battles, dastardly villains, a pivotal role played by the United States, and ultimately, a resounding victory for the good guys. Its predecessor has proven a tougher subject for movies to crack, especially American ones. (For the British, it occupies a more prominent place in the collective historical memory. ) We remember World War I as a military stalemate that exemplified the utter meaninglessness of war, and while the day-to-day drudgery and existential despair of life in the trenches inspired plenty of lasting poetry and literature, it doesn’t necessarily lend itself to blockbusters. What grabs modern audiences about the conflict is either the gross stuff — Dan Carlin’s Hardcore Histories podcast dives deep into the disgusting sights, smells, and sensations of the Western Front — or the sense of grand tragedy. When they do show up onscreen, World War I battles traditionally share a similar pattern: Our heroes climb out a trench, run a pitifully short distance, then get machine-gunned to death. Think of the famous ending of the BBC’s Blackadder Goes Forth, in which Rowan Atkinson and company go over the top, their grim fates elided with a dissolve to a field of poppies: Or the heartbreaking conclusion to Peter Weir’s Gallipoli, which follows Australian troops in the war’s Middle Eastern theater: More recently, Steven Spielberg’s War Horse gave us both a doomed cavalry charge and a doomed infantry charge. Even Wonder Woman barely makes it five feet before being struck by a German bullet that would have been fatal for a non-superhero: In other words, if you’re making a World War I movie that doesn’t end with your heroes dead or grievously wounded, you’d better have a good explanation. These depressing depictions are in keeping with what became the dominant historical narrative of the First World War in Britain and the U. S., which painted the troops on the ground as victims of their own generals, idiots who senselessly sent their men into a meat grinder. However, this view has come in for reappraisal as military historians like Brian Bond argue that, contrary to popular belief, the war as a whole was “necessary and successful ” (though that wider lens in turn has been critiqued for erasing the experience of those who actually served). With the Great War recently celebrating its centenary, projects like Peter Jackson’s They Shall Not Grow Old have attempted to sidestep these historical debates by concentrating solely on the day-to-day experiences of the men in the trenches, avoiding making any wider claims about what, if anything, the war itself meant. Into this fraught landscape steps Sam Mendes’s 1917, which is trying to accomplish that rarest of feats: telling a feel-good World War I story. The director based his film on the memories of his grandfather, who served as a messenger on the Western Front, and that family connection seems to have left him determined to present a version of the war where an individual soldier could still act heroically, rather than simply be a lamb for the slaughter. “Other people have made that movie, the blood and guts, ” the movie’s Oscar-nominated production designer Dennis Gassner told me earlier this month. “This wasn’t that. This is a story about integrity, the willingness to do anything even in the harshest conditions. ” Mendes has spoken of the film as a tribute to those who made it back home, which requires him to pull off the tonal balancing act of reclaiming the war as an arena for nobility and sacrifice, while not glorifying the conflict itself. Never is that tension more clear than in the film’s conclusive action setpiece, which is tasked with giving viewers a happy ending in a conflict that offered few uncomplicated victories. 1917 follows two British soldiers, Blake (Dean-Charles Chapman) and Schofield ( George MacKay), who are handed the perilous task of traversing no-man’s-land to deliver a message to another regiment calling off their attack. (Though the plot is fiction, the German withdrawal that acts as the inciting incident actually happened. ) The film’s first act supplies many of the genre tropes we’ve come to associate with the First World War. Blake is a cheerful naif who still hopes to be “home by Christmas, ” while Schofield has the thousand-yard stare of a shell-shocked Somme veteran. They navigate trench networks that have evolved into a microcosm of society, and the dialogue covers familiar territory: unclear orders, no supplies, thousands of men dying to gain a single inch. An officer on the front line (played by Fleabag ’s Andrew Scott, in the film’s best performance) has been so numbed by constant fire that he no longer knows what day it is. Once Blake and Schofield go over the top, the no-man’s-land sequence is a horror show, as the men must trace a path past a dead horse, plentiful corpses, and massive craters that scar the landscape. In 1917 ’s purest gross-out moment, Schofield accidentally plunges his bloody hand into the open stomach of a dead soldier. After they cross through the German trenches — a sequence that starts with the men staring at bags of shit and only gets more harrowing from there — Blake and Schofield arrive in the open countryside. It’s a view not often seen in World War I movies, which rarely venture beyond the trenches, and it provides an opportunity for the film to slow down and relax. The soldiers get into a debate about whether there’s any meaning to be found in the war. Blake, who, true to his name, is the romantic of the pair, has learned that Schofield traded his Somme medal for a bottle of wine, and berates him. “You should have taken it home, ” Blake says. “You should have given it to your family. Men have died for that. If I’d got a medal I’d take it back home. Why didn’t you take it home? ” Schofield disagrees, with the bitterness of a war poet: “Look, it’s just a bit of bloody tin. It doesn’t make you special. It doesn’t make any difference to anyone. ” Subsequent events seem to prove Schofield correct: Blake is stabbed by a German pilot whose life he’d just saved, and his prolonged, pitiful death carries no meaning and no glory. But as Schofield continues on alone, the sheer difficulty of the obstacles he faces spurs him to carry on. He’s shot by an enemy sniper, and only narrowly survives. He stumbles upon a German sentry, and kills the lad in close combat. Like Leonardo DiCaprio in The Revenant, he evades his pursuers by jumping into a river, at which point he goes over a waterfall and nearly drowns. Mendes gives Schofield plentiful opportunities to give up — including one slightly eye-rolling sequence with a young woman and a baby — but he never does. It’s an abstract, existential view of the Great War: The struggle itself is what gives the experience meaning. Then, in the film’s closing sequence, Mendes takes the tropes of trench warfare and twists them 90 degrees. Schofield has finally made it to the regiment he needs to find, only to discover that their attack has already begun. He tries to push his way through a crowded trench — while Dunkirk was a movie about standing in line, 1917 is a movie about cutting in line — but it’s no use. He won’t be able to deliver the message, and hundreds of men will die as a result. Unless … he takes a shortcut. As the music swells, Schofield decides to go over the top a second time, a sequence that encapsulates both Mendes’s creative revisionism, as well as the sheer scale of his technical undertaking. ( The scene features 50 stuntmen and 450 extras. ) Unlike most onscreen World War I battles, Schofield is not charging out toward the German lines; he’s sprinting across, parallel to the trench. Thematically, too, the final run flips what we’re used to seeing. Our hero is not heading toward the enemy and certain death; he’s going back to his own men, to redemption. In a sequence that has traditionally been cinematic shorthand for futility, Mendes goes for hope. But the film is also careful not to turn this individual triumph into a wider victory. Having defied death by going over the top, Schofield gains his reward: an audience with the officer in charge of the advance (Benedict Cumberbatch). We’ve been set up to see this character as a villain, but the movie gives us something more complicated. This one is just as worn down as his men; the folly of his attack was born out of the hope that this time, things would be different. (With one notable exception, the much-maligned officer class gets a sympathetic treatment in 1917. ) Zoom out, and the movie’s happy ending is not very happy at all. Yes, a massacre has been averted, but the bloody stasis endures. Viewers know the war will continue for another year and a half. 1917 begins with Schofield dozing under a tree, before he’s awoken by Blake, and the two men go to meet the general who gives them their mission. The film’s conclusion offers a mirror of this structure — possibly one reason the film scored that surprise Screenplay nod. Next, Schofield’s arc with Blake comes full circle, as well. Having completed his perilous journey, Schofield searches the casualty tent for Blake’s older brother. After informing the brother of Blake’s death, Schofield hands over his effects to be returned to his family. These mementos are not meaningless, after all. The magnitude of his efforts has brought Schofield around to Blake’s way of thinking. (The bookend effect of these closing scenes is also enhanced by the film’s casting. The two commanders are played by Cumberbatch and Colin Firth, British heartthrobs of two different generations; Blake’s brother is played by Richard Madden, who acted with Dean-Charles Chapman on Game of Thrones. ) Finally, the film ends just as it began, with Schofield enjoying a moment of rest under a tree. This time, he’s alone, but not really: He pulls out a photograph, revealing for the first time that he’s been carrying around a memento of the wife and children waiting at home. There’s an inscription on the back: “Come back to us. ” Finally, the sun rises, and the film fades to black with a dedication to Mendes’s grandfather, “who told us the stories. ” This closing moment of catharsis encapsulates all that’s proven divisive about 1917. While the film has received generally positive reviews, it’s also received a few high-profile dissents from the likes of Richard Brody, Manohla Dargis, and our own Alison Willmore, all of whom have taken issue with the film turning the industrial bloodbath of the Western Front into a celebration of individual perseverance. Of course, sending viewers out on such an emotional high note is also what’s made 1917 our presumptive Oscars front-runner, as the film been hitting voters’ hearts in a way that its predecessors haven’t. And if the film takes home Best Picture over Parasite in two weeks’ time, you can bet that this debate will only intensify. After all, there’s no such thing as an uncomplicated victory. Let’s Talk About the Ending of 1917.
Communication in WW1 could be a very dubious thing. Grandfather was an observer for 155mm howitzers. He had a little field telephone with strung wires which could easily be cut by shell fire.
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Opis: An apprentice farmer (Sammo Hung) ventures to the city and helps his family battle a gang of thugs. Pogledajte slične sadraje Xing mu zi gu huo zhao (1979) komedija, akcija In a small town somewhere in 19th-century China, two brothers, each using their own particular style of martial arts, defeat a bully of a fighter who is terrorizing the town. In the ensuing... Gui da gui (1980) komedija, akcija, fantazija, horor Villager Bold Cheung (Sammo Hung Kam-Bo), known for his willingness to do anything courageous, bold or daring, becomes a target by the evil rich Master Tam (Huang Ha), who committed adultery with... Tai ji: Zhang San Feng (1993) drama, komedija, akcija, triler Film o drevnim veštinama ratovanja Vua-ping Juena, u kome glavnu ulogu tumači Det Li. Det Li tumači monaha koji prisustvuje sceni podmuklog ubistva, kada njegov drug iz detinjstva ubija njihovog... Huang jia shi jie (1985) drama, kriminalistički, komedija, akcija Asprin (Mang Hoi) and Strepsil (John Shum), two petty thieves who inadvertently become involved in a murder case when they steal items belonging to a murdered man. The man had hidden an important...
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