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Rating: 9,1 of 10 stars
1917 is a movie starring Dean-Charles Chapman, George MacKay, and Daniel Mays. April 6th, 1917. As a regiment assembles to wage war deep in enemy territory, two soldiers are assigned to race against time and deliver a message that actors: Dean-Charles Chapman score: 167280 votes Genres: War
Filmaço,mereceu o globo de ouro. Fictitious war stories are generally not good and this movie 1917 is an example with what is wrong with recent war movies. The ridiculous story is implausible from the get go. A really good war movie is the recent Roland Emmerich movie "Midway" with a straightforward factual story and thrilling action and heroes that look like heroes. It's a travesty that 1917 won the Golden Globe and Midway didn't even get a nomination. There are so many holes in the story. Letting just 2 of them go is insane. The way Blake died was beyond irritating. Schofield's journey through sniper fire and river were just too unrealistic. Running through the battlefield at the end was just too much. Plus the elder Blake did not look like the younger Blake. Because things didn't ring true they weren't really exciting. Of course it is tense in the way you don't want him to die or get shot. But you know he will make or there is no movie so it wasn't the right kind of excitement. How not to make a war movie. Please don't give this one an Oscar. This is absolutely amazing! I can't wait for this movie. Am i the only one who was thinking the whole time, what if he trips. This movie looks so damn good.
Dean Charles Chapman goes from ruling Westeros to becoming a mailman within a war zone. nice. NOOOOOOOOO. YOU CAN'T JUST HAVE A FICTIONAL CHARACTER BEAT BRUCE LEE IN A FIGHT. Millennium: 2nd?millennium Centuries: 19th?century 20th?century 21st?century Decades: 1890s 1900s 1910s 1920s 1930s Years: 1914 1915 1916 1917 1918 1919 1920 1917 by topic Subject Archaeology Architecture Art Aviation Awards Film Literature Poetry Meteorology Music Rail transport Radio Science Sports Television By country Australia Belgium Brazil Canada China France Germany India Ireland Italy Japan Mexico New Zealand Norway Ottoman Syria Philippines Russia South Africa Spain Sweden United Kingdom United States Lists of leaders Sovereign states Sovereign state leaders Territorial governors Religious leaders Law Birth and death categories Births Deaths Establishments and disestablishments categories Establishments Disestablishments Works category Works Introductions v t e 1917 in various calendars Gregorian calendar 1917 MCMXVII Ab urbe condita 2670 Armenian calendar 1366 ?? ???? Assyrian calendar 6667 Bahá'í calendar 73?74 Balinese saka calendar 1838?1839 Bengali calendar 1324 Berber calendar 2867 British Regnal year 7? Geo.?5 ???8? Geo.?5 Buddhist calendar 2461 Burmese calendar 1279 Byzantine calendar 7425?7426 Chinese calendar 丙辰 年 (Fire? Dragon) 4613 or 4553 ???? ??to?? 丁巳年 (Fire? Snake) 4614 or 4554 Coptic calendar 1633?1634 Discordian calendar 3083 Ethiopian calendar 1909?1910 Hebrew calendar 5677?5678 Hindu calendars ?- Vikram Samvat 1973?1974 ?- Shaka Samvat 1838?1839 ?- Kali Yuga 5017?5018 Holocene calendar 11917 Igbo calendar 917?918 Iranian calendar 1295?1296 Islamic calendar 1335?1336 Japanese calendar Taishō 6 (大正6年) Javanese calendar 1847?1848 Juche calendar 6 Julian calendar Gregorian minus 13 days Korean calendar 4250 Minguo calendar ROC 6 民國6年 Nanakshahi calendar 449 Thai solar calendar 2459?2460 Tibetan calendar 阳火?年 (male Fire- Dragon) 2043 or 1662 or 890 ???? ??to?? ?火蛇年 (female Fire- Snake) 2044 or 1663 or 891 Wikimedia Commons has media related to 1917. 1917 ( MCMXVII) was a common year starting on Monday of the Gregorian calendar ?and a common year starting on Sunday of the Julian calendar, the 1917th year of the Common Era (CE) and Anno Domini (AD) designations, the 917th year of the 2nd?millennium, the 17th year of the 20th?century, and the 8th year of the 1910s decade. As of the start of 1917, the Gregorian calendar was 13 days ahead of the Julian calendar, which remained in localized use until 1923. Events [ edit] Below, events of World War I have the "WWI" prefix. January [ edit] January 2 ? The Royal Bank of Canada takes over Quebec Bank. January 3 ? Ratho rail crash in Scotland: An Edinburgh to Glasgow express train collides with a light engine leaving 12 people dead and 46 seriously injured; the cause is found to be inadequate signalling procedures. [1] January 9 ? WWI ? Battle of Rafa: The last substantial Ottoman Army garrison on the Sinai Peninsula is captured by the Egyptian Expeditionary Force 's Desert Column. January 11 ? Unknown saboteurs set off the Kingsland Explosion at Kingsland (modern-day Lyndhurst, New Jersey), one of the events leading to United States involvement in WWI. January 16 ? The Danish West Indies is sold to the United States for $25 million. January 19 ? Silvertown explosion: A blast at a munitions factory in London kills 73 and injures over 400; the resulting fire causes over £2, 000, 000 worth of damage. January 22 ? WWI: United States President Woodrow Wilson calls for "peace without victory" in Germany. January 25 WWI: British armed merchantman SS? Laurentic is sunk by mines off Lough Swilly (Ireland), with the loss of 354 of the 475 aboard. An anti- prostitution drive in San Francisco occurs, and police close about 200 prostitution houses. January 26 ? The sea defences at the English village of Hallsands are breached, leading to all but one of the houses becoming uninhabitable. January 28 ? The United States ends its search for Pancho Villa. January 30 ? Pershing 's troops in Mexico begin withdrawing back to the United States. They reach Columbus, New Mexico February 5. February [ edit] February 1 ? WWI: Atlantic U-boat Campaign: Germany announces its U-boats will resume unrestricted submarine warfare, rescinding the ' Sussex Pledge '. February 3 ? WWI: The United States severs diplomatic relations with Germany. February 5 ? The new constitution of Mexico is adopted. February 13 Mata Hari is arrested in Paris for spying. WWI ? Raid on Nekhl: Units of the Egyptian Expeditionary Force completely reoccupy the Egyptian Sinai Peninsula. February 21 ? British troopship SS? Mendi is accidentally rammed and sunk off the Isle of Wight, killing 646, mainly members of the South African Native Labour Corps. [2] February 24 ? WWI: United States ambassador to the United Kingdom, Walter Hines Page, is shown the intercepted Zimmermann Telegram, in which Germany offers to give the American Southwest back to Mexico, if Mexico would take sides with Germany, in case the United States would declare war on Germany. President Woodrow Wilson of the United States announces to Congress the breaking of diplomatic relations with Germany March [ edit] March 1 WWI: The U. S. government releases the text of the Zimmermann Telegram to the public. Ōmuta, Japan, is founded by Hiroushi Miruku. March 2 ? The enactment of the Jones Act grants Puerto Ricans United States citizenship. March 4 Woodrow Wilson is sworn in for a second term, as President of the United States. Jeannette Rankin of Montana becomes the first woman member of the United States House of Representatives. March 7 ? " Livery Stable Blues ", recorded with "Dixie Jazz Band One Step" on February 26, by the Original Dixieland Jass Band in the United States, becomes the first jazz recording commercially released. On August 17 the band records " Tiger Rag ". March 8 Women calling for bread and peace - Petrograd, 8th of March, 1917 (N. ) ( February 23, O. ) ? The February Revolution begins in Russia: Women calling for bread in Petrograd start riots, which spontaneously spread throughout the city. The United States Senate adopts the cloture rule, in order to limit filibusters. March 10 ? The Province of Batangas is formally founded, as one of the Philippines ' first encomiendas. March 11 ? Mexican Revolution: Venustiano Carranza is elected president of Mexico; the United States gives de jure recognition of his government. March 12 ? The Russian Duma declares a Provisional Government. March 14 ? WWI: The Republic of China terminates diplomatic relations with Germany. March 15 (N. ) ( March 2, O. ) ? Emperor Nicholas II of Russia abdicates his throne and his son's claims. This is considered to be the end of the Russian Empire, after 196 years. March 16 (N. ) ( March 3, O. ) ? Grand Duke Michael Alexandrovich of Russia refuses the throne, and power passes to the newly formed Provisional Government, under Prince Georgy Lvov. March 25 ? The Georgian Orthodox Church restores the autocephaly, abolished by Imperial Russia in 1811. March 26 ? WWI ? First Battle of Gaza: British Egyptian Expeditionary Force troops virtually encircle the Gaza garrison, but are then ordered to withdraw, leaving the city to the Ottoman defenders. March 30 ? Hjalmar Hammarskjöld steps down as Prime Minister of Sweden; he is replaced by right-wing businessman and politician Carl Swartz. March 31 ? The United States takes possession of the Danish West Indies, which become the US Virgin Islands, after paying $25 million to Denmark. April [ edit] April ? Imokawa Mukuzo Genkanban no Maki, the first anime, is released in Japan. April 2 ? WWI: U. President Woodrow Wilson asks the United States Congress for a declaration of war on Germany. April 6 ? WWI: The United States declares war on Germany. April 8 (N. ) ( March 26, O. ) ? In Petrograd, 40, 000 ethnic Estonians demand national autonomy within Russia. April 9 ? May 16 ? WWI ? Battle of Arras: British Empire troops make a significant advance on the Western Front but are unable to achieve a breakthrough. April 9 ? 12 ? WWI: Canadian troops win the Battle of Vimy Ridge. April 10 ? An ammunition factory explosion in Chester, Pennsylvania kills 133. April 11 ? WWI: Brazil severs diplomatic relations with Germany. April 12 (N. ) ( March 30 O. ) ? The Autonomous Governorate of Estonia is formed within Russia, from the Governorate of Estonia and the northern part of the Governorate of Livonia. April 16 (N. ) ( April 3, O. ) ? Vladimir Lenin arrives at the Finland Station in Petrograd. WWI: The Nivelle Offensive commences. April 17 (N. ) ( April 4, O. ) ? Vladimir Lenin 's April Theses are published. [3] They become very influential in the following July Days and Bolshevik Revolution. WWI: The Egyptian Expeditionary Force begins the Second Battle of Gaza. This unsuccessful frontal attack on strong Ottoman defences along with the first battle, results in 10, 000 casualties, the dismissal of force commander General Archibald Murray, and the beginning of the Stalemate in Southern Palestine. The Times and the Daily Mail (London newspapers both owned by Lord Northcliffe) print atrocity propaganda of the supposed existence of a German Corpse Factory processing dead soldiers' bodies. [4] [5] [6] [7] April 26 ? WWI: The Agreement of Saint-Jean-de-Maurienne, between France, Italy and the United Kingdom, to settle interests in the Middle East, is signed. May [ edit] May 9 ? WWI: The Nivelle Offensive is abandoned. May 13 ? Nuncio Eugenio Pacelli, the future Pope Pius XII, is consecrated Archbishop by Pope Benedict XV. [8] May 13 ? October 13 (at monthly intervals) ? 10-year-old Lúcia Santos and her cousins Francisco and Jacinta Marto report experiencing a series of Marian apparitions near Fátima, Portugal, which become known as Our Lady of Fátima. May 15 ? Robert Nivelle is replaced as Comm
I was literally left speechless during this scene. 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, w
The most vulgar visual effect that I saw in a movie last year wasn’t Marvel-ous or otherwise superheroic; it was in “1917, ” and depicted the death of a soldier in combat. The soldier is stabbed, and, as he bleeds out, his face is leached of pinkness and turns papery white just before he expires. The character’s death would have been as wrenching for viewers if the soldier’s appearance remained unaltered and he merely fell limp. Instead, the director, Sam Mendes, chose to render the moment picturesque?to adorn it with an anecdotal detail of the sort that might have cropped up in a war story, a tale told at years’ remove, and that would have stood for the ineffable horror of the experience. Instead, rendered as a special effect, the character’s end becomes merely poignant?not terrifying or repulsive?making for a very tasteful death. That tastefulness is a mark of the utter tastelessness of “1917, ” a movie that’s filmed in a gimmicky way?as a simulacrum of a single long take (actually, it’s a bunch of takes that run up to nine minutes and are stitched together with digital effects to make them look continuous). Yet that visual trickery isn’t the fakest aspect of the movie. Rather, the so-called long take serves as a mask?a gross bit of earnest showmanship that both conceals and reflects the trickery and the cheap machinations of the script, the shallowness of the direction of the actors, and the brazenly superficial and emotion-dictating music score. The story is a sort of “Saving Private Ryan” in reverse, and that reversal is by far the most interesting thing about “1917, ” with its suggestion of an antiwar ethos. Somewhere behind the lines in France, a young British lance corporal, Tom Blake (Dean-Charles Chapman), dozing during downtime, is awakened by a sergeant and told, “Pick a man, bring your kit. ” Blake chooses a fellow lance corporal, Will Schofield (George MacKay), a friend who’d been napping in the grass alongside him. The sergeant sends the duo on a special mission: to cross the former front lines, now abandoned by German forces, and take a letter to a colonel who’s with his troops at a new forward position. That colonel is about to launch an offensive against the apparently retreating Germans, but aerial reconnaissance shows that the Germans are luring the colonel’s two battalions into a trap, and the letter is an order calling off the offensive. What’s more, the battalions to which Blake is being dispatched include his brother, a lieutenant. Blake is outgoing and earnest, Schofield is a sarcastic cynic, and the implication is that Blake has been chosen for this mission not because he’s necessarily the best soldier to undertake it but because he’s uniquely motivated to complete it?because he knows that, if he doesn’t reach the colonel in time, his brother will be among sixteen hundred soldiers who will be entrapped and massacred. The darker suggestion, utterly unexplored, is that morale and commitment were issues in the British Army at this latter stage of the Great War (the action begins on April 6, 1917, and concludes the next morning), and that a soldier without Blake’s personal motive for saving the two battalions might not be trusted to put himself at risk to fulfill it. What’s clear is that Schofield is dubious about the mission and resentful of Blake for choosing him as his partner. Of course, because “1917” is a film of patriotic bombast and heroic duty, Schofield’s mind will be changed in the course of the action. It’s only one in a series of painfully blatant dramatic reversals that wouldn’t be out of place in any of the comic-book movies that are so readily contrasted with “authentic” cinema. (For example, while Schofield has the cynicism knocked out of him, Blake?in another overlap with “Saving Private Ryan”?has to confront the painful consequences of his own warm-heartedly humane idealism. ) The script is filled with melodramatic coincidences that grossly trivialize the life-and-death action by reducing it to sentiment: Schofield fills his canteen with fresh milk that he finds in a pail at a recently deserted farm, and eventually feeds an abandoned baby with it; Blake’s reminiscence of the blanket of cherry blossoms that covers his family’s garden is echoed in Schofield’s discovery of cherry blossoms scattered on a river, which serves as a reminder of his duty and a spark of motivation; an ugly but inconsequential swarm of rats in one part of a battlefield presages a single fateful encounter with a rat in another. Whereas Steven Spielberg’s “Saving Private Ryan” presents an entire army mobilizing to save the life of one soldier, Mendes’s “1917” depicts two ordinary, obscure, and low-ranking soldiers thrust into a mission to potentially save sixteen hundred, and, by implication, the entire British Army, and change the course of the war. This is a classic idea, one that comes packed with an elegant irony. (For instance, it’s the idea at work in John Ford’s brief and brilliant Civil War episode in “How the West Was Won, ” depicting the fateful encounter of two foot soldiers and two Union generals. ) And it’s that very irony which Mendes replaces with a lumbering portentousness. He endows Blake and Schofield with no comparable sense of their own mission, their own disproportionate moment. The script (written by Mendes and Krysty Wilson-Cairns) is imagination-free, which is to say that it endows the characters with no inner lives whatsoever. Have Blake and Schofield ever killed before in hand-to-hand combat? How far along are they in their military experience? What have they experienced of the war? For that matter, who are they? What do they think? Where are they from? What did they do before the war? What are their ambitions beyond survival? What’s especially revealing about Mendes’s superficial and externalized practice in “1917” is that he’s not averse to presenting his characters’ inner visions and states of mind. In “American Beauty, ” he famously showed the middle-aged male protagonist’s sexual fantasy of a naked teen-age girl being covered in a sprinkling of rose petals. While Mendes didn’t shrink from displaying the vivid imagination of a suburban horndog, he’s unwilling to face the imagination of the valorous combatants of “1917. ” It’s as if whatever might be on the minds of his protagonists in the course of their dangerous journey toward the front lines, whether fear or lust, frivolity or hatred, would get in the way of the unbroken solemnity and earnestness with which he approaches the subject of the Great War. (On the other hand, he may fear unleashing his characters’ imagination, because, when, in “American Beauty, ” he let his own imagination loose, the result was a cinematic ickiness of historic dimensions. ) Instead, Mendes shuts down Blake and Schofield and envelops them in a silence of the mind in order not to probe or care what they think. What he substitutes for their inner lives are sequences that exist solely because they make for striking images (a big fire at night, a run through a crowd of soldiers going over a trench wall). These shotlike compositions that arise from the flow of long takes come at the expense of plot and character, as in a scene of hand-to-hand combat that’s framed in the distance without regard to its mortal stakes and intense physicality. Once more, violence is moved offstage and prettified. The movie’s long takes, far from intensifying the experience of war, trivialize it; the effect isn’t one of artistic imagination expanded by technique but of convention showily tweaked. Its visual prose resembles a mass-market novel with the punctuation removed. The film is dedicated, in the end credits, to Lance Corporal Alfred H. Mendes?the director’s grandfather?“who told us the stories. ” In honoring the recollections and experiences of his grandfather, Mendes remains trapped in the narrow emotional range of filial piety that, far from sparking his imagination, inhibits it. His sense of duty yields an effortful and sanctimonious movie that, at the same time, takes its place in a lamentable recent trend. Mendes joins such directors of proud and bombastic craft as Spielberg, Christopher Nolan, Peter Jackson, and Damien Chazelle, who’ve recently made films that are fixated on the heroic deeds of earlier British and American generations. These filmmakers, celebrating their truncated yet monumental versions of history’s heroes, are separating the public figures from their private lives, their visible greatness from mores that might not pass current-day muster. (It’s worth comparing their films to the work of Clint Eastwood, who’s upfront about the powers and limits of his stunted heroes. ) The vision of heroism that these directors present bleaches the past of its presumptions and prejudices, cruelties and pettiness, but also of its genuine humanity, courage, and tragedy.
First reaction was to say “dont spill his beer” but he seems so disciplined hed probably just be like “sawrite, mate”. Heath Ledger: oscar winner Joaquin Phoenix: Oscar winner Double trouble. Great movie, but am i the only one who felt that the 2 soldiers were too relaxed as they wandered about the landscape when they got past the german lines? Surely they would have had to be wary of snipers and mines etc. I can only imagine how hard it was to film this. They deserve for this to do well. I hope it does. Coming out in 2020 huh explain how i saw one of the movies already and its 2019 like bruh.
Nobody: Description: Harry Potter and The Philosophers Stone.

“This movie succeeded on all fronts.” I see what you did there Jeremy. I see what you did

Crew: Mr. Cameron lets use the legendary terminator music. CJ: Nah, f that. I am gonna use women moaning in the back ground because it is the first woman inspiring terminator movie. Crew: But sir the second one is woman inspiring as well. CJ: All I am hearing is toxic masculinity. Crew: This movie gonna suck right. CJ: Damn right it will.
After watching the movie, its basically Shelby and Miles v Ford with some Italians in it The movie. This could win best picture crazy I know I just got a feeling. Apocalypse Now meets Dunkirk. The entire movie looks like it was shot once and it was ????. NOW PLAYING IN SELECT THEATERS. EVERYWHERE FRIDAY. Terms & Conditions Privacy Policy - New Do Not Sell My Personal Information Feedback MOVIE PLATFORM © 2020 POWSTER © 2020 Universal Pictures. ALL RIGHTS RESERVED. Watch the 1917 movie trailer on the official site. In select theaters December 25, 2019; everywhere January 10, 2020. America gangster. Attention we have lost Objective Butters. 29 34 MULAN desney are runing out of ideas and they just make every sngle movie with real live actors.
Who else watch this trailer everyday. 17:08 You were supposed to inspire a new generation, not make a complete joke out of it. “The lessons we learn are written on the tombstones of others”... Ridge.
KEEP MOVING. Since last month everytime i hear about Alfred Hitchcock i think of Eminem ?. This was a really good movie! I enjoyed it a lot. Congrats to the Amels for making it! Great job. John - THANKS for the review of this fine film! videography - the process or art of making video films. cinematography - the process or art of making motion pictures.
I was so high the whole time I was watching this movie I thought Oliver was Amos from the Expanse. Easily the Best Picture I've seen this past year - and it wasn't easy. Until this week it was at only two theaters in NYC, so you had to make an effort; it was worth it.
After a little time to set the scene, the picture picks up steam and proceeds at break-neck speed to it's climactic ending. It starts right after Cpl. Blake gets his orders; go behind enemy lines and warn his brother's unit that they are walking into a trap, the hook being that Blake would try hard to succeed since his brother was at stake. From this point on it's like a roller coaster ride with no let up. I was exhausted at the end after the ordeal of the story. It's a war picture but it's also a story of survival, like "The Revenant. AA Noms could go to George McKay, who i'd never seen before, for Best Actor and for whoever designed the sets - they were perfect as well as authentic. It is a British production which is fitting as Hollywood produces nothing of consequence anymore.
Looks amazing. I love the Wayfaring Stranger song choice as well.
When Sam Mendes sent out the script for "1917, " his concept was firmly in place: a feature-length war film envisioned as a single shot in real time. It was bold. It was ambitious. It was maybe not taken as seriously as he hoped. "I did laugh out loud, " remembered editor Lee Smith. "I thought it was a typo, " said cinematographer Roger Deakins, chuckling, before backtracking. "No, my reaction was, 'Okay. Why? ' But then I read it and it's obvious. " "1917" is a simple story complex in its storytelling. Mendes' film -- inspired by tales told by his grandfather, a messenger in World War I -- tracks two British soldiers on a mission through No Man's Land to deliver instructions to advancing troops in mortal peril. Failure isn't an option, and the urgency of the situation demands that we follow them every step of the way. So that's what the camera does. "One-shot" filmmaking follows no fixed path, and directors before Mendes have approached it with varying degrees of fidelity. In Hitchock's "Rope" (1948), cuts were masked by panning across characters' dark clothing. Cinematographer Emmanuel Lubezki also obscured the frame to hide edits in Alexander Iñárritu's "Birdman" (2014), panning to walls and objects or plunging into the shadows of New York alleyways, building on the illusion with dynamic handheld shots. A still from Sebastian Schipper's "Victoria" (2015), shot in one unbroken take in the early hours of the morning in Berlin. Credit: courtesy Mongrel Media True one-shot "Victoria" (2015) had Sebastian Schipper direct a bank heist around the streets of Berlin, his cast ad-libbing dialogue while the camera was passed between operators. Schipper filmed three takes and his favorite ended up on screen (and had the grace to bill cinematographer Sturla Brandth Grøvlen above him in the credits). "1917, " with its high-octane action, large cast and ever-changing mis-en-scene, opted to stitch together takes up to nine minutes long -- and yes, though marketed as a one-shot film, "1917" does contain a single visible cut. Scale models of production designer Dennis Gassner's sets, built on a backlot at Shepperton Studios and on location up and down the UK, were used to choreograph performances and camera movements ahead of time, and on set rehearsed and rehearsed again. Deakins, who shot digitally, convinced ARRI to provide three prototype miniature large format Alexa cameras, ideal for their portability. "I don't use technology for the sake of it, but it often demands it, " he said. "A film like this comes up, and then there's bits of technology that are just suited to it. " Cinematographer Roger Deakins and director Sam Mendes on the set of "1917. " Credit: François Duhamel/Universal Pictures and DreamWorks Pictures More than half of the film was shot on an electronically-stabilized, remote-controlled head called a Stabileye ("I can't understand how it works, but it's very small and it's fantastic, " Deakins said). The crew invented a gyro post for Steadicam operator Peter Cavaciuti so he could run forward down trenches with the camera facing backwards, while a Trinity rig -- a type of hybrid camera stabilizer -- was used extensively. With only one spare camera, equipment was put through the wringer. "Pete and Charlie Rizek, who (operated) a Trinity, each of them fell over a couple of times in the trenches, " said the cinematographer. Cameras were attached to and removed from wires, taken for a rides on a motorbike and 4x4s, and on a drone over water at one stage. The majority of "1917" was filmed on location up and down the UK, standing in for the Western Front. Credit: François Duhamel/Universal Pictures and DreamWorks Pictures Deakins (far left) and Mendes (far right) shoot an early scene in "1917. " Credit: François Duhamel/Universal Pictures and DreamWorks Pictures In a break from Deakins' regular workflow, he was often controlling cameras remotely from a van alongside select crew. "We were laughing a lot, but it was very tense when we were doing a shot, " he said. "You can't go back. You either get the take or you have to start again. " The preceding shot would be played back, and Mendes wouldn't entertain a rehearsal of the following take until the next shot had been matched up perfectly, Deakins explained. "We were trying to make and complete the film as we were shooting, " said Smith. "It was kind of (like) standing there butt-naked. All of my usual armor was stripped away. " "If there were any issues, I had to speak up quickly, " added Smith, who edited remotely. "If you were watching the dailies, for example, and you said that you needed to cut, you had a big problem. " Was there ever a contingency plan if a bad match was discovered in post-production? "Other than suicide, no, " Deakins quipped. Blake (Dean-Charles Chapman) and Schofield (George MacKay) enter an orchard in "1917. " Credit: François Duhamel/Universal Pictures and DreamWorks Pictures Essential to maintaining continuity was lighting -- made trickier by large sections of open-air filming. Deakins, a master of light and shadow, exchanged his usual range for flat and overcast conditions. However, being the person making the call on whether to roll or not "added a level of anxiety I don't want to go through again, " he said. "Most of the time I said no, because I didn't want to be in a situation where you're shooting a shot and the actors are giving it their all and suddenly the sun comes out. So that I found very stressful. " The cinematographer did have an opportunity to play with low lighting and silhouettes during a stunning nighttime sequence of fire and rubble that conjures memories of his third act in "Skyfall, " as well as "Ivan's Childhood" by Andrei Tarkovsky (a "staggering" film and "the closest anything is to art -- pure art, " Deakins argued). "I felt it could be more of a slight dreamscape, " he explained, "a vision of hell" -- albeit meticulously designed and tested down to the time it took for flares to fall from the air. Yet there was still room for happy accidents elsewhere, Deakins added, although it would be best not to spoil the surprise. George MacKay as Schofield in a still from "1917. " Credit: Universal Pictures and DreamWorks Pictures Nikolai Burlyayev, the youthful lead in Andrei Tarkovsky's debut feature "Ivan's Childhood" (1962). Credit: Mosfilm/Kobal/Shutterstock The completed film, releasing in the US on Christmas Day and internationally in January, has thrust Deakins and Smith's names into awards season contention. However, both recent Academy Award winners are modest men. Deakins said he's still surprised by which of his films turn in to a hit or not. One of the greatest cinematographers in the world today said he sometimes stumbles across his work while late night channel hopping, "and I'll watch it and think, 'Oh, that's not bad. '" It would almost be indecent to ask if he foresees a second Oscar. Smith, meanwhile, is content to be the film's "Invisible Man. " "You'd have to really have a huge understanding of editing, or you would have had to have edited this kind of a film to understand what goes into it, " he said. "(Voters would) probably just watch it and go, 'Well, there's no editing in this movie. ' And that's fine... That just means I did my job properly. " As for what's next, Smith is taking a break while Deakins is on the hunt for his next challenge. "If you hear of anything, " he said, "let me know. ".
  1. Reporter Luis Di Vasca
  2. Biography: Maravilhoso! Conselheiro! Deus Forte! Pai da Eternidade! Príncipe da Paaaaaaaaaaaaaaaaaaaaaaaaaaaaaa









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