1917 Watch Full Length 720px 2019 year HD actor Colin Firth
▼▼▼▼▼
⇪⇪⇪⇪⇪
audience score: 16970 vote
release Date: 2019
director: Sam Mendes
reviews: 1917 is a movie starring Dean-Charles Chapman, George MacKay, and Daniel Mays. Two young British soldiers during the First World War are given an impossible mission: deliver a message deep in enemy territory that will stop 1,600
actor: Dean-Charles Chapman
_01.jpg)
1917 1917 英國海報 基本资料 导演 山姆曼德斯 监制 山姆曼德斯 佩帕哈里斯 潔恩-安滕格倫（ Jayne-Ann Tenggren ） 卡勒姆麥克杜格爾（ Callum McDougall ） 布萊恩奧利佛 编剧 克莉絲蒂威爾森-克倫斯 主演 喬治麥凱 迪恩-查爾斯查普曼 馬克史壯 安德魯史考特 理察麥登 克萊兒杜伯克（ Claire Duburcq ） 柯林佛斯 班奈狄克康柏拜區 配乐 湯瑪斯紐曼 摄影 羅傑狄金斯 剪辑 李史密斯 制片商 夢工廠 信任娛樂 尼尔街制作公司 安培林有限公司 New Republic Pictures 片长 119分鐘 产地 英國 美國 语言 英語 上映及发行 上映日期 2019年12月25日 （美國） 2020年1月9日 （香港，新加坡） 2020年1月10日 （英國） 2020年1月16日 （马来西亚） 2020年1月30日 （臺灣） 发行商 環球影業 （美國） eOne （英國） 预算 9000萬～1億美 [1] 票房 2. 5億美 [2] 各地片名 中国大陆 1917 [3] 香港 1917：逆戰救兵 [4] 臺灣 1917 [5] 6] 新加坡 1917 马来西亚 1917 《 1917 》（英語： 1917 ，香港译《 1917：逆戰救兵 》，台湾译《 1917 》）是一部 2019年 英國 和 美國 合拍的 戰爭片 ，由 山姆曼德斯 執導並與 克莉絲蒂威爾森-克倫斯 共同撰寫劇本，故事主要描述兩名年輕的英國士兵在 第一次世界大戰 期間穿越枪林弹雨，传达重要情报从而阻止友军落入德军圈套.其主演包括 喬治麥凱 迪恩-查爾斯查普曼 馬克史壯 安德魯史考特 理察麥登 克萊兒杜伯克（ Claire Duburcq ） 柯林佛斯 及 班奈狄克康柏拜區. 本片的部份內容是根據曼德斯的祖父 阿爾弗雷德曼德斯 所向他透露 [7. 《1917》由 環球影業 定於2019年12月25日在美國上映，而英國則於2020年1月10日上映. 《1917》在 第77屆金球獎 上获得多项提名，并最终斩获 最佳戲劇類影片 和 最佳導演. 在 第73届英国电影学院奖 上提名了9个奖项.成功夺下7个奖项包括最佳电影，最佳英国电影和最佳导演.在 第92届奥斯卡金像奖 获得10项提名. 劇情 [ 编辑] 1917年4月， 第一次世界大戰 激戰正酣.在 西方戰線 ，德軍撤出法國北部的一個戰略據點.英軍士兵史科菲爾德和布萊克到艾林摩爾將軍處聽取任務簡報：據 空中偵察部門 情報，德軍並未撤離，而是戰略性地後撤到新修建的 興登堡防線 ，準備利用 大砲 對英軍展開壓倒性襲擊.由於 戰地電話 被切斷，史科菲爾德和布萊克需要人手將要求中斷進攻計劃的信件轉交給 德文郡軍團 第2營，否則展開貿然進攻會造成1600人喪生，布萊克的哥哥約瑟夫就在他們當中. 史科菲爾德和布萊克穿越 無人區 ，進入到已經荒廢的德軍的戰壕.在戰壕的地道中，一隻老鼠碰到了絆線，造成埋藏好的炸藥爆炸.爆炸造成洞穴塌方，土方石掩埋了史科菲爾德.幸虧布萊克徒手將他挖出來，把他拉出地窖，他才逃過一劫.之後，他們來到一處廢棄的農舍，目擊到兩架英軍與一架德軍飛機在 纏鬥 ，德軍飛機被擊落後，正好砸中了農舍.兩人一起將飛行員從著火的駕駛艙中拉起出來后，史科菲爾德說應該 一槍打死他 ，但布萊克要他去給飛行員打水喝.史科菲爾德拿著鋼盔去附近的水井打水，轉身就看到飛行員用刀刺傷布萊克，史科菲爾德緊要關頭開槍擊殺飛行員.受傷的布萊克奄奄一息，囑託史科菲爾德要把任務完成. 之後，路過的英軍部隊將史科菲爾德接走，車隊在一座被炸塌到水溝中的鐵橋旁停下，這就是 埃库斯特圣曼 村.史科菲爾德下車，踩著橋樑露出水面的鋼架，此時埋伏在橋附近的德軍狙擊手看到他，接連開了幾槍.史科菲爾德艱難渡河後，躲到一堵墻後，邊躲邊開槍，最後衝入了樓內開槍打死了狙擊手，不過也被流彈所傷. 史科菲爾德醒來後已經是晚上，德軍再度進犯村子.冒著一名德軍士兵的追擊，史科菲爾德無意中躲進了一處地窖，遇到了一名法國女性和她路上撿到的嬰兒.他把身上所有的食品罐頭，還有之前在農場上裝的牛奶給了母女兩，她則給他療傷.之後，史科菲爾德繼續趕路，途中兩次被德軍士兵發現.第一次他把對方給勒死，另外一次遇到了 醉酒 的德軍，只是躲了過去.之後又有一名士兵追他，他情急之下跳入河中. 史科菲爾德找到二營已經是早上，離他們發起進攻已經不遠了.由於沒能阻止二營發起首輪攻勢，史科菲爾德在戰壕中飛奔，身旁的英國步兵敵不過德軍的大砲，倒在地上.最終，他找到了二營指揮官麥肯齊上校，麥肯齊讀完指令停止進攻. 之後，史科菲爾德找到了布萊克的哥哥約瑟夫，約瑟夫參與了第一波進攻，但是沒有受傷，正在負責指揮傷員的搬運.史科菲爾德向他告知他的弟弟死訊，約瑟夫聽罷非常震驚，不過也感謝史科菲爾德的努力.史科菲爾德說想要寫信告訴布萊克母親她兒子的英勇事跡，約瑟夫同意了.史科菲爾德走進附近的一棵樹，坐在樹下休息.他拿出隨身攜帶的日記本，拿出了夾在裡面的照片，照片上是他的兩個小女兒和妻子，他們正等他回家. 演員 [ 编辑] 製作 [ 编辑] 2018年6月， 安培林有限公司 宣布將收購由 山姆曼德斯 執導並與 克莉絲蒂威爾森-克倫斯 共同撰寫劇本的 一戰 電影《1917》 [8. 2018年9月，據報導， 汤姆赫兰德 正在會談出演該片 [9. 10月，據報導， 羅傑狄金斯 將再度與曼德斯合作，以擔任《1917》的攝影指導 [10. 喬治麥凱 和 迪恩-查爾斯查普曼 在同月加入出演會談 [11. 湯瑪斯紐曼 於2019年3月被聘來為該片的配樂作曲 [12. 同於2019年3月， 班奈狄克康柏拜區 柯林佛斯 馬克史壯 理察麥登 安德魯史考特 丹尼爾梅斯 艾德里恩史科柏洛 傑米帕克 納布罕里茲萬（ Nabhaan Rizwan ）及克萊兒杜伯克（ Claire Duburcq ）加入了電影的演出陣容 [13. 拍攝 [ 编辑] 主要拍攝 於2019年4月1日開始，一直持續到2019年6月，取景地包括 威爾特郡 格倫科高地 和 蘇格蘭 加文 ，以及 謝珀頓製片廠 [14] 15] 16] 17. 保護主義者計劃於劇組在 索爾茲伯里平原 拍攝時表示關注，他們認為製作作業可能會擾亂該地區潛在未被發現的古蹟，因此他們在劇組拍攝前對該領地進行調查 [18] 19. 2019年6月，劇組人員在 蒂斯河 的 蒂斯代爾 四處放置的零散屍體（假肢）驚動到了其他遊客，為此在附近設置了公告 [20. 該片使用了 長鏡頭 手法來拍攝，並精心架設了用於移動的攝影機鏡頭，以達到 一次性拍攝 的效果 [21] 22. 發行 [ 编辑] 《1917》在美國由 環球影業 定於2019年12月25日上映，並由 eOne 排定於2020年1月10日在英國上映 [23. 迴響 [ 编辑] 評價 [ 编辑] 該片在 爛番茄 網站上根據391篇評論而持有89%的新鮮度，平均得分8. 38／10，觀眾投票獲得88%的分數，平均得分為4. 41／5 [24. 而在 Metacritic 上則獲得78分的「普遍好評」 [25. 票房 [ 编辑] 參考資料 [ 编辑] Spielberg called it “hugely ambitious, ” ‘1917 Movie Trailer is Finally Out. WarHistoryOnline. 2019-08-03 [ 2019-11-04. ^ 1917 (2019. Box Office Mojo. IMDb. 2019-12-27. ^ 1917 (2019. 豆瓣电影. 2019-08-04. （原始内容 存档 于2019-08-04）. ^ 1917：逆戰救兵. Yahoo奇摩電影. （原始内容 存档 于2019-08-04）. ^ 1917. 開眼電影網. （原始内容 存档 于2019-08-04）. ^ JeanLin. 山姆曼德斯最新執導一戰電影《1917》釋出首支預告. Hypesphere狂熱球電影資訊網. 2019-08-02 [ 2019-08-04. （原始内容 存档 于2019-08-04）. ^ Mike Ridley. Sam Mendes war film 1917 is based on heroics and sex life of director's grandad. The Sun. 2019-08-12 （英语）. ^ Jr, Mike Fleming. Amblin, Sam Mendes Set WWI Drama ‘1917 As His First Directing Effort Since James Bond Pics ‘Spectre & ‘Skyfall. Deadline Hollywood. 2019-06-18 [ 2019-04-07. （原始内容 存档 于2019-03-31）. ^ Zinski, Dan. Tom Holland In Talks To Star In Sam Mendes' WWI Drama 1917. ScreenRant. 2019-09-05 [ 2019-04-07. （原始内容 存档 于2019-04-04）. ^ Marc, Christopher. Oscar-Winning ‘Blade Runner 2049 Cinematographer Roger Deakins Might Reunite With Sam Mendes For WWI Movie ‘1917. 2018-10-24 [ 2019-04-07. （原始内容 存档 于2019-04-04）. ^ Jr, Mike Fleming. George MacKay, ‘GOTs Dean-Charles Chapman In Talks For Leads In Sam Mendes WWI Pic '1917. 2018-10-26 [ 2019-04-07. （原始内容 存档 于2019-04-04）. ^ Thomas Newman to Score Sam Mendes' 1917. Film Music Reporter. 2019-03-06 [ 2019-04-07. （原始内容 存档 于2019-04-04）. ^ Galuppo, Mia. Colin Firth, Benedict Cumberbatch Join Sam Mendes' WWI Movie '1917. The Hollywood Reporter. 2019-03-28 [ 2019-03-28. （原始内容 存档 于2019-03-28）. ^ Chance to star in Hollywood movie filming in Wiltshire. Spire FM. 2019-01-04 [ 2019-04-07. （原始内容 存档 于2019-04-04）. ^ World War One film to begin production on Hankley Common. Eagle Radio. 2019-02-18 [ 2019-04-07. （原始内容 存档 于2019-04-04）. ^ Diamond, Claire. Spielberg movie wants to film in Glasgow. BBC. 2019-02-19 [ 2019-04-07. （原始内容 存档 于2019-04-04） –通过. ^ Marc, Christopher. EXCLUSIVE: Sam Mendes ‘1917 Adds ‘Skyfall/Blade Runner 2049 Production Designer and ‘Atonement Art Director – Confirmed To Shoot At Shepperton Studios. 2018-12-11 [ 2019-04-07. （原始内容 存档 于2019-04-02）. ^ Pulver, Andrew. Spielberg and Mendes Stonehenge war film plans hit by locals' objections. The Guardian. 2019-02-06 [ 2019-04-07. （原始内容 存档 于2019-04-02） –通过. ^ D'Alessandro, Anthony. Sam Mendes ‘1917 Nears Production: Mark Strong, Colin Firth, Benedict Cumberbatch & More Join Cast. （原始内容 存档 于2019-03-28）. ^ Chapman, Hannah (编. Spielberg's new drama filmed in Teesdale warns of prosthetic bodies. The Northern Echo. 2019-06-26: 6. ISSN 2043-0442. ^ Giardina, Carolyn. New Video Shows How Sam Mendes, Roger Deakins Shot '1917' to Appear as One Continuous Take. 2019-09-30 [ 2019-12-01. ^ Evangelista, Chris. ‘1917 Featurette Teases a War Epic Told in One Continuous Shot. /Film. 2019-09-30 [ 2019-12-01. ^ D'Alessandro, Anthony. Universal Dates Sam Mendes' 1917' For Christmas 2019. 2018-12-13 [ 2019-04-07. （原始内容 存档 于2019-04-04）. ^ 1917 (2019. Rotten Tomatoes. Fandango Media. 2019-11-26. ^ 1917 Reviews. Metacritic. CBS Interactive. 2019-11-26. 外部連結 [ 编辑] 官方网站 互联网电影数据库 （IMDb）上《 1917 》的资料 （英文） 查 论 编 山姆曼德斯 执导的电影 1990年代 《 美麗有罪 》（1999年） 2000年代 《 非法正義 》（2002年） 《 平头日记 》（2005年） 《 浮生路 》（2008年） 《 寻找快乐窝 》（2009年） 2010年代 《 007：大破天幕杀机 》（2012年） 《 007：惡魔四伏 》（2015年） 《 1917 》（2019年） 查 论 编 金球獎最佳劇情片 《 圣女之歌 》 (1943) 《 与我同行 》 (1944) 《 失去的週末 》 (1945) 《 黄金时代 》 (1946) 《 君子協定 》 (1947) 《 心声泪影 》 / 《 碧血金沙 》 (1948) 《 当代奸雄 》 (1949) 《 日落大道 》 (1950) 《 郎心如铁 》 (1951) 《 戲中之王 》 (1952) 《 圣袍 》 (1953) 《 码头风云 》 (1954) 《 伊甸园之东 》 (1955) 《 环游世界八十天 》 (1956) 《 桂河大桥 》 (1957) 《 挣脱锁链 》 (1958) 《 賓漢 》 (1959) 《 風雲羣英會 》 (1960) 《 纳瓦隆大炮 》 (1961) 《 阿拉伯的劳伦斯 》 (1962) 《 红衣主教 》 (1963) 《 雄霸天下 》 (1964) 《 日瓦戈医生 》 (1965) 《 良相佐國 》 (1966) 《 月黑風高殺人夜 》 (1967) 《 冬獅 》 (1968) 《 安妮的千日 》 (1969) 《 愛的故事 》 (1970) 《 霹靂神探 》 (1971) 《 教父 》 (1972) 《 大法師 》 (1973) 《 唐人街 》 (1974) 《 飛越瘋人院 》 (1975) 《 洛奇 》 (1976) 《 转折点 》 (1977) 《 午夜快車 》 (1978) 《 克藍瑪對克藍瑪 》 (1979) 《 凡夫俗子 》 (1980) 《 金色池塘 》 (1981) 《 E. T. 外星人 》 (1982) 《 親密關係 》 (1983) 《 阿瑪迪斯 》 (1984) 《 走出非洲 》 (1985) 《 野战排 》 (1986) 《 末代皇帝 》 (1987) 《 雨人 》 (1988) 《 生于七月四日 》 (1989) 《 與狼共舞 》 (1990) 《 豪情四海 》 (1991) 《 女人香 》 (1992) 《 辛德勒的名单 》 (1993) 《 阿甘正传 》 (1994) 《 理性與感性 》 (1995) 《 英倫情人 》 (1996) 《 泰坦尼克号 》 (1997) 《 搶救雷恩大兵 》 (1998) 《 美國心玫瑰情 》 (1999) 《 神鬼戰士 》 (2000) 《 美丽心灵 》 (2001) 《 时时刻刻 》 (2002) 《 指环王：王者归来 》 (2003) 《 飞行者 》 (2004) 《 斷背山 》 (2005) 《 火線交錯 》 (2006) 《 贖罪 》 (2007) 《 貧民百萬富翁 》 (2008) 《 阿凡达 》 (2009) 《 社群網戰 》 (2010) 《 繼承大丈夫 》 (2011) 《 逃离德黑兰 》 (2012) 《 为奴十二年 》 (2013) 《 少年时代 》 (2014) 《 神鬼獵人 》 (2015) 《 月光男孩 》 (2016) 《 三块广告牌 》 (2017) 《 波希米亞狂想曲 》 (2018) 《 1917 》 (2019) 查 论 编 英国电影学院奖最佳影片 黄金时代 (1948) 哈姆雷特 (1949) 偷自行车的人 (1950) 彗星美人 (1951) 轮舞 (1952) 一飞冲天 (1953) 禁忌的游戏 (1954) 恐惧的代价 (1955) 理查三世 (1956) 酒店 (1957) 桂河大桥 (1958) 金屋泪 (1959) 賓漢 (1960) 公寓春光 (1961) 兵士的歌謠 (1962) 江湖浪子 (1962) 阿拉伯的劳伦斯 (1963) 風流劍客走天涯 (1964) 奇爱博士 (1965) 窈窕淑女 (1966) 靈慾春宵 (1967) 良相佐國 (1968) 毕业生 (1969) 午夜牛郎 (1970) 虎豹小霸王 (1971) 血腥的星期天 (1972) 歌廳 (1973) 日以作夜 (1974) 勒亢魯希安 (1975) 再見愛麗絲 (1976) 飛越瘋人院 (1977) 安妮霍尔 (1978) 茱莉亞 (1979) 曼哈顿 (1980) 象人 (1981) 火之战车 (1982) 甘地傳 (1983) 凡夫俗女 (1984) 杀戮战场 (1985) 开罗紫玫瑰 (1986) 看得见风景的房间 (1987) 男人的野心 (1988) 末代皇帝 (1989) 死亡诗社 (1990) 好家伙 (1991) 追夢者 (1992) 此情可問天 (1993) 辛德勒的名单 (1994) 四個婚禮一個葬禮 (1995) 理性與感性 (1996) 英国病人 (1997) 光豬六壯士 (1998) 莎翁情史 (1999) 美国丽人 (2000) 角斗士 (2001) 指环王：护戒使者 (2002) 钢琴家 (2003) 指环王：王者归来 (2004) 飞行者 (2005) 断背山 (2006) 女王 (2007) 赎罪 (2008) 貧民百萬富翁 (2009) 拆弹部队 (2010) 国王的演讲 (2011) 艺术家 (2012) 逃离德黑兰 (2013) 为奴十二年 (2014) 少年时代 (2015) 荒野猎人 (2016) 樂來越愛你 (2017) 三块广告牌 (2018) 羅馬 (2019) 1917 (2020) 查 论 编 英國電影學院獎最佳英國電影 1948–1968 法網情絲 (1948) 堕落的偶像 (1949) 黑獄亡魂 (1950) 警匪肉搏戰 (1951) 械劫裝甲車 (1952) 一飛沖天 (1953) 飛車艷史 (1954) 女大不中留 (1955) 晴空浴血戰 (1957) 金屋淚 (1959) 艷屍兇案 (1960) 浪子春潮 (1961) 甜言蜜語 (1962) 风流剑客走天涯 (1964) 倫敦間間諜遊戲 (1966) 柏林諜影 (1967) 良相佐国 (1968) 1993–现在 哭泣游戏 (1993) 曾經深愛過 (1994) 同屋三分驚 (1995) 神经大帝 (1996) 秘密與謊言 (1997) 愈說話愈傷心 (1998) 伊丽莎白 (1999) 東西對對碰 (2000) 跳出我天地 (2001) 高斯福大宅謀殺案 (2002) 武士 (2003) 冰峰168小時 (2004) 夏日午後的初纏愛侶 (2005) 酷狗寶貝之魔兔詛咒 (2006) 最后的苏格兰王 (2007) 这就是英格兰 (2008) 走钢丝的人 (2009) 鱼缸 (2010) 鍋匠 裁縫 士兵 間諜 (2012) 007：大破天幕杀机 (2013) 地心引力 (2014) 爱的万物论 (2015) 布鲁克林 (2016) 我是布萊克 (2017) 真寵 (2019) 1917 (2020.
I think about my father fighting in Vietnam with his command as I watch this, and, cannot help to just sob my eyes out—and, I havent even seen the movie yet! Thank God he returned home safe with his men! 💋. 1917 stories. 1917 movie 2019. REVIEW - 1917
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.
I fully expected him to sign off with This is Jocko. Out. 1917 song. 1917 film. 
1917 showtimes. Did this movie got delayed. Director/Writer Sam Mendes and Cinematographer Roger Deakins produce the best war film of the 2010s. Truly stunning visually, the story of two soldiers' race to the front lines of WWI under direct orders to deliver the message to stop 1,600 British soldiers from entering a trap set-up by German forces to massacre them, keeps the audience on the edge of their seats, and inside the soldiers' boots, through amazing Mendes/Deakins directing/cinematography techniques. This is film art in its highest form, and is at once incredibly beautiful and horrific. A runaway certain Oscar winner for Cinematography (Deakins) and nominations (at a minimum) for Best Film, Director, Visual Effects, Screenplay (Mendes) Film Editing (Lee Smith) and Actor (George MacKay.
War movies are a dime a dozen. So are movies touted for their technical feats. De-aging, anyone. So, given that 1917 is a World War I film that employs the trick of looking like it is a single 120-minute shot, it would be easy to greet director Sam Mendes latest with yawns and/or eye rolls, to treat it as just another big, boring epic released for the sole purpose of winning Oscars. Such dismissals, though, would be unwarranted. Instead of being the latest installment in Hollywoods long-running obsession with war flicks, 1917 is a compelling human drama about the horrors of battle told with such technical and artistic mastery that its not just one of the best movies of 2019 —it may go down as Mendes' and cinematographer Roger Deakins shared masterwork. The film follows two young men, Lance Corporal William Schofield (George MacKay) and Lance Corporal Tom Blake (Dean-Charles Chapman) soldiers on the Western Front who receive a near-impossible task: Carry a message across enemy lines to a British battalion that's at risk of being ambushed ahead of a planned attack against German troops. In a race against time—and against the unseen enemy—the pair have the fates of 1, 600 troops on their shoulders, one of whom (in a plot point reminiscent of Steven Spielbergs Oscar-winning World War II drama Saving Private Ryan) is Blakes own brother. Thrust into their deadly mission, the pair must traverse the deadly and blown-apart battlefields of France at the height of the war, not only to potentially save a great number of their compatriots but also to avoid a terrible turning point in the war to end all wars. What begins as a two-hander heros journey is a surprisingly intimate thriller, with the two soldiers maneuvering through trenches, crossing enemy lines, and witnessing the aftermath of battle up close. The result is haunting and brutal; Mendes doesnt have to show us the battles that have taken place, only the bodies left in their wake. The effect gives 1917 the tension of a horror film, as if at any moment the corpses could reanimate and stop the heroes before they ever reach the Brits. As the continuous-shot effect unfolds, the camera following Schofield and Blake from all angles, Mendes places his viewers squarely into the mouth of wars madness. The Great War, the 20th centurys first international conflict, unfolded on a grand theatrical scale and was perhaps humanitys first horrific lesson on the brutality of modern combat; the technological advances were great, but also massively destructive. Throughout 1917 s two-hour runtime, evidence of the wars violent absurdity is abundant. Perhaps that is why, at times, watching it feels like playing a first-person shooter in the vein of Call of Duty or Battlefield. Like the recently released Gears 5, Mendes film wants the audience to experience the trauma of war along with Schofield and Blake, not just learn about it like a history lesson. Most of his viewers will never experience such extremes; there is no one alive today who can say they experienced this specific conflict firsthand. The film, then, isnt just a war thriller; its a testament to the soldiers who risked their lives to participate in a fight that a century later most people could not even explain. Schofield and Blakes task is simply a plot device to move them across the battlefield in a race against time; the details matter less than the horrors that they—and we—see. Likewise, the reason these millions of men fought against one another matters much less than the sad fact that they did, leaving in the battles wakes a war-torn continent piled up with anonymous bodies. Just before the end credits roll, a simple dedication appears onscreen to Alfred Mendes, the directors grandfather, who served in the British infantry; it reveals the film to be a personal one for its director. His dedication is visible in 1917 s tightly choreographed and blocked sequences; his background as a theater director is recognizable as Schofield and Blake rush through trenches filled with hundreds of other soldiers in their race to save hundreds more, whom we never really see. But 1917 is far from a passion project driven by a single auteur, as Deakins elegant camerawork is evident throughout the film. His long shots, edited together to look like one long take, are a feat, a new spectacular achievement to add to the canon of war movies. The theater of warfare has never been displayed so beautifully and so personally, allowing 1917 s viewers to experience firsthand the monumental event that many of their ancestors saw for themselves—either in the battles of World War I or the many international conflicts that followed. Wars will continue, but never on such a personal scale; soldiers will fight from a distance by land, sea, air, drone. They may never fully comprehend their actions as a result. Mendes film provides a reminder of the distinctly human horrors of war by placing audiences directly in its trenches, the closest many will ever get to watching this level of barbarity themselves. More Great WIRED Stories Instagram, my daughter, and me Tweak these Google Chrome settings to level up your browsing Welcome to Rachel, Nevada— the town closest to Area 51 The Irishman gets de-aging right— no tracking dots necessary Ewoks are the most tactically advanced fighting force in Star Wars 👁 Will AI as a field "hit the wall" soon? Plus, the latest news on artificial intelligence 🎧 Things not sounding right? Check out our favorite wireless headphones, soundbars, and Bluetooth speakers.
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 will stop 1, 600 men from walking straight into a deadly trap. Grosses Domestic ( 48. 6% 123, 542, 909 Summary Details Opening 576, 216 11 theaters MPAA R Running Time 1 hr 59 min Genres Drama War In Release 44 days/6 weeks Widest Release 3, 987 theaters Date DOW Rank Daily% YD% LW Theaters Avg To Date Day Estimated Dec 25, 2019 Christmas Day Wednesday 15 251, 262. 11 22, 842 251, 262 1 false Dec 26, 2019 Thursday 15 186, 837 -25. 6. 11 16, 985 438, 099 2 false Dec 27, 2019 Friday 15 181, 102 -3. 1. 11 16, 463 619, 201 3 false Dec 28, 2019 Saturday 16 203, 219 +12. 2. 11 18, 474 822, 420 4 false Dec 29, 2019 Sunday 15 191, 895 -5. 6. 11 17, 445 1, 014, 315 5 false Dec 30, 2019 Monday 15 171, 817 -10. 5. 11 15, 619 1, 186, 132 6 false Dec 31, 2019 New Year's Eve Tuesday 14 140, 046 -18. 5. 11 12, 731 1, 326, 178 7 false Jan 1, 2020 New Year's Day Wednesday 16 217, 029 +55% 13. 6% 11 19, 729 1, 543, 207 8 false Jan 2, 2020 Thursday 14 146, 660 -32. 4% 21. 5% 11 13, 332 1, 689, 867 9 false Jan 3, 2020 Friday 16 190, 403 +29. 8% 5. 1% 11 17, 309 1, 880, 270 10 false Jan 4, 2020 Saturday 16 238, 577 +25. 3% 17. 4% 11 21, 688 2, 118, 847 11 false Jan 5, 2020 Sunday 17 188, 717 -20. 9% 1. 7% 11 17, 156 2, 307, 564 12 false Jan 6, 2020 Monday 15 112, 349 -40. 5% 34. 6% 11 10, 213 2, 419, 913 13 false Jan 7, 2020 Tuesday 17 113, 587 +1. 1% 18. 9% 11 10, 326 2, 533, 500 14 false Jan 8, 2020 Wednesday 15 108, 388 -4. 6% 50. 1% 11 9, 853 2, 641, 888 15 false Jan 9, 2020 Thursday 15 79, 391 -26. 8% 45. 9% 11 7, 217 2, 721, 279 16 false Jan 10, 2020 Friday 1 13, 962, 685 +17, 487. 2% 7, 233. 2% 3, 434 4, 066 16, 683, 964 17 false Jan 11, 2020 Saturday 1 13, 742, 670 -1. 6% 5, 660. 3% 3, 434 4, 001 30, 426, 634 18 false Jan 12, 2020 Sunday 1 9, 294, 845 -32. 4% 4, 825. 3% 3, 434 2, 706 39, 721, 479 19 false Jan 13, 2020 Monday 1 3, 151, 305 -66. 1% 2, 704. 9% 3, 434 917 42, 872, 784 20 false Jan 14, 2020 Tuesday 1 5, 288, 640 +67. 8% 4, 556% 3, 434 1, 540 48, 161, 424 21 false Jan 15, 2020 Wednesday 1 3, 399, 885 -35. 7% 3, 036. 8% 3, 434 990 51, 561, 309 22 false Jan 16, 2020 Thursday 1 3, 055, 675 -10. 1% 3, 748. 9% 3, 434 889 54, 616, 984 23 false Jan 17, 2020 Friday 2 6, 227, 625 +103. 8% 55. 4% 3, 612 1, 724 60, 844, 609 24 false Jan 18, 2020 Saturday 2 9, 410, 710 +51. 1% 31. 5% 3, 612 2, 605 70, 255, 319 25 false Jan 19, 2020 Sunday 3 6, 345, 865 -32. 6% 31. 7% 3, 612 1, 756 76, 601, 184 26 false Jan 20, 2020 MLK Day Monday 3 4, 922, 850 -22. 4% 56. 2% 3, 612 1, 362 81, 524, 034 27 false Jan 21, 2020 Tuesday 2 2, 896, 830 -41. 2% 45. 2% 3, 612 802 84, 420, 864 28 false Jan 22, 2020 Wednesday 2 1, 889, 790 -34. 8% 44. 4% 3, 612 523 86, 310, 654 29 false Jan 23, 2020 Thursday 2 1, 772, 655 -6. 2% 42% 3, 612 490 88, 083, 309 30 false Jan 24, 2020 Friday 2 4, 018, 155 +126. 7% 35. 5% 3, 937 1, 020 92, 101, 464 31 false Jan 25, 2020 Saturday 2 7, 288, 305 +81. 4% 22. 6% 3, 937 1, 851 99, 389, 769 32 false Jan 26, 2020 Sunday 2 4, 610, 120 -36. 7% 27. 4% 3, 937 1, 170 103, 999, 889 33 false Jan 27, 2020 Monday 2 1, 179, 580 -74. 4% 76% 3, 937 299 105, 179, 469 34 false Jan 28, 2020 Tuesday 2 1, 912, 585 +62. 1% 34% 3, 937 485 107, 092, 054 35 false Jan 29, 2020 Wednesday 2 1, 252, 900 -34. 5% 33. 7% 3, 937 318 108, 344, 954 36 false Jan 30, 2020 Thursday 2 1, 241, 435 -0. 9% 30% 3, 937 315 109, 586, 389 37 false Jan 31, 2020 Friday 2 2, 796, 175 +125. 2% 30. 4% 3, 987 701 112, 382, 564 38 false Feb 1, 2020 Saturday 2 5, 270, 120 +88. 5% 27. 7% 3, 987 1, 321 117, 652, 684 39 false Feb 2, 2020 Sunday 3 1, 430, 940 -72. 8% 69% 3, 987 358 119, 083, 624 40 false Feb 3, 2020 Monday 2 904, 455 -36. 8% 23. 3% 3, 987 226 119, 988, 079 41 false Feb 4, 2020 Tuesday 2 1, 470, 290 +62. 6% 23. 1% 3, 987 368 121, 458, 369 42 false Feb 5, 2020 Wednesday 2 1, 060, 735 -27. 9% 15. 3% 3, 987 266 122, 519, 104 43 false Feb 6, 2020 Thursday 2 1, 023, 805 -3. 5% 17. 5% 3, 987 256 123, 542, 909 44 false.
Im going to the movie tomorrow with my history class cant wait. 1917 spongebob. 1917 movie trailer. And will continue watching but OMG I hope I do not fall a ivate Ryan comparison? NO WAY, unless this movie does a complete turn around in the last hour. I rate the first 1 hr as a 3 and even if it gets better I can not see it getting past a 5 rating. I will finish watching now. OK last 15 minutes shot my ranking up to a 5 rating for the last hour but still only gets a 4 rating from me. 1917 scene running. Time is the enemy. Sam Mendes, the Oscar-winning director of SKYFALL, SPECTRE and AMERICAN BEAUTY, brings his singular vision to his World War I epic, 1917. At the height of the First World War, two young British soldiers, Schofield (CAPTAIN FANTASTIC's George MacKay) and Blake (Game of Thrones' Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers- Blake's own brother among them. Please allow approximately 20 extra minutes for pre-show and trailers before the show starts. 1 hr 59 min R Dec 25, 2019 Drama More Trailers and Videos for 1917 Cast & Crew George Mackay Lance Corporal Schofield George MacKay was born 13 March, 1992 in Hammersmith, London, England, to Kim Baker, a costume designer, and Paul Christopher MacKay, a stage/lighting manager. His father is Australian. At the age of ten, George was scouted to audition for a role in the family feature, Peter Pan (2003. He quickly landed the part of Curly, one of the Lost Boys, and went on to have several minor roles on TV, including an episode of Rose and Maloney (2002) and Footprints in the Snow (2005. At thirteen, George landed the part of Riccio in the film adaptation of Cornelia Funke's best-selling children's novel, The Thief Lord (2006) and was also cast in lead role for BBC adaptation of Terry Pratchett's, Johnny and the Bomb (2006. George worked with Tim Roth, Chiwetel Ejiofor and Sophie Okonedo for the HBO Movie Tsunami: The Aftermath (2006) and later took a part in the Dikensian drama, The Old Curiosity Shop (2007. Soon after, George co-starred with Daniel Craig and Liev Schreiber on Defiance (2008. In 2009, George took on the role of Harry, in The Boys Are Back (2009) alongside Clive Owen, for which he received 2 award nominations. His career took another step forward with Hunky Dory (2011. Since, George has featured in several shorts which have been popular on the festival circuit and played the part of Tommo Peaceful with counterpart Jack O'Connell in the adaptation of Michael Morpurgo's Private Peaceful (2012. 2013 was George's breakthrough year, and was recognized for his parts as Aaron in For Those in Peril (2013) Davy in the musical Sunshine on Leith (2013) Jake Whittam in Breakfast with Jonny Wilkinson (2013) and the dark horse Eddie in How I Live Now (2013. George received several nominations and for such features and later bought home a total of 5 awards. George had a stint in the West End in 2014 in The Cement Garden. He portrayed Joe in the well-received Pride (2014) and Duane Hopkins' Bypass (2014) premiered at the BFI London Film Festival in October. Both Captain Fantastic and Sadie Jones' The Outcast (2015) are in post-production and George will be returning to theatre for Eugene O'Neill's 'Ah, Wilderness. this April. In 2016, George starred in the film Captain Fantastic (2016) opposite Viggo Mortensen, and the mini-series 11. 22. 63 (2016) with James Franco and Sarah Gadon. More DEAN-CHARLES CHAPMAN Lance Corporal Blake Dean-Charles Chapman is an actor, known for 1917 (2019) Before I Go to Sleep (2014) and Game of Thrones (2011. More JAMIE PARKER Actor CLAIRE DUBURCQ Actor NABHAAN RIZWAN Actor Benedict Cumberbatch Actor Benedict Timothy Carlton Cumberbatch was born and raised in London, England. His parents, Wanda Ventham and Timothy Carlton (born Timothy Carlton Congdon Cumberbatch) are both actors. He is a grandson of submarine commander Henry Carlton Cumberbatch, and a great-grandson of diplomat Henry Arnold Cumberbatch CMG. Cumberbatch attended Brambletye School and Harrow School. Whilst at Harrow, he had an arts scholarship and painted large oil canvases. It's also where he began acting. After he finished school, he took a year off to volunteer as an English teacher in a Tibetan monastery in Darjeeling, India. On his return, he studied drama at Manchester University. He continued his training as an actor at the London Academy of Music and Dramatic Art graduating with an M. A. in Classical Acting. By the time he had completed his studies, he already had an agent. Cumberbatch has worked in theatre, television, film and radio. His breakthrough on the big screen came in 2004 when he portrayed Stephen Hawking in the television movie Hawking (2004. In 2010, he became a household name as Sherlock Holmes on the British television series Sherlock (2010. In 2011, he appeared in two Oscar-nominated films - War Horse (2011) and Tinker Tailor Soldier Spy (2011. He followed this with acclaimed roles in the science fiction fiction film Star Trek Into Darkness (2013) the Oscar-winning drama 12 Years a Slave (2013) The Fifth Estate (2013) and August: Osage County (2013. In 2014, he portrayed Alan Turing in The Imitation Game (2014) which earned him a Golden Globe, Screen Actors Guild Award, British Academy of Film and Television Arts and an Academy Award nomination for Best Actor in a Leading Role. Cumberbatch was appointed Commander of the Order of the British Empire (CBE) by Queen Elizabeth II in the 2015 Birthday Honours for his services to the performing arts and to charity. Cumberbatch's engagement to theatre and opera director Sophie Hunter, whom he has known for 17 years, was announced in the "Forthcoming Marriages" section of The Times newspaper on November 5, 2014. On February 14, 2015, the couple married at the 12th century Church of St. Peter and St. Paul on the Isle of Wight followed by a reception at Mottistone Manor. They have three sons, Christopher Carlton (born 2015) Hal Auden (born 2017) and Finn (born 2019. More Cast & Crew photos provided by TMDb.
1917 one shot. "1917" is technically impressive. The entire movie is filmed with some clever cuts in a way that makes it look like a single shot (similar to the style of "Birdman. This style and the impressive sets give it a lot of realism. Unfortunately, the movie is emotionally empty (with the exception of the two scenes) and the plot is paper thin.
5/10.
1917 flare scene. 
1917 oscar win. I feel that the height of common sense is one's intelligence and vice versa. Yep, if you're tired of watching a bunch of ill disciplined Yankee grunts running around and shooting at everything that moves then watch this. 1917 trailer subtitulado. Fantastic. Can't wait to see it. 1971 portant. Just home from the cinema after seeing this movie. Absolutely stunning. One if the best movies I have ever seen. 
1917 blake death.
Lmaooooo. I was about to say “Shawn Mendez” directed a movie
1917 netflix. 1917 release date. 1917 De Stijl Movement After World War I there was a turning away from old forms and philosophies among architects and designers, just as there was among artists and. Read more Jan 10 1917 Jan 19 1917 Silvertown Explosion On Friday 19 January 1917, a small community in the East End was ripped apart by an enormous explosion – the biggest London had seen before or has. Read more Jan 22 1917 Feb 1 1917 to Apr 6 1917 Feb 1 1917 Feb 3 1917 Feb 19 1917 Carson McCullers Is Born Novelist Carson McCullers, noted for her exploration of the dilemmas of modern American life in the context of the twentieth-century South, was. Read more Feb 26 1917 Mar 5 1917 Mar 11 1917 Fall of Baghdad (1917) On 11 March 1917, the British Indian Army fighting the Ottoman Turks in the First World War, after a series of defeats, captured Baghdad in a. Read more Mar 13 1917 Mar 15 1917 to Jul 20 1917 Russian Revolution Russia in Upheaval When War Broke Out The rumblings of Revolution became audible in 1913, when an epidemic of strikes broke out in Petrograd. Read more Mar 15 1917 3:05PM Mar 19 1917 Mar 25 1917 Mar 26 1917 First Battle Of Gaza The First Battle of Gaza was a World War I battle on the southern border of Palestine. After eight months of painstaking advances, British Empire. Read more Mar 26 1917 to Apr 6 1917 Mar 26 1917.
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 Jacksons 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. Heres 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 whod enlisted in the British Army earlier that year and later told his grandson stories of being gassed and wounded while sprinting across “No Mans 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 Mans 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 wars Western Front — for the set. Paul Biddiss, the British Army veteran who served as the films 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 Arthurs Lest We Forget: Forgotten Voices from 1914-1945, Richard van Emdens The Last Fighting Tommy: The Life of Harry Patch, Last Veteran of the Trenches, 1898-2009 (written with Patch) and The Soldiers 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 films plot centers on the two messengers sprinting across No Mans Land to deliver a message, and thats 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 Mans 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 didnt get out of your trench and go across No Mans Land. Fire from artillery, machine guns and poison gas was too heavy; no one individual was going to get up and run across No Mans 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 dont 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 its 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 youre 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.
1917 official trailer. 1997 relatif. 
I Have One Question :How did you Remove The That Scar Harry⁉⁉⁉⁉.
3:37 How the character was LIT 🔥🔥🔥🔥🔥
1917 the movie. 1917 is well-acted and an undeniable technical achievement, yet its real-time storytelling is both the film's greatest strength and biggest problem. It would've been easy for 1917 to feel like a gimmick film. Sam Mendes' WWI epic (which was loosely based on a story Mendes' paternal grandfather told him about his time in the war) was shot and edited to look like it was captured in a single take, similar to the Best Picture Oscar winner Birdman and other one-shot movies before it. To their credit, Mendes and his legendary cinematographer Roger Deakins rarely call attention away from whatever's happening onscreen with their camerawork - which is not to say their approach is completely effective, either. 1917 is well-acted and an undeniable technical achievement, yet its real-time storytelling is both the film's greatest strength and biggest problem. The movie picks up on April 6, 1917, in northern France. With WWI raging on around them, young British soldiers Blake (Dean-Charles Chapman) and Schofield (George MacKay) are tasked with an urgent mission that will require them to cross into enemy territory recently vacated by the German army. Their top commander, General Erinmore (Colin Firth) believes this retreat is actually strategic and the Germans are laying a trap for a British battalion of 1, 600 men, Blake's brother among them. With the British army's phone lines disabled, Blake and Schofield must brave a treacherous journey by foot and reach the battalion by the next morning, in order to warn them about the Germans' intended ambush before time runs out. Dean-Charles Chapman and George MacKay in 1917 For the most part, 1917 succeeds in pulling audiences into the headspace of its protagonists and using its single take structure to capture the psychological experience of being in a combat zone where death could come for you in the blink of an eye. Fueled by Thomas Newman's anxiously dramatic score (which channels Hans Zimmer's music from Dunkirk a little too much at times) the film imbues every second of Blake and Schofield's odyssey with a sense of urgency, in a way that a more traditional filmmaking style wouldn't have been able to. There are a few occasions when it's obvious where a pair of extended takes were welded together in post-production, but otherwise Mendes, Deakins, and editor Lee Smith do a seamless job of creating the illusion that everything was photographed in a continuous take. And as one would expect, the environments of 1917 are gorgeously lit, whether they're empty trenches horrifically strewn with corpses and barbed wire, or bombed-out buildings reduced to rubble by the war. However, by the time the film enters its second half, the flaws in its design begin to stand out more clearly. As much as 1917 expresses the terrible senselessness and mindless destruction of the first World War visually, the way its camera lingers on the carnage left from major battles and the air of disillusionment among the British forces suggests it also wants to say something deeper about not only the psychological effects of warfare, but how WWI was a time of great change in terms of technology and Europe's class system. Yet, because 1917 has to maintain a constant sense of forward momentum, the quieter and more reflective scenes from Mendes and Krysty Wilson-Cairns' screenplay never have quite enough room to breathe and properly sink in. Not helping matters, 1917 has to rely on some big plot contrivances in order to maintain its relentless pace as it stretches on. At its worst, this can make the movie feel like an open-world video game where Blake and Schofield are avatars for players who must complete a sequence of tasks in order to make it to the next cutscene. Colin Firth in 1917 Naturally, it's the performances that save 1917 from being a triumph of style over substance. Chapman and MacKay do an excellent job of portraying two ordinary soldiers who are suddenly dropped into extraordinary (and utterly terrifying) circumstances, but navigate them with all the courage, compassion, and determination they can muster, even when they falter. Mendes' choice to have most of the supporting characters played by big talents like Firth, Mark Strong, Benedict Cumberbatch, Richard Madden, and the Hot Priest himself, Andrew Scott, similarly pays off, allowing them to make an impression with very limited screen time. The interactions between Blake, Schofield, and the people they encounter on their desperate trek tell their own story about the importance of small deeds and acts of kindness in the face of terrible times. It's just too bad this ends up being overshadowed by the thrill ride elements of the film. Mendes has a background in both film and stage theater, so one can understand why 1917 's one-shot aesthetic - a technique that combines elements of both mediums - appealed to him. The resulting movie is a mostly successful experiment, but also one that demonstrates the limits of this filmmaking style and why noticeable edits are important for a film that clearly wants to be more than a polished and visceral thriller about the horrors of war. 1917 is worth checking out on a big screen for its visuals alone (Deakins' next Oscar nomination is all but assured) even though its immersive cinematography can, indeed, have the unintended side effect of making the movie seem like a video game at times. Still, there's a beating heart beneath the machinery that prevents it from being a hollow experience. NEXT: Watch the Official Trailer for 1917 1917 is now playing in U. S. theaters nationwide. It is 119 minutes long and is rated R for violence, some disturbing images, and language. Our Rating: 3. 5 out of 5 (Very Good) Key Release Dates 1917 (2019) release date: Dec 25, 2019 Email George Lucas' Star Wars: The Rise of Skywalker Cameo Revealed About The Author Sandy Schaefer is Screen Rant's Movie Reviews Editor and an Associate News Editor. More About Sandy Schaefer.
Cancel history, good cause I forgot everything they just said. 1917 enfield rifle. No words to describe this movie except perhaps extraordinary. He didnt cycle the bolt. Sam Mendess war drama is designed to look like it was shot in two long takes. But this technical accomplishment is wasted on a soulless film. January 3, 2020 Universal Hollywood has long excelled at mining beauty from war. Some of moviemakings most indelible images have come from dramatizations of battle, from the early Oscar winner All Quiet on the Western Front to Christopher Nolans 2017 blockbuster, Dunkirk. Taking any situation, such as the horrifying trench combat of the First World War, and turning it into cinema will smooth away some of the crueler realities, no matter the directors intent. Sam Mendess 1917 is a particularly beautiful war film, a technical feat that turns a somber mission into a burnished action thriller, one designed to look like it was shot in two hour-long single takes. It obviously wasnt—Mendes and his director of photography, the venerable Roger Deakins, have harnessed breakthroughs in moviemaking tech to create these faux long shots, similar to those in the Oscar-winning film Birdman. 1917 is presented in two shots, one that takes place during the day and one after the sun has gone down. The camera follows Lance Corporals William Schofield (George MacKay) and Tom Blake (Dean-Charles Chapman) as they dash across no-mans-land in northern France to warn British troops about an enemy trap. The extended takes seem to exist to crank up the tension of their mission, forcing the story to progress in real time and conveying the feeling of a ticking clock. Mendes and Deakinss visual achievement here is undeniable. Yet mere minutes into the film, the gimmick begins to chafe. As the two boys are summoned into a briefing with their stiff-upper-lip leader, General Erinmore (Colin Firth) the camera dutifully hovers behind them as they walk through the trenches. After they receive their orders and head into battle, figuring out how Mendes will keep the action from cutting becomes a kind of photographic guessing game for the audience. I dont consider myself a curmudgeon about CGI-assisted long takes; Alfonso Cuaróns Children of Men and Gravity used them to great effect, and though the themes of Birdman left me cold, the camerawork largely delighted me. In those cases, though, the lack of cutting ramped up the tension. 1917 attempts to do the same, to put the viewer in the headspace of a soldier who might be fired on at any moment. But the technique had the opposite effect for me. I could think only of the camera, which itself becomes a character, probing the haunting, bombed-out towns and wasteland battlefields that Schofield and Blake tromp through. There is no sense of real danger, because the mission has to continue, if only to keep this impressive long shot going. Any time theres a larger, more cataclysmic set piece, our heroes look like tiny chess pieces on a much bigger board, bystanders who move around exploding mortars and whizzing bullets to produce the most stunning tableaux possible. Some of my favorite war films could be called gorgeous, including Terrence Malicks The Thin Red Line, with its poetic lushness, and Francis Ford Coppolas Apocalypse Now, with its epic bloviations. Steven Spielberg, Hollywoods greatest master of camera blocking, has made movies about both world wars ( War Horse and Saving Private Ryan) featuring thrill-ride battle sequences that dont skimp on the brutality. But those films are all grounded by characters and themes, while 1917 has to largely strip those elements away in service of its grand stunt. Schofield and Blake are stoic protagonists, and though MacKay does particularly well shouldering the burden of having the action constantly centered on him, there isnt a lot of depth to either soldier. Better-known actors such as Firth, Andrew Scott, Mark Strong, and Benedict Cumberbatch stop by for brief cameos that each have more life. But since the mission demands that our heroes press on, those all-stars depart just as quickly, unable to keep up with the camera. Scott, in particular, makes a huge impression early on as a trench commander dripping with cynicism; his characters backstory seems far more interesting than Schofield and Blakes trek, but theres no time to delve into it. The simplicity of the mission, necessitated by the visual conceit, is double-edged. All Schofield and Blake have to do is give a warning to British troops and halt their attack before it begins, lest they fall into a German trap. Theyre risking their life to stop further progress, and every character they meet comments on the cruel sense of stasis that defines the conflict. The script, by Mendes and Krysty Wilson-Cairns, keeps hinting at the ultimate futility of the First World War, during which millions of men heaved themselves out of trenches and toward certain death for the sake of a few miles of territory. Though 1917 tries to communicate that nightmarish reality, its long-take trickery ends up feeling similarly pointless. We want to hear what you think about this article. Submit a letter to the editor or write to David Sims is a staff writer at The Atlantic, where he covers culture.
1917 scene. 0:56 that line just gain a WHOLE new meaning this week in news 1/3/20. 1917 bande annonce. Wow for a 10 year old reenactor its amazing. 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...
1917 movie stories. 1917 prague. 
1987 relatif. 1917 wayfaring stranger. 1917 long shot. 1917 trailer 2019. 1917 trailer. 1917 cinema city. 1917 bande annonce vf. Do people not realize this is a comedy. Its a Tarantino film its not supposed to be taken that seriously 😂😂😂. 1917 movie showtimes. 1917 how it was made. 1917 rotten tomatoes. The song gave me the feel of song of durin. The Carpetbagger The World War I drama, seemingly filmed in one bravura take, is a tribute to his grandfather that Mendes never thought hed make. Credit. François Duhamel/Universal Pictures Published Dec. 23, 2019 Updated Dec. 25, 2019 When the director Sam Mendes was a young boy, he and his father often traveled to the West Indies to visit his grandfather Alfred Mendes, a novelist. Sam, who had been brought up in North London, found his grandfather to be quite exotic: The small and wiry World War I veteran would sing opera in a booming Trinidadian accent, traipse around his creaky Colonial house in shorts and flip-flops and vigorously greet each morning with a pre-dawn plunge into the sea. Alfred Mendes also had a tendency to obsessively wash his hands, always for several minutes at a time, to the point where Sam and his cousins noticed that above all his other quirks. “We would laugh at him, ” the director recalled, “until I asked my dad, ‘Why does Granddad Alfie wash his hands so much? And he said, ‘Oh, he remembers the mud of the trenches during the war, and the fact that he could never get clean. ” Thats when the boys stopped laughing at their grandfather. Its also when they began asking what happened when, at age 19, Alfred Mendes enlisted and fought on behalf of Britain in what would become one of the worlds deadliest conflicts. “We expected, I suppose, conventional stories of heroism and bravery, ” Mendes said. “We certainly didnt expect what he told us, which was unbelievably shocking and quite graphic tales of utter futility and chaos. ” There was the wounded soldier his grandfather carried back to the trench under enemy fire, only to discover once he arrived that the man was dead, his body having absorbed a bullet meant for Alfred. Another story involved a German soldier whose head was lost in an explosion, though his body somehow carried on running. And then there was the mission that Alfred Mendes volunteered for on Oct. 12, 1917, after nearly a third of the men in his battalion had been killed in the Battle of Poelcappelle. The survivors were stranded across many miles, and Alfred, who had been trained as a signaler, was sent to rescue them and lead them back to his camp. “That tiny man in the midst of that vast expanse of death, that was the thing I could never get out of my mind, ” said Mendes. It is the image that inspired the new film “1917, ” directed and co-written by Mendes, about two British lance corporals who must make their way across miles of battleground to deliver an urgent message that could save 1, 600 of their fellow soldiers from a massacre. Still, though the stories his grandfather told him had never been far from Mendess mind, that didnt mean making a movie like this came easily. “People say, ‘Oh, you mustve wanted to tell the story for years, and actually, I didnt, ” said Mendes, 54, whose career has encompassed big-screen projects like “American Beauty” as well as a long list of stage credits, including “The Ferryman” and the 1990s revival of “Cabaret. ” “The truth was, it never felt like my story to tell, ” he said. “It felt like it was my granddads story, and I didnt own it. ” Mendes was also aware that while Hollywood has made many a World War II movie about hero soldiers fighting Nazis, the more muddled motivations and trench-warfare stalemates of the First World War would require a different kind of storytelling. “That war was just a chaos of mismanagement and human tragedy on a vast scale, ” he said. “You could kill someone at 1, 000 yards with a machine gun, but you couldnt communicate with a soldier 20 yards away. ” After directing the James Bond movies “Skyfall” and “Spectre, ” Mendes was having trouble mounting a new film project. His agent Beth Swofford suggested that he explore the World War I stories he had once told her. In 2017, a year after the Brexit vote, Mendes found further inspiration. “Im afraid that the winds that were blowing before the First World War are blowing again, ” he said. “There was this generation of men fighting then for a free and unified Europe, which we would do well to remember. ” Once Mendes began mulling the screenplay with co-writer Krysty Wilson-Cairns, he quickly laid down three rules. Instead of adapting his grandfathers own story, Mendes would follow two relatively anonymous soldiers whose heroism would be accidental. The story would take place in the spring of 1917, when the Germans retreated to the Hindenburg Line and left a trail of devastation and traps in their wake. And there was one other artistic inspiration that would turn out to be the films defining feature. Mendes wrote it on the screenplays first page: “1917” would be presented as if it were all shot in one take. “It was absolutely a given that was what excited me about it, ” said Mendes. “Theres a great danger that once youve got used to making films, you get lazy with the way you shoot them. ‘Oh yeah, I know: close-up, over the shoulder, two-shot, moving shot, fancy shot every three scenes. You can kind of read it in other peoples movies. ” But to film “1917” in robust long takes and to stitch those separate pieces together in nearly invisible ways would pose a unique challenge. “For the first few scenes in the draft, I would feel like I was wearing a straitjacket, ” admitted Wilson-Cairns. “Its a real bummer, the loss of moving around in time and space. But in exchange for that, you get to move around the film landscape the way we do in reality, and what that gives you as a writer is the ultimate ability to disappear. ” Mendes began filming “1917” in April of this year at Bovingdon Airfield in England. He was locked into a Christmas Day release, giving him an unusually short window to complete a film of this scale. And though Mendes had rehearsed the film extensively with his cast and assembled an Oscar-winning team of behind-the-scenes collaborators, including the cinematographer Roger Deakins and the editor Lee Smith, any little thing that went wrong during all of those long takes could scuttle the work of hundreds of people. “There were times when I thought, ‘Im using every fiber of everything I know about theater and film combined, ” Mendes said. “I was pushed to the limit to try and find solutions. ” He didnt make it easy on himself. Though the shots were planned with the utmost precision, what happened within the frame was often subject to change depending on the weather, the ability of the actors to hit their marks in the mud, or how the more capricious members of the cast — including several animals and a baby — would react to the camera. When George MacKay, who plays one of the main characters, was accidentally knocked to the ground by another actor during a perilous sprint, Mendes kept it in the movie. “I wanted to lock the audience in with the characters, ” said Mendes. “The audience reacts to those scenes in a different way because they know theyre not going to get out of it unless the men get out of it. You have a level of association that perhaps would not exist if we shot it conventionally. ” Mendes finished the film a few days before Thanksgiving, and since then he has been on a whirlwind media tour meant to give “1917” a late award-season push. So far, so good: The Golden Globes nominated Mendes for best director and the film for best drama. Still, he has hardly had time to take a breath. “I find talking about the movie is my gradual goodbye to it, ” he said. Its also a chance to reflect further on the grandfather who helped inspire it. Mendes recalled that when he was 12, Alfred Mendes asked him to sign a contract the older man had written out by hand, in which the young boy promised he would write his first novel by the age of 18. “He told me, ‘Youre going to tell stories. This is what you have to do. ” Still, Alfred Mendes could hardly have imagined that one day, that grandson would go on to tell a story drawn so vividly from the tales he spun in that great drafty house in the West Indies. Now, with “1917” finally complete, Mendes is reminded of the quote from the philosopher Albert Camus, that “a mans work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened. ” “And I think that is true of those stories, ” Mendes said. “I think, for whatever reason, my heart first opened in those moments. ”.
It looks like a horror film. Great decision if that's the case. The Great War was nothing but a miserable affair. Horror is a great way to send that message. Released December 25, 2019 R, 1 hr 59 min Drama Action/Adventure 35MM IMAX Tell us where you are Looking for movie tickets? Enter your location to see which movie theaters are playing 1917 (2019) near you. ENTER CITY, STATE OR ZIP CODE GO Sign up for a FANALERT and be the first to know when tickets and other exclusives are available in your area. Also sign me up for FanMail to get updates on all things movies: tickets, special offers, screenings + more. 1 of 8 1917: Final Trailer 1917: Trailer 2 1917: Trailer 1 1917: Exclusive Movie Clip - Blazing City 1917: Exclusive Movie Clip - Running Through Ruins Weekend Ticket: 1917, Like A Boss, Underwater, Just Mercy Two soldiers must survive the odds to deliver a message to the front lines. Two best friends/business partners get in over their heads with a millionaire investor. A deep sea research team is attacked by a mysterious force from the depths. A lawyer wor Weekend Ticket: Little Women, 1917, Spies in Disguise Five highly-anticipated movies are hitting theaters Christmas Day, so you are sure to find a flick for the whole family to enjoy! Will you see 'Little Women. 1917. Spies in Disguise. Uncut Gems' or 'Just Mercy' in theaters this weekend? Weekend Ticket: 2019 Holiday Preview 'Tis the season for theaters full of hit movies that are sure to bring us good cheer, like 'Star Wars: Episode IX. Cats. Jumanji: The Next Level' and many more! What will you see? This is your 2019 Weekend Ticket Holiday Preview.
0 comentarios