Sam Mendes' harrowing long-take thriller '1917' follows two young British soldiers through the trenches of World War I.
Sometime after nightfall in “1917,” a gravely virtuosic dispatch from the front lines of World War I, a British soldier, Lance Cpl. Schofield , makes his way through a darkened building amid the ruins of a bombed-out French village. There, in a shadowy room illuminated by overhead flares and rattled by distant explosions, he stumbles on a frightened young woman in hiding.
Inspired by stories that Mendes heard from his grandfather, Alfred Mendes, a veteran of the war’s Belgian front, “1917” follows Schofield and Lance Cpl. Blake , young men stationed in northern France. Blake is the louder and livelier of the two, a raconteur with a poetic streak who rhapsodizes longingly about his family’s cherry orchard. Schofield is quieter, more withdrawn and disillusioned.
The camera will remain alongside Blake and Schofield as they venture out of the ditches and across a no man’s land etched with craters and barbed wire. Inch by grisly inch, they make their way through a gnarled labyrinth of deserted fortifications and sun-bleached human skeletons lying embedded and forgotten in the craggy terrain, all bearing silent witness to a war seemingly without end.
Perhaps it’s because Schofield and Blake are making their way through Gallic terrain, but “1917” at times brought to mind the words of two French-born filmmakers who were themselves once fellow travelers. “There’s no such thing as an antiwar film” is a quote often attributed to François Truffaut, and it was Jean-Luc Godard who said, “Film is truth 24 times per second, and every cut is a lie.”
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