One whip, almost five stars

Photo: PR, United King

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"1917" presents what appears to be one whip, without cats, the story of two soldiers racing against the clock to deliver a fateful message during the First World War. The result is a rare and dazzling cinematic experience that must not be missed, but it has some flaws that prevent its definition as perfect

Movie Star Rating - 4.5 Star (Photo: Image Processing)

Walla! culture

"1917," which came up here over the weekend, is one of the most intriguing and impressive cinematic projects seen on screens long ago, but its plot can be summarized in one sentence - people are sent a message; A kind of modern incarnation for the legend of the apostle who ran from his city of Marathon to Athens to announce the Greek victory in the war against the Persian invader.

The film was initiated, written (with Kristy Wilson-Cairns) and directed by British filmmaker Sam Mendes, one of the most underrated filmmakers today. He signed "American Beauty" in part; About "Jarhead," one of the only films made about the first Iraq war; The masterpiece "Panoramic Window", a kind of combination of "Mad Men" and "Marriage Story"; And on "Skyfall," the best film in the James Bond series over the last three decades (and also on "Specter," a less successful product in this series). "1917," the British director based on stories of his grandfather, who fought in World War I.

Based on the experiences he heard from him, Mendes presents a story that takes place a year in her name called the movie. World War I is in full swing, and a British battalion is about to attack the German enemy, mistakenly thinking this is a good time to strike him, and not knowing that the opponent opposite has a trap. In those days, of course, there is no watsap, and outdated media needs to be used to convey messages. Who is called the flag is a simple young soldier whose brother is among the thousands of British soldiers who are about to be massacred by the Germans. Along with him, he gathers a firearm friend, junior and soft in his days, and the two go out manually to deliver the message that the onslaught must be stopped immediately.

From here on out, a double journey develops. Externally, this is an anti-clock race in which the two soldiers are forced to rise above a host of inhumane challenges to reach their destination in time - foxes, rats, waterfalls, planes and also human enemies who will try to shoot, choke and stab them. But equally important, it is an internal journey. The two begin the mission as naive, peaceful and humane children - far more than circumstances allow. Initially, they still allow themselves to spare the life of a rat, but at an early stage realize how wrong it is to show some compassion for one of the obstacles that are in their way, and to apply the conclusions.

Both soldiers, along with the onlookers, will learn a few more important lessons along the way. Among other things, they will discover how horrific the horrors of war and how far her moves are dictated by ego and macho. Alongside this, both heroes and a few other characters who are on their way are acting in heroism, sacrifice and nobility. In all cases, these positive actions are only attributed to British soldiers, so, like "Dunkirk," 1917 also emerges as a patriotic film that reinforces the pride of the British unit in the Barracks era.

All this, Mendes describes in a way that has not yet been seen in war movies: "1917" is filmed and edited so that it looks like it was made with one whip, without any cuts. As a result, the result is breathtaking. This is a cinematic thought craft, built for Talpiot. The director has worked here with photographer Roger Dickins, one of the greatest cinematic visionaries of our generation, which is the most impressive artistic achievement to date in his glorious career. The craftsman was nominated for an Oscar 14 times and first won it two years ago, on Blade Runner 2049. This year, by all estimates, he will win it again - and rightly so.

The one whip technique is revealed here much more than an ostentatious gimmick: it makes the viewing experience intense and intimate, as if we were in a theater where the fourth wall was broken. The movie starts at the starting point of the marathon, ends at the end, and does not stop in the middle even if for a moment. Instead, he clutches the viewer by the throat, bringing him closer to the screen and stirring it into him, as if this year is not 1917, as if everything is happening right before our eyes. We cannot expand to not ruin the view for those who did, but the sweeping experience as a whole also presents some of the most impressive classes seen in cinema, in recent years and perhaps in general. At the top, scenes depicting a plane crash and leaping into a waterfall in a way that exploits the best of the big screen. These are dizzying cinematic moments and are memorable. Even the closing minutes, in which it becomes clear whether the mission bore fruit or was in vain, are portrayed shakily, leaving an indelible mark.

Will win an Oscar for photography - and quite rightly so. From "1917" (Photo: PR)

1917 (Photo: United King, PR)

Mendes also works well with the cast. The more familiar faces, such as Colin Firth, Benedict Cumberbatch, Mark Strong and Andrew Scott of "Pleabag," play the smaller roles. The two main characters play two lesser known ones - George McKay, so far best known for his performances in "Pride" and "Captain Fantastic," and Dean Charles-Chapman, who played Toman Bertheon in "Games The throne "and also appeared this year in" Dream Big "and" The King ". Everyone does a great job, without a single fake character - as if they too, just like the heroes and just like the camera that accompanies them, didn't stop breathing or blinking for even a second.

Despite all of this, there are some reservations that prevent the definition of "1917" as a perfect masterpiece. First of all, despite his realistic pretensions, the film's plot is believable: here and there, its heroes are dangers where only Marvel superheroes would survive. Another problem - in some of the scenes is forced poetic, which does not work. Another thing that doesn't work for me is the musical accompaniment, written by the director's regular partner, Thomas Newman. This is one of the most experienced and respected composers in the industry, but in the end, his work here is not effective enough, and does not add to the film the emotional power it needed.

The movie is not perfect, the timing of its distribution is yes. From "1917" (Photo: PR)

1917 (Photo: United King, PR)

In this context, the film has an understandable problem. True, ascetic and matter-of-fact, his script is good for conveying what he wanted to portray and what he wanted to say, but he didn't have the time or ability to develop the characters emotionally. In fact, you can't even say there is more than one character here. Everyone here, whether they are soldiers or trees, ends up pretending to be Dickens' camera, which is ultimately the true heroine of "1917".

Our interview with the film's great photographer, Roger Dickins

But even if it lacks emotion, "1917" must not be missed. This is a rare, impressive and perhaps above all, cinematic experience that is relevant. Apparently, the timing of the film's distribution is coincidental: Mendes has missed three years in the centenary of the era in which it is happening. In fact, he arrived in the halls at just the right time, and while another military-international confrontation seemed on the horizon, it was good to remind us all of what the cost of a world war is and how futile it is.