1917 movie … because there is always something new in cinema Andrew Mohsen


                            | In opinions, cinema and television, the magazine
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Publication date: Wednesday, January 15, 2020 – 16:16

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        Despite the many films dealing with the two world wars, it is hardly any year that an important movie belongs to these two epochs, or even somehow their events pass. <p>When Sam Mendes announced his latest movie, which revolves around the heart of World War I, as it appears from its title, “1917,” some thought that it would be another movie that would feature one of the championship stories, as in “Hacksaw Ridge” or one of the important operations as in “Saving Private Ryan”, but the movie’s bet. It was on the other side, as Sam Mendes decided that his movie would appear as if it was filmed in one long shot, and we say “it will appear” because the film is not filmed in one shot, but there are some clearly noticeable pieces between the scenes and some of them to give us the feeling that the film is filmed without cutting.<br/>The bet of the movie was on the technical side, or so we thought.

Note: the article will contain a list of movie events.

Technology and art

Cinema is said to be the most closely related arts and technology influenced, since the launch of the cinematic shows in 1895 and before that, the development of methods of photography and presentation clearly affect the filmmaking, and while there is no ceiling for technical development, there is also no ceiling for the aspirations of filmmakers and their ability to adapt every technique New to serve their films.

Since the announcement of the details of “1917”, we have feared that it would be merely a demonstration of the ability to provide long shots of record duration amid war scenes, or that interest in the form overwhelms the content, but the movie violated our expectations to provide a near-ideal form for employing technology to serve the cinematic content.

This fear does not seem to be exaggerated, as presenting a movie in one shot should be technically justified. Two years ago, the movie “Utøya: July 22”, which presented a very distinguished experience, portrayed the shooting incident in Utea camp in Norway in one long shot of 72 minutes, which is the same as the real accident. Here, it is clear why the one shot was used almost throughout the film. It is to experience the accident and interact with the characters, so what idea needs one shot in “1917”?

The film, written by Sam Mendes and Kristi Wilson Carens, is a very difficult task assigned to two English soldiers (Dean Charles Chapman and George McKay) during World War I, which is to deliver to a relatively close battalion not to attack the Germans because they have set a trap for them, and no means Conventional contact is severed, these two soldiers are the only hope that no major losses will occur if the attack occurs.


Thus, we find that the choice of one shot here is justified dramatically, as the director decided to give us a state of coexistence for this heavy task of the soldiers, and thus we find that we are in the process of a new experience in this type of cinematography, films of wars, with what is in this type of difficulty Traditional in the implementation of the scenes, because of the nature of filming sites and the presence of movement of groups and some explosions, and now we can imagine all this multiplied by one shot that extends for several minutes, meaning that one mistake will mean returning all of this again, and the return does not mean effort only, but also cost, for this It was not strange that the rehearsals of the preparation lasted for 6 months.

But Mendes decided to take the challenge to another level. One of the questions that the director answers before he starts shooting his movie is: Where will I put the camera? This question will reflect on how we received the scene, i.e. a scene. In “1917” the camera was almost always in motion, and the camera followed these two soldiers, but this did not prevent Sam Mendes from moving freely to make beautiful shots and employ the decorations of war sites in a very rich way inside the movie, even some of the clips were inviting to think about how to shoot from This particular angle.

The movie starts and we are enjoying what we see in this different way of filming, but over time it turns into what looks like video games, we follow the characters for several minutes and then a difficult crisis or confrontation overtake them and then we follow them again and so on, until we reach a certain moment when the movie is about to become traditional Expecting that even the visual dazzling of photography is almost losing its impact, and here the important intervention of the filmmakers occurs to get out of this trap.

Cinema and video Jim

Around the middle or shortly before the film, the movie’s most dramatic transformation takes place, devoted to everything that comes next. One of the soldiers is killed, and it is a shocking transformation as we are not talking about a secondary character who can die as it usually happens in war movies, but rather one of the two are the protagonists of the movie, and thus the shock and surprise becomes greater, but it does not depend on the moment of his death, which was from The most influential moments in the movie, and even if this occurred on the film’s path, and in the way it was written, the dialogue decreased significantly after this scene and even minutes before the end of the movie, and here we find that this option in the scenario bears the director an additional burden, as he has to make an effort Bigger to say everything.


Thus we find that the second half becomes more tense and has a faster rhythm and scenes of chases increase, but the filmmakers are not satisfied with breaking the base of the hero who does not die but continues to break their own base in the movie. In the last third, we find a clear cut and it is the only one in the movie with this image, in which the soldier loses consciousness a few hours before completing his adventure, after the viewer felt that he was in front of a game, he became the game in the hands of a director who breaks the rules of all several scenes, including the rules of his movie itself, As if the only rule left here is making a strong and different movie.

But we still have another rule that we will break in the last third of the movie.

Victory and defeat

In this final chapter of the film, we find a very beautiful recruitment of sunrise moments, so we pursue a chase that is the most exciting in the movie, revolves in the heart of darkness and the soldier comes out with the sunrise, and in this way he takes advantage of all possible times and uses them aesthetically to create scenes that remain long in memory, helping him in this Wonderful Director of Photography Roger Dickens.

Like any musician giving way to a beautiful solo phrase, he follows it with some calmness before she enters the entire orchestra to conclude his piece, so does Sam Mendes, since after the aforementioned chase, the film turns to relative calm before the soldier finally finds the battalion that must deliver his message and here we reach the base The last that Mendes broke, since when we started watching the movie we were waiting for the hero – as it happens in any American movie – to arrive in time, that is, seconds before giving the order to attack, but since we do not adhere to any rules here, the soldier arrives after he starts The attack is indeed, and is even running in front of the tastier soldiers’ lines We participate in the attack and under fire within one of the scenes that will remain long in the memory of the viewer and the memory of the cinema, a scene in which we find all the genes of the movie, one shot in which the camera moves along the hero, amid the movement of groups that seem random but far from this, and a production design that makes us We feel inside the war with an audiotape in which Thomas Newman’s music blends with the sound effects of the explosions to create a situation that is difficult to repeat.

After this extraordinary scene, the film reaches its final stop and the message finally arrives after the battle has already taken place and some victims have fallen, in a last attempt of the film to clarify the disadvantages of war and to say that the decision of war is too dangerous to be left to the military alone.

One final question remains, how will the director end this saga after all the tension. Sam Mendes chooses to finish the movie as he started, from putting the knife in the trees, as the soldier was initially called from under the tree, relying on one of the trees that survived the war to rest.

The movie “1917” is one of the most important films of 2019 and one of the most important films of war in recent years, and its importance depends not only on what we mentioned in the previous lines, but also when it is one of the films that the viewer comes out while thinking long about how to implement a very difficult movie with this craft And, on how to find something new to say in a genre, there seemed to be nothing new to say.

Also read:

After 24 years … see how the actor Moamen Hassan, the famous Boukhdir changed in “I will not live in my father’s robes”

On Air … Amir Karara leaves studio “DMC Evening” suddenly

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