Score: The score is entrancing. Like when Judge Claude Frollo describes Esmeralda’s talents in the flames at that grand fireplace at Cathédrale Notre-Dame de Paris. ‘Twas continuous—there was an obvious crescendo during moments of grand action and a faint, minute transition into the decrescendo. The score begins when the two protagonist soldiers’ superior officers give them an almost impossible mission, and ends when the lone soldier locates his partner’s brother, and it sort of corrugates throughout—ever-changing. Shouts to the conductor, Thomas Newman—a musical heavyweight.
An Ode: The nod to the plane scene in “North By Northwest” was 🔥🔥🔥🔥.
V.
Powerful Cinematography: The final full sprint scene from the trenches through the firestorm was some of the best cinema I’ve seen in a while. And while the scene is specifically used in the film’s promotional material, viewing it in context of the story was incredibly moving and anxiety-inducing.
Generally, this film was an exercise for personal anxiety. It challenged my nerves and left me fatigued, and that’s how I knew it was good’t.🙌🏾🙌🏾🙌🏾 Bruh, I was so exhausted at the end, I couldn’t emote, which is a strange phenomenon for me.
Sam Mendes might be approaching 🐐 status, bruh. “1917” will definitely snag a few of the technical Oscars, but I think he’s also major competition for the “Best Director” category. AND, to shoot this an almost entirely continuous shot, except when there’s a major explosion or injury, is an incredible feat. So shouts to the 🐐, Roger Deakins. The “Best Cinematography” statute already has his name on it. 😜😜
I wasn’t sure if the coloring was done in post, or was a testament to the incredible production, costuming and makeup departments, the camera lenses, the cinematographer, or a combo of all, but I marveled at the decision to tint the left and right sides of the lens with a light sepia-toned hue, and the middle with a slate blue-grayish hue throughout. The audience really gets an observational documentary-like experience styled as a wartime narrative. It reminded me of the digitally remastered coloring that Peter Jackson (director of the “Lord of the Rings” series) used for the WWI documentary “They Shall Not Grow Old.” Kinda.
The main protagonist soldier, Lance Corporal Schofield (played by George MacKay), was fantastic. I hope to see more of him in the future. His partner, Lance Corporal Blake (played by Dean-Charles Chapman), was also awesome! I enjoyed him in this film and in “Blinded by the Light.”
Appreciated the symmetry in the storytelling—beginning in the weeds and panning out to the two main protagonists with one sitting against a tree, both on their way to receive orders to help save the lives of 1,600 men, including one of the men’s brother. Then ending with the one lone soldier in the weeds, sitting against a tree, looking at photographs of his family. Brilliant.