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country India directed by Sam Mendes genres War During World War I, two British soldiers -- Lance Cpl. Schofield and Lance Cpl. Blake -- receive seemingly impossible orders. In a race against time, they must cross over into enemy territory to deliver a message that could potentially save 1,600 of their fellow comrades -- including Blake's own brother Creator Sam Mendes, Krysty Wilson-Cairns.

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1917 命をかけた伝令 キャスト. 1917 e5 91%bd e3 82%92 e3 81%8b e3 81%91 e3 81%9f e4 bc 9d e4 bb a4 review. 1917 e5 91%bd e3 82%92 e3 81%8b e3 81%91 e3 81%9f e4 bc 9d e4 bb a4 sport. 1917 命をかけた伝令. 1917 e5 91%bd e3 82%92 e3 81%8b e3 81%91 e3 81%9f e4 bc 9d e4 bb a4 2018. 1917 e5 91%bd e3 82%92 e3 81%8b e3 81%91 e3 81%9f e4 bc 9d e4 bb a4 4. The Film As a feat of filmmaking, 1917 is a monumental achievement. The way it creates the illusion of a ‘single take’ gives us a new way of understanding the horrors of war and a level of shared-experience intensity that precious few other war movies can compete with. It’s less successful, though, on a narrative level. The ‘one take’ approach imposes a few limitations and contrivances on the story that sometimes not even the greatest filmmaking smoke and mirrors can completely hide, while the whole underlying premise of the story just doesn’t quite convince. The amount of detail visible in shots like this on the 1917 4K Blu-ray is stunning. Photo: 1917, Universal Pictures In the end, though, 1917 is all about the experience. About throwing you face first into the devastating horror of a now scarcely imaginable type of warfare in a uniquely immediate and inescapable way. And in that respect - especially with the support of the sensational picture quality and soundtrack of the 4K Blu-ray - it succeeds fantastically well. Release Details Studio: Universal Pictures What you get: Region-free 4K Blu-ray, Region A/B/C HD Blu-ray, Region-locked digital code Extra features: Commentary by Sam Mendes; Commentary by Roger Deakins; In the Trenches featurette on the cast; The Weight Of The World featurette on Sam Mendes’ work on the film; The Score Of 1917 featurette on composing the film’s music; Recreating History featurette on the production design; Allied Forces featurette on the collaborative effort required to make a film like 1917 work. HDR formats: HDR10, HDR10+, Dolby Vision HDR10 Metadata: Max Light Level: 1000 nits/MaxFALL: 168 nits Best Audio Option: Dolby Atmos Key kit used for this test: Sony 65A9G, Samsung 65Q90R, Panasonic UB820, Oppo 205 Picture Quality Shot predominantly at 4. 5K and the proud recipient of a 4K digital intermediate, 1917 ’s 4K Blu-ray picture is the real 4K deal. And it looks it. Detail levels are immense. The texture and minutiae in everything from the meticulously recreated trenches and no man’s land sets to the mud- and blood-spattered uniforms of the soldiers and the poignantly rich, grassy pastures of the ironically beatific countryside looks incredibly lifelike and immediate. The detail and depth in this shot is something to behold in 4K. What’s more, this lifelike sharpness applies equally to foreground and background image elements, combining with the long, seemingly cut-free shots to create a mesmerising feeling of ‘being there’. In this respect, in fact, 1917 arguably delivers the single most compelling proof yet of just how important 4K is. After all, here it doesn’t just make the picture quality objectively better. It also adds to the impact and immediacy of a film that’s all about trying to recreate for the audience the actual experience of being at war in 1917. The consistency of the detailing is another huge factor in 1917 qualifying as a, if no THE, reference grade 4K Blu-ray disc. It never slides into softness, even during the film’s occasionally ultra-dark sequences, such as the one where Schofield meets the lady looking after the baby beneath the ruined occupied town. There’s no sign of the compression artefacts and noise that were so noticeable in the dark moorland and chapel scenes towards the end of Sam Mendes’ Skyfall 4K Blu-ray ( reviewed here), either. Black levels go extremely deep, but never to an unnatural, forced degree. There’s always enough detail visible to make the blackness feel authentic rather than like any sort of hollow ‘cheat’ in the filming or mastering process. The lack of general fizzing noise during these ultra-dark moments is also remarkable - and testament again to the high resolution of the master. The 1917 4K Blu-ray's HDR really springs to life with the ruined town at night sequence. It likely does no harm to the extreme detail and clarity of the picture that the transfer runs at a very high bit-rate. During scenes that contain a lot of background detail and movement data rates routinely exceed 80Mpbs, punching right up to 100Mbps at times. The only time the datarate drops as low as 40-50Mbps (still quite high by the standards of some 4K Blu-rays) is with shots that contain a lot of monotone sky. Where, in other words, the repetitive nature of the sky makes heavier compression temporarily possible without causing obvious artefacting. Although the transfer’s HDR and expanded colour work isn’t as aggressively, immediately stellar as its 4K clarity, it still plays its part in creating the film’s all-important realism. The subtleties in the various brown and tan shades of the soldiers’ uniforms looks almost miraculously refined on the 4K Blu-ray, while the green pastures, muddy battlegrounds and leaden skies all look more lifelike thanks to the expanded light range and colour. There’s also more refinement and finesse in the film’s skin tones. This matters in 1917 more than usual, as the film’s remarkable attention to realism extends almost miraculously at times to changes in the actors’ pallor. Check out, in particular, the differing and changing complexions of the two main actors during the traumatic few minutes following the crash of the German plane. Having to clamber over a mountain of rotting bodies is even more unpleasant in 4K. The HDR work is focused on enhancing the gritty realism rather than ‘showing off’. While this ‘cloud day realism’ sees the frame average light level of the HDR10 transfer topping out at a fairly limited 168 nits, though, the transfer’s peak light level of 1000 nits makes its presence felt strongly at times - most notably in the night scenes in the ruined town, and in the flames of the burning barn following the plane crash. As if the technical prowess of 1917 ’s 4K Blu-ray picture wasn’t already exciting enough, Universal has also provided the film in both HDR10+ and Dolby Vision masters alongside the baseline HDR10 one. This means you’ll be able to enjoy the film in dynamic HDR (which provides extra scene by scene data to help your TV deliver the best possible picture quality) regardless of whether your TV supports HDR10+ or Dolby Vision. The extra data available with HDR10+ and Dolby Vision leads to a noticeably punchier, more refined image, especially during the ruined town at night sequence. This is even evident on my high-end reference TVs, but should actually deliver even more emphatic results on cheaper HDR10+ or Dolby Vision supporting models. There’s also a touch more color refinement in the Dolby Vision master, particularly during the film’s darkest scenes. So long as most of the biggest TV brands look set to continue supporting either HDR10+ or Dolby Vision, rather than both, we can only hope that more studios follow Universal’s lead in including dual masters on their 4K Blu-ray releases. Family is all the motivation you need. Are there any problems with the picture quality at all? Well, the amount of camera panning and tracking created by 1917 ’s ‘one-shot’ approach will harshly expose any motion problems (blur, excessive judder) your TV might suffer with. But this is, of course, an issue with your TV, not the 1917 transfer. If I was really determined to find a flaw in 1917 ’s 4K Blu-ray picture, one or two of the film’s CGI ‘painted’ backdrop extensions - especially around the sequence featuring the broken bridge - look a touch soft compared with the blistering sharpness and detail of everything else. But this says more about me needing to get out more than anything genuinely negative about what is, overall, a true standard bearer for the 4K Blu-ray format. Sound quality The 4K and HD Blu-rays of 1917 both get a Dolby Atmos sound mix that’s as reference grade as the 4K disc’s picture quality. The way the mix uses the score, for starters, is nothing short of masterful. It ebbs and flows, rises and falls, shifts tone and tack, and soars and sears in consistently perfect alignment with the onscreen action, always bolstering the all-important illusion that so much of the action you’re witnessing is taking place in real time. The score also imbues the action with an array of emotions and moods that the urgency and filming limitations associated with the ‘one shot’ approach might sometimes have made impossible to create visually. The precision with which the Dolby Atmos mix places the explosions in this famous shot makes it... [+] perfect demo material. The way the score is actually mixed for Atmos is what really seals the deal, though. It’s fed beautifully into all the Atmos channels, building in layers of height, changing width and carefully integrated rear-channel elements to effortlessly create moments of poignancy, confusion, uncertainty and drama. Not to mention a number of climactic crescendos that threaten to rupture your ear drums and shatter your walls as potently as an exploding shell. The expressive and emphatic score is brilliantly mingled with a stunning showcase of Dolby Atmos effects that bring the chaotic atmosphere and epic action into your living room with uncanny and disturbing accuracy. During Schofield’s final dash along the top of the trench, for instance, you don’t just generally hear explosions going off all around him; the sound of each explosion appears to emanate from precisely the correct position. If an explosion takes place off screen to the right, that’s where you hear it. If it lands over Schofield’s left shoulder, that’s where you hear it. If a shell lands in the far distance it sounds further way. If it lands near the camera, it sounds nearer the camera. All while the score builds steadily up to ’11’, shouts and shots abound all around, and projectiles and debris scatter to all corners. Overall this sequence may actually top the opening plane sequence from Overlord as my favorite Dolby Atmos object placement demo sequence to date. The best 'planes flying overhead' Dolby Atmos demo sequence yet? Another classic moment where effects placement is concerned is the dogfight/barn crash sequence, while the shot where a pair of British planes fly overhead from back to front tops all previous ‘planes flying overhead’ Atmos demo moments. You can even hear the slightly staggered position of the two planes as they roar across your ceiling. To seal the stunning audio deal, 1917 ’s Dolby Atmos dynamic range is colossal. Thumpingly deep bass shares the soundstage with sometimes painfully (in a good way) intense and shrill trebles, as well as absolutely everything in between. Truly flawless stuff. Extra features In some ways, at least, 1917 ’s 4K Blu-ray continues to spoil us with its extras. For starters, they’re all found on the 4K Blu-ray as well as the HD one, so you don’t have to swap discs to enjoy them. They also boast two excellent commentary tracks: one by Sam Mendes, and one by cinematographer, Roger Deakins. Both are must listens if you want to understand all the film-making tricks that went into delivering the ‘one shot’ look. Deakins’ recall of all the lighting, camera, rigging and editing that went into each shot is particularly incredible. But Mendes adds lots of other detail about the directing and writing process, so that there’s surprisingly little overlap between the two separately recorded commentary tracks. Besides the commentaries, Universal has provided four ‘making of’ featurettes. The Weight Of The World focuses on Sam Mendes’ impact on the film, from the original idea through to writing and direction. It’s well constructed and interesting, but disappointingly short at under five minutes. Allied Forces: Making 1917 is a slightly more substantial (12 minute) look through the massive collaborative effort required to recreate the war-torn landscape and deliver the film’s ‘one shot’ feel. Again, this documentary is fascinating and packed with great behinds the scenes footage, but could have done with being longer. Like, two hours longer. The 1917 4K Blu-ray box art. The Score Of 1917 briefly (four minutes) covers the work of Thomas Newman in developing and recording the film’s perfectly timed music. In The Trenches focuses on the actors, and again has easily enough going on to keep you interested for its seven minute running time. Last but not least is Recreating History, which spends an enjoyable 10 minutes looking at the efforts of Production Designer Dennis Gassner in creating the film’s insanely great and convincing locations. Verdict While 1917 ’s story doesn’t quite hold up, as an immersive and intense recreation of the horrors of the first world war it’s an experience not to be missed. Especially in all its 4K HDR and Dolby Atmos glory. — If you found this article useful, you might also like these: ‘Knives Out’ 4K Blu-ray Review: Sharp ‘Jojo Rabbit’ 4K Blu-ray Review: Say Hello To My Hitler Friend ‘Jumanji: The Next Level’ 4K Blu-ray Review - Game Changer ‘Saving Private Ryan’ 4K Blu-ray Review - God Of War ‘Charlie’s Angels’ (2019) 4K Blu-ray Review - All That Glitters.

1917 命をかけた伝令 飛行機. 1917 命をかけたas a second. 1917 e5 91%bd e3 82%92 e3 81%8b e3 81%91 e3 81%9f e4 bc 9d e4 bb a4 3. 1917 命をかけた伝令 上映. The new drama 1917, which director Sam Mendes wrote based on his grandfather’s stories about World War I, was not technically filmed in a single take. If you pay attention, you can see places where the film fudges a little. But the film does a good approximation of that technique, which makes it feel as if you’re living the events of the movie in “real time” and has been used in movies in the past, most recently in the 2014 Best Picture winner Birdman. In the case of 1917, the one-shot technique is used to tell a story about two young British privates (George MacKay and Dean-Charles Chapman) who are tasked by their general (Colin Firth) with taking a message from their trenches and across no man’s land to Colonel MacKenzie (Benedict Cumberbatch), who’s leading his men into a giant trap. It’s a nearly impossible task, but they faithfully go for it, encountering all kinds of peril along the way with other soldiers (including Richard Madden, Mark Strong, and Andrew Scott). It’s the first film that experienced director Mendes ( Skyfall, American Beauty, Road to Perdition) has also written, and I spoke with him by phone about why he decided to make the film seem as if it’s one continuous shot, as well as the challenges of casting a movie like this. George MacKay crouches in a trench in 1917. Universal Pictures Alissa Wilkinson How did you decide upon the “one shot” concept for 1917? Sam Mendes I wanted to tell this story in two hours of “real time. ” So I felt like it was a natural thing, to lock the audience into the men’s experiences. In a movie that operates more like a ticking-clock thriller at times, I wanted an audience to feel every second passing and take every step with them, and also be aware of geography and distance and physical difficulty. The feeling that you are going to have to live through the story with them is accentuated by not cutting. There are other movies that use the “one shot” idea — many people know of Birdman, or the Hitchcock movie Rope — but while watching 1917, I found myself thinking about books that follow characters through a day in “real time, ” like Virginia Woolf’s Mrs. Dalloway, or James Joyce’s Ulysses. The big difference is that those books follow one character, and then they pass another character on the street, and then they start to follow that other character, more like Birdman. In 1917, you’re sticking with just one or two characters the whole time. Did that make it especially challenging for you or the actors? It’s challenging to keep it from becoming repetitive. Even though, as you say, it’s sticking with one or two characters, ultimately the film is constantly shifting your relationship with them, and so the point of view isn’t always subjective. Sometimes you see them, but don’t see what they see. Sometimes you see what they see before they do. Sometimes it’s very intimate and very subjective; sometimes it’s very objective, and you see them quite small in a big landscape. So, there’s a dance between the camera and the characters and the landscapes, all three of which are moving all the time. That [cinematic] language was something that [cinematographer] Roger Deakins and I really worked hard to kind of develop. George MacKay in 1917. It’s a weird paradox, because on the one hand, we personally experience our lives as if we’re in a one-shot movie. On the other hand, that style and perspective are not what movies have taught us to expect. No. But you have to ask yourself why the grammar of film has developed the way it has. And it is an interesting question. We experience life much closer to one longer continuous shot. So we might expect the grammar of film to be the same. But the grammar of film was developed because cameras were not able to do what human beings can. They were too big. They were too bulky. They only shot on film. You had to cut at a certain point. That’s no longer the case. So there is a way of communicating now, which is not using the traditional tools, the traditional grammar of cinema that developed the last one hundred years. [ 1917 is] not shot in a way that’s designed to draw attention to itself. I don’t really want people to think about the camera. If you’re aware of it for the first 10 minutes, then hopefully thereafter you forget about it, and you just watch the story. There’s also all of these short appearances by famous actors, playing figures who in some cases would be kind of celebrities to these young soldiers — captains and commanders. How did you go about casting for those roles? We cast who I thought were the best people for the roles, rather than thinking, Well, I need some famous actors. Of course, you’re not unaware that you’re making a fairly large movie, and you want people to come and see it. And that doesn’t hurt. But I wanted people with that natural instant authority. Colin Firth, or Benedict Cumberbatch, or Andrew Scott — they have that skill, to be able to impose themselves upon the scene almost instantly and hit the ground running. I was also trying to get that feeling of two relatively ordinary soldiers intersecting with these lives that are grounded in theirs, in a way, but have a higher status. Part of the reason we cast young and relatively unknown actors [as the main characters] was to give the feeling that these are two young men among 2 million, and that they’re — this is a weird thing to say — not particularly special. There’s an ordinariness to them. They’re intersecting with the lives that are writ large, in a different way from theirs. So that was how I decided to do it. I talked to [the more famous actors] about the project as a whole, what the overall goal of the film was, instead of their individual roles. I think some of those guys are relieved to not carry the burden of the whole film for a change, to play supporting roles, and to be in something that they believe in, but they don’t have to take full responsibility for, or spend any time marketing, either. And once you persuade one “heavyweight, ” like a Colin Firth, to do it, then you could call up Benedict and say, “Colin Firth’s doing one of these characters, ” and then you get both of them. It becomes easier and easier as you get further along. So it takes one person to say yes, and then you have a kind of domino effect. Benedict Cumberbatch in 1917. How is the rehearsal process different for a movie like this from other films? We couldn’t do anything until we had rehearsed, because we had to measure the distance that every scene took. We had to measure the journey. So we couldn’t build a trench until we’d walked the distance that the trench needed to be, and then apply the same rule to the no man’s land and the quarries, and the fields and orchards and farm houses and canals and towns at night. All of them could not be built or even conceived until we knew how long they should be. And we didn’t know how long they should be until we’d acted it. So we started the process by rehearsing in empty fields, holding scripts, and marking out the journey with flags and poles. And only then were we able to actually move forward. So we were rehearsing for months off and on, but really what we were doing is including the actors in what would be a normal pre-production process, for six or eight months. We had them there from day one. That, frankly, is a luxury not normally afforded, because actors are busy. But I made sure that when I offered these two lads the role, they understood it was a long job, and that they had to be there as part of the team, from the very beginning of pre-production. So that’s how we did it. You’re an experienced theater director — was there any way in which directing this film drew on those same directing muscles? I certainly I used that same muscle. I was having to judge rhythm and pace and tempo without cutting. And that’s what one does all the time in theater. I’m not unused to telling a story that lasts two hours or two-and-a-half hours, with no breaks. On the other hand, the landscape of the film was constantly moving — atmosphere, light, conditions — and the relationship between the camera and the actors was constantly changing in a way that it doesn’t on stage. In theater, the relationship between the viewer and the people being looked at is pretty consistent, whereas here it was changing all the time. So in another way, it was just the opposite of the theater experience, and very cinematic. This film was a weird mixture of the two. 1917 opened in limited theaters on Christmas Day. It will open nationwide on January 10. This conversation has been edited and condensed for clarity.

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It’s a typical World War I battle scene, but flipped 90 degrees. Photo: Universal Pictures When it comes to 20th-century military conflicts, there’s no question which one Hollywood prefers. Cinematically, World War II has everything: dramatic battles, dastardly villains, a pivotal role played by the United States, and ultimately, a resounding victory for the good guys. Its predecessor has proven a tougher subject for movies to crack, especially American ones. (For the British, it occupies a more prominent place in the collective historical memory. ) We remember World War I as a military stalemate that exemplified the utter meaninglessness of war, and while the day-to-day drudgery and existential despair of life in the trenches inspired plenty of lasting poetry and literature, it doesn’t necessarily lend itself to blockbusters. What grabs modern audiences about the conflict is either the gross stuff — Dan Carlin’s Hardcore Histories podcast dives deep into the disgusting sights, smells, and sensations of the Western Front — or the sense of grand tragedy. When they do show up onscreen, World War I battles traditionally share a similar pattern: Our heroes climb out a trench, run a pitifully short distance, then get machine-gunned to death. Think of the famous ending of the BBC’s Blackadder Goes Forth, in which Rowan Atkinson and company go over the top, their grim fates elided with a dissolve to a field of poppies: Or the heartbreaking conclusion to Peter Weir’s Gallipoli, which follows Australian troops in the war’s Middle Eastern theater: More recently, Steven Spielberg’s War Horse gave us both a doomed cavalry charge and a doomed infantry charge. Even Wonder Woman barely makes it five feet before being struck by a German bullet that would have been fatal for a non-superhero: In other words, if you’re making a World War I movie that doesn’t end with your heroes dead or grievously wounded, you’d better have a good explanation. These depressing depictions are in keeping with what became the dominant historical narrative of the First World War in Britain and the U. S., which painted the troops on the ground as victims of their own generals, idiots who senselessly sent their men into a meat grinder. However, this view has come in for reappraisal as military historians like Brian Bond argue that, contrary to popular belief, the war as a whole was “necessary and successful ” (though that wider lens in turn has been critiqued for erasing the experience of those who actually served). With the Great War recently celebrating its centenary, projects like Peter Jackson’s They Shall Not Grow Old have attempted to sidestep these historical debates by concentrating solely on the day-to-day experiences of the men in the trenches, avoiding making any wider claims about what, if anything, the war itself meant. Into this fraught landscape steps Sam Mendes’s 1917, which is trying to accomplish that rarest of feats: telling a feel-good World War I story. The director based his film on the memories of his grandfather, who served as a messenger on the Western Front, and that family connection seems to have left him determined to present a version of the war where an individual soldier could still act heroically, rather than simply be a lamb for the slaughter. “Other people have made that movie, the blood and guts, ” the movie’s Oscar-nominated production designer Dennis Gassner told me earlier this month. “This wasn’t that. This is a story about integrity, the willingness to do anything even in the harshest conditions. ” Mendes has spoken of the film as a tribute to those who made it back home, which requires him to pull off the tonal balancing act of reclaiming the war as an arena for nobility and sacrifice, while not glorifying the conflict itself. Never is that tension more clear than in the film’s conclusive action setpiece, which is tasked with giving viewers a happy ending in a conflict that offered few uncomplicated victories. 1917 follows two British soldiers, Blake (Dean-Charles Chapman) and Schofield ( George MacKay), who are handed the perilous task of traversing no-man’s-land to deliver a message to another regiment calling off their attack. (Though the plot is fiction, the German withdrawal that acts as the inciting incident actually happened. ) The film’s first act supplies many of the genre tropes we’ve come to associate with the First World War. Blake is a cheerful naif who still hopes to be “home by Christmas, ” while Schofield has the thousand-yard stare of a shell-shocked Somme veteran. They navigate trench networks that have evolved into a microcosm of society, and the dialogue covers familiar territory: unclear orders, no supplies, thousands of men dying to gain a single inch. An officer on the front line (played by Fleabag ’s Andrew Scott, in the film’s best performance) has been so numbed by constant fire that he no longer knows what day it is. Once Blake and Schofield go over the top, the no-man’s-land sequence is a horror show, as the men must trace a path past a dead horse, plentiful corpses, and massive craters that scar the landscape. In 1917 ’s purest gross-out moment, Schofield accidentally plunges his bloody hand into the open stomach of a dead soldier. After they cross through the German trenches — a sequence that starts with the men staring at bags of shit and only gets more harrowing from there — Blake and Schofield arrive in the open countryside. It’s a view not often seen in World War I movies, which rarely venture beyond the trenches, and it provides an opportunity for the film to slow down and relax. The soldiers get into a debate about whether there’s any meaning to be found in the war. Blake, who, true to his name, is the romantic of the pair, has learned that Schofield traded his Somme medal for a bottle of wine, and berates him. “You should have taken it home, ” Blake says. “You should have given it to your family. Men have died for that. If I’d got a medal I’d take it back home. Why didn’t you take it home? ” Schofield disagrees, with the bitterness of a war poet: “Look, it’s just a bit of bloody tin. It doesn’t make you special. It doesn’t make any difference to anyone. ” Subsequent events seem to prove Schofield correct: Blake is stabbed by a German pilot whose life he’d just saved, and his prolonged, pitiful death carries no meaning and no glory. But as Schofield continues on alone, the sheer difficulty of the obstacles he faces spurs him to carry on. He’s shot by an enemy sniper, and only narrowly survives. He stumbles upon a German sentry, and kills the lad in close combat. Like Leonardo DiCaprio in The Revenant, he evades his pursuers by jumping into a river, at which point he goes over a waterfall and nearly drowns. Mendes gives Schofield plentiful opportunities to give up — including one slightly eye-rolling sequence with a young woman and a baby — but he never does. It’s an abstract, existential view of the Great War: The struggle itself is what gives the experience meaning. Then, in the film’s closing sequence, Mendes takes the tropes of trench warfare and twists them 90 degrees. Schofield has finally made it to the regiment he needs to find, only to discover that their attack has already begun. He tries to push his way through a crowded trench — while Dunkirk was a movie about standing in line, 1917 is a movie about cutting in line — but it’s no use. He won’t be able to deliver the message, and hundreds of men will die as a result. Unless … he takes a shortcut. As the music swells, Schofield decides to go over the top a second time, a sequence that encapsulates both Mendes’s creative revisionism, as well as the sheer scale of his technical undertaking. ( The scene features 50 stuntmen and 450 extras. ) Unlike most onscreen World War I battles, Schofield is not charging out toward the German lines; he’s sprinting across, parallel to the trench. Thematically, too, the final run flips what we’re used to seeing. Our hero is not heading toward the enemy and certain death; he’s going back to his own men, to redemption. In a sequence that has traditionally been cinematic shorthand for futility, Mendes goes for hope. But the film is also careful not to turn this individual triumph into a wider victory. Having defied death by going over the top, Schofield gains his reward: an audience with the officer in charge of the advance (Benedict Cumberbatch). We’ve been set up to see this character as a villain, but the movie gives us something more complicated. This one is just as worn down as his men; the folly of his attack was born out of the hope that this time, things would be different. (With one notable exception, the much-maligned officer class gets a sympathetic treatment in 1917. ) Zoom out, and the movie’s happy ending is not very happy at all. Yes, a massacre has been averted, but the bloody stasis endures. Viewers know the war will continue for another year and a half. 1917 begins with Schofield dozing under a tree, before he’s awoken by Blake, and the two men go to meet the general who gives them their mission. The film’s conclusion offers a mirror of this structure — possibly one reason the film scored that surprise Screenplay nod. Next, Schofield’s arc with Blake comes full circle, as well. Having completed his perilous journey, Schofield searches the casualty tent for Blake’s older brother. After informing the brother of Blake’s death, Schofield hands over his effects to be returned to his family. These mementos are not meaningless, after all. The magnitude of his efforts has brought Schofield around to Blake’s way of thinking. (The bookend effect of these closing scenes is also enhanced by the film’s casting. The two commanders are played by Cumberbatch and Colin Firth, British heartthrobs of two different generations; Blake’s brother is played by Richard Madden, who acted with Dean-Charles Chapman on Game of Thrones. ) Finally, the film ends just as it began, with Schofield enjoying a moment of rest under a tree. This time, he’s alone, but not really: He pulls out a photograph, revealing for the first time that he’s been carrying around a memento of the wife and children waiting at home. There’s an inscription on the back: “Come back to us. ” Finally, the sun rises, and the film fades to black with a dedication to Mendes’s grandfather, “who told us the stories. ” This closing moment of catharsis encapsulates all that’s proven divisive about 1917. While the film has received generally positive reviews, it’s also received a few high-profile dissents from the likes of Richard Brody, Manohla Dargis, and our own Alison Willmore, all of whom have taken issue with the film turning the industrial bloodbath of the Western Front into a celebration of individual perseverance. Of course, sending viewers out on such an emotional high note is also what’s made 1917 our presumptive Oscars front-runner, as the film been hitting voters’ hearts in a way that its predecessors haven’t. And if the film takes home Best Picture over Parasite in two weeks’ time, you can bet that this debate will only intensify. After all, there’s no such thing as an uncomplicated victory. Let’s Talk About the Ending of 1917.

 

1917 命をかけた伝令 主題歌.

The director, writer, and cast of 1917 take us behind the scenes to reveal the inspirations for the World War I epic and explain why it was important to film it as one shot. Watch the video Top Rated Movies #60 | Won 3 Oscars. Another 107 wins & 159 nominations. See more awards » Learn more More Like This Crime Drama Thriller 1 2 4 5 6 7 8 9 10 8. 6 / 10 X In Gotham City, mentally troubled comedian Arthur Fleck is disregarded and mistreated by society. He then embarks on a downward spiral of revolution and bloody crime. This path brings him face-to-face with his alter-ego: the Joker. Director: Todd Phillips Stars: Joaquin Phoenix, Robert De Niro, Zazie Beetz Comedy 7. 7 / 10 A faded television actor and his stunt double strive to achieve fame and success in the film industry during the final years of Hollywood's Golden Age in 1969 Los Angeles. 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Taika Waititi Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson Adventure 8. 5 / 10 After the devastating events of Avengers: Infinity War (2018), the universe is in ruins. With the help of remaining allies, the Avengers assemble once more in order to reverse Thanos' actions and restore balance to the universe. Directors: Anthony Russo, Joe Russo Robert Downey Jr., Chris Evans, Mark Ruffalo Romance Noah Baumbach's incisive and compassionate look at a marriage breaking up and a family staying together. Noah Baumbach Adam Driver, Scarlett Johansson, Alan Alda A detective investigates the death of a patriarch of an eccentric, combative family. Rian Johnson Daniel Craig, Ana de Armas Fantasy 6. 8 / 10 The surviving members of the resistance face the First Order once again, and the legendary conflict between the Jedi and the Sith reaches its peak bringing the Skywalker saga to its end. J. J. Abrams Carrie Fisher, Mark Hamill, Adam Driver 7. 6 / 10 With his debts mounting and angry collectors closing in, a fast-talking New York City jeweler risks everything in hope of staying afloat and alive. Benny Safdie, Josh Safdie Adam Sandler, Julia Fox, Idina Menzel Horror Sci-Fi 7. 5 / 10 In a post-apocalyptic world, a family is forced to live in silence while hiding from monsters with ultra-sensitive hearing. John Krasinski Emily Blunt, John Krasinski, Millicent Simmonds Edit Storyline April 1917, the Western Front. Two British soldiers are sent to deliver an urgent message to an isolated regiment. If the message is not received in time the regiment will walk into a trap and be massacred. To get to the regiment they will need to cross through enemy territory. Time is of the essence and the journey will be fraught with danger. Written by grantss Plot Summary Plot Synopsis Taglines: Time is the enemy. Details Release Date: 10 January 2020 (USA) See more » Box Office Budget: $100, 000, 000 (estimated) Opening Weekend USA: $576, 216, 29 December 2019 Cumulative Worldwide Gross: $364, 760, 929 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia Sections of the film were shot in and around Low Force, on the River Tees, Teesdale in June 2019. The production staff had to erect signs warning walkers in the area not be alarmed by the bodies strewn around the site. See more » Goofs Obvious green screen use (shadows/depth of field don't match) when slowly panning across soldiers during the song near the end of the movie. See more » Quotes Colonel MacKenzie: I hoped today might be a good day. Hope is a dangerous thing. That's it for now, then next week, Command will send a different message. Attack at dawn. There is only one way this war ends. Last man standing. Crazy Credits The opening logos are shortened and tinted blue. See more » Alternate Versions In India, the film received multiple verbal cuts in order to obtain a U/A classification. Also, two anti-smoking video disclaimers and a smoking kills caption were added. This version also features local partner credits at the beginning and an interval card after Schofield is hit. See more » Connections Featured in Jeremy Vine: Episode #3. 22 (2020) Soundtracks I Am A Poor Wayfaring Stranger Arranged by Craig Leon Performed by Jos Slovick See more » Frequently Asked Questions See more ».

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