Video review: "1917"

Although I would be hard-pressed to describe the World War I drama “1917” as controversial, it certainly had its share of detractors. The “gimmick” of the seemingly continuous one shot is just that to them, as two young British soldiers traverse a hellscape of trenches and death at every turn.

You spend the first few minutes marveling at the technique of director Sam Mendes and cinematographer Roger Deakins, and puzzling over the seemingly thousands of details that had to be kept straight. Every actor and prop on cue, in the right place, doing the right thing at exactly the right time.

The mind boggles at the logistics of it all.

But for me, that period quickly faded and I just became engrossed in the experience. This is old-school “you are there” filmmaking, where the camera puts you in the shoes of the characters and you experience their peril step-by-step alongside them. So I stopped thinking about the technique and focused on the tale.

Others couldn’t. The most common complaint I heard was that it felt like watching an avatar in a video game, except you couldn’t control them.

That’s fair enough. Certainly this is not the sort of movie that focuses on characterization. I think casting relatively unknown actors in Dean-Charles Chapman and George MacKay was a deliberate move to make them feel like Everymen. Still, during the course of their journey we do learn a little about their interior worlds, such as that one yearns for home while the other went back there on leave and couldn’t wait to return.

Their mission: bring word to a unit cut off far beyond the front line that their attack planned for the next morning is a trap laid by the Germans. If they fail, 1,600 soldiers are doomed to die, including a lieutenant who is one of the men’s brother.

A few recognizable actors show up in supporting roles: Benedict Cumberbatch, Richard Madden, Colin Firth. These cameos act as touchstones to the larger world, reminding us that there is more than blasted holes in the ground filled with bloated bodies.

There is surprisingly little violence in “1917.” Mostly we are witnessing the after-effects, as flesh and steel are ripped apart like the fallen toys of the gods. We feel humbled, repulsed, occasionally joyful and very, very much alive.

Often big-name filmmakers tend to eschew video bonus features, especially for high-toned awards contenders -- “letting the film speak for itself” and all that. I’m pleased to say Mendes and company did not do this.

There are two separate feature-length commentary tracks, one by Mendes and on by Deakins. There is of course a documentary on the logistics of the one-shot, 360-degree format and how it was executed. Mendes also hosts his own featurette in which he discusses his personal connection to WWI. Other features include:

⦁    “The Music of 1917”
⦁    “In The Trenches”
⦁    “Recreating History”

Movie:



Extras:

Review: "1917"

“Why do you care?” 

“Why do you not?”

“1917” is a film that you approach as a technical marvel and then are absorbed by its breathtaking humanity.

You probably have heard that this World War I drama from director Sam Mendes (“American Beauty”) is a “one shot” movie, with a single seemingly continuous take by a roving camera as it follows the soldiers around a vast, scarred battlefield. And at least for the first 15 minutes or so, I think that’s how you experience it.

“How did they do that?” is the question that comes urgently to mind. You imagine the staggering preparation and attention to detail that went into making sure a thousand different elements were in just the right place at just the right time. You wonder how many takes it required to get it just right – hundreds, it must be, right?

And yet, after that introductory period, I largely forgot about the form the movie took and experienced it at eye level. This is very much old-fashioned “you are there” existential storytelling, which has received something of a revival in recent films like “Gravity” and “Dunkirk.”

(For the record, I counted 10 cuts in the film to separate the pieces. One is fairly obvious, but the rest happen at times when the soldiers pass through a dark tunnel or behind an object in the foreground. Still, that means averaging 12 minutes for each take, which remains astonishing.)

Two British footsoldiers are selected for a prototypical Very Urgent Mission. They are Lance Corporals Blake (Dean-Charles Chapman) and Schofield (George MacKay), two young everymen. As outlined by General Erinmore (Colin Firth), the Germans have set a trap by suddenly retreating several miles from their existing trenches to a new fortified line.

A headstrong colonel, Mackenzie (Benedict Cumberbatch), is cut off from command and mistakenly believes he has the Germans on the run and the end of the war is in sight. He has planned an attack at dawn the next day in which 1,600 men will surely die unless Blake and Schofield can reach them on foot with a letter ordering a stand-down.

The twist is that Blake’s own brother (Richard Madden) is a lieutenant in Mackenzie’s unit. The general has, cruelly and/or brilliantly, given Blake an urgent incentive to carry out his orders.

We don’t learn a lot of specifics about Blake and Schofield during the course of the film – this is a journey story, not a character study. But a few details emerge to flesh them out.

The baby-faced Blake is headstrong and talkative while the tall, birdlike Schofield is a more passive follower. Blake’s family owns a cherry orchard back home and he was fondly looking forward to being there for picking season next month in May. Schofield went home once on leave and actually regrets it.

“It’s easier not to go back at all,” he says.

They also make a teasing game out of Blake’s resentfulness that Schofield has earned a medal and he has not. Blake would very much like to end the war a hero; Schofield is content just to see the end.

I cannot overstate the majesty and horror of the cinematography by Roger Deakins. Mendes, who co-wrote the script with Krysty Wilson-Cairns, and the production design team have literally created an entire world of grimy trenches and devastated buildings. On their errands the soldiers pass through pastoral beauty and cities that are reduced to just columns of stone, like indifferent Easter Island totems.

There is not very much actual fighting in the movie, though we see the results of it aplenty. The depiction of devastated bodies is haunting, often half-buried in rubble or mud. It’s as if they are being slowly consumed in layers of sediment, soon to be forgotten in the inexorable flow of epochs.

This movie will surely contend for big prizes during the awards season, and deserves to. Once you see the one-shot continuity as a tool rather than a gimmick, it becomes all the more impressive. War is hell, and “1917” is as dark and dire a descent into that perdition as we’ve seen.

Review: "Spectre"

Just a few thoughts today on the new James Bond film. Evan Dossey is handling the main review over at The Film Yap, so head there to read his more complete thoughts.

The Daniel Craig Bond flicks have been defined by their dourness, and while that was a welcome change from the breeziness of the Pierce Brosnan and Timothy Dalton movies -- not to mention the nearly pure comedy of the Roger Moore era -- it's starting to wear down the franchise, like a repetitive stress injury.

Director Sam Mendes is back at the helm again, a rarity in the Bond tradition, but "Skyfall" was the highest-grossing 007 film ever, so if he was game there really wasn't anyone to tell him different. Craig is loudly and publicly musing over whether he wants to play the British agent again, and there's a lot of chatter about Idris Elba or Tom Hiddleston or (insert latest rumor here) sliding into the role.

Without giving anything away, I will say that the ending of "Spectre" is such that it could either neatly wrap up Craig's tenure in the black tuxedo, or set up one final go-round.

It's very much a story of beginnings and endings, with most of the familiar Bond solar system -- M, Q, Moneypenny -- now replaced with fresher faces. James Bond is widely viewed as an anachronism by the British intelligence services, who are more keen on data and satellite imagery and drones than guys wandering around with a license to kill.

The movie for me is more of a Greatest Hits version of James Bond than anything else I've seen. Names and faces of villains and allies from the recent past are recalled and, forcibly, linked to one another. We're told that a sinister organization named Spectre has been behind nearly all the troubles Bond has encountered in recent years, with one shadowy figure at the head of the table.

I'm not giving anything away in saying that Christoph Waltz plays the chief villain, or surprising anyone by stating that he's the best thing about the movie. (You could say that about most films with Waltz.) He plays Franz Oberhauser, a supposedly dead guy with an intimate connection to Bond that I wouldn't divulge.

Suffice to say that rather than pursuing some overarching goal of world domination, Oberhauser -- who also has adopted another, familiar, moniker -- seems to delight in creating chaos and pain for its own sake. Particularly when that pain is Bond's own.

Waltz has surprisingly little screen time, but makes the most of it.

The main "Bond girl" is a bit of a disappointment, the sloe-eyed Léa Seydoux as the daughter of an infamous villain. (Why are so many female characters in spy movies the daughter of somebody important, instead of just being important themselves?) The script, a thinly written affair by a committee of four, doesn't give her much to do but react to Bond's carnivore magnetism. 

Better is Monica Bellucci in an all-too-brief appearance as a recently widowed Italian who gets intimate with the man who made her a widow. Bellucci, still a stunner at 50 -- rendering her the oldest Bond conquest of all -- shows more steel and fire in her few minutes of screen time than Seydoux does in the rest of the movie.

Craig is still a terrific Bond, the best I think aside from Sean Connery, a skilled enough actor to let slip the pain that lies just behind the eyes of the icy killer. And there are a few good action scenes and chases, particularly when Bond mixes it up with Dave Bautista, a Herculean tentacle of Spectre.

"Spectre" is entirely watchable, and parts of it are even thrilling. But there's something missing here, a vital essence that seems to have drained away. This iteration of the Bond legend feels tired, grumpy, chippy. It senses the anticipation for the next thing, even shares it, but isn't quite ready to let go of the Walther PPK and Aston Martin. 

DVD review: "Away We Go"

Director Sam Mendes' first film, "American Beauty," won a slew of Oscars, and he's had his ups and downs since then. Last fall's "Revolutionary Road," pairing Kate Winslet and Leonardo DiCaprio in a disintegrating marriage, was a major disappointment. But Mendes redeems himself somewhat with "Away We Go," a funny and quirky take on relationships.

John Krasinski and Maya Rudolph play Burt and Verona, an unmarried but committed couple expecting a baby. They're in their early 30s, a bit scatterbrained and irresponsible, but basically good people.

When Burt's parents -- whom they'd hoped to rely upon for child care help -- suddenly decide to move away, Verona and Burt begin a cross-country trip to find a new home.

They visit a variety of friends and relations, played by wonderful actors like Catherine O'Hara, Jeff Daniels and Allison Janney. The hosts grow increasingly kooky, and as enjoyable as these visits are, we come to realize that such characters exist only in the movies.

But still, I was never bored and the laugh-out-loud moments, while spread fairly far apart by screenwriters Vendela Vida and Dave Eggers, earn their chuckles.

Maggie Gyllenhall has a particularly hilarious turn as Burt's cousin, who takes the whole earth-mother routine to such an extreme that she angrily rejects their gift of a baby stroller: "Why would I want to push my child away from me?!?"

DVD extras are decent in scope, but less than impressive. A 16-minute making-of documentary contains more hype than insight, and a featurette about how they endeavored to keep the production environmentally friendly is just self-congratulatory fluff.

Mendes, Eggers and Vida team up for a feature-length commentary that consists mostly of moment-by-moment observations about the circumstances of how each scene was written and/or shot.

In addition to the DVD bonus material, the Blu-ray version contains a small amount of material available only online.

Movie: 3 stars
Extras: 2.5 stars

Catching up with "Away We Go"

The wife and I aren't really big fireworks people, so we decided to catch a movie last night, followed by a big strawberry shake from Steak 'N Shake. It looks like most of the big fireworks displays got canceled anyway due to rain, so I think we made a fine choice for the Fourth.

"Away We Go" is an enjoyable comedy-drama about quirky characters who revel in their own quirkiness. After a time we come to realize that such people exist only in the movies, and an entire film filled with them is a contrivance that soon grows old. But still, I was never bored and the laugh-out-loud moments, while spread fairly far apart, earn their chuckles.

John Krasinksi, the TV star of "The Office" whose first starring role in "Leatherheads" was just this side of a disaster, gives a terrific performance as Burt, half of a couple expecting a baby. Burt and Verona (Maya Rudolph) are in their early 30s, live in a ramshackle home, drive a rusting old Volva and are -- as folks like to say in the current economy -- underemployed.

They are unmarried (at Verona's insistence) but committed and joyfully expecting their daughter. Their lives are thrown for a loop when Burt's parents, who they moved to their current location to be near to, announce they are leaving for Belgium. Suddenly unfettered, they determine to visit a number of cities where they have families and friends to find a new home. So off they wing to Phoenix, Tucscon, Madson, Miami and Montreal.

Now, one can wonder (as Jean did) how two people can apparently have barely enough money to survive and be able to spend thousands of dollars on airplane flights, hotel rooms, car rental, meals, etc. But rookie screenwriters Dave Eggers and Vendela Vida do not concern themselves with such trivialities. Instead, they focus on introducing a cast of increasingly neurotic and improbable characters in each new city.

In Phoenix, they meet an old boss of Verona's who sees nothing wrong with telling her teen daughter she "walks like a dyke" and loudly announcing that she used to have large breasts until her children "sucked them dry."

By the time we get to Madison, they're dealing with a Burt cousin (Maggie Gyllenhaal) who's taken the earth-mother thing to the extreme, including breast-feeding both her children at once, even though the boy is about five. She views Burt and Verona's gift of a stroller as an insult: "Why would I want to push my child away from me?!?"

Things go on from there in a similar vein. As I say, I never really believed most of the characters as real, but they certainly are entertaining. Krasinski is a hoot as Burt, who's kind of a dweeb but just shines with an inner goodness. One of his best recurring bits is after he learns that their baby's heart rate is a little on the slow side, and that by agitating Verona they can raise it. This leads to a number of occasions, usually in public, where Burt sneaks up on her and starts screaming and cursing, followed by a shy smile and pulling up her shirt to listen with the baby monitor.

"Away We Go" was directed by Sam Mendes, whose first two films -- "American Beauty" and "Road to Perdition" -- were knockouts. Then came "Jarhead," a serviceable but unremarkable war drama, and last fall's "Revolutionary Road," a major disappointment. This new film is a worthy entry in his growing body of work, but not one of the high points.

3 stars