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director - Sam Mendes
Writed by - Krysty Wilson-Cairns
release year - 2019
Drama
Movie has zero realism. All the soldiers still have a perfect set of teeth. Sam Mendes' ambitious World War I film presents the harrowing odyssey of two British soldiers in one seemingly continuous shot. The only problem with  1917  is the teeth. As we now know from the ample evidence provided by Peter Jacksons extraordinary rehabilitation of World War I documentary footage in last years  They Shall Not Grow Old,  British soldiers at that time had the most irregular, untended, misshapen, minds-of-their-own choppers seen anywhere in the 20th century. Its a missing detail you just have to forgive in Sam Mendes otherwise exemplary panorama of the horrors of war designed as an inescapable immersion in the unrelieved pressure and sheer wretchedness of the battlefront. Notable technically for the real-time fluidity of its presentation of ongoing events across nearly two hours, this is a protean display of virtuoso filmmaking, one that film aesthetes will wallow in but that even ordinary audiences will note and appreciate. World War I ended a century and one year ago, and there can now be no one left who remembers it. Most of the worlds current population probably has no idea why it was fought and what the conditions were like.  1917  has no interest in addressing the former question but is passionately devoted to describing the latter in visual terms that sweep you into the story and carry you along as if on wings, albeit ones that occasionally stop flapping and leave you in a bloody, muddy hell. The films plot and format could scarcely be simpler: Two young lance corporals, Schofield (George MacKay) and Blake (Dean-Charles Chapman) stuck with 1, 600 other British soldiers in trenches on the Hindenburg Line on April 6, 1917, are dispatched to deliver a letter by General Erinmore (Colin Firth. The missive, to be handed personally to Col. Mackenzie (Benedict Cumberbatch) commander of the 2nd battalion, contains orders not to proceed with a planned advance from the front because of intelligence confirming that its an enemy trap. The journey entails a high-risk overnight trek across dreadful, pock-marked terrain until very recently occupied by the Germans, which means booby traps and other dangers certainly lurk along the way. This sort of format has served as the basis of any number of video games set in innumerable eras of warfare and can involve as many risks and complications as its inventors care to concoct. The simplicity of the setup for cinematic purposes possesses an undeniable elemental appeal, and Mendes and his cinematographer Roger Deakins have set for themselves the challenge of telling it seamlessly, without any jumps in time or visible edits, in order to depict the entirety of the mens journey without skipping over a thing. Not for a moment, however, do the filmmakers pretend that the pic has no cuts. As the men traverse a considerable distance over terrain that offers few comforts, there are times where the camera will make a turn, enter some darkness or pass from one realm to another, all providing moments for one interlude to end and another to take up the baton, as it were. All the “shots” in the movie are seamlessly connected, and Deakins and his crew, using the brand-new Alexa Mini LF (large format) camera that provides twice the resolution of the former model, perform a tour de force, moving the camera above and into the action in extraordinarily fluid, elegant and revealing ways that have never been seen before. Stanley Kubrick would be massively envious. A strong case could be made for the position that just going ahead and making a simple cut from one perspective to another wouldnt palpably diminish the impact of the work; who would really care if you just made judicious cuts instead of hiding them in darkness or by some other means? But, like trailblazers in any realm of endeavor, they set themselves a challenge and figured out a way to pull it off, and the result is magnificent by any standard. Here, indisputably, is a film to be seen on the big screen as nature — or at least the filmmakers — intended. Schofield is a serious, fair-complexioned, rangy lad of the type often associated with young Englishmen of the time, while Blake is shorter and black-haired, more a fireplug of a guy. As they head out on their perilous mission, the fairness of the spring day is overtaken by mud and overcast skies, and accompanied by music that too laboriously stresses the ominous; Thomas Newmans score will drastically improve before too long. Its a lifeless, barren landscape, one festooned with barbed wire. The two men find that the Germans have indeed abandoned their trenches, although its quite noticeable that their subterranean structures are far neater and better constructed than those of their British counterparts. Even the German rats are bigger and healthier than what the Brits are used to. As Deakins camera glides, swoops, pivots, turns and seems keen to investigate all the space between heaven and hell — even as it mostly seems like theyve reached the latter already — the incidental wages of war are everywhere to be seen. Not even 45 minutes in, a shocking death occurs, but the terrible odyssey must go on. From time to time, memories surface of other films that involve life in the trenches or long journeys through perilous, death-strewn landscapes —  Paths of Glory,   most of all, but also  Saving Private Ryan,  Full Metal Jacket, A Very Long Engagement, Come and See  — even if aesthetically it bears the most resemblance to the simulated continuous take style of Birdman. But the new film outdoes them all in terms of absolute immersion in an inescapable environment, one dominated by misery and the continuous threat of death by any number of means. And while for some time its hard to take your mind off the complexity of what the cameraman and director have achieved here, at a certain point you begin taking it for granted and become more involved in the specifics of the journeys completion. There are a few moments of sad respite with a young woman (Claire Duburcq) and baby who is not her own and, with all the chaos, one fleetingly wonders how its possible for such a journey to end at its desired destination. Still, the manner of storytelling remains at one with the aesthetic approach of the entire project, which is to show and not tell, and the fate of all the men ultimately rests in the hands of the colonel the two voyagers were sent to find. More than a few fans will want to know that  Bodyguard  heartthrob Richard Madden turns up only very late in the game as Blakes older brother. Despite the vast complexity of the storytelling technique, the tale itself, written by Mendes and Krysty Wilson-Cairns (the latter known for writing nine episodes of  Penny Dreadful) is very simple, and satisfyingly so, hinging on the single matter of whether or not an otherwise inevitable slaughter will be avoided. And it all comes predictably wrapped in the inevitable humanistic lament about the tragic waste, the millions of lives lost, the needless destruction and misuse of creative and industrial initiative. Even if the film is mostly hitting familiar notes in terms of story and theme, it expresses a concise, focused and expertly managed vision with which theres little to quibble, and the extraordinary style represents the fruition of a long-imagined dream on the part of many directors and cinematographers. From now on, when the discussion turns to great works of cinematography and camera operating,  1917  will always have to be high on the list. Production companies: DreamWorks Pictures, Reliance Entertainment, New Republic Pictures, Neal Street Production Distributor: Universal Cast: George MacKay, Dean-Charles Chapman, Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth, Benedict Cumberbatch, Daniels Mays, Adrian Scarborough, Jamie Parker, Nabhan Rizwan Director: Sam Mendes Screenwriters: Sam Mendes, Krysty Wilson-Cairns Producers: Sam Mendes, Pippa Harris, Jayne-Ann Tenggren, Callum McDougall, Brian Oliver Executive producers: Jeb Brody, Oleg Petrov, Ignacio Salazar-Simpson, Ricardo Marco Bude Director of photography: Roger Deakins Production designer: Dennis Gassner Costume designer: Jacqueline Durran, David Crossman Editor: Lee Smith Music: Thomas Newman Casting: Nina Gold Rated R, 119 minutes.

I saw the trailer to this movie I thought it was an interesting set up but, I thought I was going to play like every other war movie. The beginning of the movie It Takes a turn that surprise me and then I kind of play like Saving Private Ryan in a way. Only in a couple ways though everything else was kind of fresh and original.

 

I was just as hypnotized as Schofield was staring at that burning church. This and the flares right before it were breathtaking.

I fully expected him to sign off with This is Jocko. Out

3:40 you can even see what shoots the actors into the air. I think these are the worst South African accents Ive ever heard in a movie. A desperate young man possessing special powers clashes with a police force after committing a petty crime. dafaq is this. A Race Against Time in 1917 The Stream: The storyline is completely unimportant. The Big Screen: Tremendous filming, scenery and intense moments. The Final Bill: Travel down the intense path less traveled in 1917. -S2S Welcome back everyone! This week we were able to get an early screening of the movie, 1917. 1917 hits the theaters in limited release on Christmas Day, but it doesnt go wide until January 17, 2020. Lets get to the nitty gritty of this World War I spectacle. Lets get the plot out of the way, as it is the most forgettable part of the movie. 1917 features two young British privates during the First World War. Of course, the “powers that be” give the most expendable pawns with the most to lose the “impossible mission”. The privates must deliver a message deep in enemy territory that is necessary to save the lives of 1, 600 men. And yes, of course, one of the privates has a brother among that 1, 600 that must be saved from walking straight into a deadly German trap. Now that the first 5 minutes of the movie are out of the way, we can get to the brilliance. To me one of the most awesome feats of this movie is the single shot filming. Now, we all know it is impossible to shoot a nearly two hour movie in one shot flawlessly, but truly the editing and camerawork is amazing. The single shot view enhances the feel of anxiety and urgency. Throughout the movie, I felt as if I couldnt take my eyes off the screen. One thing I can be certain of is that this movie will definitely receive consideration during award season, especially for the cinematography by Roger Deakins. The filming was great in the execution but also in the setting/scenery. While most of the movie is flat and barren due to the war-torn wasteland, yet the actors take us on the path less travelled. Seriously, through the ups and downs of bunkers, craters, farmlands, waterways, etc. the film moves us. Speaking of moving us, Chapman and MacKay provide a few moving moments, lame ones as well. Both do a very good job conveying the emotional rollercoaster that 1917 and war in general provides to our brave soldiers in the field. The viewer truly follows the ebbs and flows of the privates from beginning to end. We see you King Tommen. Long story short, 1917 is an intense, watch your every step, war epic that will garner Oscar buzz from its incredible camera work and set management. The storyline is the most basic it can get but thats not why youre going to this movie in the first place. Get a bucket of popcorn and chow down while you race (pensively) to the end.

1917 Download. Where's wonder woman when u need her most. 1917 download movie torrent. 1917 download movie free. Awesome! We need more of these kind of movies to show the power of toxic masculinity! It brought us VICTORY and FREEDOM. Event of Interest Jan 1 T. E. Lawrence joins the forces of the Arabian sheik Feisal al Husayn, beginning his adventures that will lead him to Damascus by October, 1918 Jan 1 3rd Rose Bowl, Tournamnet Park, Pasadena, California: Oregon beats Pennsylvania, 14-0; MVP: John Beckett, Oregon Jan 2 Royal Bank of Canada takes over Quebec Bank Jan 8 Austria-Hungarian troops conquer Forlani Italy Jan 9 World War I: the Battle of Rafa occurs near the Egyptian border with Palestine. Jan 10 The Allied Governments respond to US President Woodrow Wilson 's December 1916 note, giving their terms for ending the war Jan 10 Suffragettes the "Silent Sentinels" first protest outside The White House, in Washington led by Alice Paul and the National Woman's Party Jan 11 Guy Bolton & PG Wodehouse's "Have a Heart" premieres in New York Jan 13 Train at Ciurea station in Romania catches fire and explodes, between 800-1, 000 die, making it the third worst rail accident in history Jan 13 Ammunitions ship explosion at Ekonomiia port near Archangel, Russia kills many and injures hundreds Jan 16 The Greek Government accepts reparations for Allied losses sustained in recent actions in Greece Jan 16 "Zimmermann Telegram" is sent from Germany to Mexico, stating in the event of the US entering World War I on the allied side, Mexico would be given Texas, Arizona and New Mexico. Intercepted by British intelligence and partially deciphered by the next day. It's release in March shifts US public opinion in favor of war against Germany. Jan 17 US pays Denmark 25 million for Virgin Islands (or 3/21) Jan 19 The Silvertown explosion: 73 die when a munitions factory in Essex explodes. Jan 27 Coen de Koning wins 2nd official 11 cities race (9:53) record) Jan 28 Municipally owned streetcars take to the streets of San Francisco, California Jan 29 British submarine K13 sank in Gaire Loch, Scotland; 32 of her crew died Jan 31 Germany notifies US that U-boats will attack neutral merchant ship Jan 31 Mexican President Carranza announces a new constitution with many liberal elements; most of which his regime will not implement Feb 1 German Großadmiral Alfred von Tirpitz announces unlimited submarine war Feb 3 US liner Housatonic is sunk by German submarine, on the same day that US President Woodrow Wilson breaks off diplomatic relations with Germany Feb 4 Belgian Council of Flanders established Feb 5 Congress overrides Wilson's veto, curtailing Asian immigration Feb 5 Morosco Theater opens at 217 W 45th St NYC (demolished 1982) Feb 5 The last of the American troops commanded by General John Pershing leave Mexico; President Carranza will be assassinated within the next year Feb 10 Johanna Westerdijk installed as the Netherlands' 1st female professor Feb 12 1st edition of Joseph Patterson and Sidney Smith's strip "The Gumps" Feb 13 Dutch exotic dancer Mata Hari is arrested in Paris on suspicion that she is a German spy Exotic Dancer, Courtesan and German Spy Mata Hari Feb 15 San Francisco Public Library (Main Branch at Civic center) dedicated Feb 16 1st synagogue in 425 years opens in Madrid Feb 17 In Australia, Nationalist Party takes over a coalition government Feb 18 1st major strike of the Russian "February Revolution" starts at the giant Putilov factory in Petrograd [NS=Mar 3] Feb 20 Jerome Kern, Guy Bolton & P. G. Wodehouse's musical "Oh, Boy. premieres in New York Feb 21 British troopship SS Mendi sinks off Isle of Wight, 646 die Feb 22 German Navy torpedoes 7 Dutch ships Feb 24 German plan to get Mexican help in WW I exposed (Zimmerman telegram) Feb 24 Red Sox sell Smokey Joe Wood, his arm dead at 26, to Cleve for 15, 000 Feb 26 1st jazz records recorded. Dixie Jazz Band One Step" and "Livery Stable Blues" by Original Dixieland Jass Band for the Victor Talking Machine Company Feb 26 Russian February Revolution: Tsar Nicolas II orders army to quell civil unrest in Petrograd - army mutinies [NS Mar 11] Feb 26 1st Annual fair at Utrecht Harbor (Netherlands) Feb 28 AP reports Mexico & Japan will allie with Germany if US enters WW I Mar 1 1st federal land bank chartered in USA Mar 1 US government releases the plain text of the "Zimmermann Telegram" to the public Mar 2 Jones Act: Puerto Rico territory created, US citizenship granted Mar 3 US Congress passes 1st excess profits tax on corporations Mar 3 1st major strike of the Russian "February Revolution" starts at the giant Putilov factory in Petrograd [OS=Feb 18] Mar 3 Mexico and the USA renew diplomatic relations Mar 3 German Foreign Secretary Arthur Zimmermann publicly admits the "Zimmermann Telegram" is genuine. Generates support for the US declaration of war on Germany in April. Mar 5 US President Woodrow Wilson is inaugurated for a second term Mar 7 1st jazz record released on a 78 by Original Dixieland Jass Band for the Victor Talking Machine Company ( Dixie Jazz Band One Step. one side "Livery Stable Blues" other) Mar 8 Russian "February Revolution" begins in earnest with protests celebrating International Woman's Day and riots in St Petersburg over food rations and conduct of the war [OS=Feb 23] Mar 10 Batangas was formally founded as one of the Philippines's earliest encomiendas Mar 11 1st NHL championship game ever played, Toronto Arenas beats Montreal Canadiens 7-3 in 1st of 2 game set (second game on March 13) Mar 11 British forces occupy Baghdad, the capital of Mesopotamia, after Turkish forces evacuated Mar 12 [OS Feb 27] Russian Duma sets up the Provisional Committee; Soviets form Executive Committee Mar 12 In the wake of the February Revolution, Communist Party members Joseph Stalin, Lev Kamenev and Matvei Muranov arrive in Petrograd (St Petersburg) and seize control of the Pravda newspaper Mar 12 A German submarine sinks an unarmed US merchant ship, the 'Algonquin' on the same day that US President Woodrow Wilson gives executive order to arm US merchant ships Mar 15 Nicholas II, the last Russian Tsar abdicates and nominates his brother Grand Duke Michael to succeed him [OS Mar 2] Mar 16 Russian Grand Duke Michael, brother of Tsar Nicholas II declines the Russian throne [OS Mar 3] Mar 17 1st exclusively women's bowling tournament begins in St Louis Mar 17 Delta Phi Epsilon is founded at New York University Law School Mar 19 US Supreme Court uphoelds 8-hr work day for railroad employees Mar 20 After the sinking of 3 more American merchant ships, US President Woodrow Wilson meets with cabinet, who agree that war is inevitable Mar 21 Loretta Walsh becomes US Navy's 1st female Petty Officer Mar 22 The USA is the first nation to recognize the new government of Russia Mar 23 Tornadoes kills 211 over 4 days in Midwest US Mar 25 Canadian ace Billy Bishop claims his first victory, shooting down and mortally wounding German Leutnant Theiller Mar 26 Stanley Cup Final, Seattle Ice Arena, Seattle, WA: Seattle Metropolitans (PCHA) beat Montreal Canadiens (NHL) 9-1 for a 3-1 series victory; first US team to win SC Mar 26 British win a battle against Turks at Gaza Mar 28 Jews are expelled from Tel Aviv & Jaffa by Turkish authorities Mar 28 Puccini's "La Rondine" premieres in Monte Carlo Mar 31 US purchases Danish West Indies for 25M & renames them Virgin Islands Apr 2 Jeannette Rankin (Rep-R-Montana) begins her term as 1st woman member of US House of Reps Apr 3 Alfred Stieglitz opens 1st one-person show of Georgia O'Keeffee's work at 291 art gallery in New York Apr 4 US Senate agrees (82-6) to participate in WWI Apr 6 US declares war on Germany, enters World War I Apr 7 De Falla's ballet "El Sombrero de tres Picos" premieres in Madrid Apr 7 James Barries' Old Lady Shows Her" premieres in London Apr 9 Battle of Arras begins Apr 9 Vimy Ridge in France stormed by Canadian troops Apr 10 Munition factory explosion at Eddystone, Pennsylvania, kills 133 workers Apr 11 Babe Ruth beats NY Yanks, pitching 3-hit 10-3 win for Red Sox Apr 12 Bijou Theater opens at 222 W 45th St NYC (Demolished 1982) Apr 12 Domenico Scarlatti & Jeab Cocteaus ballet premieres in Rome Apr 14 Chicago White Sox Ed Cicotte no-hits St Louis Browns, 11-0 Apr 16 [OS Apr 3] Lenin arrives back from exile in Russia at Finland Station, Petrograd to join the Russian Revolution Apr 16 21st Boston Marathon won by Bill Kennedy in 2:28:37. 2 Apr 16 Vladimir Lenin issues his radical "April Theses" calling for Soviets to take power during the Russian Revolution [OS Apr 4] Apr 24 Yankee lefty George Mogridge no-hits Red Sox 2-1 at Fenway Apr 24 US Congress passes the Liberty Loan Act, authorizing the Treasury to issue a public subscription for 2 billion in bonds for the war May 2 Cin Fred Tooney & Chic's Hippo Vaughn pitch duel no-hitter, Vaughn gives up 2 hits & a run in 10th, so Cin wins 1-0 May 3 1st performance of Ernest Bloch's symphony "Israel" May 3 Ernest Bloch's "Schelomo" premieres in Carnegie Hall, NYC May 4 A flotilla of US destroyer ships arrive in Queenstown, Ireland, to aid in convoying ships to England May 5 St Louis Brown Ernie Koob no-hits Chicago White Sox, 1-0 May 5 Eugene Bullard gains his pilot's license from Aéro-Club de France and becomes the 1st African-American military pilot (French Air Service) May 6 St Louis Brown Bob Groom no-hits Chicago White Sox, 3-0 May 10 Atlantic ships get destroyer escorts to stop German attacks May 11 King George V grants Royal Letters Patent to New Zealand May 12 42nd Preakness: E Haynes aboard Kalitan wins in 1:54. 4 May 12 43rd Kentucky Derby: Charles Borel on Omar Khayyam wins in 2:04. 6 May 13 1st appearance of Mary to 3 shepherd children in Fatima, Portugal May 15 The first officer's training camp is opened in the US, as the country prepares for war May 18 Satie, Massine and Picasso's ballet "Parade" premieres in Paris May 18 US Congress passes Selective Service Act, authorizing the federal government to raise a national army for the American entry into World War I through compulsory enlistment May 18 First units of the American Expeditionary Force, commanded by General John J. Pershing, is ordered to France May 20 Turkish government authorizes Jews to return to Tel Aviv & Jaffa May 21 Leo Pinckney, 1st American drafted during WW I May 21 The Great Fire of Atlanta: at least 10, 000 people were displaced, but there was only one fatality May 23 Dutch 2nd Chamber approves 1908 conscription draft May 26 Walt Cruise hit 1st HR out of Braves Field May 27 Race riot in East St Louis Illinois, 1 black killed May 30 Jazz standard "Dark Town Strutters Ball" by Shelton Brooks recorded by the Original Dixieland Jazz Band Jun 1 Hank Gowdy is 1st baseball player to enlist during WWI Jun 2 Canadian ace Billy Bishop undertakes a solo mission behind enemy lines, shooting down three aircrafts as they were about to take off and several more on the ground, for which he is awarded the Victoria Cross Jun 4 1st Pulitzer prize awarded to Richards & Elliott (Julia Ward Howe) Jun 4 American men begin registering for the draft Jun 4 Most Excellent Order of British Empire inaugurated by King George V to recognise the efforts of his people in WWI Jun 5 10 million US men begin registering for draft in WW I Jun 7 Melvin Jones and a number of other Chicago businessmen found Lions Clubs International, now the largest service organization in the world Jun 7 The British detonate mines beneath the German-held Messines Ridge, in the Ypres area Jun 8 Walt Disney graduates from Benton High School Jun 10 60, 000 people of Petrograd Russia welcome Prince Kropotkin (banned 41 years) returning after February Russian Revolution Jun 10 Limburgse mine workers strike Jun 11 King Alexander assumes the throne of Greece after his father Constantine I abdicates under pressure by allied armies occupying Athens Jun 12 US Secret Service extends protection of the President to include his family Jun 13 World War I: the deadliest German air raid on London during World War I is carried out by Gotha G bombers and results in 162 deaths, including 46 children with 432 injuries Jun 14 1st German air attack on England, 100+ killed in East London Jun 14 General Pershing and his HQ staff arrived in Paris during WW I Jun 15 In order to calm troubled relations with Ireland, the British grant amnesty to the Prisoners taken during the Easter Rising of 1916 Jun 16 1st All Russian Congress of the Soviets convenes in Petrograd, Russia [OS Jun 3] Jun 16 49th Belmont: James Butwell aboard Hourless wins in 2:17. 8 Jun 19 The British Royal Family, which has had strong German ties since George I, renounces its German names and titles and adopts the name of Windsor Jun 21 Hawaiian Red Cross forms Jun 23 Ammunition factory in Boleweg Bohemia explodes, killing 1, 000 Jun 23 Ernie Shore replaces Red Sox pitcher Babe Ruth with a runner on, he throws him out & retires all 26 he faces for a perfect game Jun 23 US National Championship Women's Tennis, Forest Hills, NY: Two-time defending champion Molla Bjurstedt beats Marion Vanderhoef 4-6, 6-0, 6-2 Jun 24 Russian Black Sea fleet mutinies at Sebastopol Jun 26 1st US troops arrive in France during World War I Jun 27 1st baseball player (Hank Gowdy) to enter WW I military service Jun 27 Venizelos takes over as Prime Minister of Greece and severs relations with Central Powers, bringing Greece onside with the Allies in WWI Jun 28 Potato entrepreneurs begins in Amsterdam Jul 1 257cm-mirror for Mount Wilson Observatory mounted Jul 1 Race riots in East St Louis Illinois (40 to 200 reported killed) Jul 1 Reds' Fred Toney pitches 2 complete games in doubleheader victories over Pirates, allows 3 hits each game, fewest allowed by any pitcher winning 2 MLB games in one day Jul 1 In contradiction of a state law, the Robins (Dodgers) play their 1st Sunday MLB game in Brooklyn. Owner and manager arrested but escape with a fine Jul 2 Riots in East St Louis, Missouri Jul 3 Spontaneous demonstration at Tauride Palace, Petrograd Red October Jul 4 Troops of the Russian Provisional Government open fire on protesters in Petrograd during the 'July Days' of unrest Learn More >> Protesters scatter in Petrograd shortly after Russian government troops opened fire HMS Vanguard in 1909 Jul 10 Emma Goldman imprisoned for obstructing draft Jul 12 The Bisbee Deportation occurs as vigilantes kidnap and deport nearly 1, 300 striking miners and others from Bisbee, Arizona Jul 13 Vision of Virgin Mary appears to children of Fatima, Portugal Jul 17 Royal Proclamation by King George V changes name of British Royal family from German Saxe-Coburg-Gotha to Windsor Jul 20 Pact of Corfu signed: Serbs, Croats & Slovenes form Yugoslavia Jul 20 WW I draft lottery held; 258 is 1st drawn Jul 21 Russian Revolution: Socialist Alexander Kerensky becomes Russian Prime Minister Jul 22 British bomb German lines at Ypres, 4, 250, 000 grenades Jul 23 Cleveland Metropolitan Park District establishes Jul 24 Trial of Dutch exotic dancer Mata Hari begins in Paris for allegedly spying for Germany and thus causing the deaths of 50, 000 soldiers Jul 25 Sir Thomas Whyte introduces the first income tax in Canada as a "temporary" measure (lowest bracket is 4% and highest is 25. Jul 27 World War I: Allied troops reach the Yser Canal in the prelude to the Battle of Passchendaele Jul 28 Silent Parade organised by James Weldon Johnson of 10, 000 African-Americans who march on 5th Ave in NYC to protest against lynching Jul 30 Board of Commissioners of Cleveland Metroparks has its 1st meeting Jul 31 World War I: Battle of Passchendaele (Third Battle of Ypres) begins, goes on to cause approximately 500, 000 casualties Aug 1 Frank Little, IWW organizer, lynched in Butte, Montana Aug 4 Pravda calls for the killing of all capitalists, priests and officers Aug 5 British troops attack canal of Ypres in Boesinghe, Belgium Aug 5 The entire US National Guard is taken into national service, subject to presidential rather than state control Aug 6 World War I: Battle of Mărăşeşti between the Romanian and German armies begins Aug 9 Canadian Parliament passes the Compulsory Military Act which is oppossed by many French-Canadians from Québec Aug 13 Phillies steal 5 bases in an inning against Braves Aug 13 A revolt in Catalonia, the province in northeast Spain that has long seen itself as independent. Aug 14 China declares war on Germany & Austria Aug 14 Leeuwen soccer team forms Aug 17 Italy declares war on Turkey Aug 18 Dutch Naval Air Force forms (MLD) Aug 18 A Great Fire in Thessaloniki, Greece destroys 32% of the city leaving 70, 000 individuals homeless. Aug 19 Sunday benefit baseball game at Polo Grounds results in John McGraw & Christy Mathewson's arrest for violating Blue laws Aug 22 Pittsburgh Pirates play 4th straight extra inning game, Carson Bigbee sets record of 11 at-bats, they lose in 22 innings to Dodgers Aug 23 Race riot in Houston Texas (2 blacks & 11 whites killed) Aug 25 US National Championship Men's Tennis, Forest Hills, NY: Robert Lindley Murray beats Nathaniel W. Niles 5-7, 8-6, 6-3, 6-3 for first of 2 straight US singles titles Aug 27 Indians set club record by stealing eight bases in a game Aug 28 Ten suffragists arrested as they picket the White House Election of Interest Aug 31 In China, Sun Yat-sen and his supporters' rump' parliament establishes a military government and elects Sun Yat-sen as commander-in-Chief Sep 2 Deutsche Vaterlands Partei formed by admiral Tirpitz Sep 3 1st night bombing of London by German aircraft Sep 3 German troops overrun Riga, Latvia Sep 3 Grover Cleveland Alexander pitches complete wins in a doubleheader Sep 6 French pilot Georges Guynemer shoots down 54th German aircraft Sep 15 Russia proclaimed a republic by Alexander Kerensky's Provisional government Sep 20 British assault on Polygon Forest, France Sep 20 Paraguay becomes a signatory to the Buenos Aires copyright treaty. Previous 1 2 Next.

Mais um filme sobre guerra 😍😍😍. Anshad Abu... lighting artist Mashi Akiyama... head of layout: MPC Montreal Lorna Barnshaw... visual effects artist: Clear Angle Studios Martin Bell... postvis supervisor: Proof, Inc. Gillian Best... postvis animator: Proof Inc Jules Bodenstein... environment supervisor: MPC Francesc Bolló... fx artist Marco Bordignon... digital compositor Tushar Bosamia... lead assets environment Noami Bourgeois... visual effects editor Izet Buco... 2D Compositing Supevisor MPC London Greg Butler... visual effects supervisor: MPC Lucas Caldas... VFX Production Coordinator Varghese Chandy... Layout Artist: MPC Daniel Chemtob... Visual Effects Zeelani Cheruvu... Software Developer-mpc Rachael T. Chiarella... Digital Matte Painter: MPC Cristian Cid... environment artist: MPC David Connely... senior scanning technician Hrushikesh Dahibhate... visual effects Matt Dahms... 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Technology Support Carlijn Hoogstad... visual effects department assistant: MPC Steven Hughes... previsualisation artist: Proof Inc. Liz Hume... digital matte painter: MPC David Huszka... systems engineer: MPC Pehlivan Ivanov... MPC Ayush Jain... Visual effects artist: MPC Wu Jian... visual effects artist: MPC Subash Jude... key lighting artist: MPC, Montreal Anirudh Kamble... Software Developer: MPC Arunan Kannan... Software Analyst: MPC Ravi Keshare... Konstantinos Koutsoliotas... senior compositor: MPC Nirmal Kumar... software analyst: MPC Rahul Suresh Kumar... Technical Director: MPCfilm Sageesh Kv... lighting artist / lighting artist: MPC Ange Labbé-Dulude... visual effects production assistant Andrea Lacedelli... crowd artist: MPC Barbara Lavia... Abbie Lazander-Reed... VFX Assistant Marco Lee... Pier Lefebvre... Roxana Loncea... VFX Artist: ClearAngle Studios Ana Luisa López Segovia... Lighting TD Kevin Mah... head of effects: MPC Karanveer Mahendru... Senior Matchmove & RotoAnim Suraj Makhija... lighting artist: MPC Srikanth Mangipudi... digital artist: MPC James Mann... Jean-Philippe Marchand... lead environment artist: MPC Lorenzo Marconi... Gui Marega... VFX Production Assistant Patrick Martini... Digital Matte Painter Marco Masotti... Teresa Mathew... Ramakrishna Medi... lead digital artist: visual effects Myke Mendes... lead effects artist Veronique Messier Lauzon... Head of production: MPC Chiara Milita... Simon Mills... vfx production supervisor Jennifer Mizener... Visual Effects Production Supervisor: Amblin Partners Emmanuel Moulun... Jack Mumford... Previz Asset Builder Olivier Nadeau... lighting lead: MPC Manesh Nepali... compositor: MPC Will Newis... visual effects producer Ali Pak... Sona Pak... Cecil Palihakkara... system administrator: MPC Deepak Panigrahi... Rajan Panigrahi... visual effects artist: mpc: Lighting Trushna Patel... vfx editor: MPC Akshay Patharkar... visual effects artist Ben Perrott... In-House VFX Supervisor: CheapShot Pablo Perugorria... imaging engineer mpc Graham Post... Tim Pounds-Cornish... visual effects production manager Sameer Prem... Stewart Probert... Production Manager: Clear Angle Studios Howard Protheroe... In-house Senior Compositor Troy Provencal... LiDAR Technician Sebastián Raffaele... David Ramírez... Akshay Rana... Aatur Ravani... key lighting artist: MPC Arka Ray... compositor Christopher Reiter... Marc Rice... Compositing Supervisor Mnandi Ridley... Guillaume Rocheron... visual effects supervisor Lyndon Rodrigues... head of technology: MPC Jon Rogala... Ryan D. Romero... digital artist: IMAX Version Amber Ronaldson... visual effects department assistant Ajay Roshan... visual effects coordinator: MPC Preetam Saha... Smijith Sathian... production operation associate: MPC FILMS Mohamed Selim... Vijay Selvam... R. Shashikumar... modeller/sculptor Chia Yu Shih... Compositor: MPC Guy Shoshan... 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Next well see Penn and Teller break down Harry Potter. Some Deakins cinematography makes me whip <3 Love it, eagerly awaiting this release. 今天看完，很棒的戰爭片，運鏡畫面音樂跟演員都很無可挑剔，推薦大家一定要去電影院看. I'd go see this in theaters if it has good reviews. 1917 movie download filmyzilla. The Best Picture contender is an innovative entry into the genre of World War I movies. 1917 Francois Duhamel/Universal Pictures World War I has always had a special relationship to its own representation on film. When the conflict broke out in Europe in 1914, the medium and industry of cinema were still so new that there was a collective uncertainty about what role moving-picture technology should play in relating what was happening at the front. What did it mean to try to film a war as unprecedentedly, technologically brutal as the one known at the time simply as “the Great War”? Newsreels, though they blunted the roughest edges of the atrocities, still shocked the sensibilities of a public used to learning about conflict abroad through the filter of a twice-daily paper. The 1916 Battle of the Somme lasted for so long that a feature-length movie of the same name, combining restaged battle scenes with on-site documentary footage, became a hit on British screens as the battle was still raging. Some outraged citizens objected that this less varnished look at violence at the front was a threat to public morale. But the families of soldiers returned to the theater over and over again, hoping to catch a glimpse of their sons faces in the endless lines of men marching past the camera, sometimes meeting the cinematographers gaze with a self-conscious smile or a stoic glare. Before Charlie Chaplin released Shoulder Arms in 1918, just two weeks before the signing of the armistice, his close friends warned him that it was a bad idea to make a comedy about the war in progress, especially since Chaplin had been criticized in the British press for failing to enlist in his country of origin. (As it turned out, he had tried to register for the U. S. draft but had been rejected for being underweight. But Shoulder Arms was a worldwide smash, beloved by isolationists and pro-engagement types alike. Neither war propaganda nor antiwar advocacy, it told the simple human story of a nervous new conscript enduring the miseries of life in the trenches. Shoulder Arms and The Battle of the Somme, opposed though their approaches were, shared a similar shot, used in one movie to comic effect and in the other as a dramatic device: A camera at eye level accompanies one or more characters down a series of winding trenches. When your set is confined to a space as narrow as those sandbag-lined crevices in the French countryside actually were, there arent many other choices of how to stage a scene. But the horror of witnessing what a trench actually was—a shallow ditch in which young men waited to be sent “over the top” to die, while at all times risking death, from disease or flying shrapnel, in the trench itself—lends these scenes an added dramatic urgency as the protagonists move through a backdrop of claustrophobic squalor. King Vidors groundbreaking 1925 epic The Big Parade, one of the first Hollywood films to present the war in a tragic light rather than a patriotic one, also used its share of tracking shots. And four decades after the war ended, Stanley Kubrick used an elaborate reverse-dolly shot to follow two imperious generals through the trenches in the savage antiwar drama Paths of Glory. As recently as 2007, Joe Wrights Atonement —a literary adaptation I remember finding somewhat dull, but for the fierce presence of a striking 12-year-old newcomer named Saoirse Ronan—introduced James McAvoys character to the hell that was Dunkirk through a five-minute unbroken Steadicam shot. Over the 101 years since the Armistice was signed, the long take with a continuously moving camera has become a part of the cinematic grammar of the war movie as we understand it—which makes Sam Mendes 1917, a two-hour-long feature shot in what is designed to look like a single unbroken take, both an innovative entry in the genre and a curiously familiar one. In some ways the new drama, co-written by Mendes and Krysty Wilson-Cairns, is even more old-school than the silent movies it evokes. The setup couldnt be simpler: Two lance corporals, Schofield (George MacKay) and Blake (Dean-Charles Chapman) are catching a nap in a sunny field when a general (Colin Firth) summons them to his office, a kind of cave dug into the trenches. He dispatches the young men to hand-deliver an urgent message across No Mans Land. If they dont manage to call off a planned advance of the British forces in time, 1, 600 soldiers, including Blakes brother, will be led into a German ambush. Minutes into the film, Schofield and Blake are off on their perilous mission, with the camera, operated by the legendary cinematographer Roger Deakins, at their heels—or framing their anxious faces, or soaring above their heads to capture the grim surrounding landscape, or wherever it needs to be to maintain the pace of this sometimes sickeningly immersive story. Like Hitchcocks Rope or Alejandro González Iñarritus Birdman, 1917 uses plenty of “cheats” to hide the cuts between its long takes. The action of battle offers many opportunities for the camera to pass through darkened spaces or clouds of smoke, to duck under water or momentarily black out along with the protagonists. The conceit of a single-take war film may sound gimmicky—as both Rope and Birdman arguably are—but in Deakins hands, the idea becomes less a trick than a legitimate stylistic choice. Some critics have compared the steadily escalating horrors of 1917, all witnessed through the quasi-subjectivity of a fluid moving camera, to a video game in which the player “levels up” from one challenge to the next. It may be because Im not a gamer, but that analogy never occurred to me as I watched. Ten or 15 minutes in, I had already forgotten about the one-take concept in my fear and concern for these two young men. Much of what happens to them in the nearly deserted spaces they move through, especially an abandoned German trench crawling with supersize rats, reminded me not of a video game but a horror movie. Thomas Newmans score at times underlines this resemblance with eerie ambient chords; in other scenes its more conventionally symphonic, but its never “patriotic” or sentimental. If I have a complaint about this movie, it might be that the score works too hard to emphasize emotions that the virtuosic camera work, paired with MacKay and Chapmans superb performances, is already aptly conveying. Theres a scene shot at night in the burning ruins of a French village, with Howards soundtrack surging underneath, that has an apocalyptic beauty—maybe a little too much beauty for a film that wants to position itself as a cry against the futility of war. Thats the problem, always, with war movies: that the filmed depiction of battle by its nature imbues even the most horrifying chaos with ideological significance and a kind of dark glamour. Its not a flaw that 1917 often displays—theres a death midway through thats as unheroic, as unnecessary, and as tragic as onscreen losses get—but the aesthetic bravura of Deakins camera does occasionally draw attention away from the suffering its trying to depict. 1917 is based in part on stories about the war told to Mendes by his grandfather, who served as a messenger for the British Army. The movie is at its best when it leaves behind grand set pieces (the burning village) for the immediacy of the young mens lived experience. I cant shake the memory of MacKays shell-shocked face in a scene where he catches a ride with a truck full of teasing, joking soldiers, still gutted by the trauma hes just lived through. Mendes, whos spent much of the two decades since he won an Oscar for American Beauty as a theater director, excels as a director of actors. Hes said he chose two mostly-unknown performers for the lead roles so audiences would make no assumptions about who would make it out alive. But 1917 features more famous faces in smaller roles: Benedict Cumberbatch, Mark Strong, Richard Madden, and Andrew Scott (who will probably be grateful when people stop referring to him as Fleabag s “ hot priest ”) all leave a mark as combatants the boys encounter along the way, some of them wise, some hotheaded, some cynical, some more or less permanently drunk. World War I remains perhaps the 20 th centurys least understood war, and 1917 makes no attempt to delve into the historical conditions that produced the conflict or to guess at what soldiers at the front might have understood their larger purpose to be. The mission of the two soldiers at its center, the cheeky, chatty Blake and the quieter, more battle-scarred Schofield, is elemental and, in its way, pacifist: to prevent a pointless massacre from taking place, thereby at least lessening if not ending the suffering that surrounds them. 1917 doesnt solve the problem that was posed 100 years ago by the historical convergence of modern warfare and modern image-making technology. No movie can provide a final answer to the question of what it means to film a war. But Mendes stunningly crafted entry in the genre will now become a part of a long history of imperfect representations of that unrepresentable conflict. For the medium, as for the men on the ground and the camera on them, the important thing is to keep moving.

Once Jocko took a lie detector test At the end the machine confessed everything. 1917 De Stijl Movement After World War I there was a turning away from old forms and philosophies among architects and designers, just as there was among artists and. Read more Jan 10 1917 Jan 19 1917 Silvertown Explosion On Friday 19 January 1917, a small community in the East End was ripped apart by an enormous explosion – the biggest London had seen before or has. Read more Jan 22 1917 Feb 1 1917 to Apr 6 1917 Feb 1 1917 Feb 3 1917 Feb 19 1917 Carson McCullers Is Born Novelist Carson McCullers, noted for her exploration of the dilemmas of modern American life in the context of the twentieth-century South, was. Read more Feb 26 1917 Mar 5 1917 Mar 11 1917 Fall of Baghdad (1917) On 11 March 1917, the British Indian Army fighting the Ottoman Turks in the First World War, after a series of defeats, captured Baghdad in a. Read more Mar 13 1917 Mar 15 1917 to Jul 20 1917 Russian Revolution Russia in Upheaval When War Broke Out The rumblings of Revolution became audible in 1913, when an epidemic of strikes broke out in Petrograd. Read more Mar 15 1917 3:05PM Mar 19 1917 Mar 25 1917 Mar 26 1917 First Battle Of Gaza The First Battle of Gaza was a World War I battle on the southern border of Palestine. After eight months of painstaking advances, British Empire. Read more Mar 26 1917 to Apr 6 1917 Mar 26 1917.

Ok so here's the thing I only saw this movie since I was invited by my best friend and his family. I usually don't go for period pieces and I only knew the movie was about WW1. Wasn't that excited but once I saw it. Damn I fell in love, especially with the midnight scene. It was gorgeous absoulty gorgeous. The score with it may it seem magical in a sense. It took my breath away. Also the soundtrack, after watching the movie I looked it up. It's so good. I cried during the movie and still was a bit after we left. It's that good. I also had real fun sporting the actors sure I couldn't see their faces clearly and had to really stretch my ears. Overall I really love this movie now.

Sherlock e Moriarty estão de volta. 1917 download movie online. I saw a preview screening about two hours ago and I am still in shock. This is the best war movie I have seen in a decade. The shots Mendes uses and what he demands of his actors is nothing short of incredible. If you get a chance this will probably be the last must see movie of 2019. I will be seeing this again on release. 1917: year of Passchendaele. Man this movie was amazing. Amazing history movie for a “one take.” The main character really gave it his all and deserves credit. When Sam Mendes sent out the script for "1917. his concept was firmly in place: a feature-length war film envisioned as a single shot in real time. It was bold. It was ambitious. It was maybe not taken as seriously as he hoped. "I did laugh out loud. remembered editor Lee Smith. "I thought it was a typo. said cinematographer Roger Deakins, chuckling, before backtracking. "No, my reaction was, Okay. Why. But then I read it and it's obvious. 1917" is a simple story complex in its storytelling. Mendes' film. inspired by tales told by his grandfather, a messenger in World War I. tracks two British soldiers on a mission through No Man's Land to deliver instructions to advancing troops in mortal peril. Failure isn't an option, and the urgency of the situation demands that we follow them every step of the way. So that's what the camera does. "One-shot" filmmaking follows no fixed path, and directors before Mendes have approached it with varying degrees of fidelity. In Hitchock's "Rope" 1948) cuts were masked by panning across characters' dark clothing. Cinematographer Emmanuel Lubezki also obscured the frame to hide edits in Alexander Iñárritu's "Birdman" 2014) panning to walls and objects or plunging into the shadows of New York alleyways, building on the illusion with dynamic handheld shots. A still from Sebastian Schipper's "Victoria" 2015) shot in one unbroken take in the early hours of the morning in Berlin. Credit: courtesy Mongrel Media True one-shot "Victoria" 2015) had Sebastian Schipper direct a bank heist around the streets of Berlin, his cast ad-libbing dialogue while the camera was passed between operators. Schipper filmed three takes and his favorite ended up on screen (and had the grace to bill cinematographer Sturla Brandth Grøvlen above him in the credits. 1917. with its high-octane action, large cast and ever-changing mis-en-scene, opted to stitch together takes up to nine minutes long. and yes, though marketed as a one-shot film, 1917" does contain a single visible cut. Scale models of production designer Dennis Gassner's sets, built on a backlot at Shepperton Studios and on location up and down the UK, were used to choreograph performances and camera movements ahead of time, and on set rehearsed and rehearsed again. Deakins, who shot digitally, convinced ARRI to provide three prototype miniature large format Alexa cameras, ideal for their portability. "I don't use technology for the sake of it, but it often demands it. he said. "A film like this comes up, and then there's bits of technology that are just suited to it. Cinematographer Roger Deakins and director Sam Mendes on the set of "1917. Credit: François Duhamel/Universal Pictures and DreamWorks Pictures More than half of the film was shot on an electronically-stabilized, remote-controlled head called a Stabileye ( I can't understand how it works, but it's very small and it's fantastic. Deakins said. The crew invented a gyro post for Steadicam operator Peter Cavaciuti so he could run forward down trenches with the camera facing backwards, while a Trinity rig. a type of hybrid camera stabilizer. was used extensively. With only one spare camera, equipment was put through the wringer. "Pete and Charlie Rizek, who (operated) a Trinity, each of them fell over a couple of times in the trenches. said the cinematographer. Cameras were attached to and removed from wires, taken for a rides on a motorbike and 4x4s, and on a drone over water at one stage. The majority of "1917" was filmed on location up and down the UK, standing in for the Western Front. Credit: François Duhamel/Universal Pictures and DreamWorks Pictures Deakins (far left) and Mendes (far right) shoot an early scene in "1917. Credit: François Duhamel/Universal Pictures and DreamWorks Pictures In a break from Deakins' regular workflow, he was often controlling cameras remotely from a van alongside select crew. "We were laughing a lot, but it was very tense when we were doing a shot. he said. "You can't go back. You either get the take or you have to start again. The preceding shot would be played back, and Mendes wouldn't entertain a rehearsal of the following take until the next shot had been matched up perfectly, Deakins explained. "We were trying to make and complete the film as we were shooting. said Smith. "It was kind of (like) standing there butt-naked. All of my usual armor was stripped away. If there were any issues, I had to speak up quickly. added Smith, who edited remotely. "If you were watching the dailies, for example, and you said that you needed to cut, you had a big problem. Was there ever a contingency plan if a bad match was discovered in post-production? Other than suicide, no. Deakins quipped. Blake (Dean-Charles Chapman) and Schofield (George MacKay) enter an orchard in "1917. Credit: François Duhamel/Universal Pictures and DreamWorks Pictures Essential to maintaining continuity was lighting. made trickier by large sections of open-air filming. Deakins, a master of light and shadow, exchanged his usual range for flat and overcast conditions. However, being the person making the call on whether to roll or not "added a level of anxiety I don't want to go through again. he said. "Most of the time I said no, because I didn't want to be in a situation where you're shooting a shot and the actors are giving it their all and suddenly the sun comes out. So that I found very stressful. The cinematographer did have an opportunity to play with low lighting and silhouettes during a stunning nighttime sequence of fire and rubble that conjures memories of his third act in "Skyfall. as well as "Ivan's Childhood" by Andrei Tarkovsky (a "staggering" film and "the closest anything is to art. pure art. Deakins argued. I felt it could be more of a slight dreamscape. he explained, a vision of hell. albeit meticulously designed and tested down to the time it took for flares to fall from the air. Yet there was still room for happy accidents elsewhere, Deakins added, although it would be best not to spoil the surprise. George MacKay as Schofield in a still from "1917. Credit: Universal Pictures and DreamWorks Pictures Nikolai Burlyayev, the youthful lead in Andrei Tarkovsky's debut feature "Ivan's Childhood" 1962. Credit: Mosfilm/Kobal/Shutterstock The completed film, releasing in the US on Christmas Day and internationally in January, has thrust Deakins and Smith's names into awards season contention. However, both recent Academy Award winners are modest men. Deakins said he's still surprised by which of his films turn in to a hit or not. One of the greatest cinematographers in the world today said he sometimes stumbles across his work while late night channel hopping, and I'll watch it and think, Oh, that's not bad. It would almost be indecent to ask if he foresees a second Oscar. Smith, meanwhile, is content to be the film's "Invisible Man. You'd have to really have a huge understanding of editing, or you would have had to have edited this kind of a film to understand what goes into it. he said. Voters would) probably just watch it and go, Well, there's no editing in this movie. And that's fine. That just means I did my job properly. As for what's next, Smith is taking a break while Deakins is on the hunt for his next challenge. "If you hear of anything. he said, let me know...

More boring then a soap opera. this movie put me in depresion. i have never seen a movie with no action like this one. its incredible how for the first time i felt like i lost 2 hours waiting for action that never came. only walking and chating. i feel like i have to wath saving private ryan. its the only way i can get out of the depresion this movie put me in to. so much money wasted on ww1 soap opera. 1917 download movie full. Watch it again Chris. It's subtle, but the character building was there, especially for George Mackay's character. Download movie 1917. Dec. 20, 2019, 8 a. m. The new World War I drama from director Sam Mendes, 1917, unfolds in real-time, tracking a pair of British soldiers as they cross the Western Front on a desperate rescue mission. Seemingly filmed in one continuous take, the 117-minute epic has garnered accolades for its cinematography and innovative approach to a potentially formulaic genre. Although the movies plot is evocative of Saving Private Ryan —both follow soldiers sent on “long journeys through perilous, death-strewn landscapes, ” writes Todd McCarthy for the Hollywood Reporter —its tone is closer to Dunkirk, which also relied on a non-linear narrative structure to build a sense of urgency. “[The film] bears witness to the staggering destruction wrought by the war, and yet it is a fundamentally human story about two young and inexperienced soldiers racing against the clock, ” Mendes tells Vanity Fair s Anthony Breznican. “So it adheres more to the form of a thriller than a conventional war movie. ” Plot-wise, 1917 follows two fictional British lance corporals tasked with stopping a battalion of some 1, 600 men from walking into a German ambush. One of the men, Blake (Dean Charles Chapman, best known for playing Tommen Baratheon in “Game of Thrones”) has a personal stake in the mission: His older brother, a lieutenant portrayed by fellow “Game of Thrones” alumnus Richard Madden, is among the soldiers slated to fall victim to the German trap. “If you fail, ” a general warns in the movies trailer, “it will be a massacre. ” While Blake and his brother-in-arms Schofield (George McKay) are imaginary, Mendes grounded his war story in truth. From the stark realities of trench warfare to the conflicts effect on civilians and the state of the war in spring 1917, heres what you need to know to separate fact from fiction ahead of the movies opening on Christmas Day. Blake and Schofield must make their way across the razed French countryside. (Universal Studios/Amblin) Is 1917 based on a true story? In short: Yes, but with extensive dramatic license, particularly in terms of the characters and the specific mission at the heart of the film. As Mendes explained earlier this year, he drew inspiration from a tale shared by his paternal grandfather, author and World War I veteran Alfred Mendes. In an interview with Variety, Mendes said he had a faint memory from childhood of his grandfather telling a story about “a messenger who has a message to carry. ” Blake and Schofield (seen here, as portrayed by George McKay) must warn a British regiment of an impending German ambush. The director added, “And thats all I can say. It lodged with me as a child, this story or this fragment, and obviously Ive enlarged it and changed it significantly. ” What events does 1917 dramatize? Set in northern France around spring 1917, the film takes place during what Doran Cart, senior curator at the National WWI Museum and Memorial, describes as a “very fluid” period of the war. Although the Allied and Central Powers were, ironically, stuck in a stalemate on the Western Front, engaging in brutal trench warfare without making substantive gains, the conflict was on the brink of changing course. In Eastern Europe, meanwhile, rumblings of revolution set the stage for Russias impending withdrawal from the conflict. Back in Germany, Kaiser Wilhelm II resumed unrestricted submarine warfare —a decision that spurred the United States to join the fight in April 1917 —and engaged in acts of total war, including bombing raids against civilian targets. Along the Western Front, between February and April 1917, the Germans consolidated their forces by pulling their forces back to the Hindenburg Line, a “ newly built and massively fortified ” defensive network, according to Mendes. In spring 1917, the Germans withdrew to the heavily fortified Hindenburg Line. (Illustration by Meilan Solly) Germanys withdrawal was a strategic decision, not an explicit retreat, says Cart. Instead, he adds, “They were consolidating their forces in preparation for potential further offensive operations”—most prominently, Operation Michael, a spring 1918 campaign that found the Germans breaking through British lines and advancing “farther to the west than they had been almost since 1914. ” (The Allies, meanwhile, only broke through the Hindenburg Line on September 29, 1918. ) Mendes focuses his film around the ensuing confusion of what seemed to the British to be a German retreat. Operating under the mistaken assumption that the enemy is fleeing and therefore at a disadvantage, the fictional Colonel MacKenzie (Benedict Cumberbatch) prepares to lead his regiment in pursuit of the scattered German forces. “There was a period of terrified uncertainty—had [the Germans] surrendered, withdrawn, or were they lying in wait? ” the director said to Vanity Fair. The movie's main characters are all fictional. In truth, according to Cart, the Germans “never said they were retreating. ” Rather, “They were simply moving to a better defensive position, ” shortening the front by 25 miles and freeing 13 divisions for reassignment. Much of the preparation for the withdrawal took place under cover of darkness, preventing the Allies from fully grasping their enemys plan and allowing the Germans to move their troops largely unhindered. British and French forces surprised by the shift found themselves facing a desolate landscape of destruction dotted with booby traps and snipers; amid great uncertainty, they moved forward cautiously. In the movie, aerial reconnaissance provides 1917s commanding officer, the similarly fictional General Erinmore (Colin Firth) with enough information to send Blake and Schofield to stop MacKenzies regiment from walking into immense danger. (Telegraph cables and telephones were used to communicate during World War I, but heavy artillery bombardment meant lines were often down, as is the case in the movie. ) British soldiers attacking the Hindenburg Line (Photo by the Print Collector/Getty Images) To reach the at-risk battalion, the young soldiers must cross No Mans Land and navigate the enemys ostensibly abandoned trenches. Surrounded by devastation, the two face obstacles left by the retreating German forces, who razed everything in their path during the exodus to the newly constructed line. Dubbed Operation Alberich, this policy of systematic obliteration found the Germans destroying “anything the Allies might find useful, from electric cables and water pipe[s] to roads, bridges and entire villages, ” according to the International Encyclopedia of the First World War. Per the Times, the Germans evacuated as many as 125, 000 civilians, sending those able to work to occupied France and Belgium but leaving the elderly, women and children behind to fend for themselves with limited rations. (Schofield encounters one of these abandoned individuals, a young woman caring for an orphaned child, and shares a tender, humanizing moment with her. ) “On the one hand it was desirable not to make a present to the enemy of too much fresh strength in the form of recruits and laborers, ” German General Erich Ludendorff later wrote, “and on the other we wanted to foist on him as many mouths to feed as possible. ” Aftermath of the Battle of Poelcapelle, a skirmish in the larger Third Battle of Ypres, or Battle of Passchendaele (National WWI Museum and Memorial) The events of 1917 take place prior to the Battle of Poelcappelle, a smaller skirmish in the larger Battle of Passchendaele, or the Third Battle of Ypres, but were heavily inspired by the campaign, which counted Alfred Mendes among its combatants. This major Allied offensive took place between July and November 1917 and ended with some 500, 000 soldiers wounded, killed or missing in action. Although the Allies eventually managed to capture the village that gave the battle its name, the clash failed to produce a substantial breakthrough or change in momentum on the Western Front. Passchendaele, according to Cart, was a typical example of the “give-and-take and not a whole lot gained” mode of combat undertaken during the infamous war of attrition. Who was Alfred Mendes? Born to Portuguese immigrants living on the Caribbean island of Trinidad in 1897, Alfred Mendes enlisted in the British Army at age 19. He spent two years fighting on the Western Front with the 1st Battalion Rifle Brigade but was sent home after inhaling poisonous gas in May 1918. Later in life, Alfred won recognition as a novelist and short story writer; his autobiography, written in the 1970s, was published posthumously in 2002. The “story of a messenger” recalled by the younger Mendes echoes the account of the Battle of Poelcappelle told in his grandfathers autobiography. On the morning of October 12, 1917, Alfreds company commander received a message from battalion headquarters. “Should the enemy counter-attack, go forward to meet him with fixed bayonets, ” the dispatch read. “Report on four companies urgently needed. ” Despite the fact that he had little relevant experience aside from a single signaling course, Alfred volunteered to track down A, B and D Companies, all of which had lost contact with his own C Company. Aware of the high likelihood that he would never return, Alfred ventured out into the expanse of No Mans Land. Alfred Mendes received a military commendation for his actions at the Battle of Poelcappelle. (Public domain/fair use) “The snipers got wind of me and their individual bullets were soon seeking me out, ” wrote Alfred, “until I came to the comforting conclusion that they were so nonplussed at seeing a lone man wandering in circles about No Mans Land, as must at times have been the case, that they decided, out of perhaps a secret admiration for my nonchalance, to dispatch their bullets safely out of my way. ” Or, he theorized, they may have “thought me plain crazy. ” Alfred managed to locate all three missing companies. He spent two days carrying messages back and forth before returning to C Companys shell hole “without a scratch, but certainly with a series of hair-raising experiences that would keep my grand- and great-grandchildren enthralled for nights on end. ” How does 1917 reflect the harsh realities of the Western Front? View of the Hindenburg Line Attempts to encapsulate the experience of war abound in reviews of 1917. “War is hideous—mud, rats, decaying horses, corpses mired in interminable mazes of barbed wire, ” writes J. D. Simkins for Military Times. The Guardian s Peter Bradshaw echoes this sentiment, describing Blake and Schofields travels through a “post-apocalyptic landscape, a bad dream of broken tree stumps, mud lakes left by shell craters, dead bodies, rats. ” Time s Karl Vick, meanwhile, likens the films setting to “Hieronymus Bosch hellscapes. ” These descriptions mirror those shared by the men who actually fought in World War I—including Alfred Mendes. Remembering his time in the Ypres Salient, where the Battle of Passchendaele ( among others) took place, Alfred deemed the area “a marsh of mud and a killer of men. ” Seeping groundwater exacerbated by unusually heavy rainfall made it difficult for the Allies to construct proper trenches, so soldiers sought shelter in waterlogged shell holes. “It was a case of taking them or leaving them, ” said Alfred, “and leaving them meant a form of suicide. ” British soldiers in the trenches According to Cart, leaving ones trench, dugout or line was a risky endeavor: “It was pretty much instant death, ” he explains, citing the threat posed by artillery barrages, snipers, booby traps, poison gas and trip wires. Blake and Schofield face many of these dangers, as well as more unexpected ones. The toll exacted by the conflict isnt simply told through the duos encounters with the enemy; instead, it is written into the very fabric of the movies landscape, from the carcasses of livestock and cattle caught in the wars crosshairs to rolling hills “ comprised of dirt and corpses ” and countryside dotted with bombed villages. 1917 s goal, says producer Pippa Harris in a behind-the-scenes featurette, is “to make you feel that you are in the trenches with these characters. ” The kind of individualized military action at the center of 1917 was “not the norm, ” according to Cart, but “more of the exception, ” in large part because of the risk associated with such small-scale missions. Trench networks were incredibly complex, encompassing separate frontline, secondary support, communication, food and latrine trenches. They required a “very specific means of moving around and communicating, ” limiting opportunities to cross lines and venture into No Mans Land at will. Still, Cart doesnt completely rule out the possibility that a mission comparable to Blake and Schofields occurred during the war. He explains, “Its really hard to say … what kind of individual actions occurred without really looking at the circumstances that the personnel might have been in. ” British soldiers in the trenches, 1917 As Mendes bemoans to Time, World War II commands “a bigger cultural shadow” than its predecessor—a trend apparent in the abundance of Hollywood hits focused on the conflict, including this years Midway, the HBO miniseries “ Band of Brothers ” and the Steven Spielberg classic Saving Private Ryan. The so-called “Great War, ” meanwhile, is perhaps best immortalized in All Quiet on the Western Front, an adaptation of the German novel of the same name released 90 years ago. 1917 strives to elevate World War I cinema to a previously unseen level of visibility. And if critics reviews are any indication, the film has more than fulfilled this goal, wowing audiences with both its stunning visuals and portrayal of an oft-overlooked chapter of military lore. “The First World War starts with literally horses and carriages, and ends with tanks, ” says Mendes. “So its the moment where, you could argue, modern war begins. ” The Battle of Passchendaele was a major Allied offensive that left some 500, 000 soldiers dead, wounded or missing in action. (National WWI Museum and Memorial.

1917 download movies. 1917 download movie 2017. 1917 download movie english. 1917 download movie theater. Questioning the Story: To what extent is 1917 based on a true story? Though much of the World War I movie 1917 is fiction, it is loosely based on an account that director Sam Mendes' paternal grandfather, Alfred Mendes, told to him when he was a boy. Mendes described his grandfather's story during a Variety podcast, stating, I had a story that was a fragment told to me by my grandfather, who fought in the First World War. It's the story of a messenger who has a message to carry. And that's all I can say. It lodged with me as a child, this story or this fragment, and obviously I've enlarged it and changed it significantly. But it has that at its core. It turns out Mendes' grandfather was the messenger in question.  -The Times Born on the Caribbean Island of Trinidad, Mendes' grandfather, Alfred, left for England in 1915 and joined the British Army, enlisting in January 1916 at age 19. After serving with the 1st Battalion Rifle Brigade, he was sent to Oisemont, not far from Dieppe, France, where he trained to be a signaller. He was then sent to the Battle of Passchendaele in Belgium. On October 12, 1917, hundreds of British soldiers, including Alfred Mendes, were tasked with reclaiming the village of Poelcappelle, which is close to the Passchendaele Ridge and had been overtaken by the Germans. British soldiers attacked in the pouring rain and suffered significant losses. 158 of the 484 men in Alfred's battalion were killed, wounded, or unaccounted for. The missing men were scattered across miles of water-filled shell craters in the mud-soaked No Man's Land, unable to communicate their positions. Sam Mendes' Grandfather Alfred's story planted the seed for the movie, which was developed into a script that is mostly fictional. Mendes co-wrote the script with Scottish screenwriter Krysty Wilson-Cairns. When Alfred's commanding officer asked for a runner to locate the positions of the surviving men and report back, Alfred volunteered for the dangerous mission. In his memoirs, titled Autobiography of Alfred H Mendes 1897-1991, he wrote of taking the assignment, I had done a signalling course and although it bore little relationship to the job at hand, I felt myself under an obligation to the battalion. I volunteered. Alfred located numerous survivors, which enabled them to be rescued. Of the harrowing mission, he wrote, In spite of the snipers, the machine-gunners and the shells, I arrived back at C Company's shell hole without a scratch but with a series of hair-raising experiences that would keep my grand and great-grandchildren enthralled for nights on end. As a result of his fearless actions, Alfred Mendes was awarded the Military Medal for bravery. While Alfred Mendes' true story helped to give birth to his grandson's idea for the 1917 movie, whose official synopsis reads, In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers. it seems that much of the film's story has been imagined. Even Alfred running into No Man's Land to locate survivors has in the movie become two men, Blake and Schofield, running across No Man's Land to warn hundreds of soldiers that they're about to head into a trap. Are the two main characters, Blake and Schofield, based on real people? No. The 1917 true story reveals that, at best, Dean-Charles Chapman's character, Blake, was very loosely inspired by Sam Mendes' grandfather, Alfred Mendes. Blake's friend in the film, Schofield (George MacKay) also perhaps loosely represents Alfred's experience during the war, but neither character is directly based on Alfred Mendes. In the 1917 movie, the pair are given the mission of crossing deep into enemy territory to get a message to 1, 500 soldiers who are unknowingly headed into a deadly trap, including Blake's own brother (portrayed by Richard Madden. The WWI experiences of Sam Mendes' grandfather, Alfred Mendes (left) helped to inspire the experiences of Dean-Charles Chapman's character, Blake (right) in the 1917 movie. Was Sam Mendes' grandfather injured during World War I? Yes. Director Sam Mendes' grandfather, whose true story inspired the idea for the movie, was injured in May 1918 when he accidentally inhaled poisonous gas used by the German army during their attack at La Bassee Canal near Béthune, France. Alfred Mendes was sent back to Britain, where he recovered at a hospital in Sheffield. Following the war, he returned to Trinidad and was employed in his wealthy father's provisions business, writing poetry and fiction on the side. In 1933, he headed to New York City where he joined literary salons and became acquainted with American writers like William Faulkner, Thomas Wolfe and William Saroyan. He returned to Trinidad in 1940, giving up writing to become a civil servant. He worked as General Manager of the Port Services Department. He was married three times; he was widowed when his first wife died of pneumonia, his second marriage ended in divorce in 1938, and he married his third wife, Ellen Parachini, in 1940 while still in New York. The marriage lasted until they both died in 1991 of natural causes while living in Barbados. Are the characters portrayed by Colin Firth and Benedict Cumberbatch based on real people? No, we've found no evidence that they represent real people. The supporting characters in the 1917 movie, including the commanding officer portrayed by Colin Firth and the characters portrayed by Benedict Cumberbatch, Richard Madden and Mark Strong, all appear to be fictional. Benedict Cumberbatch and Colin Firth's 1917 movie characters are fictional. Are the battles depicted in 1917 based on real-life WWI battles that Sam Mendes' grandfather fought in? The movie opens just after the German army purposely fell back to the Hindenburg Line, which was shorter and easier to defend. This real-life strategic withdrawal was known as Operation Alberich. In the mostly fictional movie, the Second Battalion of the Devonshire Regiment mistakenly believes that the Germans are in retreat. The battalion is preparing to attack without knowing that the Germans are waiting to overwhelm them. With the lines of communication cut, two British soldiers are tasked with hand-delivering a message to call off the attack. The fighting in the movie was inspired by (but unfolds prior to) the Battle of Passchendaele, also known as the Third Battle of Ypres, which took place from July 31, 1917 to November 10, 1917. Both the British and the Germans suffered heavy casualties. In the end, the battle resulted in the German army being pinned to Flanders and suffering unsustainable casualties. As stated earlier, Alfred Mendes fought in the battle, and his battalion suffered heavy losses while trying to take the village of Poelcappelle from the Germans. Soldiers cross a duckboard on October 29, 1917 during the Battle of Passchendaele. Photo: Frank Hurley.

Gravity falls pitch meeting. Sam Mendes directs this visually extravagant drama about young British soldiers on a perilous mission in World War I. Credit. Francois Duhamel/Universal Pictures Published Dec. 24, 2019 Updated Dec. 27, 2019 On June 28, 1914, a young Serbian nationalist assassinated the presumptive heir to the Austro-Hungarian throne, thus starting World War I. That, at any rate, is the familiar way that the origins for this war have been shaped into a story, even if historians agree the genesis of the conflict is far more complicated. None of those complications and next to no history, though, have made it into “1917, ” a carefully organized and sanitized war picture from Sam Mendes that turns one of the most catastrophic episodes in modern times into an exercise in preening showmanship. The story is simple. It opens on April 6, 1917, with Lance Corporal Blake (Dean-Charles Chapman) and Lance Corporal Schofield (George MacKay) British soldiers stationed in France, receiving new orders. They are to deliver a message to troops at the front line who are readying an assault on the Germans, who have retreated. (Coincidentally or not, April 6 is the date that the United States formally entered the war. The British command, however, believes that the German withdrawal is a trap, an operational Trojan horse. The two messengers need to carry the dispatch ordering the waiting British troops to stand down, thereby saving countless lives. Its the usual action-movie setup — a mission, extraordinary odds, ready-made heroes — but with trenches, barbed wire and a largely faceless threat. Blake jumps on the assignment because his brother is among the troops preparing the assault. Schofield takes orders more reluctantly, having already survived the Battle of the Somme, with its million-plus casualties. The modest difference in attitude between the messengers will vanish, presumably because any real criticism — including any skepticism about this or any war — might impede the movies embrace of heroic individualism for the greater good, which here largely translates as vague national struggle and sacrifice. What complicates the movie is that it has been created to look like it was made with a single continuous shot. In service of this illusion, the editing has been obscured, though there are instances — an abrupt transition to black, an eruption of thick dust — where the seams almost show. Throughout, the camera remains fluid, its point of view unfixed. At times, it shows you what Blake and Schofield see, though it sometimes moves like another character. Like a silent yet aggressively restless unit member, it rushes before or alongside or behind the messengers as they snake through the mazy trenches and cross into No Mans Land, the nightmarish expanse between the fronts. The idea behind the camerawork seems to be to bring viewers close to the action, so you can share what Blake and Schofield endure each step of the way. Mostly, though, the illusion of seamlessness draws attention away from the messengers, who are only lightly sketched in, and toward Roger Deakinss cinematography and, by extension, Mendess filmmaking. Whether the camera is figuratively breathing down Blakes and Schofields necks or pulling back to show them creeping inside a water-filled crater as big as a swimming pool, you are always keenly aware of the technical hurdles involved in getting the characters from here to there, from this trench to that crater. In another movie, such demonstrative self-reflexivity might have been deployed to productive effect; here, it registers as grandstanding. Its too bad and its frustrating, because the two leads make appealing company: The round-faced Chapman brings loose, affable charm to his role, while MacKay, a talented actor whos all sharp angles, primarily delivers reactive intensity. This lack of nuance can be blamed on Mendes, who throughout seems far more interested in the movies machinery than in the human costs of war or the attendant subjects — sacrifice, patriotism and so on — that puff into view like little wisps of engine steam. The absence of history ensures that “1917” remains a palatable war simulation, the kind in which every button on every uniform has been diligently recreated, and no wound, no blown-off limb, is ghastly enough to truly horrify the audience. Here, everything looks authentic but manicured, ordered, sane, sterile. Save for a quick appearance by Andrew Scott, as an officer whose overly bright eyes and jaundiced affect suggest hes been too long in the trenches, nothing gestures at madness. Worse, the longer this amazing race continues, the more it resembles an obstacle course by way of an Indiana Jones-style adventure, complete with a showstopping plane crash and battlefield sprint. Mendes, who wrote the script with Krysty Wilson-Cairns, has included a note of dedication to his grandfather, Alfred H. Mendes, who served in World War I. Its the most personal moment in a movie that, beyond its technical virtues, is intriguing only because of Britains current moment. Certainly, the countrys acrimonious withdrawal from the European Union makes a notable contrast with the onscreen camaraderie. And while the budget probably explains why most of the superior officers who pop in briefly are played by name actors — Colin Firth, Mark Strong, Benedict Cumberbatch — their casting also adds distinctly royal filigree to the ostensibly democratic mix. 1917 Rated R for war violence. Running time: 1 hour 58 minutes.

(CNN) The war movie is a Hollywood staple, so much so that there might not be much new to say. Yet like "Dunkirk" a few years back, director Sam Mendes has found a way to breathe life into the genre with a simple story, imaginatively told, in "1917. arguably the year's most impressive cinematic accomplishment. In what could easily have become a gimmick, Mendes (who co-wrote the script with Krysty Wilson-Cairns) and Oscar-winning cinematographer Roger Deakins have presented the movie as what looks like one long take. think the opening tracking shot in "Goodfellas. with the camera following the characters, only on steroids. The device, however, comes in the service of a gripping, tense cross-country journey, as a pair of young soldiers are dispatched to prevent a potential massacre, which requires traversing the perilous, body-filled landscape during World War I. Adding to the drama, of the 1, 600 soldiers whose lives are at stake. with reports they'll be walking into an ambush should the attack be allowed to proceed. one of them is the older brother of Blake ( Game of Thrones' Dean-Charles Chapman) who draws the assignment along with Schofield (George MacKay) the latter particularly unhappy about the errand. A lot happens along the way. none of which should be spoiled. but it does provide a chance to augment the splendid central performances with what amount to cameos by a number of topnotch British stars, including Colin Firth, Mark Strong, Andrew Scott, Richard Madden and Benedict Cumberbatch. For anyone who needs to be reminded of the slogan "War is hell. 1917" illustrates it in visceral, occasionally gut-wrenching fashion. Yet the tale unfolds with considerable sensitivity, offering plenty of haunting images while capturing the chaos and fear of trench warfare. especially through the eyes of MacKay (perhaps best known for "Captain Fantastic. in a genuine breakout performance. augmented by Thomas Newman's wondrous musical score. Students of film will think back to exercises like Alfred Hitchcock's "Rope. which also experimented with continuous shots over extended segments, but there's real audacity and technical wizardry in attempting that on a project of this scale. The key is that Mendes (whose eclectic resume includes "American Beauty" and two Bond films, Skyfall" and "Spectre" doesn't sacrifice the movie's heart in the service of its logistical considerations. Already nominated for the Golden Globe, Universal is opening the film this week on a limited basis in an obvious bid for awards glory, before expanding its release in early January. It's a familiar gambit, but with "1917. 2019 really has truly saved one of its best for last. "1917" premieres Dec. 25 in selected theaters in the US. It's rated R.

November 25, 2019, 8:19pm, Updated January 3, 2020, 3:43pm Enlarge Image George MacKay as Schofield in "1917. " Francois Duhamel / Universal Pic Running time: 117 minutes. R (for violence, some disturbing images, and language. In theaters Dec. 25. Two thousand nineteen was the Year of Ambition at the movies. In “The Irishman, ” Martin Scorsese told the story of a mob fixer that spanned five decades using just one actor per role — and lasted 3½ hours. The Russo Brothers wrapped up an era of “The Avengers” with the gargantuan “Endgame, ” which also had a 3-hour runtime. Now comes Sam Mendes World War I epic “1917. ” It clocks in at a comparably concise 120 minutes, but nonetheless manages to be grander than those other films: in emotional heft, technical innovation and with visuals that will be seared onto your retinas. “1917” is a modern war classic and one of the best movies of the year. For the story of two British soldiers treacherous mission across enemy lines in France, Mendes gave himself and cinematographer Roger Deakins a similarly dangerous directive: Shoot and edit the film to appear as though its a single shot. Before the know-it-alls raise their hands, yes, continuous films have been made before, most notably Alejandro González Iñárritus Oscar-winning “Birdman” in 2014. But Michael Keaton yelling at a critic in a bar is one thing. The horrors of the battlefield are very much another, and the seemingly uncut motion here will blow your mind. You react to the two brave Brits racing through a mile of cramped trenches, running across corpse-strewn No Mans Land and, most impossibly, being nearly hit by a plane like youve just seen David Copperfield make the Statue of Liberty disappear. Howd they do that? But its more than Mendes & Co. flexing their biceps. While the movies style starts off as wow, it transforms into scorchingly intimate storytelling. George MacKay, 27, plays Schofield, a soldier charged — alongside his friend Blake (22-year-old Dean-Charles Chapman) — with delivering a message to a distant division to halt an attack against the Germans. Their UK compatriots are walking into an ambush and thousands of lives may be lost. Benedict Cumberbatch as Colonel Mackenzie in “1917. ” François Duhamel / Universal Pi The general who gives them their mission is played by Colin Firth, the first of several famous British actors — Andrew Scott and Benedict Cumberbatch among them — who, while solid, are outshone by MacKay and Chapmans towering turns. When Schofield encounters a folk singer serenading a forest of stone-faced soldiers with “Wayfaring Stranger, ” or when he gives all his rations to the caretaker of an orphaned French baby, youll wonder why we havent seen more of the marvelous Mr. MacKay. And if that doesnt get you, his determination in the explosive finale will. The sequences Im describing are mostly wordless, and yet following Schofield and Blake ceaselessly from Point A to Point B is still a remarkably full and textured experience, not unlike watching a solitary person at a cafe. A stare off into the unseen distance speaks volumes. Most of that credit goes to Mendes for balancing the tech and the acting technique. The director has had great recent success with stage productions, such as “The Ferryman” and “The Lehman Trilogy, ” but his movies since 1999s “American Beauty” — scratches head — have left room for improvement. However, “1917” is filmmaking at its best and most piercingly alive. Next time your pessimistic friend tells you theres no reason to leave the couch anymore, drag them straight into the car and go see this.

2019-2020 looks like we're going thru the geriatric cycle folks. 1917 movie 720p download. 1917 download movie list. After viewing the trailer for this film I thought it would be nothing special. I thought this movie would be mediocre and dull. However, this movie has completely blown my expectations away. Shortly after the film begins, you are sucked in and feel the urgency that the film is trying to display to the viewer. You are on the edge of your seat waiting to see what happens next. A true masterpiece and definitely one, if not the best, movie of 2019, and it is definitely one of the greatest films about war ever created. Imagine Joaquim Phoenix dressed as Joker receiving the Oscar. 1917 download movie trailer. 0:05 what is this nightmare. Cant believe that critics dont like this movie because of how dark it is. Go watch a Disney movie instead.

This movie was just a MASTERPIECE. I hope DC keeps making Rated R films. We got the Joker. But please DC make a RATED R DEATHSTROKE movie! Aka Slade Wilson aka The Terminator. That's all I'm waiting for. 1917 Download movie page imdb. 1917 is well-acted and an undeniable technical achievement, yet its real-time storytelling is both the film's greatest strength and biggest problem. It would've been easy for 1917 to feel like a gimmick film. Sam Mendes' WWI epic (which was loosely based on a story Mendes' paternal grandfather told him about his time in the war) was shot and edited to look like it was captured in a single take, similar to the Best Picture Oscar winner Birdman and other one-shot movies before it. To their credit, Mendes and his legendary cinematographer Roger Deakins rarely call attention away from whatever's happening onscreen with their camerawork - which is not to say their approach is completely effective, either.  1917 is well-acted and an undeniable technical achievement, yet its real-time storytelling is both the film's greatest strength and biggest problem. The movie picks up on April 6, 1917, in northern France. With WWI raging on around them, young British soldiers Blake (Dean-Charles Chapman) and Schofield (George MacKay) are tasked with an urgent mission that will require them to cross into enemy territory recently vacated by the German army. Their top commander, General Erinmore (Colin Firth) believes this retreat is actually strategic and the Germans are laying a trap for a British battalion of 1, 600 men, Blake's brother among them. With the British army's phone lines disabled, Blake and Schofield must brave a treacherous journey by foot and reach the battalion by the next morning, in order to warn them about the Germans' intended ambush before time runs out. Dean-Charles Chapman and George MacKay in 1917 For the most part, 1917 succeeds in pulling audiences into the headspace of its protagonists and using its single take structure to capture the psychological experience of being in a combat zone where death could come for you in the blink of an eye. Fueled by Thomas Newman's anxiously dramatic score (which channels Hans Zimmer's music from Dunkirk a little too much at times) the film imbues every second of Blake and Schofield's odyssey with a sense of urgency, in a way that a more traditional filmmaking style wouldn't have been able to. There are a few occasions when it's obvious where a pair of extended takes were welded together in post-production, but otherwise Mendes, Deakins, and editor Lee Smith do a seamless job of creating the illusion that everything was photographed in a continuous take. And as one would expect, the environments of 1917 are gorgeously lit, whether they're empty trenches horrifically strewn with corpses and barbed wire, or bombed-out buildings reduced to rubble by the war. However, by the time the film enters its second half, the flaws in its design begin to stand out more clearly. As much as 1917 expresses the terrible senselessness and mindless destruction of the first World War visually, the way its camera lingers on the carnage left from major battles and the air of disillusionment among the British forces suggests it also wants to say something deeper about not only the psychological effects of warfare, but how WWI was a time of great change in terms of technology and Europe's class system. Yet, because 1917 has to maintain a constant sense of forward momentum, the quieter and more reflective scenes from Mendes and Krysty Wilson-Cairns' screenplay never have quite enough room to breathe and properly sink in. Not helping matters, 1917 has to rely on some big plot contrivances in order to maintain its relentless pace as it stretches on. At its worst, this can make the movie feel like an open-world video game where Blake and Schofield are avatars for players who must complete a sequence of tasks in order to make it to the next cutscene. Colin Firth in 1917 Naturally, it's the performances that save  1917 from being a triumph of style over substance. Chapman and MacKay do an excellent job of portraying two ordinary soldiers who are suddenly dropped into extraordinary (and utterly terrifying) circumstances, but navigate them with all the courage, compassion, and determination they can muster, even when they falter. Mendes' choice to have most of the supporting characters played by big talents like Firth, Mark Strong, Benedict Cumberbatch, Richard Madden, and the Hot Priest himself, Andrew Scott, similarly pays off, allowing them to make an impression with very limited screen time. The interactions between Blake, Schofield, and the people they encounter on their desperate trek tell their own story about the importance of small deeds and acts of kindness in the face of terrible times. It's just too bad this ends up being overshadowed by the thrill ride elements of the film. Mendes has a background in both film and stage theater, so one can understand why 1917 's one-shot aesthetic - a technique that combines elements of both mediums - appealed to him. The resulting movie is a mostly successful experiment, but also one that demonstrates the limits of this filmmaking style and why noticeable edits are important for a film that clearly wants to be more than a polished and visceral thriller about the horrors of war. 1917 is worth checking out on a big screen for its visuals alone (Deakins' next Oscar nomination is all but assured) even though its immersive cinematography can, indeed, have the unintended side effect of making the movie seem like a video game at times. Still, there's a beating heart beneath the machinery that prevents it from being a hollow experience. NEXT: Watch the Official Trailer for 1917 1917  is now playing in U. S. theaters nationwide. It is 119 minutes long and is rated R for violence, some disturbing images, and language. Our Rating: 3. 5 out of 5 (Very Good) Key Release Dates 1917 (2019) release date: Dec 25, 2019 Email George Lucas' Star Wars: The Rise of Skywalker Cameo Revealed About The Author Sandy Schaefer is Screen Rant's Movie Reviews Editor and an Associate News Editor. More About Sandy Schaefer.

WOW. Cant wait for this movie! incredible. Wow, this seems to be an amazing movie.

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