1917: Sam Mendes' one-shot wonder

George MacKay in "1917." (Photo by Francois Duhamel / Universal Pictures)

In 2015, director Sam Mendes (of “American Beauty” fame) made an impression on critics and audiences by channeling what some call the ‘Birdman effect’ in his highly anticipated Bond film, “Spectre.” Using the camera style made famous in Alejandro González Iñárritu’s “Birdman” and Hitchcock’s “Rope,” Mendes opened his film with seemingly one tracking shot that pans through the events of Mexico’s Day of the Dead festival for four minutes uncut. This opening sequence has been heralded as one of Mendes’ finest directorial accomplishments, until now.

In his latest film “1917,” Mendes once again applies this ‘one-shot’ technique, but on a much larger scale. Instead of just the opening scene, the entire movie is designed to look like it was filmed in one take, and its technical achievements cannot be ignored. Already having won the Golden Globe awards for Best Director in a Motion Picture and Best Motion Picture — Drama, “1917” is currently the front runner predicted to sweep the Oscars this year, and for good reason. It’s exhausting to even think about how tedious it must have been to film this movie. But its direction and gorgeous cinematography, helmed by the masterful Roger Deakins, aren’t the only reasons for its success.

George MacKay, left, and Dean-Charles Chapman in "1917." (IMDb)

The plot of the film follows two English soldiers (George MacKay and Dean-Charles Chapman) during World War I who are tasked with delivering a message to call off the attack of their comrades walking into a German trap. With only each other to lean on, the pair embarks on an impossible journey where they must pass through German terrain in broad daylight in order to save the lives of some 1,600 soldiers. Like Christopher Nolan’s “Dunkirk,” along with many other World War I films, the plot of “1917” is enthralling, yet rather straightforward. Just one of many war tales passed on to Mendes by his paternal grandfather, the film’s events often feel like they make up a single chapter in a book rather than a complete story. The film makes up for this, however, with a series of subverted expectations that keep you at the edge of your seat from the beginning to the end credits.

Both of the main leads manage to pull off astonishing performances despite the little dialogue and characterization given to them. Dean-Charles Chapman gives a relatable and tragic performance as Lance Corporal Blake, but it’s George MacKay who is the real show-stopper in the film. Playing the battle-hardened war hero Lance Corporal Schofield, MacKay knows exactly how to convey a million emotions in a single, quiet glance. The subtlety of his performance is something audiences might take for granted during their first viewing; but if you look closely, you’ll notice how MacKay’s facial expressions brilliantly foreshadow events that come later in the film.

Dean-Charles Chapman, left, and George MacKay in "1917." (IMDb)

Nevertheless, despite the quality of acting and film making in “1917,” you can’t deny that the movie’s diversity factor is extremely lacking. While it’s partly understandable that the cast is mostly male, since WWI rarely saw women fighting in the trenches, that doesn’t excuse the movie’s disregard for racial representation. The story takes place during a world war, which means we should have seen at least a few characters whose ethnicity varies from the standard British white soldier. There are a couple scenes that attempt to resolve this issue through the inclusion of actors Nabhaan Rizwan and Claire Duburcq, but it’s not nearly enough. Still, this film is far too good to be overshadowed by the skin color or gender its cast members. At its core, the story is about overcoming fear and self-interest in order to help a greater cause, something every human — regardless of their demographic — can relate to.

Editor's note: This review was published on the Incluvie website on Jan 23, 2020. After getting past the hurdle of writing my first film review, I began to shift my focus onto perfecting my op-ed writing style, structure and voice. This piece was one of the first examples of my true potential as an columnist.