As the first heavyweight new movie released after the resumption of work in theaters across the country, "1917" has surpassed 33 million in the box office in the first three days since its opening on August 7, which is a good result. "One Mirror to the End" is the biggest highlight of the whole film of "1917". In the immersive viewing experience, people can get the sense of luxury Vlog follow-up or high-cost VR games. But at the same time, "1917" also fell into the question of "technology is greater than content". As a film with the theme of World War I, in the category of "war film", the pros and cons of "1917" are explored, and its ideological depth is indeed weak. However, if you jump out of the framework of a "war film" and regard "1917" as an "adventure film" that took place in the context of World War I, then the lack of thought will not become a major flaw. As long as the technology is good enough, who says that the content cannot serve the technology?
Qilu Evening News Qilu One Point
Reporter Liu Yuhan
Director Mendes’ technical level
In this year’s 92nd Oscar Awards, "1917" won 10 nominations including Best Picture, Best Director, and Best Original Screenplay. In the end, the Oscar judges only awarded "1917" Best Photography, Three technical awards for best visual effects and best sound effects. After "1917" was officially released in China, many viewers also had the same aesthetic taste as the Oscar judges, thinking that "1917" was more technical than content. Some Douban netizens commented on the movie and said, "Samsung story, four-star performance, five-star technology".
Speaking of "1917", I must mention its 119-minute "one shot to the end" long shot, which seems to have become the highlight of this movie, and it is also the focus of criticism. Technical supremacy, theme first, mediocre thinking, flat characters, sacrificing content in pursuit of form... The root of these accusations is that "1917" is too limited to the framework of a "war film". Compare it with Spielberg's "Saving Private Ryan", Mel Gibson's "Hacksaw Ridge", or even Francis Coppola's "Apocalypse Now", and look forward to "1917". Make new expressions in reflecting on war and portraying human nature. If such strict classification is required, then "1917" will indeed disappoint. From the reporter's point of view, compared to the qualitative nature of a "war film", "1917" is essentially closer to an "adventure film". We can think of the movie story as a "wilderness action" with a distance of 14 kilometers, and as an adventure story like a jungle adventure, a treasure hunt in an ancient tomb, or survival on a deserted island. From this perspective, let’s enjoy "1917" It would be an excellent and superior work.
"One Mirror to the End" shooting is no longer a rare technique nowadays. Gonzalez's "Birdman", Bi Gan's "Roadside Picnic" and "The Last Night of the Earth" all have unique ideas about "One Mirror to the End" The use of. Although "1917" is also a pseudo "one shot to the end", its longest shot time is 8 and a half minutes, but director Sam Mendes obviously has stronger ambition and courage in "1917". He applied "One Mirror to the End" to the theme of war for the first time, allowing the protagonist to travel through the complex terrain environment-trenches, wilderness, caves, villages, towns, rivers, woods, and most of them are exposed to the wild while maintaining With the hazy weather environment, there is also the transition from day to night. In the meantime, the protagonist encountered various adventures such as mine blasting, plane crash, gun shooting, waterfall rafting, etc. It can be said to be a lifetime of death. The transition scheduling, staffing, lens connection, camera movement, etc. involved in the movie are no less than a large-scale project. Sam Mendes once showed his depth of thought in "American Beauty" and "Road to Revolution", this time in "1917", what he wants to show is his technical height.
Anti-war ideology inadvertently revealed
In contrast, the technical eye-catching makes the content of "1917" look bleak, but when you look closely, "1917" has self-expression in the ideological theme, but it is easy to pass by in the tense rhythm of march.
Another translation of "1917", "1917: Rescue Soldiers against War", can better summarize the content of this film. In order to prevent the British troops preparing to attack from the trap set by the Germans and save 1,600 British troops from being sacrificed, the superiors issued an order to stop the offensive. This important order was delivered by two young corporals. They had to wear it. It can only be delivered through the dangerous area of the enemy's front, so this is an adventure full of despair and hope.
The film expresses war exhaustion and anti-war ideas in many places. At the beginning of the film, the lieutenant played by "Mo Niang" Andrew Scott said in an ironic tone, "There is nothing more comforting a widow than a rotten ribbon." The male protagonist Scofield exchanged a bottle with someone else with the medal he got. Wine, because he felt that the medal was just "a piece of broken tin, meaningless". Looking at the devastated village, the soldier on the military vehicle said, "It was just for this after three years of fighting. They have to kill all the cows and cut down the trees." Although they were the victors who advanced, there was no joy on their faces.
The cruelty of war is even more shocking and can be rendered without too much language. Blake and Schofield, who had just climbed out of the trenches, were walking on the post-war wasteland. They were surrounded by various dead bodies. Some were horses, some were haunted by flies, some hugged and died together, and some were soaked. In the water. In the end, Schofield hugged the driftwood, and the petals fell down like snow, suggesting that the world is as beautiful as a peach blossom field. But in a flash, Schofield will step on the piles of the remains of the villagers to climb onto the shore. The contrast made him cry.
"1917" presents the theme of "war film" in the way of "adventure film". Don't be too constrained by the type of film to get out of the dispute between "technology" and "content" and see the overall texture of the film.