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Stars=George MacKay; Creators=Sam Mendes, Krysty Wilson-Cairns; During World War I, two British soldiers -- Lance Cpl. Schofield and Lance Cpl. Blake -- receive seemingly impossible orders. In a race against time, they must cross over into enemy territory to deliver a message that could potentially save 1,600 of their fellow comrades -- including Blake's own brother; duration=1 H 59 minutes; tomatometers=9,1 of 10 Stars; 2019. Watch 1917 movie free. Movie 1917 free online. 1917 free movie reddit. Movie 1917 watch free. When I first heard that this movie was going to be following the one-shot technique, I was hesitant to watch it. There is a reason why cuts are made. So that the eyes don't get stuck on one scene for too long and the viewer loses interest.
But while watching the movie, the way Mendes and his cinematographer cleverly use their sets and surroundings to change the scene and the location of the camera without having to cut. For that type of coordination and control, a lot of effort went into set building and scene planning with cast and crew.
Basically, the cinematography was brilliant.
That, and a really good cast of talented actors with incredible music from Thomas Newman. br> Of course the movie won best picture drama at the golden globes.
Do yourself a favor and watch it.
Sir Sam Mendes CBE Mendes in London at the opening night of Charlie and the Chocolate Factory in 2013 Born Samuel Alexander Mendes 1 August 1965 (age 54) Reading, Berkshire, England Education Magdalen College School Alma mater Peterhouse, Cambridge Occupation Film director, film producer, screenwriter, stage director Years active 1993–present Spouse(s) Kate Winslet ( m. 2003; div. 2011) Alison Balsom ( m. 2017) Children 2 Awards Full list Sir Samuel Alexander Mendes CBE (born 1 August 1965) [1] is an English film and stage director, producer and screenwriter. In theatre, he is known for his dark re-inventions of the stage musicals Cabaret (1994), Oliver! (1994), Company (1995), and Gypsy (2003). He directed an original West End stage musical for the first time with Charlie and the Chocolate Factory (2013). For directing the play The Ferryman, Mendes was awarded the Tony Award for Best Direction of a Play in 2019. In film, he made his directorial debut with the drama American Beauty (1999), which earned him the Academy Award and Golden Globe Award for Best Director. He has since directed the crime film Road to Perdition (2002), the drama Revolutionary Road (2008), and the James Bond films Skyfall (2012) and Spectre (2015). For the war film 1917 (2019), he received the BAFTA Award for Best Direction and a second Golden Globe Award for Best Director, as well as his second Academy Award nomination for Best Director and a nomination for Best Original Screenplay. [2] In 2000, Mendes was appointed a CBE for his services to drama, and he was knighted in the 2020 New Years Honours List. In 2000 he was awarded the Shakespeare Prize by the Alfred Toepfer Foundation in Hamburg, Germany. In 2005, he received a lifetime achievement award from the Directors Guild of Great Britain. [3] [4] In 2008 The Daily Telegraph ranked him number 15 in their list of the "100 most powerful people in British culture". [5] Early life [ edit] Mendes was born in Reading, Berkshire, the son of Valerie Mendes (née Barnett), a publisher and author, and Jameson Peter Mendes, a university professor. [1] [6] His father, who is from Trinidad and Tobago, is a Roman Catholic of Portuguese descent, [7] [8] [9] and his mother is an English Jew. [10] His grandfather was the British Trinidadian writer Alfred Hubert Mendes. [7] Mendes's parents divorced when he was three years old, [10] after which Mendes and his mother settled in Primrose Hill in North London. [11] He attended Primrose Hill Primary School and was in the same class as future Foreign Secretary David Miliband and author Zoë Heller. [12] In 1976, the family relocated to Woodstock near Oxford, where Mendes's mother found work as a senior editor at Oxford University Press. [11] Mendes was educated at Magdalen College School where he met future theatre designer Tom Piper, who would go on to work with Mendes on a National Theatre revival of Harold Pinter 's The Birthday Party. [13] Mendes had an early interest in cinema and applied to the University of Warwick (then the only university in the UK that offered an undergraduate film course), but was turned down. [11] [14] He was then accepted by Peterhouse, Cambridge, where he graduated with first-class honours in English. [10] [15] [16] Having only developed a passion for theatre in his late teens, Mendes became a member of the Marlowe Society at Cambridge and directed several plays. His first play was David Halliwell 's Little Malcolm and His Struggle Against the Eunuchs, and one of his later productions was Cyrano de Bergerac with Tom Hollander and Jonathan Cake among the cast members. [11] [17] During his time at Cambridge, Mendes also became enthusiastic towards cinema in earnest. He cited Paris, Texas, Repo Man and True Stories as three "seminal film moments" that influenced his stage and film career. [18] Mendes was noted as a "brilliant schoolboy cricketer" by Wisden Cricketers' Almanack, scoring 1, 153 runs at 46 and taking 83 wickets at under 16 for Magdalen College School in 1983 and 1984. [19] He also played cricket for Cambridge University, [20] and in 1997 played for Shipton-under-Wychwood in the final of the Village Cricket Cup, thus being the only winner of the Academy Award for Best Director to have played at Lord's. [21] Stage career [ edit] Early work [ edit] After graduating from Cambridge in 1987, Mendes was hired as assistant director at the Chichester Festival Theatre. In September 1987, Mendes made his professional directing debut with a double bill of two Anton Chekhov plays, The Bear and The Proposal. [22] In 1989, he was appointed the inaugural director of the Minerva Theatre. [10] In 1989, following the abrupt departure of director Robin Phillips, Mendes took over a production of Dion Boucicault 's London Assurance at Chichester. [23] Later that year, Mendes made his West End debut at the Aldwych with a production of Chekhov's The Cherry Orchard, starring Judi Dench. [24] London Assurance then transferred to the West End following a six-month run at Chichester, opening at the Theatre Royal Haymarket. [23] [24] The successes of the plays established Mendes as a theatre director of national renown. [25] Donmar Warehouse (1990–2002) [ edit] In 1990, Mendes was appointed artistic director of the Donmar Warehouse, a Covent Garden studio space previously used by the Royal Shakespeare Company. [11] He spent two years overseeing the redesign of the theatre, which formally opened in 1992 with the British premiere of Stephen Sondheim 's Assassins. [26] Mendes's tenure at the Donmar saw its transformation into one of the most successful and fashionable playhouses in London. [27] In 1993, Mendes staged an acclaimed revival of John Kander and Fred Ebb 's Cabaret starring Jane Horrocks as Sally Bowles and Alan Cumming as Emcee. [26] The production was approached with a fresh concept, differing greatly from both the original 1966 production directed by Harold Prince and the famed film version, directed by Bob Fosse. This production opened at the Donmar and received four Olivier Award nominations including Best Musical Revival, before transferring promptly to Broadway where it played for several years at the Kit Kat Club (i. e. the Stephen Sondheim Theater). The Broadway cast included Cumming once again as Emcee, with Natasha Richardson as Sally, Mary Louise Wilson as Frau Schneider and John Benjamin Hickey as Cliff. Cumming and Richardson won Tony Awards for their performances. 1994 saw Mendes stage a new production of Lionel Bart 's Oliver!, produced by Cameron Mackintosh. Mendes, a longtime fan of the work, worked in close collaboration with Bart and other production team members, William David Brohn, Martin Koch and Anthony Ward, to create a fresh staging of the well-known classic. Bart added new musical material and Mendes updated the book slightly, while the orchestrations were radically rewritten to suit the show's cinematic feel. The cast included Jonathan Pryce (after much persuasion) as Fagin, Sally Dexter as Nancy, and Miles Anderson as Bill Sikes. Mendes, Pryce and Dexter received Olivier Award nominations for their work on Oliver!. [28] Mendes also directed productions of David Hare 's The Blue Room in 1998, starring Nicole Kidman; Richard Greenberg 's Three Days of Rain in 1999, with Colin Firth, David Morrissey and Elizabeth McGovern; as well as his farewell duo in 2002, Chekhov's Uncle Vanya and Twelfth Night, both headed by Simon Russell Beale, Helen McCrory, Emily Watson and Mark Strong. [26] He stepped down as artistic director of the Donmar in December 2002 and was succeeded by Michael Grandage. [27] [29] After the Donmar (2002–present) [ edit] In 2003, Mendes directed a revival of the musical Gypsy. Originally, he planned to stage this production in London's West End with an eventual Broadway transfer, but when negotiations fell through, he brought it to New York. The cast included Bernadette Peters as Rose, Tammy Blanchard as Louise and John Dossett as Herbie. Mendes also directed the 2013 Olivier Award-nominated stage adaptation of Roald Dahl 's Charlie and the Chocolate Factory which ran in London's West End until January 2017. It starred Douglas Hodge as Willy Wonka, followed by Alex Jennings and Jonathan Slinger who later took over the role. [30] In 2014, Mendes directed Simon Russell Beale in King Lear by William Shakespeare at the National Theatre, London. Mendes directed Jez Butterworth 's The Ferryman for the Royal Court Theatre in London in 2017, before transferring to the West End later that year and Broadway in 2018, for which he won an Olivier Award and Tony Award for Best Director. [31] In 2018, Mendes directed The Lehman Trilogy by Stefano Massini in an English adaptation by Ben Power for the National Theatre, London starring Simon Russell Beale, Adam Godley and Ben Miles. In 2019 the play played a season at the Park Avenue Armory in New York before returning for another London season in the West End. Film career [ edit] American Beauty to Skyfall: 1999–2012 [ edit] In 1999, Mendes made his film directorial debut with American Beauty, starring Kevin Spacey. He had been approached by Steven Spielberg, who was impressed by his productions of Oliver! and Cabaret. [32] The film grossed $ 356. 3 million worldwide. [33] The film won the Golden Globe Award, the BAFTA Award and the Academy Award for Best Picture. Mendes won the Golden Globe Award, Directors Guild of America Award, and the Academy Award for Best Director, [34] becoming the sixth director to earn the Academy Award for his feature film debut. [35] Mendes's second film, in 2002, was Road to Perdition, which grossed US$181 million. The aggregate review score on Rotten Tomatoes is currently 81%; critics praised Paul Newman for his performance. The film was nominated for six Academy Awards, including Best Supporting Actor, and won one for Best Cinematography. In 2003, Mendes established Neal Street Productions, a film, television and theatre production company he would use to finance much of his later work. In 2005, Mendes directed the war film Jarhead, in association with his production company Neal Street Productions. The film received mixed reviews, with a Rotten Tomatoes rating of 61%, and a gross revenue of US$96. 9 million worldwide. The film focused on the boredom and other psychological challenges of wartime. In 2008, Mendes directed Revolutionary Road, starring his then-wife, Kate Winslet, along with Leonardo DiCaprio and Kathy Bates. In a January 2009 interview, Mendes commented, about directing his wife for the first time, "I would open my eyes in the morning and there Kate would be, going, 'Great! You're awake! Now let's talk about the second scene. '" [36] Mendes's comedy-drama Away We Go opened the 2009 Edinburgh International Film Festival. The film follows a couple ( John Krasinski, Maya Rudolph) searching North America for the perfect community in which to settle down and start a family. The film was well received by critics but performed poorly at the box office. Mendes (right) collaborated with Javier Bardem for Skyfall, November 2012 In 2010 Mendes co-produced a critically acclaimed documentary film Out of the Ashes that deals with cricket in Afghanistan. [37] [38] On 5 January 2010, news broke that Mendes was employed to direct the 23rd Eon Productions instalment of the James Bond franchise. [39] The film, Skyfall, was subsequently released on 26 October 2012, to coincide with the 50th anniversary of the Bond films. Mendes had been employed as a consultant on the film when it was in pre-production, and had remained attached to the project during the financial troubles of MGM. The film was a major critical and commercial success, becoming the 14th film to gross over $1 billion worldwide. [40] [41] In 2012, Mendes's Neal Street Productions produced the first series of the BBC One drama series, Call the Midwife, following it with a second season which began transmission in early 2013. [42] Spectre to 1917: 2013–present [ edit] After the success of Skyfall, Mendes was asked if he was returning to direct the next Bond film. He responded, "I felt I put everything I possibly could into this film and it was the Bond film I wanted to make. And if I felt I could do the same again, then absolutely I would consider doing another one. But it is a big task and I wouldn't do it unless I knew I could. " [43] It was reported that one reason Mendes was reluctant to commit was that one proposal involved making two films back-to-back, based on an idea by Skyfall writer John Logan, which would have resulted in Mendes and other creative personnel being tied up with filming for around four years. It was reported in February 2013 that this idea had since been shelved and that the next two films would be stand-alone. Mendes said in an interview with film magazine Empire in March 2013 that "it has been a very difficult decision not to accept Michael and Barbara's very generous offer to direct the next Bond movie. " He cited, amongst other reasons, his commitments to the stage version of Charlie and the Chocolate Factory and King Lear. [44] However, on 29 May 2013, it was reported that Mendes was back in negotiations with producers Michael G. Wilson and Barbara Broccoli to direct the next Bond film, [45] going back on his previous comments. [34] [46] Wilson and Broccoli were willing to postpone production of the film to ensure Mendes's participation. On 11 July 2013, it was announced that Mendes would direct the 24th James Bond film. Named Spectre, it was released in October 2015. [47] This made him the first filmmaker since John Glen to direct two Bond films in a row. In April 2016, Mendes was named as the President of the Jury for the 73rd Venice International Film Festival. [48] Mendes's next film, war epic 1917, was released by Universal Pictures on 25 December 2019 in the US and on 10 January 2020 in the UK. [49] Based in part on an account told to Mendes by his paternal grandfather, Alfred Mendes, it chronicles the story of two young British soldiers in the spring of 1917 at a critical point during World War I. Mendes went on to win the Golden Globe Award for Best Director for his achievement in directing [49] and in his acceptance speech saluted his grandfather, as well as acknowledging the contribution to cinema of fellow nominee Martin Scorsese. [50] On 25 January 2020, he won the Directors Guild of America Award for Outstanding Directing – Feature Film, following which he was installed by the press as the favourite to win the Academy Award for Best Director at the then approaching 92nd Academy Awards. [51] However, that plaudit went instead to Bong Joon-ho for the South Korean film Parasite. [52] The two directors had shared the honours for directing at the 25th Critics' Choice Awards several weeks prior. [53] Personal life [ edit] Mendes and actress Kate Winslet met in 2001, when Mendes approached her about appearing in a play at the Donmar Warehouse, where he was then artistic director. [36] They married in May 2003, on what they characterised as a whim, while on holiday in Anguilla when Winslet was 2 months pregnant with Mendes's child. [54] Their son Joe Alfie Winslet Mendes was born on 22 December 2003 in New York City. [54] Mendes also had a stepdaughter, Mia, from Winslet's first marriage to filmmaker Jim Threapleton. [54] Amid intense media speculation of an affair between Mendes and actress Rebecca Hall, he and Winslet announced their separation in 2010 and divorced in 2011. [54] Mendes and Hall were in a relationship from 2011 to 2013. [55] Mendes married trumpeter Alison Balsom in January 2017. Their daughter was born in September 2017. [56] Mendes was knighted in the 2020 New Years Honours List for services to drama. [57] Mendes is an opponent of Brexit. In 2017, he stated: "I’m afraid that the winds that were blowing before the First World War are blowing again. There was this generation of men fighting then for a free and unified Europe, which we would do well to remember. " [58] Filmography [ edit] Films [ edit] Year Film Director Producer Writer 1999 American Beauty Yes No 2002 Road to Perdition 2005 Jarhead 2007 Things We Lost in the Fire 2008 Revolutionary Road 2009 Away We Go 2012 Skyfall 2015 Spectre 2019 1917 As executive producer Starter for 10 (2006) The Kite Runner (2007) Out of the Ashes (2010) (Documentary) Blood (2012) Television [ edit] As Director Cabaret (1993) (TV film) As Producer Title Notes Stuart: A Life Backwards TV film Call the Midwife Richard II Henry IV, Part I Henry IV, Part II Henry V 2014–16 Penny Dreadful 2016 The Hollow Crown: Richard III The Hollow Crown: Henry VI, Part I The Hollow Crown: Henry VI, Part II 2017 Britannia 2018 Informer Recurring collaborators [ edit] Accolades [ edit] Academy Awards BAFTA Awards Golden Globe Awards Nominations Wins 8 5 14 6 3 1 2 4 10 9 7 Total 33 12 38 17 16 References [ edit] ^ a b "Sam Mendes: Bond movie Skyfall's not the limit". The Independent. 20 October 2012. ^ Horton, Adrian (6 January 2020). "Golden Globes 2020: Fleabag and 1917 lead British invasion with major wins". The Guardian. ISSN 0261-3077. Retrieved 8 January 2020. ^ "Sam Mendes gets directing honour". BBC. Retrieved 18 June 2012 ^ "Caine heads birthday honours list". 17 June 2000. Retrieved 30 April 2011. ^ "The 100 most powerful people in British culture". The Daily Telegraph. 9 November 2016. ^ "Sam Mendes Biography". 2008. Retrieved 22 January 2009. ^ a b The Autobiography of Alfred H. Mendes 1897-1991, p. 112-114 ^ STEVE LINDE; A. SPIRO; G. HOFFMAN (25 May 2012). "50 most influential Jews: Places 31-40". Retrieved 26 May 2013. Michael Pollan, 57 ^ Bloom, Nate (9 January 2009). "Jewish Stars". Cleveland Jewish News. ^ a b c d Wood, Gaby (14 December 2008). "How Sam became The Man". The Observer. London. Retrieved 16 March 2010. ^ a b c d e Lahr, John (17 September 2018). "Sam Mendes's Directorial Discoveries". The New Yorker. Retrieved 9 February 2020. ^ Beckford, Martin; Moore, Matthew (29 January 2010). "David Miliband's son got place at Church of England school despite not being baptised". Retrieved 9 February 2020. ^ Wolf 2003, p. 8. ^ Lowenstein 2003, p. 245. ^ Harding, Megan (3 February 2018). "Sam Mendes talks fortune, filmmaking and the fate of the industry at Peterhouse College". The Cambridge Student. Retrieved 9 February 2020. ^ "Eminent Petreans - Peterhouse Cambridge".. ^ Lowenstein 2003, p. 244. ^ Lowenstein 2003, p. 247. ^ "Never a famous cricketer". ESPNcricinfo. 2001. Retrieved 14 May 2013. ^ "Profile: Kate Winslet and Sam Mendes". BBC News. 15 March 2010. Retrieved 14 May 2013. ^ Berkmann, Marcus, Berkmann's Cricketing Miscellany, p. 278 ^ Wolf 2003, p. 10. ^ a b Wolf 2003, p. 11. ^ a b Weinraub, Bernard (12 September 1999). "A Wunderkind Discovers the Wonders of Film". The New York Times. Retrieved 9 February 2020. ^ Greenstreet, Rosanna (18 January 1998). "How We Met: Tim Firth and Sam Mendes". Retrieved 9 February 2020. ^ a b c Crompton, Sarah (11 March 2011). "The Donmar's successes". Retrieved 18 June 2012. ^ a b Webb, Paul (23 November 2001). "Artistic Director Sam Mendes to Leave Donmar Warehouse". Playbill. Retrieved 9 February 2020. ^ Olivier Award 1995 Archived 29 October 2013 at the Wayback Machine. The Society of London Theatre, 2011 ^ Healy, Patrick (30 September 2010). "Donmar Warehouse Director to Step Down in 2011". Retrieved 9 February 2020. ^ "Charlie and the Chocolate Factory to open in West End". Retrieved 18 June 2012 ^ "Olivier Awards 2018: Winners in full". 9 April 2018. Retrieved 10 April 2018. ^ Fanshawe, Simon (22 January 2000). "Sam smiles". Retrieved 9 February 2020. ^ "American Beauty (1999)". Box Office Mojo. Retrieved 22 November 2009. ^ a b Kaya Burgess, 'Bond director drops 007 for something sweeter', The Times, 7 March 2013, No. 70826, p. 3 ^ Tim Dirks. "Academy Awards Best Director – Facts & Trivia". AMC Filmsite. Retrieved 11 June 2013. ^ a b Diane Solway (January 2009). "Scenes from a Marriage". W. Retrieved 19 February 2009. ^ "They Also Played Cricket". Yahoo!. 14 May 2013. Retrieved 14 May 2013. ^ "Out of the Ashes reveals the amazing story of Afghanistan cricket". 20 July 2010. Retrieved 14 May 2013. ^ Allen, Nick (6 January 2010). "British director Sam Mendes in talks over next James Bond film". Retrieved 10 January 2010. ^ "Skyfall: 'most successful' James Bond film tops $1bn at global box office", The Daily Telegraph. Retrieved 24 January 2013 ^ "Box Office Milestone: Daniel Craig's 'Skyfall' Crosses $1 Billion Worldwide". The Hollywood Reporter. Retrieved 24 January 2013 ^ "Call the Midwife: series two, episode one, BBC One, review". The Telegraph. Retrieved 24 January 2013 ^ Hewitt, Chris (6 November 2012). "Sam Mendes Talks Gun Barrel Sequence". Empire. Retrieved 15 June 2013. ^ Phil de Semlyen (6 March 2013). "Sam Mendes Won't Direct Bond 24". Retrieved 15 June 2013. ^ "Sam Mendes back in talks with Bond producers". 29 May 2013. Retrieved 29 May 2013. ^ O'Neal, Sean (6 March 2013). "Sam Mendes turns down the next James Bond film for a life in the theater". Newswire. Retrieved 6 March 2013. ^ "Sam Mendes Returns to Direct". Eon Productions. 11 July 2013. Retrieved 11 July 2013. ^ Vivarelli, Nick (24 July 2016). "Laurie Anderson, Joshua Oppenheimer, Zhao Wei Set For Venice Jury". Variety. Retrieved 24 July 2016. ^ a b McIndoe, Ross (10 January 2020). "1917: UK release date, cast, review round-up and everything else about Sam Mendes' epic First World War movie". i. Retrieved 10 February 2020. ^ Grobar, Matt (6 February 2020). "Sam Mendes Surprises With Golden Globe Win For Best Director, Saluting Martin Scorsese & Grandfather Who Inspired His World War I Drama '1917 ' ". Deadline Hollywood. Retrieved 9 February 2020. ^ Utichi, Joe (25 January 2020). "Sam Mendes And '1917' Stake Claim As Oscar Frontrunner With DGA Victory". Retrieved 1 February 2020. ^ Barnes, Brooks; Sperling, Nicole (9 February 2020). " ' Parasite' Makes Oscar History With Best Picture Win". Retrieved 10 February 2020. ^ Haylock, Zoe (13 January 2020). "Bong Joon Ho and Sam Mendes Tie for Best Director at the 2020 Critics' Choice Awards". Retrieved 13 January 2020. ^ a b c d Brooks, Xan (15 March 2010). "Kate Winslet and Sam Mendes separate after seven years of marriage". Retrieved 16 March 2010. ^ "Rebecca Hall on love, Sam Mendes and being a shy girl". Evening Standard. 3 April 2013. Retrieved 27 March 2019. ^ "Sam Mendes's Directorial Discoveries". New Yorker. Retrieved 9 December 2019. ^ "No. 62866". The London Gazette (Supplement). 28 December 2019. p. N2. ^ "1917: The story behind Sam Mendes's ambitious First World War drama". 28 December 2019. Bibliography [ edit] Wolf, Matt (2003). Sam Mendes at the Donmar: Stepping Into Freedom. Lanham: Hal Leonard LLC. ISBN 9780879109820. Lowenstein, Stephen (2003). My First Movie, Take Two: Ten Celebrated Directors Talk About Their First Film. Lanham: Knopf Doubleday Publishing Group. ISBN 978-0-8108-8576-9. External links [ edit] Media related to Sam Mendes at Wikimedia Commons Sam Mendes on IMDb Sam Mendes at the Internet Broadway Database The Observer Interview 14 December 2008 Brandon Kosters interview 2 June 2009 Charlie Rose interview 5 June 2009 Awards for Sam Mendes v t e Academy Award for Best Director 1927–1950 Frank Borzage (1927) Lewis Milestone (1928) Frank Lloyd (1929) Lewis Milestone (1930) Norman Taurog (1931) Frank Borzage (1932) Frank Lloyd (1933) Frank Capra (1934) John Ford (1935) Frank Capra (1936) Leo McCarey (1937) Frank Capra (1938) Victor Fleming (1939) John Ford (1940) John Ford (1941) William Wyler (1942) Michael Curtiz (1943) Leo McCarey (1944) Billy Wilder (1945) William Wyler (1946) Elia Kazan (1947) John Huston (1948) Joseph L. Mankiewicz (1949) Joseph L. 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Iñárritu (2015) Damien Chazelle (2016) Guillermo del Toro (2017) Alfonso Cuarón (2018) Bong Joon-ho (2019) v t e BAFTA Award for Best Direction Mike Nichols (1968) George Roy Hill (1970) John Schlesinger (1971) François Truffaut (1973) Roman Polanski (1974) Stanley Kubrick (1975) Miloš Forman (1976) Alan Parker (1978) Francis Ford Coppola (1979) Akira Kurosawa (1980) Louis Malle (1981) Bill Forsyth (1983) Wim Wenders (1984) No Award (1985) Woody Allen (1986) Oliver Stone (1987) Louis Malle (1988) Kenneth Branagh (1989) Martin Scorsese (1990) Alan Parker (1991) Robert Altman (1992) Mike Newell (1994) Michael Radford (1995) Joel Coen (1996) Baz Luhrmann (1997) Peter Weir (1998) Pedro Almodóvar (1999) Ang Lee (2000) Peter Jackson (2001) Peter Weir (2003) Mike Leigh (2004) Paul Greengrass (2006) David Fincher (2010) Ben Affleck (2012) Richard Linklater (2014) Sam Mendes (2019) v t e Britannia Awards Excellence in Film Albert R. 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Mankiewicz (1948) Robert Rossen (1949) Anthony Harvey (1968) Francis Ford Coppola (1972) Steven Spielberg (1985) Ron Howard (1995) Rob Marshall (2002) v t e Drama Desk Award for Outstanding Director of a Play John Dexter (1975) Ellis Rabb (1976) Mike Nichols / Alan Schneider (1977) Melvin Bernhardt (1978) Jack Hofsiss (1979) Vivian Matalon (1980) Peter Hall (1981) Tommy Tune (1982) Trevor Nunn (1983) Michael Blakemore (1984) John Malkovich (1985) Jerry Zaks (1986) Howard Davies (1987) John Dexter (1988) Jerry Zaks (1989) Frank Galati (1990) Jerry Zaks (1991) Patrick Mason (1992) George C. Wolfe (1993) Stephen Daldry (1994) Gerald Gutierrez (1995) Gerald Gutierrez (1996) Trevor Nunn (1999) Michael Blakemore (2000) Jack O'Brien (2001) Mary Zimmerman (2002) Robert Falls (2003) Jack O'Brien (2004) Doug Hughes (2005) Nicholas Hytner (2006) Jack O'Brien (2007) Anna D. Shapiro (2008) Matthew Warchus (2009) Michael Grandage (2010) Joel Grey and George C. Wolfe (2011) Mike Nichols (2012) Pam MacKinnon (2013) Tim Carroll (2014) Marianne Elliott (2015) Ivo van Hove (2016) Ruben Santiago-Hudson (2017) John Tiffany (2018) v t e Empire Award for Best Director Danny Boyle (1996) Terry Gilliam (1997) Cameron Crowe (1998) Steven Spielberg (1999) M. Night Shyamalan (2000) Bryan Singer (2001) Baz Luhrmann (2002) Steven Spielberg (2003) Quentin Tarantino (2004) Sam Raimi (2005) Nick Park and Steve Box (2006) Christopher Nolan (2007) David Yates (2008) Christopher Nolan (2009) James Cameron (2010) Edgar Wright (2011) David Yates (2012) Sam Mendes (2013) Alfonso Cuarón (2014) Christopher Nolan (2015) J. J. Abrams (2016) Gareth Edwards (2017) Rian Johnson (2018) v t e Evening Standard Theatre Award for Best Director Trevor Nunn (1979) Trevor Nunn and John Caird (1980) Richard Eyre (1982) Yuri Lyubimov (1983) Christopher Morahan (1984) Bill Bryden (1985) Núria Espert (1986) Peter Hall (1987) Deborah Warner (1988) Nicholas Hytner (1989) Richard Jones (1990) Trevor Nunn (1991) Stephen Daldry (1992) Terry Hands (1993) Sean Mathias (1994) Matthew Warchus (1995) Katie Mitchell (1996) No award (1997) No award (1998) Howard Davies (2000) Deborah Warner (2001) Sam Mendes (2002) Polly Teale (2003) Rufus Norris (2004) Michael Grandage (2005) Marianne Elliott (2006) Rupert Goold (2007) Michael Grandage (2008) Rupert Goold (2009) Howard Davies (2010) Mike Leigh (2011) Nicholas Hytner (2012) Richard Eyre (2013) Jeremy Herrin (2014) Robert Icke (2015) John Malkovich (2016) Sam Mendes (2017) Marianne Elliott (2018) v t e Golden Globe Award for Best Director Henry King (1943) Frank Capra (1946) Billy Wilder (1950) László Benedek (1951) Cecil B. DeMille (1952) Joshua Logan (1955) Elia Kazan (1956) Jack Cardiff (1960) Stanley Kramer (1961) Elia Kazan (1963) David Lean (1965) Paul Newman (1968) Charles Jarrott (1969) Arthur Hiller (1970) William Friedkin (1973) Sidney Lumet (1976) Herbert Ross (1977) Barbra Streisand (1983) John Huston (1985) Clint Eastwood (1988) Oliver Stone (1991) Miloš Forman (1996) Robert Altman (2001) Martin Scorsese (2002) Julian Schnabel (2007) James Cameron (2009) Martin Scorsese (2011) v t e Helpmann Award for Best Direction of a Musical Gale Edwards (2001) Gale Edwards (2002) B. T. McNicholl & Sam Mendes (2003) Julie Taymor (2004) Susan Stroman (2005) Simon Phillips (2006) Neil Armfield (2007) Stephen Daldry (with Julian Webber) (2008) Lisa Leguillou (2009) Jonathan Biggins (2010) Richard Eyre & Matthew Bourne (2011) Roger Hodgman (2012) Jerry Mitchell (2013) Dean Bryant (2014) John Tiffany (2015) Matthew Warchus (2016) Trey Parker & Casey Nicholaw (2017) Marc Bruni (2018) Francesca Zambello (2019) v t e Laurence Olivier Award for Best Director Jonathan Miller (1976) Clifford Williams (1977) Terry Hands (1978) Michael Bogdanov (1979) Trevor Nunn / John Caird (1980) Peter Wood (1981) Terry Hands (1983) Bill Alexander (1986) Declan Donnellan (1987) Michael Bogdanov (1989/1990) Richard Jones (1991, musical) David Thacker (1991, play) Simon Callow (1992, musical) Deborah Warner (1992, play) Nicholas Hytner (1993, musical) Stephen Daldry (1993, play) Declan Donnellan (1994, musical) Stephen Daldry (1994, play) Scott Ellis (1995, musical) Declan Donnellan (1995, play) Trevor Nunn (1995) Sam Mendes (1996) Des McAnuff (1997) Richard Eyre (1998) Howard Davies (1999) Trevor Nunn (2000) Howard Davies (2001) Michael Boyd (2002) Sam Mendes (2003) Michael Grandage (2004) Nicholas Hytner (2005) Richard Eyre (2006) Dominic Cooke (2007) Rupert Goold (2008) John Tiffany (2009) Rupert Goold (2010) Howard Davies (2011) Matthew Warchus (2012) Marianne Elliott (2013) Lyndsey Turner (2014) Ivo van Hove (2015) Robert Icke (2016) John Tiffany (2017) Sam Mendes (2018) Stephen Daldry (2019) v t e London Film Critics' Circle Award for Director of the Year Nicolas Roeg (1980) Andrzej Wajda (1981) Costa-Gavras (1982) Andrzej Wajda (1983) Neil Jordan (1984) Roland Joffé (1985) Akira Kurosawa (1986) Stanley Kubrick (1987) John Huston (1988) Terence Davies (1989) Woody Allen (1990) Ridley Scott (1991) James Ivory (1993) Steven Spielberg (1994) Peter Jackson (1995) Curtis Hanson (1997) Spike Jonze (2000) Alejandro González Iñárritu (2001) Phillip Noyce (2002) Clint Eastwood (2003) Paul Thomas Anderson (2007) David Fincher (2008) László Nemes (2016) Sean Baker (2017) v t e Los Angeles Film Critics Association Award for Best Director Sidney Lumet (1975) Roman Polanski (1980) Steven Spielberg (1982) Terry Gilliam (1985) David Lynch (1986) John Boorman (1987) David Cronenberg (1988) Spike Lee (1989) Barry Levinson (1991) Jane Campion (1993) Quentin Tarantino (1994) Mike Figgis (1995) Mike Leigh (1996) David Lynch (2001) Pedro Almodóvar (2002) Alexander Payne (2004) Olivier Assayas / David Fincher (2010) Terrence Malick (2011) Paul Thomas Anderson (2012) Barry Jenkins (2016) Guillermo del Toro / Luca Guadagnino (2017) Debra Granik (2018) v t e Society of London Theatre Special Award Laurence Olivier (1979) Ralph Richardson (1980) Charles Wintour (1982) Joan Littlewood (1983) John Gielgud (1985) Alec Guinness (1988) Peggy Ashcroft (1991) Ninette de Valois (1992) Kenneth MacMillan (1993) Sam Wanamaker (1994) Harold Pinter (1996) Margaret Harris (1997) Ed Mirvish / David Mirvish (1998) Peter Hall (1999) Rupert Rhymes (2002) Judi Dench (2004) Alan Bennett (2005) Ian McKellen (2006) John Tomlinson (2007) Andrew Lloyd Webber (2008) Alan Ayckbourn (2009) Maggie Smith (2010) Stephen Sondheim (2011) Monica Mason / Tim Rice (2012) Michael Frayn / Gillian Lynne (2013) Nicholas Hytner & Nick Starr / Michael White (2014) Sylvie Guillem / Kevin Spacey (2015) David Lan (2018) Matthew Bourne (2019) Don Black / Jo Hawes / Thelma Holt / Stephen Jameson / Sarah Preece / Peter Roberts (2020) v t e Tony Award for Best Direction of a Play Joshua Logan (1948) Elia Kazan (1949) José Ferrer (1952) Joshua Logan (1953) Alfred Lunt (1954) Robert Montgomery (1955) Tyrone Guthrie (1956) Vincent J. Donehue (1958) Elia Kazan (1959) Arthur Penn (1960) John Gielgud (1961) Noel Willman (1962) Alan Schneider (1963) Mike Nichols (1964) Mike Nichols (1965) Peter Brook (1966) Peter Hall (1967) Peter Dews (1969) Joseph Hardy (1970) Peter Brook (1971) Mike Nichols (1972) A. Antoon (1973) José Quintero (1974) Gordon Davidson (1977) Trevor Nunn and John Caird (1982) Gene Saks (1983) Mike Nichols (1984) Gene Saks (1985) Lloyd Richards (1987) Anthony Page (1997) Garry Hynes (1998) Robert Falls (1999) Daniel J. Sullivan (2001) Joe Mantello (2003) Marianne Elliott and Tom Morris (2011) Kenny Leon (2014) Rebecca Taichman (2017) Sam Mendes (2019).
Note: This is a spoiler-free 1917 movie review What’s the most impressive thing you’ve accomplished over the last seven months? Sam Mendes started and finished production on the most brilliantly shot movie of the year. 1917 is one of the films of 2019 thanks to a mix of beautiful shots, an unpredictable epic of a story, and a palpable tension that keeps you enthralled. A Cinematic Victory You’re free to use whatever adjective you want when describing the way 1917 is shot, as long it’s a positive one. The most prominent thing about the shots is how long they are and how emotional they are throughout the film, with varying emotions invoked. Immediately you’re thrown into the eerie scenes of a World War I battlefield, as two young British soldiers are given an impossible mission. As their journey progresses you experience the trials and tribulations as they do in real-time, right over their back shoulder. The film jumps from a heart-pulsing chase away from German soldiers to an elegant interaction with a french family, seamlessly, and without any trace of an edit. Then back to a startling battle with Germans followed by a chaotic plunge into river rapids. And it all winds up with a captivating climax that has you yearning for a positive outcome while you root as hard as you can. If that sounds like a full range of emotions, you’re right. And that’s within a 50-minute window of the film. 1917 is a fully immersive depiction of World War I, and each scene brings something unique. It’s a directoral achievement that hasn’t been matched in a long time. Another benefit the audience gets from the way the film is shot comes with the long, one-take feel. It’s one thing to have short, bursting scenes with “pops” of emotion. 1917 is on another level because it is suspenseful, and holds the suspense for five straight minutes. Then it’s humanizing for seven straight minutes. Then harrowing for another six minutes. Back-to-back-to-back. The audience can’t help but feel impacted by this film, because they have no other choice as they sit in and with their emotions consistently and for extended periods. A Story Fitting Of The Scenes A movie can be shot as beautifully as you like, and this one is. Without a story that grabs the audience, it won’t have the fully intended impact. 1917 melds its shots with an epic story that makes you feel like it could only be told this way. It’s clear immediately that these two British soldiers, Blake and Schofield, are in way over their heads. That brings extra realism to the film because you realize everyone was in way over their heads during World War I. In this case, two young men are sent through enemy territory to stop a British attack. That plan is actually a German trap that will kill 1, 600 Brits. One of those men is Blake’s brother. Intrigued? The next 100 minutes is all twists and turns while they venture deeper into enemy territory. You’re never quite sure if one or both of them will make it at certain points. And you’re very sure one or both of them won’t make it at other points. The story has a unique effect on the audience, because it’s not all explosions and gunfire, but you’re still on the edge of your seat throughout the film. Combine that with the fact Mendes picked the brain of and sources World War veterans, and you’ve got a unique authenticity any great war movie needs. Casting choices The casting choices seem odd on the surface, but take a closer look and they make cohesive sense. If you’re looking for big names, there are plenty to spot. Colin Firth, Andrew Scott, Richard Madden, and Benedict Cumberbatch among them. They all bring the immediate, “Oh hey it’s that guy! ” excitement, but none are in the film for more than five minutes. The two main characters are played by relative unknowns in Dean-Charles Chapman and George MacKay. Why does this work so well and add to 1917? I’m glad you ask. What if Tom Holland (who was originally in talks) was cast as Schofield instead of MacKay? You’d think, “Hey that’s Spider-Man running through France fighting Germans. Cool! ”, that’s what. As is Chapman and MacKay are two young actors, showing off their acting chops, and conveying the message Mendes wants to send on the screen. These men are attempting to become war heroes, but they’re not recognizable. There are millions of men and stories like theirs in World War I, World War II, and all wars. Choosing these actors allows you to focus on the men and the story rather than the actors. It also helps that Chapman and MacKay both put on quality performances. It’s no easy task being asked to hold and carry the emotion you’re expected for shots as long as the ones in 1917. They both nail it without a slip-up and are able to flip tone on a dime. Should I See 1917? There is no doubt this is one of the best films of the year. It is making a run at the Oscars as a late submission and deserves all the praise it will get. If you are a cinephile film fan, 1917 is for you. A history fan? 1917 is for you. If you are a war movie fan, 1917 is the best one in a while. The movie comes in under two hours, so it’s good for a night out that doesn’t take your entire night. Yes. You should see 1917. For more, check out our Movies section! (Featured Image courtesy of EPK).
Movie 7-8ish. but astonishing camera work brings it up to a 9. 1917 UK theatrical release poster Directed by Sam Mendes Produced by Sam Mendes Pippa Harris Jayne-Ann Tenggren Callum McDougall Brian Oliver Written by Krysty Wilson-Cairns Starring George MacKay Dean-Charles Chapman Mark Strong Andrew Scott Richard Madden Claire Duburcq Colin Firth Benedict Cumberbatch Music by Thomas Newman Cinematography Roger Deakins Edited by Lee Smith Production company DreamWorks Pictures Reliance Entertainment New Republic Pictures Mogambo Neal Street Productions Amblin Partners Distributed by Universal Pictures (United States) Entertainment One Films (United Kingdom) Release date 4 December 2019 (London) 25 December 2019 (United States) 10 January 2020 (United Kingdom) Running time 119 minutes [1] Country United Kingdom United States Language English Budget $90–100 million [2] [3] Box office $363. 8 million [4] [5] 1917 is a 2019 British epic war film directed, co-written, and produced by Sam Mendes. The film stars George MacKay and Dean-Charles Chapman, with Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth and Benedict Cumberbatch in supporting roles. It is based in part on an account told to Mendes by his paternal grandfather, Alfred Mendes. [6] The film tells the story of two young British soldiers during the First World War who are ordered to deliver a message calling off an attack doomed to fail soon after the German retreat to the Hindenburg Line during Operation Alberich in 1917. This message is especially important to one of the young soldiers, as his brother is taking part in the pending attack. The project was officially announced in June 2018, with MacKay and Chapman signing on in October and the rest of the cast the following March. Filming took place from April to June 2019 in the UK, with cinematographer Roger Deakins and editor Lee Smith using long takes to have the entire film appear as one continuous shot. [7] [8] [9] 1917 premiered in the UK on 4 December 2019 and was released theatrically in the United States on 25 December by Universal Pictures and in the United Kingdom on 10 January 2020 by Entertainment One Films. The film received praise for Mendes's direction, the performances, cinematography, musical score, editing, sound design, and realism. Among its accolades, the film received ten nominations at the 92nd Academy Awards, including Best Picture and Best Director, and won three, including Best Cinematography. It also won Best Motion Picture – Drama and Best Director at the 77th Golden Globe Awards, and at the 73rd British Academy Film Awards won a leading seven, including Best Film and Best Direction. It also won the Producers Guild of America Award for Best Theatrical Motion Picture, and Mendes won the Directors Guild of America Award for Outstanding Directing – Feature Film. Plot [ edit] On 6 April 1917, aerial reconnaissance has observed that the German army, which has pulled back from a sector of the Western Front in northern France, is not in retreat but has made a strategic withdrawal to the new Hindenburg Line, where they are waiting to overwhelm the British with artillery. In the British trenches, with field telephone lines cut, two young British soldiers, Lance Corporals William Schofield, a veteran of the Somme, and Tom Blake, are ordered by General Erinmore to carry a message to Colonel Mackenzie of the Second Battalion of the Devonshire Regiment, calling off a scheduled attack that would jeopardise the lives of 1, 600 men, including Blake's brother Lieutenant Joseph Blake. Schofield and Blake cross no man's land to reach the abandoned German trenches. In an underground barracks, they discover a booby-trap tripwire, which is promptly triggered by a rat. The explosion almost kills Schofield, but Blake saves him, and the two escape. They arrive at an abandoned farmhouse, where they witness a German plane being shot down. Schofield and Blake rescue the German pilot from the burning plane. However, the pilot stabs Blake and is shot dead by Schofield. Schofield comforts Blake as he dies, promising to complete the mission and to write to Blake's mother. Schofield is then picked up by a passing British unit. A destroyed canal bridge near Écoust-Saint-Mein prevents the British lorries from crossing. Schofield chooses to part with them at the bridge, but before he does, one of the unit's officers Captain Smith, warns Schofield that Colonel Mackenzie is someone who would rather fight than follow orders. He then uses what is left of the bridge to cross alone, and quickly comes under fire from a German sniper. He and the sniper shoot each other simultaneously; the sniper is killed, while Schofield is knocked unconscious. He regains consciousness at night, and finds the town in flames. He encounters another German soldier, and escapes by hiding in the basement of an abandoned building, where he stumbles into the hiding place of a French woman with an infant. She treats his wounds, and he comforts the infant by reciting "The Jumblies" by Edward Lear, giving the woman his canned food and milk from the farm. Despite her pleas, Schofield leaves soon after, realising that it is morning. After strangling one German soldier and pushing past another who is inebriated, he escapes by jumping into a river. He is swept over a waterfall before reaching the riverbank. In the forest, he finds D Company of the 2nd Devons, which is in the last wave of the attack. As the company starts to move toward the front, Schofield tries to reach Colonel Mackenzie. Realising that the trenches are too crowded for him to make it to Mackenzie in time, Schofield sprints across the open battlefield, just as the infantry begins its charge. He forces his way into meeting Mackenzie, who reads the message and reluctantly calls off the attack. Mackenzie says that, while the cancellation offers a temporary reprieve, command will likely change its orders in a week. Schofield is told that Joseph was in the first wave, and he searches for him among the wounded, finding him unscathed. Joseph is upset to hear of his brother's death, but thanks Schofield for his efforts. Schofield gives Joseph his brother's rings and dog tag, and asks to write to their mother about Blake's heroics, to which Joseph agrees. Exhausted, Schofield sits under a tree, looking at photographs of his wife and two daughters. Cast [ edit] Production [ edit] Development and casting [ edit] Amblin Partners and New Republic Pictures were announced to have acquired the project in June 2018, with Sam Mendes directing, and co-writing the screenplay alongside Krysty Wilson-Cairns. [10] Tom Holland was reported to be in talks for the film in September 2018, though ultimately was not involved, [11] and in October, Roger Deakins was set to reunite with Mendes as cinematographer. [12] George MacKay and Dean-Charles Chapman entered negotiations to star the same month. [13] Thomas Newman was hired to compose the score in March 2019. [14] The same month, Benedict Cumberbatch, Colin Firth, Mark Strong, Richard Madden, Andrew Scott, Daniel Mays, Adrian Scarborough, Jamie Parker, Nabhaan Rizwan, and Claire Duburcq joined the cast in supporting roles. [15] Writing [ edit] In August 2019, Mendes stated, "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 significantly. But it has that at its core. " [16] In Time in 2020, Mendes stated that the writing involved some risk-taking: "I took a calculated gamble, and I'm pleased I did because of the energy you get just from driving forward (in the narrative), in a war that was fundamentally about paralysis and stasis. " The ideas for a script, which Mendes wrote with Krysty Wilson-Cairns, came from the story that Mendes's grandfather, Alfred Mendes, a native of Trinidad who was a messenger for the British on the Western Front, had told him. [17] Mendes stated: "I felt an obligation to honour my grandfather. It's important to remember they were fighting for a free and unified Europe. Good to be reminded of that now. " [18] Filming [ edit] Roger Deakins was the cinematographer for the film, reuniting with Mendes for their fourth collaboration, having first worked together on Jarhead in 2005. [17] Filming was accomplished with long takes and elaborately choreographed moving camera shots to give the effect of two continuous takes. [7] [8] Although media accounts often refer to the story as being told in only one shot, [19] [20] the story cuts to black one hour and six minutes into the film, when Schofield is knocked unconscious, and fades in upon his regaining consciousness after night has fallen. [9] Mendes explained, "it was to do with the fact that I wanted the movie to go from afternoon to dusk, and then from night into dawn. I wanted it to be in two movements... I wanted to take it somewhere more like a hallucination. Somewhere more surreal, almost dream-like. And horrifying too". [7] 1917 was the first film to be shot with the Arri Alexa Mini LF digital cinema camera. Deakins wanted to use a camera with a large format image sensor, but thought that the original Alexa LF was too large and heavy to capture the intimate shots he wanted. Arri provided him with a prototype of the Mini LF two months before filming was set to begin, and two more cameras a week before. [21] [22] His lenses were Arri Signature Primes, of which he used three focal lengths: a 40 mm lens for most of the film, a wider 35 mm for scenes in the tunnels and bunkers, to emphasise feelings of claustrophobia, [22] and a narrower 47 mm in the river, to lose some of the background. [23] Filming began on 1 April 2019 and continued through June 2019 in Wiltshire, Hankley Common in Surrey and Govan, Scotland, as well as at Shepperton Studios. [24] [25] [26] [27] Concern was raised about filming on Salisbury Plain by conservationists who felt the production could disturb potentially undiscovered remains, requesting a survey before any set construction began. [28] [29] Some shots required the use of as many as 500 background extras. [2] Sections of the film were also shot near Low Force, on the River Tees, Teesdale in June 2019. The production staff had to install signs warning walkers in the area not to be alarmed at the prosthetic bodies strewn around the site. [30] Music [ edit] Release [ edit] The film premiered on 4 December 2019 at the 2019 Royal Film Performance. [31] The film began a limited release in the United States and Canada on 25 December 2019 in eleven venues. This made it eligible for 2020 awards, including the 77th Golden Globes, held on 5 January 2020, where the film won both the Golden Globe for Best Dramatic Motion Picture and Best Director for Mendes. [32] Home media [ edit] 1917 is scheduled to be released on Digital HD on 10 March 2020 and on DVD, Blu-ray, and Ultra HD Blu-ray on 24 March 2020. [33] Reception [ edit] Box office [ edit] As of 6 March 2020, 1917 has grossed $157. 3 million in the United States and Canada and $206. 5 million in other countries, for a worldwide total of $363. 8 million, [4] against a production budget of $90–100 million. [2] [3] In the US, the film made $251, 000 from 11 venues on its first day of limited release. [34] It went on to have a limited opening weekend of $570, 000, and a five-day gross of $1 million, for an average of $91, 636 per-venue. [35] The film would go on to make a total of $2. 7 million over its 15 days of limited release. It then expanded wide on 10 January, making $14 million on its first day, including $3. 25 million from Thursday night previews. It went on to gross $36. 5 million for the weekend (beating the original projections of $25 million), becoming the first film to dethrone Star Wars: The Rise of Skywalker at the box office. [36] In its second weekend of wide release the film made $22 million (and $26. 8 million over the four-day Martin Luther King Jr. Day holiday), finishing second behind newcomer Bad Boys for Life. [37] It then made $15. 8 million and $7. 7 million the following two weekends, remaining in second both times. [38] [39] The weekend of the Academy Awards the film made $9. 2 million, and the weekend after its three wins made $8. 1 million. [40] [41] Critical response [ edit] Professional ratings Aggregate scores Source Rating Metacritic 78/100 [42] Rotten Tomatoes 89% [43] Review scores Source Rating Empire [44] The Guardian [45] On review aggregation Rotten Tomatoes, the film holds an approval rating of 89% based on 398 reviews, with an average rating of 8. 38/10. The website's critics consensus reads, "Hard-hitting, immersive, and an impressive technical achievement, 1917 captures the trench warfare of World War I with raw, startling immediacy". [43] Metacritic assigned the film a weighted average score of 78 out of 100 based on 57 critics, indicating "generally favorable reviews". [42] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale, and PostTrak reported it received an average 4. 5 out of 5 from viewers, with 69% of people saying they would definitely recommend it. [36] Several critics named the film among the best of 2019, including Kate Erbland of IndieWire [46] and Sheri Linden of The Hollywood Reporter. [47] Karl Vick, writing for Time magazine, found the film to stand up favourably when compared to Stanley Kubrick 's WWI film Paths of Glory, stating, "motion pictures do require a certain amount of motion, and the major accomplishment of 1917, the latest film to join the canon, may be that its makers figured out what the generals could not: a way to advance. " [17] Rubin Safaya of described the movie as "a visceral experience and visual masterclass". [48] Writing for the Hindustan Times, Rohan Naahar stated, "I can only imagine the effect 1917 will have on audiences that aren't familiar with the techniques Sam Mendes and Roger Deakins are about to unleash upon them. " [49] In his review for NPR, Justin Chang was less positive. He agreed the film was a "mind-boggling technical achievement" but did not think it was that spectacular overall, as Mendes's style with its impression of a continuous take "can be as distracting as it is immersive". [50] Top ten lists [ edit] 1917 appeared on many critics' year-end top-ten lists: [51] 1st – Sam Allard, Cleveland Scene [52] 1st – Johnny Oleksinski, New York Post [53] 1st – Tim Miller, Cape Cod Times [54] 1st – Lawrence Toppman, The Charlotte Observer [55] 1st – Mal Vincent, The Virginian-Pilot [56] 1st – Sandy Kenyon, WABC-TV [57] 2nd – Randy Myers, The Mercury News [58] 3rd – Matt Goldberg, Collider [59] 3rd – Jason Rantz, KTTH [60] 3rd – Mara Reinstein, Us Weekly [61] 3rd – Chuck Yarborough, Cleveland Plain Dealer [62] 4th – Lindsey Bahr, Associated Press [63] 4th – Benjamin Lee, The Guardian [64] 4th – Brian Truitt, USA Today [65] 5th – Staff consensus, Consequence of Sound [66] 5th – Bruce Miller, Sioux City Journal [67] 6th – Cary Darling, Houston Chronicle [68] 6th – Peter Travers, Rolling Stone [69] 6th – Ethan Alter, Marcus Errico and Kevin Polowy, Yahoo! Entertainment [70] 6th – Chris Bumbray, JoBlo [71] 6th – Peter Howell, Toronto Star [72] 7th – David Crow, Den of Geek [73] 7th – Tom Gliatto, People [74] 8th – Todd McCarthy, The Hollywood Reporter [75] 8th – Jeffrey M. Anderson, San Francisco Examiner [76] 8th – Anita Katz, San Francisco Examiner [76] 8th – Col Needham, IMDb [77] 9th – Richard Whittaker, The Austin Chronicle [78] 9th – Dann Gire, Chicago Daily Herald [79] 9th – Mike Scott, New Orleans Times-Picayune [80] 10th – Max Weiss, Baltimore Magazine [81] Accolades [ edit] 1917 received ten nominations at the 92nd Academy Awards, winning for Visual Effects, Sound Mixing, and Cinematography. [82] It received three nominations at the 77th Golden Globe Awards and won two awards: for Best Motion Picture – Drama and Best Director. [83] It also received eight nominations at the 25th Critics' Choice Awards, winning three awards, including Best Director, [84] and nine nominations at the 73rd British Academy Film Awards, winning the most awards — seven, including Best Film, Best Director and Outstanding British film. [85] [86] It was chosen by the National Board of Review and the American Film Institute as one of the top ten films of the year. [87] [88] Historical accuracy [ edit] British soldiers following up the Germans near Brie, March 1917 The film was inspired by Operation Alberich, a German withdrawal to new positions on the shorter and more easily defended Hindenburg Line that took place between 9 February and 20 March 1917. [89] However, the main and supporting characters all appear to be fictional. [90] Writing in the New York Times, Cathy Tempelsman argues that the storyline offers a "dangerously misleading" picture of the War, suggesting "a concern for the sanctity of human life from the top down", whereas the reality was "an appalling indifference as the British high command sent hundreds of thousands of their young men to die". She adds that the "false heroics and filmmaking feats of wonder" serve to provide an "escape from the true carnage of the 'Great War'", and that in reality the scale of the casualties was such that the potential loss of 1, 600 men would not have excited the response portrayed in the film. [91] According to military historian Jeremy Banning, "It made no sense, as the film depicts, to have some battalions nine miles beyond the former German line and others seemingly unaware of whether this line was manned.... As for the assault by the Devons, no unit would attack without adequate artillery support". [92] The number of black soldiers serving in the British Army (rather than colonial regiments) during the World War I is unknown but is likely to have been negligible. The Devonshire Regiment was never brigaded with any West Indian or African units (it spent the war in 8th Division). Over 15, 000 men from the Caribbean enlisted, including black Caribbeans living in Britain, and by 1915 it was decided to group them together into a single regiment, named the British West Indies Regiment. [93] [94] [95] Indian Sikhs would have served in their own regiments as part of the British Indian Army, not as individuals in the ranks of British regiments and Corps. By 1917 the Indian infantry had been withdrawn from the Western Front and sent to the Middle East; the Indian cavalry remained. [93] [96] See also [ edit] Real time Dunkirk All Quiet on the Western Front List of World War I films References [ edit] ^ "1917". British Board of Film Classification. Archived from the original on 19 December 2019. Retrieved 22 December 2019. ^ a b c Siegel, Tatiana (26 December 2019). "Making of '1917': How Sam Mendes Filmed a "Ticking Clock Thriller " ". The Hollywood Reporter. Archived from the original on 26 December 2019. Retrieved 26 December 2019. ^ a b Lang, Brent (10 January 2020). "Box Office: 1917 Picks Up Impressive $3. 2 Million in Previews, Kristen Stewart's Underwater Bombing". Variety. Archived from the original on 12 January 2020. Retrieved 12 January 2020. ^ a b "1917 (2019)". Box Office Mojo. IMDb. Archived from the original on 28 December 2019. Retrieved 7 March 2020. ^ "1917 (2019) - Financial Information". The Numbers. Nash Information Services, LLC. Retrieved 7 March 2020. ^ Simon, Scott (21 December 2019). "It Was Part Of Me": Director Sam Mendes On The Family History In '1917 ' ".. Archived from the original on 25 December 2019. Retrieved 25 December 2019. ^ a b c Libbey, Dirk (15 January 2020). 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Movie 1917 free download. 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.
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; Runtime: 116 m; Country: USA; Bryon Lerum, Chris Hemsworth
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