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On November 23 and 24, the grand epic "1917" about World War I directed by Sam Mendes was screened in New York and Los Angeles, and finally unveiled to the Oscar jury and the media. This year's awards season changed dramatically.
In addition to Clint Eastwood’s "Richard Jewell’s Lament" premiered at the American Academy of Motion Picture Arts Film Festival on November 20th, "1917" also showed great competitiveness. It can be said to be Chong'ao's top seed player is expected to win major awards such as best film, best director, best photography, best original soundtrack, best art director, and some other awards.
After watching "1917", I am sure that it is definitely among the top four expected to win awards. The other three are "Once Upon a Time in Hollywood", "The Irishman" and "Parasite". Coupled with the many variables in this year’s awards season, this film is likely to be the first film that did not participate in any film festival selection since 2004’s "Million Dollar Baby", but is still behind to win the best film, or maybe It will be the first war film to win this award after "The Hurt Locker". Even the most conservative, the emotional tension and technological miracle of "1917" will certainly attract the attention of the jury.
As a war film, "1917" may be more attractive to male audiences. Moreover, the cruelty of the war experienced by the two young soldiers (played by George McKay and Dean Charles Chapman) in the movie is also unbearable. They have to cross the enemy zone to transmit important information to the front. This is simply It is a suicide mission.
Judging from the audience’s tears after the first screening and Amway’s “Tap Water” on Twitter, Mendes’ war films have been recognized by a wide audience.
In addition, the film is also a miracle of film technology. The legendary photographer Roger Dickens is one of the miracle creators. The film is composed of a "pseudo-long shot". Only Dickens's nearly magical way of mirroring can be said to have won the Oscar. There is also a long shot taken in the ruins of a small French town. The visual shock of the display is unprecedented. It is difficult to imagine the best photography award.
's approach of treating the film as a "pseudo-long shot" in the end has gained momentum from Sam Mendes' "1917". The story of the film is that in the First World War, two British soldiers received a life-and-death mission to cross enemy territory and send important information to the front lines. Under the management of legendary photographer Roger Dickens, the film truly presents the thrills and horrors of war.
The scene of two soldiers running between the crowded soldiers runs through the whole film. It is impossible to set up the track of the camera to shoot, so the shooting task becomes the physical work of Dickens and his team, because they can only shoot in hand. . "1917" brings an immersive experience to the audience by moving the mirror almost all the way forward. The
film begins to show a peaceful field. Black (Dean Charles Chapman) and Schofield (George McKay) in their sleep are awakened to the commander (Colin Faith). Actress) reported that they have to perform a task: to prevent a British army from falling into the deadly trap of the German army, and Black's brother is also in this army. Due to the damage to the communication facilities, this information could only be passed through the enemy's territory by two soldiers, "human flesh" to the army.
So they were in danger and began to run. Along the way, they passed through iron nets, crossed bomb craters, past small towns swept by shells and complex trenches. Sometimes they can also avoid the flames of war, but it is just the tranquility before the storm, and the greater danger comes as soon as they breathe, creating a tense atmosphere for the whole film. Because the script jointly created by Mendes and Christie Wilson-Keynes ("Pulp Tales") is full of unpredictable blood and violence, and the tasks of the two soldiers are presented in real time, this tension runs through the film, and the audience has no A chance to breathe.
Therefore, the film is not so much a thought-provoking war film as it is a fascinating thriller. Rather than presenting the horror of war and its impact on characters, Mendes seems to be more interested in Hitchcock's psychological manipulation. This also distinguishes this war film from traditional war films such as "Road to Glory", "Galipoli" and "The Great Phantom".
For other awards, "1917" is also a sure winner, the only ambiguity may be the best editing. Movie mayFalling into the same dilemma as "Birdman" five years ago: If the whole film looks like a long shot, wouldn't the editor not play a big role?
In view of the perfect performance and coordination of all aspects of the film and the bold construction method, director Mendes has secured the position of strong contender for the best director, with Martin Scorsese, Quentin Tarantino and Feng Junhao ranked in the top four. This year, the talents of the best film awards are "crowded", Noah Baumbach from "Marriage Story", Greta Gweig from "Little Women", and Taiga Widi from "Jojo Rabbit" To mention, James Mangold of "Speed King" and Pedro Almodovar of "Pain and Glory" are all strong competitors, but even so, Mendes is also the object of serious consideration by the judges. In the Q&A session after the first screening of
in Los Angeles, Mendes talked about the story inspired by his grandfather, a correspondent in the First World War. He said, "I don't know why, the scene of a person crossing the battlefield with an important piece of information has been in my mind."
"1917" is undoubtedly a technological miracle in terms of photography, soundtrack, visual effects, and Lee Smith's "pseudo-long shot" editing. But the performances of Mackay and Chapman were not overwhelmed at all: they showed the bravery, fear, loyalty, determination, and despair of the two soldiers to the fullest.
In a sense, "1917" is the brother of "They Will Not Grow Old". The latter is a 3D documentary made by director Peter Jackson colorizing and technically optimizing the film and television materials of World War I 100 years ago. Let modern audiences feel World War I more intuitively. Both films present a different battle to the 21st century audience, and the technical support behind them may be more interesting than the actual content of the film.
translation/mikai
from Tao Piao Piao Media Number: Hollywood Film Group
