A movie is seen to the end, it seems impossible to complete, but in fact, there has been pearls and jade in front. "Birdman", which won the best film Oscar in 2014, is a successful example. But in fact, these films are not really one shot to complete a film, but several long shots are connected in series in the later stage, and the general audience does not have the feeling of clearly cutting the shots during the transition.
In recent years, such "pseudo-one mirror to the end" movies have attracted more and more audiences to enter the cinema, especially "1917" is still a war-themed film. After all, the scene and scale of the war movie are very large, even if it is a fake one to the end, as long as it can be used skillfully and reasonably in this movie, it is enough for industry peers to give a thumbs up.
"1917" tells a very simple story: two young British soldiers, Schofield and Blake, received an urgent and almost impossible task-walk across the enemy line of defense to convey an emergency to the British army Order to cancel the original plan of attack on the German army to prevent the British army from falling into the German trap. This task is related to the lives of 1,600 British soldiers, among which Blake's brother. The
whole movie is to follow Schofield and Blake in the trenches, in the wild, in the ruins, and walking in the woods. The two soldiers will cross the Western Front in eight hours, but the movie only takes less than two hours. In fact, Schofield's time for a ride and a coma is eliminated. The part that the audience sees is the part where the protagonist is advancing. Hitchhiking and coma are similar to the "fast forward" processing and design, making the story more reasonable.
director Sam Mendes explained in the interview why he insisted on using one shot to deal with this World War I story. One shot requires that the development time of the story is exactly the same as the viewing time of the audience. In other words, if you watch the movie for one minute, then the story in the movie will develop for exactly one minute. Director
wanted this adaptation of a war story told in real time by his grandfather. One shot in the end can undoubtedly increase the realism and immersion of the movie. Every ordinary person of us lives a minute by minute. When the minute spent by the actors is also the minute spent by the audience, the audience and the actors do To truly share fate with the breath, face the unknown difficulties together. The director wants the audience to have a new experience of the battlefield, both real and unfamiliar, creating a subtle sense of distance that is immersive but unaware of the upcoming danger.
In the end, a mirror has very high requirements for shooting, requiring the scheduling of the shot to be synchronized with the performance of the actors. Fortunately, the director has experience in stage play, and the photographer of this film is Roger Deakins, who has won the Oscar for best photography. He has extensive experience in shooting one shot to the end. Sometimes shooting needs to lift the camera and the photographer with a steel cable to shoot a wider and larger scene, sometimes the photographer needs to carry the camera and squeeze in a small car to shoot the scene of running.
has extremely high requirements for actors. Once filming starts, you can’t stop. Even if something unexpected happens on the scene, you have to bite the bullet and act, and you can’t play, you have to be in the role. Here, act according to the character and situation of the character, not to mention that you are in a war-themed movie. There are many big blast scenes, and the rehearsal is very important. One shot of
is also a huge challenge for art, because the shooting is in chronological order, all the way forward, all the scenes cannot be reused, let alone shooting indoors. Therefore, all the scenes in the movie were built on a flat ground. The planning of the scene alone took a long time, five times that of a normal movie. Every detail of the scene must be carefully arranged to match the movement of the actors, and with the hidden camera, to make everything look natural and flawless.
The most criticized part of the whole "1917" is that the plot is empty, the characters are plane, there is no reflection on war, and there is no portrayal of human nature. After the freshness of the mirror is over, the audience seems to be just watching an upgraded version. In addition to marveling at the awesomeness of the scene scheduling, he really wanted to fast forward for a few moments. This film is just like Ang Lee’s "Gemini Killer". When the story becomes a technical supporting role, the shock isShocking, but apart from shocking, there is really nothing to say. Who makes the director show off his skills?
