1917: Neon NZ Film Review

Cast: George MacKay, Dean-Charles Chapman, Colin Firth, Daniel Mays, Benedict Cumberbatch, Andrew Scott
Director: Sam Mendes

Schofield and Blake, (MacKay and Chapman) two young British soldiers during the First World War, are given a seemingly impossible mission. 

With time against them, they must deliver a message, deep in enemy territory, that will stop their own men, and Blake's own brother, walking straight into a deadly trap.

But with the clock ticking, the duo face deadlier dangers than they could realise as they tread the trenches and the mistrust within the ranks.

In all honesty, director Sam Mendes does nothing new with the bones of the story of 1917.

There have been countless rescue missions/ one last mission war stories told before (Saving Private Ryan being the most famous) and Mendes’ tale of two soldiers tasked with stopping a doomed final push is hardly new - more an intimate tale set against the backdrop of a grander canvas.

And yet, in among some truly naive dialogue and some narrative contrivances that border on unbelievable, 1917 enacts one major coup - namely its one shot ethos, set in real time.

Imagine a more relaxed episode of 24 but with no less of the tension but less of the shouting and the real time(ish) exploits in 1917 start to merit some viewership rather than a familiarity dismissal.

Mendes along with cinematography from Roger Deakins sets the film apart - from an opening shot that takes two soldiers from a glen, weaves them through trenches and ends in a final mirrored shot that echoes the opening.

In between these bookenders, our pair of young heroes go through hellscapes, rendered with panache by the visuals team and undergo much more than any soul should take. But yet, your engagement with their mission feels forced and distant, therefore some elements don't land as perhaps they could - or should.

The emotional level doesn’t quite pull together as it should, with aforementioned contrivances and ropey dialogue jarring occasionally. And some sequences are clearly in existence to add to the necessary joining of the story.

But where 1917 works is in its immersive take on what war means and how it affects people.

It's here that the visual chutzpah comes together, and here that you get sucked into the action, such as it is. Complete with landscapes that are hellish and visually eye-popping, 1917 works better in parts than compared to the sum of said parts.

Ultimately, 1917 may well be a journey, but it's one that while successfully instigated at a technical level, falters at the more human edges that produce the most effective of war stories.