1917
トーク情報- nasayugen
nasayugen I have a special fondness for movies that set technical limitations and still achieve full bodied, engrossing story telling. For example, Stephen Knight's Locke is one man, in a car, by himself - and it's riveting. Die Hard takes place (mostly) in a single blinding. 1917 sets a limitation for itself by presenting the movie as a single continuous shot. (It's really at least three, but that's beside the point.)
- nasayugen
nasayugen The rationale is that this would immerse the viewer in the experience of the war. And despite Deakins skill in pulling off the achievement, I think it does the opposite. It's awkward at times, distracting, and gives up the foundational language of film: the power of editing. Some thoughts:
- nasayugen
nasayugen <li>The long shots of the characters walking toward the camera in the trenches are off putting. They are completely unlike the way we experience reality - how often do we hold a steady gaze on a single point while walking in real life? It's meant to be subjective and immersive, but it's the opposite.</li>
- nasayugen
nasayugen The real problem is that we have scene this movie before. The plot is the same as Saving Private Ryan, or even Thin Red Line or the Naked and the Dead, which were also built around a single mission. I think Mendes tried to overcome a familiar story with the single take idea. I also think that he can't resist sentimentalizing the story and reaching for unearned emotion.