This article was first published in the movie public account "Yunhe Movie". It is safe to eat before the spoiler split line. The overall score is 8.5 points.
I don’t know if everyone is tired of the themes of World War II. The themes of World War I have recently appeared on the screen. First there was Peter Jackson’s documentary "They Don’t Grow Old Anymore" last year, and now there is the Golden Globe Award for the big dark horse. The best film is "1917", and the technology in the two films has played a big role. "They are not getting old anymore" is a large-scale restoration of low-quality black and white material using technology to make it clearer For color movies, "1917" uses a full-time follow-through mode, allowing the audience to intuitively feel the beauty and visual enjoyment brought by photography.
In 1917, at the height of the First World War, two British soldiers who were only 16 years old received an order to rush to the death front and send a "stop offensive immediately" message to the colonel there. The time is only eight hours, weapons and ammunition are limited, no one knows the situation of the enemy ahead: a place of death and silence, barbed wire full of corpses, sudden enemy forces, and dangerous situations that are killed at any time. This time, the two teenagers saved the lives of 1,600 people. If you don't finish it, you'd better die!
It can be said that the most impressive part of "1917" is its photography, and this mode of follow-up throughout the filming process, except for the once sensational first-person film "Henry Hardcore", there are almost no similar works. The follow-up is the third person, and it sounds more like the now popular game "PlayerUnknown's Battlegrounds". Today, Yuncheng will also focus on some of the film's photography techniques to talk about the subtleties of this film.
1. False one mirror to the end, really follow the whole process
After the introduction just now, I believe that many viewers who have not watched this film will understand it as a long shot that lasts two hours. The film is not a two-hour uninterrupted long shot, but a cut in the middle. To be precise, the film is made up of multiple long shots. But don't underestimate the technical level of the film. Even with these long shots, the scheduling and framing are quite difficult.
The most obvious one is that after one of the two male protagonists Corporal Scofield was injured and fainted, there was an obvious black screen. When he woke up, he had gone from day to night. This is an obvious cut off. In addition, there are two more. The first is the collapse of the dense road, and the second is the fall along the waterfall. There are obvious traces of special effects processing in the two places. It should also be used to splice the front and rear lenses with special effects. Other places are not ruled out, but the overall lens is connected. The above is perfect, and Yuncheng can't be sure, so I won't go into details.
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2. Space conversion and front-to-back scheduling
The two most common perspectives in this film, one is behind the two protagonists, and the other is in front of the two protagonists. Behind him is to walk forward with the protagonist, mainly showing the surrounding environment, usually switching back and forth between the long and short shots according to the situation, shooting the protagonist in front of the protagonist mainly shows the protagonist’s actions and expressions, most of which are middle shots And close-up, this is also the core of the expression of this film's photography: that is, the two protagonists are always the center of the picture, and the development of the plot and the psychological changes in the depiction of the characters are promoted by constantly switching between the environmental display and the character form.
Let me list a few more shots that embody the photographic skills of this film. For example, when I walk through a puddle, I just showed the audience the whole picture of the puddle, and then the lens is panned horizontally, and such a wide pool is obviously not human. It can be traversed by carrying a camera, and large auxiliary equipment is required, which can be drip-proof and smoothly connected, which is very powerful. There is also a cart that has fallen into a mud pit. The cart is crowded with soldiers. Without interrupting the camera, it is necessary to keep the protagonist in the center of the shot and to get on and off from the crowded cart. This kind of scheduling of shots Skill can also be seen.
3. Alternative war aesthetics
The biggest advantage of the follow-up shots is that the audience will have a strong sense of immersion, as if they are following the protagonist through a tense and thrilling process from beginning to end. The film also uses this sense of immersion to make the audience feel the war deeply again. The cruelty of the people, the fragility and powerlessness of life, such as the corpses that can be seen everywhere in the first half, the burnt yellow land without a trace of vitality, the forested barbed wire, the dark red blood stains, crows and mice, the hideous face of the dead, There are also cities and towns igniting the sky full of flames, and the ruined walls that can be seen everywhere, all depict us a scene of purgatory on earth.
But these cruel scenes are not the whole of the war aesthetics of the film. In fact, there are many scenes in the film that show strong poetry and beauty, such as houses and cowsheds on the green grassland. Although people go to the empty house, they are quiet. Harmony, there is no trace of war, there are cherry blossom petals falling on the river, the beautiful singing from the woods, and the women and new lives who are still strong in the ruined walls. Although these scenes are not much inked. , But people get a moment of relaxation in the depression, and deeply feel that no matter how heavy the suffering, it will give birth to new life and new hope. As long as there is hope, there will be a rush in life, and people can Keep on living.
What Yuncheng personally likes is the section where Schofield enters the town of Exeter at night. Even though it is night, the light and shadow form a staggered and contending sonata, even though it is night. Rising, illuminating the ruins of the broken wall outside the window, the shadows leaping up and becoming bigger, like ghosts that are about to eat people, forming a powerful psychological pressure that makes people feel terrified, and the fire in the distance seems to be a journey The end of the night, but with a trace of mystery, arouses people's curiosity, and can't help but want to explore the truth. The danger lurking everywhere in the dark, the figure gradually revealed in the thick smoke, and the blazing fire in the night, seem to be one The evil trial brought a powerful shock and spiritual shock to people.
4. The final ending is slightly weak
Due to the follow-up mode of the film, it can be said that the whole story is composed of scenes and the protagonist’s encounters. Therefore, the whole film has only a small climax, and the ending lacks a big climax. It is an emotional one. Release and vent. From the perspective of the protagonist of the audience follower, he experienced a series of things along the way, such as losing his comrades, being wounded, and almost losing his life. It can be described as a lifetime of nine deaths, and finally succeeded in bringing the news to the end, but there was no suspense and drama climax to echo. Cofield just sat under the tree in relief after completing all the tasks. Although this may reflect the reality of a kind of war to some extent, as an audience experience, I always feel that I still sighed in the end. It didn't go smoothly. After experiencing all this, everyone may have mixed feelings in their hearts, with a lot of emotions, and the hurried ending after the final goal is reached, it is inevitable that people feel a little bit off the meaning, personally, the real climax of the film is described above Night in the town of Exeter.
Of course, the portrayal of the characters in this film is still very delicate. For example, when you get in the car, the soldiers in the car look at the burning bullpen, joking, teasing, and making fun, but Schofield, who just got in the car, bowed his head and was silent. , Because he just lost his close comrades in the bullpen, and because of the urgent mission, he did not even have the opportunity to bury him. At that moment, Yuncheng deeply felt the cruelty of the war. It was so cruel, even if it was very cruel to you. Important people leave you, let alone burial, you don’t even have time to grieve. In the war, your life is like grass, you are hit by a small piece of metal, and the person falls down softly like a piece of paper. , A fresh life will turn into a pile of rotten flesh in a short time. At this time, one can best see the weakness and powerlessness of people, especially the powerlessness to fight the current situation and fate.
It is precisely because we are in a peaceful age that we can feel the beauty of war. It can even be said that the cruelty of war itself is part of the aesthetics of war. But for people who are actually in war, all war can bring is endless pain and despair.
May the world be peaceful.
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