https://www.nationalreview.com/2019/12/movie-review-1917-contrived-technique-director-sam-mendes/
Sam Mendes is the real star of Sam Mendes’s new World War I drama.
The list of great films about World War I in Europe is surprisingly short: After the acknowledged masterpieces All Quiet on the Western Front (1930) and Paths of Glory (1957), there aren’t many more worth discussing. 1917 is a splashy attempt to join the list that is well worth seeing yet suffers from comparison to the far better film covering the same ground that was released just eleven months ago.
That movie, the Peter Jackson documentary They Shall Not Grow Old, was meticulously, devastatingly real. 1917, by contrast, starts out convincing but comes to seem unforgivably contrived around the halfway mark, and by the end it asks us to suspend disbelief to such a degree that the effect is nearly absurd. I was reminded of Roman Polanski’s The Pianist, whose protagonist developed into a kind of Buster Keaton figure who miraculously bumbled his way through a storm of violence so focused that it seemed as if the Wehrmacht’s sole purpose was to kill this random citizen.
1917 is defined also by its surface contrivance: Sam Mendes has designed the film as a single take (followed, after a brief blackout in the second half, by another single take). Like Birdman, though, as well as the fantastically complicated opening scene of Mendes’s own James Bond film Spectre, 1917 is actually composed of many shots ingeniously woven together using digital wizardry to look like a single take. I dislike the gimmick, at least at this length; staying on a single take creates a sense of hanging in midair as we wonder when we’ll finally hit the ground, and it works beautifully for a single scene like the opening of Spectre or Touch of Evil (1958), the Orson Welles film that inspired all subsequent one-take sorcery. Keeping a take going for an entire movie, though, is a mistake. It redirects the attention from the story to the technique. To be slightly rude about it, it makes Sam Mendes, not his characters, the star of the movie.