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1917: A Review

1/31/2020

 
by Mason Leaver
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It’s very likely that one of the things you’ve heard most about Sam Mendes’ 1917 is that it is all made to look like one shot. In the past five years or so, film and television has become full of the technique referred to as “long takes”; the use of an extended scene in a film, which takes place in one shot without any cuts or editing. Since Birdman’s (Iñárritu, 2014) success in 2014, long takes have become a well-worn tool on the filmmaker’s toolbelt. Earlier, Emmanuel Lubezki, the same cinematographer who produced Birdman, employed long takes very well in Children of Men (Cuarón, 2006). Critically, this use of long takes was extremely well received, especially by film critics on Youtube. A film was not praised for its excellent use of a long take, in a way which enhanced the story, but it was praised simply for having long takes at all; as if that were a merit in itself. But as the technique grew in popularity, some uses of it felt vapid and unnecessary. However, in 2019, Sam Mendes has brought the long take back out of the toolbox, and put it to great use with his cinematographer, the ever-talented Roger Deakins. 1917 (Mendes, 2019) manages to breath new life into what could have become a clichéd technique, by presenting a story which feels as though it must be told as a single take. 

1917 is the story of two British soldiers in World War 1 who are selected for a dangerous mission, in a race against time to save over 1,000 lives. This journey takes them through the No-Man’s Land of the trenches, all the way into enemy territory. The two soldiers, played by Dean-Charles Chapman and George MacKay, are forced to rely on each other to survive in order to accomplish their mission in the short amount of time they have. 
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A battle sequence from 1917.
Chapman and MacKay both bring excellent performances to 1917. This is probably Chapman’s biggest role to date, and also most challenging. His previous largest roles have included playing Tommen Barathyeon on Game of Thrones (2013) and Thomas in Netflix’s original, The King (Michod, 2019). This is also MacKay’s largest role to date. Previously, I especially enjoyed his performance as Bodevan in Captain Fantastic (Ross, 2016). Both actors give their all in this film; their performances are not just believable, but moving. They are the only two constants in a film which is constantly moving forward and away from characters we know. The duo bears the weight of the film on their shoulders, and they carry it with ease. 
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Sam Mendes (Center) directing 1917's costars Chapman (left) and MacKay (right).
Of course, the most memorable aspect of 1917 is it’s implementation of the “long take”. The entire film is made to look like one long take, and it works wonderfully in this film because of the expertise of the filmmakers behind the camera, namely the film’s director, Sam Mendes, and Cinematographer Roger Deakins. Director Sam Mendes, previously known for his work directing films like American Beauty (1999), Skyfall (2012), and Spectre (2015). It was Mendes’ idea to have the film take place over one shot, a choice which he saw as absolutely necessary for the story. Mendes began working with Deakins on Skyfall, and continues his work on 1917. Deakins is widely considered to be one of the best cinematographers of all time, and he brings all of his talents to 1917. There were some sequences of the film which were absolutely breathtaking; even more impressive when you consider that there is no cutting at all. When I was discussing the film with some friends, we began talking about a particular scene which is lit entirely by flairs in the sky. These flairs light the night scene, and their movement shifts the shadows of the scene. One of my friends noted that “it feels like Deakins is just showing off at this point. It’s perfect.” I have to agree with my friend. The cinematography and lighting of the film is exceptional, perhaps downright flawless. ​
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The dynamically sublime sequence of 1917.
One can praise the technical mastery of the film to no end, but the true value of 1917 is in its story, and in the emotions that it provokes. Some of the scenes were absolutely captivating. The lack of cuts places us in the room with the characters. The film is immersive; our experience as an audience is extremely similar to the experiences of the characters, due to the lack of cuts. Mendes carries the audience through a score of emotions and experiences. We feel nervous, freightened, claustrophobic, hopeful, and brave, along with the protagonists.
Immanuel Kant, an eighteenth century philosopher, wrote about an experience which he called the “dynamically sublime”. The dynamically sublime was a sense of sublimity caused by an overwhelming danger, which brought about bravery in mankind. The juxtaposition of this great danger and this great bravery is what caused the sense of the sublime. One particular source of this sense of the sublime, according to Kant, could come from war. War, Kant wrote, “has something sublime about it… only the more sublime the more numerous the dangers to which they are exposed, and which they are able to meet with fortitude” (Kant, 93). I believe that 1917 captures this sense of the sublimity of the bravery which it takes to sacrifice oneself in war. The climax of the film, which involves a massive charge of troops, with a main character taking a major risk to accomplish his mission, is monstrously sublime. In the theater it felt almost overwhelming.
Not much more can be said about 1917. It is both a technical and artistic masterpiece, and is one of the best films of the year. In a year which has been full of excellent films, 1917 will stand out. I would not be surprised to see 1917 win the Oscar for Best Picture this year. It also will not be much of a surprise if Deakins were to win yet another Best Cinematography award, although I personally am rooting for The Lighthouse for Best Cinematography. 
For more information on how 1917 was filmed, see here:
Works Cited
KANT, IMMANUEL. CRITIQUE OF JUDGEMENT. A & D Publishing, 2018.

The Awe-Inspiring Visuals of Black Panther’s Ending Title Sequence

1/27/2020

 
By Joseph Naguski
A barrage of intense color fills the screen as vibranium sand forms vibrant shapes and symbols representing key moments from the highly popular 2018 Marvel film Black Panther. In this title sequence analysis we will explore how the design studio Perception creates stunning visuals coupled with riveting typography. All moving to the tune of the film’s original track “All the Stars” by Kendrick Lamar and SZA. To explore more about the film itself and our thoughts on it, read our review by Bill Friedell.
As the film ends audiences are quickly brought into the ending title sequence which begins with a dose of bold purple encompassing panthers made of sand. As it plays out the moments portrayed on the screen give the audience another look at the themes of the film such as the struggle between tradition vs. change and conflicting identities. Iconic events are relived again through the storytelling of the sequence. The overall feel of the sequence is created to emit the atmosphere of Wakandan culture as presented in the film.
To help further emphasise this identity throughout the piece the sequence’s design team, Perception Studio, wanted to bring back the same vibranium sand effect seen in the prologue of the film back to have its visuals come full circle. The prologue sequence was created by an outside visual effects team named Storm VFX. Perception studio took the elements of that prologue to create their sequence. They created an interactive environment filled with iconic moments from the film all united with atmospheric images of african patterns and cymatic-based forms. The vibranium sand particle effects were created using a combination of Cinema 4D, X-Particles and Houdini. 

The bold altering color palette throughout the sequence is more than just attractive visuals. The colors are all designated towards certain characters and personalities. Purple: Royalty, neon blue: Vibranium, regular blue: Outsiders, green: Nakia and the River Tribe, Gold: The Golden City: orange: Villains and red: The Dora Milaje. These colors were taken from a color script provided by the Black Panther’s director Ryan Coogler who placed emphasis on these colors throughout the film itself. 
The typography of the sequence was used to put further emphasis on the Wakadan culture aspects of the design of the sequence. Perception decided to create “a visual translation of the letters from traditional Wakadan glyphs to a Wakandan-inspired latin typeface for each individual credit.” The final “Black Panther” title credit was created with custom letterforms based off the typeface Beyno. Much like Wakanda itself, the letters are at first hidden and indecipherable. The placement of the text is simple compared to the environment surrounding, allowing it to be read easily while still fitting within the design.
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Perception studio describes itself as “a cutting edge design lab pioneering the visionary process of Science Fiction Thinking to architect the future.” The studio does not only film title designs but also designs and creates entire “futuristic digital universes” for the films it is a part of. It is the studio behind many films within the Marvel cinematic universe. Including Iron Man 2, Captain America: Civil War (Russo, 2016) and most recently Spider-Man: Far From Home (Watts, 2019). However, they are not solely a film design studio however, they also work to help create the design of new technologies in the real world as well. They are involved in the aerospace, automotive, and mixed reality industries among others. From title sequences to supercars, Perception has an extensive amount of work aimed towards the future.
Black Panther’s title sequence is truly a stimulating visual experience harmonizing with Kendrick fast-paced melody of “All of the Stars”. The eccentric representation of iconic moments and characters formed from the dynamic vibranium sand contrasted with the bright and bold color palette make the sequence unique.

Work Cited

http://experienceperception.com/black-panther-moe.html
Coogler, Ryan, director. Black Panther. Walt Disney, 2018.

There Will Be Blood: A Review

1/24/2020

 
by Anne Jane Preston
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Paul Thomas Anderson's There Will Be Blood (2007) opens by fulfilling the title's promise of bloodshed and viscera, as we watch a miner get crushed and embedded into an oil pit by falling debris. What follows is a 14-minute sequence of shots establishing the world, with absolutely no dialogue. The world in question is portrayed as one that inflicts itself upon all those who inhabit it. It is a universe where only the strong survive, usually preying on those who are much weaker than they are. This is where the real story begins.

There Will Be Blood, which is based on Upton Sinclair's novel Oil, revolves around Daniel Plainview played by Daniel Day-Lewis. It follows his ceaseless pursuit of oil and riches, where he shows just how far he will go to get what he wants. Daniel Day-Lewis, who would go on to work on two more of Anderson's films, plays the role of an egotistic maniac to a T, as he gives one of the most riveting performances of his career. This is saying a lot, as an article on Reuters reveals that Day-Lewis has three Oscars under his belt.

This was clearly no easy task for Day-Lewis, as one could easily overextend when portraying the rage, fury, and desire of one wanna-be oil tycoon Daniel Plainview. But Day-Lewis, ever the master, is one that is all too familiar with restraint. His is a fury that is precise, targeted, and controlled. This depiction hits the sweet spot, or the thin line between acting and overacting. Indeed, this is a line that Day-Lewis tiptoes in various moments of this film, as he pushes the character to the brink of breaking just as much as the character has obviously pushed him.
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Day-Lewis isn’t the only major first time collaboration in There Will Be Blood, as it also marks Jonny Greenwood's first time scoring for the critically acclaimed director. Jonny Greenwood is known for experimenting with electronic gadgets to achieve surreal sounds. He's famously used the subdued and subtle natural tube amp growl of the Boss SD-1 Super Overdrive to shape the sound of his band Radiohead back in the '90s. Another pedal that frequented his roster was the Digitech Whammy WH-1, which can be heard on Paranoid Android. The man was obsessed with electronic music, which is why it's equally strange and refreshing to hear him work exclusively with orchestra instruments and musicians.

Doubtlessly informed by Greenwood's extensive use of effects throughout his career, some argue that this film's soundtrack is the Radiohead guitarist's best work to date. This may be why Greenwood has established quite the working relationship with Anderson, as Greenwood would go on to score Anderson's next films, including The Master (2012), Inherent Vice (2014), and Phantom Thread (2017). In There Will Be Blood, the eeriness of the film's score adds another dimension, as it serves as a stark contrast to the sunny and bright landscape of Southern California. This, paired with brilliant acting by Day-Lewis, is another indication that things are about to go terribly wrong.

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Overall, the film acts as a modern-day tale on the animalistic nature of the desires of man. It is a representation of how far one can go on the whims of his own selfishness – a reminder of why we should never venture that far, as it will surely come at the cost of one's humanity. And while some may say that Anderson's film is a ham-fisted portrayal, a caricature of what man can become, it is these same exaggerations that give the material distance. This gives the audience a chance to examine it more closely, allowing them to reflect on how they perceive their desires and the lengths that they would go to turn these desires into a reality.


Works cited:

Feigel, Lara. “Review: Oil! by Upton Sinclair.” The Guardian, Guardian News and Media, 24 Feb. 2008, https://www.theguardian.com/books/2008/feb/24/features.review.

Serjeant, Jill. “Triple Oscar Winner Daniel Day-Lewis Retiring from Acting.” Reuters, Thomson Reuters, 20 June 2017, https://www.reuters.com/article/us-people-daniel-day-lewis/triple-oscar-winner-daniel-day-lewis-retiring-from-acting-idUSKBN19B2ZX.


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