I don’t typically watch war movies these days. Since having participated in a war myself, such films have lost their sheen for me. I do make exceptions, however. I watched “12 Strong” because it’s probably the only blockbuster film about my war to be made and now I’ve seen the 2019 film “1917”.

This film, as you can probably guess from the title, is set during The Great War, aka World War I. There are just two main characters, two young British soldiers, Lance Corporals William Schofield and Thomas Blake, tasked with an impossible mission: carry a message across no-man’s-land, passing close to a German-occupied town, to a division that is about to stumble into a trap. A simple premise that is done beautifully.

Everything about this film was done well. The accompanying musical score directed by Thomas Newman was a perfect match, at times haunting and other times inspiring. There is also an a capelle rendition of the classic folk song “I am a Poor Wayfaring Stranger” towards the end, sung by a soldier to his silent comrades, that left me at a loss for words.

George Mackay and Dean-Charles Chapman are excellent in the roles as Schofield and Blake. They truly captured the spirit of two young men who daily live in fear of death but put a brave face over it, whether that be through humors, letters from home, or allowing themselves to be fully immersed in their work.

Benedict Cumberbatch also appears in the film briefly as Colonel Mackenzie. Though he is only on the screen for about two minutes, he runs away with the scene. It’s remarkable when an actor can suck the air out of the room in which the audience sits, even in a supporting role.

What truly elevated this film, however, is the manner in which it’s shot. There are no scene breaks, no POV changes, and no cuts. The film is a continuous, running shot. The effect of this method is astounding and a wholly new experience. Just one example, as Schofield and Blake approach a seemingly abandoned country house during their mission, they decide they must check the house for enemies.

In any other movie, here there would likely be a scene change, cutting to the young Lance Corporals suddenly on the porch of the house or kicking in the front door. Not in 1917. Here, once Schofield and Blake decide to advance on the house, you follow them literally every step of the way. Down the hill, around the pond, up the bank, and then over to the porch. It’s only about 18 seconds, but it’s 18 seconds of filming you would never see in an ordinary film.

Suffice it to say, I was fully immersed in this film. It takes you right down to the ground of a brutal land war, giving you a grunt’s-eye-view. There’s not too much violence in it; there’s a scene of somewhat unsavory hand-to-hand combat, but it takes place during the night and in a shadowed corner, sparing the viewer anything too gruesome.

And, of course, there is heart-wrenching loss. It’s painful to watch and impossible not to shed a tear.

As with other war movies, I will not watch this one again, but I’m very glad I saw it once. I highly recommend it to anyone who appreciates a new cinematic experience.