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1917 (2019)


Developed with consideration of the Federal Specification KKK-A-1822 and NFPA 1901: Standard for Automotive Fire Apparatus, NFPA 1917 defines the minimum requirements for the design, performance, and testing of new automotive ambulances intended for use under emergency conditions to provide medical treatment and transportation of sick or injured people to appropriate medical facilities.




1917 (2019)


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Born in China in 1917, Ieoh Ming Pei moved to the United States at age 18 to study architecture, and eventually received degrees from the Massachusetts Institute of Technology and Harvard University. He opened his own firm in New York City in 1955.On July 9, 1968, the trustees of the National Gallery of Art selected I. M. Pei to design a building to provide additional space for the permanent collection and temporary exhibitions, as well as a new center for research in the history of art. The building was to be constructed on the plot of land directly east of the West Building that Congress had reserved for the museum at its establishment in 1937.


1917 is directed by Sam Mendes, who wrote the screenplay with Krysty Wilson-Cairns. The film is produced by Mendes and Pippa Harris for their Neal Street Productions, Jayne-Ann Tenggren, Callum McDougall and Brian Oliver.


Paul Streeten, Emeritus Professor of Economics at Boston University, passed away at the age of 101 at his home in Princeton, New Jersey on January 6, 2019. He was born in Austria in 1917, escaped to the UK at the start of the Second World War and was later wounded while participating in underground military activities in Europe. He studied at Balliol College Oxford, where he subsequently became a Fellow in 1948. During the 1950s, he made significant contributions to the economic theory of industry and trade with articles in leading academic journals such as the Quarterly Journal of Economics, Review of Economic Studies, Journal of International Economics, and the American Economic Review.


Now I just wanna state straight up that I don't generally like war films, especially those that glorify war and such. However, 1917 does anything but glorify war. It's an excellent film. I watched it about 8 months ago, and made some figs then, so these may be a bit outdated but here they are anyway. And before anyone tells me "actually, that gun is from 1918 and they wouldn't have used it at that point in the war"... I don't really care :P


On a storytelling side, Mendes constructs 1917 (2019) as a Greek tragedy, with the span of day/night/day perspective, and bets on continuity that builds anticipation. Thanks to a seemingly uncut long-take, 1917 (2019) offers a rare kind of authenticity and tension.


Storyteller Distribution Co., LLC and NR 1917 Film Holdings LLC are the authors and creators of this motion picture for purposes ofThe Berne Convention and all national laws giving effect thereto, and for purposes of copyright law in the United Kingdom.


Easily the biggest WWI film of recent memory, 1917 conjured a variety of opinions from critics and viewers alike. Its 3 Oscar wins (Cinematography, Visual Effects, and Sound Editing) and over 200 total award nominations speak for themselves.


By referring to film history, technique and science, your articulation has made quite expertly made clear the pitfalls of sticking to the technique of long take and not employing cuts, especially in the case of 1917.


Gretchen Carolyn Davis (Gretchen the Great, Great Grandma Gretchen, Triple G) was born November 24, 1917, in Omaha, Nebraska. After 101 years of love and kindness to others, she passed away peacefully on September 18, 2019.


Thestrongest piece of the narrative is the concept itself. These two young men trying to save othersoldiers from an ambush pushes away from the normal dogs of war type of narrative. 1917is about the courage and valor in saving your fellow man rather than the honorthat killing of faceless enemies brings. There is a gasping for breath tone that Mendes is able to bring to thefilm that feels urgent at all time even in the quietest of moments.


Schofield is one of those haunted-hero types who got a medal at the Battle of the Somme but traded it for a bottle of wine some French guy had because French guys have the best wine and real heroes don't need medals they need liquor and also this war is stupid so why would he want a medal? Schofield is awesome. The Battle of the Somme was a British movement that began on July 1, 1916, when eleven British divisions marched like idiots into the withering fire of six heavily-entrenched German divisions. The battle plan lacked all imagination for a few reasons. One was that the British were very interested in being sporting, for the most part; another was that by this time in the war, Britain and France were essentially out of men and their new conscripts from the country were not well-respected by their commanders as "gentlemen." Because they were thought to be no better than stupid animals, it was widely believed they would not understand any tactics beyond "standing up straight in lines" and "marching forward into machine gun nests and artillery." The most compelling reason is probably that General Douglas Haig is one of WWI's great jackasses. Out of 110,000 British men, 60,000 were killed or wounded in one day, and no ground was gained. The dying and wounded cried out in the land between trenches for days until the last finally died. It was a single-day record for the war, though one that stood for a short time. The Battle of the Somme was widely referred to as "the great fuck-up" by the army left fighting. Haig constantly imagined phantom German retreats he could exploit with heroic cavalry charges. 1917 is sort of about the same imaginary rear-action, which makes it awesome. Anyway, Schofield fought in the Somme, and he's quite pissed about it.


He's pissed, too, that Blake chose him for their long Steadicam teatime of the soul. It doesn't make a lot of sense that Schofield would be surprised to discover things like the tunnels the Germans have dug--Blake, neither, but because the audience for 1917 is probably surprised (at least the portion of the audience that has not seen other war films or played video games or read a book), well, then, so are Blake and Schofield. There's a wicked-cool scene at a burned-out frame of a farmhouse where a German Doppeldecker gets shot down and almost crashes into them and then this bastard German pilot (Robert Maaser) the boys heroically drag out of his plane is well, spoiler alert, he's a dick. This is also the point where Schofield fills his canteen with milk so that later, when he runs into a French woman and the orphan baby she's taking care of, you can level up by giving the baby milk and not raping the French woman. If you forget to fill your canteen with milk, though, you're going to have to restart at this save point if you want to get the good karma ending instead of the bad karma or neutral ending. It seems to make more sense to use the pump to fill your canteen with water here, because there's water in the pump, which you find out because to get to the cut scene with the pilot and Blake, you need to move the pump. Anyway, get the milk.


1917 could be set in any war because it's not about anything. Not everything has to be about something, of course, but 1917 appears to be studiously about nothing. What it is, though, is awesome! Just really awesome! Like, holy shit, is it cool. There's not a minute, I don't think, where I wasn't trying to figure out where the hidden edits were and how they set up specific shots. I thought about it a lot and, God, the moment in the rain of cherry blossoms after that trip down the waterfall? PHEW! Right? You guys, it's so fucking cool. It's probably CGI, but what if it isn't? What if there were people in the trees with buckets of petals, waiting to get the timing right? Man, it's pretty distracting to think about all this stuff. I also love that thing where Schofield sees this guy walking out of the shadows and smoke and then he starts running at him. It's a GERMAN! Look out, Schofield! Look out!


Gallipoli is one of the saddest, most sobering films I've ever seen and was foundational in my moral development. 1917 is awesome. Did I say that already? It's awesome. Note how it begins and ends with a beautiful young man in repose beneath a tree. It seems to speak to a certain Arthurian certitude that, yes, should there be trouble arising again, there will always be heroes in repose just waiting to be stirred into heroic, redemptive action. But heroism is meaningless in affairs of war, isn't it? And redemptive of what, exactly? There's a mid-film intimation by grizzled Captain Smith (Mark Strong) that maybe when the message gets to where it needs to go, the Colonel will be so blood-thirsty it won't stop him anyway. Boy, that would've made for an interesting movie, wouldn't it? It wouldn't be awesome! anymore, however. In fact, it would be a bit of a downer. And it would have been about something, meaning wet blankets like me would sit in our luxury basement talking on and on about how we should stop doing stuff like WWI instead of just connecting the essential emptiness of this film with the war that coward and draft-dodger Trump is trying to start in Iran as a distraction and a re-election campaign stunt. Making a hollow spectacle of war is ignoble. Sometimes it's dangerously irresponsible. Anyway, 1917. You won't believe how fucking cool it is.


1917 is a 2019 World War I movie directed by Sam Mendes (Skyfall). With World War I at its peak, Blake and Schofield, two young British soldiers, are ordered to travel deep through hostile land to deliver an important message. But it's a race against time because this message has to be delivered fast enough to prevent an attack that would mean certain death for hundreds of soldiers. The cast also includes Colin Firth, Mark Strong and Benedict Cumberbatch.


Plot: April 6th, 1917. As a regiment assembles to wage war deep in enemy territory, two soldiers are assigned to race against time and deliver a message that will stop 1,600 men from walking straight into a deadly trap. 041b061a72


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