We return to the trenches of the first World War to consider Sam Mendes’ 1917 within the greater history of World War I films generally, and as a companion to Peter Weir’s GALLIPOLI specifically. Following some debate over whether 1917’s continuous shot gimmick makes it more or less emotionally affecting, and an attempt to parse the film’s attitudes about war, we look at these two films in tandem to consider what they have to say about the failures of leadership in wartime, their respective depictions of young male friendship and communication, and to what extent each registers as an anti-war film. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar.

Please share your comments, thoughts, and questions about GALLIPOLI, 1917, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730. 

Works Cited

• “‘Full Metal Jacket’ Seduced My Generation and Sent Us to War,” by Anthony Swofford (The New York Times Magazine)

• “Before 1917: Revisiting the greatest first world war movies,” by Scott Tobias (theguardian.com) 

• “The 50 Greatest War Movies Ever Made,’ by Keith Phipps (vulture.com)

Your Next Picture Show

• Scott: King Vidor’s THE BIG PARADE and Lewis Milestone’s ALL QUIET ON THE WESTERN FRONT

• Genevieve: John Chester’s THE BIGGEST LITTLE FARM

• Tasha: Sergio G. Sanchez’s MARROWBONE, Sebastian Schipper’s VICTORIA, and Makoto Shinkai’s WEATHERING WITH YOU

• Keith: Francis Ford Coppola’s THE COTTON CLUB

Outro music: “Wayfaring Stranger,” performed by John Stirratt 

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