Roger Deakins has made a name for himself as one of the pre-eminent cinematographers in the world, and for good reason. Not everyone knows how to portray a world in just a few colors yet show so much. In 1917 we enjoy that skill to its fullest extent. Beyond light and dark, the film alternates between earthy tones, white, blue, and green. Depending on the scene at play, one of those takes charge with great visual energy. Time to bring out the DCI-P3 projector, you’ll need wide gamut color coverage to truly appreciate 1917.
When our characters walk around dilapidated trenches, between their uniforms and the wounded terrain, earth tones and white manifest.
Then, eventually the story moves on to more natural settings. That’s where green and blue enter the scene, showing that nature prevails over all of humanity’s petty squabbles. Although the story at the heart of 1917 has much appeal, it’s framed by hints that ultimately whatever we do the world will go on whether with us or not.
To achieve that message delivery, the crew hands in some amazing blue-dominated scenes, especially those set at dusk. There’s one particular moment where night becomes day in one take, done so effortlessly we really did gasp. We understand that the cycle of night and day continues regardless of how important humans think their affairs are. After that moment, the emphasis on nature grows in 1917.
The blue phase continues with watery sequences, and then gives way to a wooded, green-dominated denouement. It’s all handled so marvelously you’ll want to rewatch time and again to scour for details you missed the first time round.