Two young British soldiers, Schofield (George McKay) and Blake (Dean Charles-Chapman) are tasked with delivering a message against the clock to prevent an attack that would result in two battalions dying in a German trap.

1917 is all about film making technique. It presents itself as a 119 minute film shot in one take and everything about it makes you wonder where the hidden cuts must be (I think I saw two) and how on earth did they choreograph every moment to get it right? As a result it suffers in some areas, depth of story being one, but it does not lack for grandiose spectacle and the ability to strike awe into you.

Let’s talk about the story first. Summoned by General Erinmore (Colin Firth) our young protagonists are given their task, traverse the trenches and no mans land to stop an attack that will mean certain death. Blake has been chosen for a reason though, his brother is in the company about to meet their doom and as a result has more purpose to get to their destination. Echoes of Saving Private Ryan are present in that story and in some of the moments later in the film. From this point forward it is simply about if and how the soldiers can get to their destination as they meet the cream of British acting talent in cameos on the way (eagle eyed trailer watchers will have spotted Andrew Scott, Mark Strong and Benedict Cumberbatch).

The story may be a little anaemic then, although arguably no more so than any men on a mission war film. But the filming device does not really allow for more and whilst the two leads develop a real rapport with each other they have to do so on the move. Arguably Thomas Newman’s imposing score makes up for the lack of interaction between characters giving us an ominous tense feel and punctuating the suffering and loss.

What this film is truly about is the camera. Cinematographer Roger Deakins earned his 15th Oscar nomination for best cinematography (unbelievably he has won once so far) the day I watched this film and I think it would be a monumental surprise if this does not net him a second! His camera never seems to cease moving and it roves high and low as it tracks across water and mud. Some how he takes in the dead animals and humans strewn across the landscape, the soldiers huddled in the trenches or storming the battlefield whilst all the time being able to capture every personal moment of our leads. It’s truly astonishing to watch.

This is Sam Mendes second war film, 2005’s Jarhead being a much more cerebral affair. This time it is clearly personal, the film is dedicated to his grandfather who served in the First World War and the story is clearly meant to be one about the troops on the ground. I suspect the one shot approach was supposed to force the viewer to feel part of those troops story and it’s only moderately successful there as whilst it fills you with awe it doesn’t connect you completely to Schofield and Blake.

You would still return to the likes of Saving Private Ryan for emotional heart and The Thin Red Line for spiritual resonance, whilst 1917 will be known for its technical excellence.