War is the cruelest and also the most beautiful.

The first time I watched this movie, I was deeply shocked when Blake and Schofield decided to rescue a German pilot they had just met, who should have been their enemy. But what followed left me speechless again when the rescued German soldier, instead of expressing deep gratitude, grabbed a dagger and delivered a fatal blow to Blake's abdomen. Ironically, at that moment, Blake's comrade, Schofield, was even getting milk nearby to help the German soldier recover faster. In this film, the cruel and bloodthirsty nature intertwines closely with the supreme glory of humanity, and there are many such complementary plotlines.

Under the night sky, the rising flares seemed to give the ruins around Schofield a fleeting life over and over again; in the firelight, the burning church appeared to be undergoing a baptism of demons, or a sacred nirvana. When Schofield, miraculously surviving death, floated on a small river, he knew that his unfinished mission was crucial for the survival of over 1,600 people just a few miles away. At the same time, cherry blossoms fell from the trees on both banks of the river, lightly landing on the water, narrating a kind of detached and transcendent beauty...

Looking out over the horizon, a race against time determines whether it leads to the slaughter of the enemy or the salvation of life. The aftermath of war, with its brokenness and scattered bones, is evident, yet the brilliance of humanity still resides in those who have survived. The low, trembling soundtrack speaks of unease, and the high-quality long shots provide an immersive battlefield experience, truly deserving its reputation as a masterpiece in war cinema.

"1917" is a visual and technical achievement. Its design is beautiful and evocative, with Deakins' cinematography, using breathtaking and never flashy long takes, is masterful.

Newman once again provides another unforgettable beautiful score, which indeed stirs the emotions of the audience as the film's second half becomes more urgent. The authenticity of the sound is exhilarating, making one feel as if they are there.

From a visual, psychological, and relentless action perspective, the film effectively showcases the full horror of war. There is no over-emphasis, and viewpoints are not forcefully imposed.

This is a war film with desolation as its backdrop and warmth at its core. Following Nolan's "Dunkirk," war seems to no longer display its brutal, bloody side, but rather a restrained and enduring one. It is the helplessness and heartache after seeing comrades die with pale cheeks and stiff bodies, the twisted expression of a brother hearing the obituary, and the moment when Will leans against a tree trunk, facing the sun, and closes his eyes.

Indeed, war has always been beyond one's control. In the face of the heavy wheels of history and the squeeze of imperialism, tiny humans can only fight to their last breath, yet change nothing. How we wish there were no ruins, no piercing gunfire, no pain and cries, and no endless deaths. If only we could end like the final scene of the film, with trees as support, sunlight as hope, and the blue sky as peace, what a beautiful world it would be!