KEEP YOUR EYES ON THE TREES: An Essay on 1917, the Most Profound Film Since Tree of Life.

Mendes has signaled such a trajectory already. Recall what happened in the German barracks scene: after a terrific explosion (that nearly knocked me out of my IMAX seat), Schofield would certainly have died had Blake not pulled him out of the rubble. In the end, Blake—with the young woman and baby and the singer in the wooded glade—has pulled Schofield out of spiritual ruin as well. Though dead, Blake’s spirited and virtuous example has helped bring Schofield back from a kind of living death. Nearly dehumanized by war, Schofield’s epic quest has revealed that the world is not a machine. Existence is not merely a test of survival. The created order is not intended for consumption, least of all for mindless destruction. Evil is everywhere, but the cherry trees—representing civilization—will grow back, and in greater number. Goodness, truth, and beauty are all around us, and will be found in greater measure in the age to come.

In part of because of the Hitchcock-style gimmick of the appearance of one continuous take, 1917 didn’t work for me as a sustained movie when I saw it on Christmas Day, which seems like a million years ago. (Before we all got to live out the sequel, 1919.) But it’s obvious there’s much going on in the movie, including the possible subtext worked out at the above link; if you saw the movie, read the whole thing. (If you haven’t, there are plenty of spoilers there.)