WWI Centennial: The Colossus Begins To Move

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 279th installment in the series.

June 13-15, 1917: The Colossus Begins To Move

Following the U.S. declaration of war on Germany in early April, all eyes in Europe were on the great Republic across the sea, with people on both sides of the great conflict wondering (some in hope, others in fear) whether the Americans really intended to join the fight – and if they did, would they arrive in time to affect the outcome of the war?

A little over two months later they had the answer to at least the first question, as the colossus in the west finally began to move. Mid-June saw the arrival of the top American general in France, as well as the successful closing of the First Liberty Bond, kicking off a mass fundraising campaign to pay for the war effort, largely sponsored by the savings of ordinary American citizens. Meanwhile a crash construction program for a vast network of training camps was also getting underway, laying the groundwork for the creation of a new army numbering in the millions; record-breaking procurement programs to build a huge air force, navy, and merchant marine were also swiftly set in motion.

PERSHING IN PARIS 

With the death of Lord Kitchener at sea still fresh in every one’s minds, the voyage of General John “Black Jack” Pershing and his staff across the Atlantic Ocean was kept top secret, in order to protect the top commander of the American Expeditionary Force from ambush by enterprising German U-boats. The gambit worked, as Pershing’s sudden arrival at the British port of Liverpool aboard the ocean liner Baltic on June 8, 1917 seemed to have taken everybody by surprise.

After a train journey to London, Pershing spent four days in the British capital, where he was received by King George V and Queen Mary at Buckingham Palace, then met with Prime Minister Lloyd George and conferred with top officials at the War Office. The American commander and his retinue then proceeded by train to the southern port of Folkestone and crossed the English Channel aboard a fast destroyer with a large naval escort, including sea planes and blimps watching for U-boats; the vanguard of the U.S. Army, consisting of 59 officers and 67 enlisted men, arrived in Boulogne and set foot on French soil for the first time on June 13, 1917 (top; below, a doughboy disembarks).

Following a quick tour of Boulogne, which served as the headquarters and main supply hub for the British Expeditionary Force, Pershing’s party continued by train to Paris, where they received a rapturous reception from the city’s population and virtually the entire French government. The American journalist Floyd Gibbons, a correspondent for the Chicago Tribune, recalled their arrival:

The sooty girders of the Gare du Nord shook with cheers when the special train pulled in. The aisles of the great terminal were carpeted with red plush… General Pershing stepped from his private car. Flashlights boomed and batteries of camera men manoeuvred into positions for the lens barrage. The band of the Garde Republicaine blared forth the strains of the “Star Spangled Banner,” bringing all the military to a halt and a long standing salute. It was followed by the “Marseillaise.” At the conclusion of the train-side greetings and introductions, Marshal Joffre and General Pershing walked down the platform together. The ops of the cars of every train in the station were crowded with workmen. As the tall, slender American commander stepped into view, the privileged observers on the car-tops began to cheer. A minute later, there was a terrific roar from beyond the walls of the station. The crowds outside had heard the cheering within.

There followed a long, slow journey by a convoy of vehicles carrying the Americans and a cross-section of France’s top political and military leaders:

General Pershing and M. Painleve, Minister of War, took seats in a large automobile. They were preceded by a motor containing United States Ambassador Sharp and former Premier Viviani… There were some fifty automobiles in the line, the rear of which was brought up by an enormous motor-bus load of the first American soldiers from the ranks to pass through the streets of Paris. The crowds overflowed the sidewalks. They extended form the building walls out beyond the curbs and into the streets, leaving but a narrow lane through which the motors pressed their way slowly and with the exercise of much care. From the crowded balconies and windows overlooking the route, women and children tossed down showers of flowers and bits of coloured paper. The crowds were so dense that other street traffic became marooned in the dense sea of joyously excited and gesticulating French people. Vehicles thus marooned immediately became islands of vantage. They were soon covered with men and women and children, who climbed on top of them and clung to the sides to get a better look at the khaki-clad occupants of the autos… American flags and red, white and blue bunting waved where the eye rested. English-speaking Frenchmen proudly explained to the uninformed that “Pershing” was pronounced “Peur-chigne” and not “Pair-shang”….

The convoy finally arrived at its destination, the Hotel Crillon, a luxury hotel located in a former aristocratic palace, where the crowd called for Pershing to show himself on the balcony. In a deft bit of public diplomacy, the American general honored his host country by catching a corner of the French tricolor and kissing the national flag of America’s “Sister Republic,” prompting another surge of delirious acclamation from the masses below (however Pershing did not utter the phrase, “Lafayette, we are here,” commonly attributed to him; the famous exclamation was actually delivered by his aide, Charles Stanton, during a speech at the tomb of the Revolutionary War hero in the Picpus Cemetery on July 4, 1917).

Pershing had become an instant hero in France and Britain simply by showing up, but it’s worth noting that not everyone was carried away by these carefully staged propaganda scenes or the romantic myths which grew up around him – especially the American soldiers who would do the actual fighting. Thus some critics noted that America’s top general barely spoke any French, still the universal language of educated people in that era. Others remembered that his nickname was actually an unflattering (not to mention racist) epithet bestowed earlier in his career by rank-and-file troops who resented his prickly parade ground manner and strict discipline. Finally, Pershing showed little inclination to share the privations of his men: the four-star “General of the Armies” – the only officer in the U.S. military to receive this title – traveled everywhere aboard his own ten-car headquarters train, including a wagon carrying two luxuriously appointed automobiles, which sometimes carried the 57-year-old general to secret assignations in Paris with his French mistress, the 23-year-old Micheline Resco.

For the time being the American contribution to the Allied war effort would be mostly symbolic as far as manpower was concerned: in July there were 20,000 U.S. troops in France, rising to 65,000 in October and 129,000 by the end of the year. However these numbers would start to rise rapidly in 1918, raising an important question: would newly-arrived American troops be committed piecemeal to fill in the gaps in the depleted French Army, as the French generals demanded, or would they fight as separate American units, serving under their own officers? It was here that Pershing made one of his first major contributions to the U.S. war effort: although the Americans would initially fight alongside French and British troops as part of their training in trench warfare, Pershing insisted they return to their own divisions, eventually forming entire American armies, which played a decisive role on the Western Front.

THE FIRST LIBERTY LOAN

Back home, June 15, 1917 saw the closing of the First Liberty Loan, an official U.S. government bond authorized by Congress to raise money from the American public for the war effort. The stated goal for the Loan was $2 billion, but it was massively “oversubscribed,” raising a total of $3.04 billion by the closing date, reflecting a surge in patriotic feeling as well as the relatively generous terms of interest.

During the war all the major combatants relied on interest-bearing bonds to raise money from their publics, including private citizens and businesses, in part because this was more politically palatable than other techniques like raising taxes or printing money, which spurred inflation, making everyday goods more expensive. The bond drives were accompanied by ubiquitous publicity and propaganda campaigns portraying the bond purchases as both a civic duty and sound investment. 

Over the course of the war, for example, Germany issued nine major loans for public subscription, raising a total of around 93 billion marks, or about 60% of the total war debt of 156 billion marks from 1914-1918. Meanwhile France raised 24.1 billion francs through public war loans and 55 billion francs through ordinary short and medium-term bond sales, accounting for just over half the total debt of 150 billion francs accumulated by the end of the war. British war bonds raised over £1 billion in the last year of the war alone. For its part Austria-Hungary issued eight public loans during the war, while Italy issued five and Russia issued six before the 1917 Revolution.

As time went on, however, public enthusiasm for the war bonds waned, especially in the Central Powers as doubts grew about the chances of victory, raising the question of they would ever be repaid. By contrast the United States government was much better positioned to raise money from the American public, as pre-war public debt was fairly low and war fatigue hadn’t set in, while confidence in victory was high. Over the course of the war the government issued a total of four Liberty Loans and one Victory Loan, raising a total of over $20 billion – a stupendous amount, considering the country’s entire GDP in 1916 (the last peacetime year) was around $41.3 billion.

Map of training camps
Erik Sass

The vast sums raised by the loans helped pay for a breathtakingly ambitious (and remarkably rapid) war construction program, including dozens of training camps across the United States, where millions of drafted men from all over the country would learn the basics of military discipline, drill and maneuver (below, Camp Meade).

Congress had also approved a program to build a huge navy of ten battleships, six battle cruisers, 30 submarines, and 50 destroyers, the latter critical for the fight against German U-boats, and also authorized the formation of a new Emergency Fleet Corporation with the goal of building millions of tons of new cargo shipping to offset huge losses to submarines. Although the success of the EFC was debatable – it didn’t manage to produce any ships before December 1917 – the U.S. also commandeered around 3.5 million tons of shipping from the Central Powers and later neutral powers including the Netherlands, raising total U.S. seagoing tonnage to 12.4 million tons by the end of the war. Last but not least, Congress agreed to a plan to build 22,500 aircraft engines for both the United States Army Air Force (then a single branch under the Army) and the Allies, who were prepared to build thousands of airframes but needed the “Liberty Engines” to power them.

Foreign observers were surprised at how swiftly the new training camps and factories seemed to spring up. Lord Northcliffe, the British newspaper tycoon, recalled the construction of a new camp not far from his estate on Long Island in June 1917: “My American home is some miles out of New York City. When I took up my residence there in June last there were no signs of war about me. I went to Washington and returned after the space of a few days. A vast camp, as big as ours at Witley in Surrey appeared at my doors as though it had grown by magic.”

Not long afterwards he was invited to witness work on a huge complex of camps near San Antonio Texas (see map above):

Early in July there lay three miles outside San Antonio, Texas, a stretch of ground covered with a difficult kind of scrub or bush. On the 6th of July there appeared an army of between nine and ten thousand workmen of every known nationality, directed by young Americans of the Harvard and Yale type. The ten thousand arrived in every kind of conveyance, in mule carts, farm waggons, horse cabs, motors, and huge motor vans. At the end of the day’s work, when the whistle had blown, the scene resembled that of some eccentric elaborately-staged cinematograph film. Together with the army of ten thousand men came many kinds of semi-automatic machinery… In this new town outside of San Antonio twelve miles of rail, twenty-five miles of road, thirty-one miles of water pipe, thirty miles of sewer were accomplished in forty-five days… Nearly all material had to be brought from what appear to us vast distances. As often as not the thermometer stood at 100 degrees, yet the daily photographs taken by the contractors show that progress was continuous, until on August 25th a considerable part of the city was ready for occupation. The strongly and comfortably built huts are all provided with heating arrangements for the winter, and baths hot and cold are attached to each building; there are vast stores and office blocks, several post offices, a huge bakery, laundry, stables for thirteen hundred horses and mules, hospitals, schools; in all between twelve and thirteen hundred buildings.

The men who were soon training in these camps weren’t always as impressed with the comforts provided, often finding barracks and tents cold and drafty and the food unappetizing. As always it was usually a shock for civilians to adjust to military life, where they were suddenly subjected to the rigors and arbitrary whims of military discipline; it was also an eye-opening cultural experience, as volunteers and conscripts found themselves thrown together with people from all walks of life and social strata.

One newly enlisted man, Paul Green, expressed typical sentiments in a letter home in the summer of 1917, in which he described the training camp at Goldsboro, NC:

When I was at Chapel Hill, I thought that was a rough place; but this is the roughest place on earth. The profanity of the soldiers is awful. Co. B. is a roaring, rough set of fellows. There is an old blacksmith that sleeps in our tent who is the roughest man, I know, that ever saw day daylight… The drill leaders are pretty rough on you. Some of the men have fainted each day while drilling since I came. The way they bring them to their senses is to send three men for three buckets of water. Then they dash these on them and in their faces. After doing that they grab them by the collar and shove them back into ranks. One fellow drilled beside me this morning, coughing and vomiting every few minutes. After a short time, he fell out and lay in the hot sun, slobbering like steer. After they had poured about a barrel of water on him, he got better… For my part, I never am going to curse. I’m going to stay straight. It will not be hard for me to do it, for all profanity and vulgarity sickens me.

See the previous installment or all entries.

Art Historian Says 10 Works in the Louvre’s Collection Were Looted by Nazis

Freezingtime/iStock via Getty Images
Freezingtime/iStock via Getty Images

By the end of the 1940s, about 60,000 of the 100,000 French artworks looted by Nazis during World War II had been returned to France, but not all of them made it back to their owners—some were auctioned off, while others were labeled as “National Museum Recovery” (MNR) and stored at various museums around the country, including the Louvre.

Earlier this month, the Louvre hired art historian Emmanuelle Polack to help identify the origins of those works, and she’s already traced 10 of them back to a Jewish lawyer from Paris named Armand Dorville, whose 450-piece collection was looted by the Nazis in the early 1940s.

Smithsonian reports that Dorville escaped to his southern chateau when the Nazis invaded Paris in 1940, leaving his collection behind. He died of natural causes a year later, and the Nazis sold his entire collection—containing works by Pierre-Auguste Renoir, Édouard Manet, and more—at a 1942 auction in Nice, where Louvre curator René Huyghe bought 12 items.

Ten of those items are still housed in the museum today, including four works by Henri Monnier, five by Constantin Guys, and one by Camille Roqueplan. The Musée d’Orsay owns the eleventh—a Jean-Louis Forain painting—and the twelfth is a lost bronze by Pierre-Jules Mène.

Polack knew the whereabouts of some of Dorville’s former possessions as early as last year, when the Louvre loaned two of them to her for an exhibition on MNR works that she was curating for the Shoah Memorial; the Musée d’Orsay’s painting was also part of that show.

Right now, Dorville’s great-niece, Francine X., has made a restitution claim for the artworks, which is still under investigation. And, considering that the Louvre holds almost 1800 MNR works in its collection, there could be more restitution claims to come.

[h/t Smithsonian]

The 25 Greatest War Movies of All Time

Benedict Cumberbatch in Sam Mendes's 1917 (2019).
Benedict Cumberbatch in Sam Mendes's 1917 (2019).
© 2019 Universal Pictures and Storyteller Distribution Co. LLC. All Rights Reserved.

It makes sense that master filmmakers keep returning to old wars to tell new stories, because war and cinema go hand-in-hand in many ways. War has everything you want to make a good story: Scope and spectacle, high stakes, dramatic tension, and emotional distress both at home and on the battlefield. It’s all right there, just waiting to be woven into an epic on the big screen.

What sets the best war movies apart, though, is their ability to never lose sight of the real human cost of war. The true masterpieces of the genre can deliver spectacle, yes, but they also tell us something more essential at the heart of every epic struggle in human history, something that unites us all no matter which side of the battle we may be on. With that in mind, here are 25 of the greatest war films ever made, from medieval epics to modern thrillers. To help narrow the list down, we mostly focused on movies that directly address the combat aspects of war versus dramas that are set during wartime.

1. All Quiet on the Western Front (1930)

Lewis Milestone’s film about a group of German soldiers drawn in by nationalism and then picked apart by the ravages of war remains the film against which all other World War I epics are measured. It was released more than 80 years ago, and its depictions of the horrors of war—blood-streaked men screaming in foxholes, bare hands clinging to barbed wire—still hold up to modern eyes. It’s one of the great war epics as well as one of the great anti-war films.

2. La Grande Illusion (1937)

One of the greatest anti-war films ever made, Jean Renoir’s La Grande Illusion succeeds in no small part because of the tremendous empathy running through every frame. No matter the side of the conflict each character falls on, they are treated as pawns within the greater illusion that war will do any of them any good. Renoir’s humanistic touch, coupled with his dazzling cast, make this film an all-time classic to such a degree that Orson Welles declared it one of his desert island movies.

3. Sergeant York (1941)

There are other "conscientious objector becomes war hero" films out there, but none has ever quite risen to the heights of Sergeant York for one simple reason: Gary Cooper. In the title role, Cooper delivers one of the finest performances of his storied career, and even as Howard Hawks infuses the film with a sense patriotic glory and duty, he trusts Cooper to imbue the story with an essential humanity. Sergeant York is a hero, yes, but Cooper never makes him into a superhero. The toll the war takes is right there in his eyes the entire time, and that makes this film a classic.

4. Twelve O’Clock High (1949)

Among Air Force-based war dramas, Twelve O’Clock High holds a particular place of reverence for a great many fans, and it ranks as perhaps among the best of the World War II dramas made while the war was still fresh in the minds of many Americans. Led by Gregory Peck’s tour-de-force performance as Brigadier General Frank Savage, the film builds in intensity right up to the climactic battle, and remains one of the most emotionally satisfying films of its genre.

5. The Bridge on the River Kwai (1957)

David Lean is the only director with two films on this list, because … well, he’s David Lean. The Bridge on the River Kwai is Lean’s seminal World War II epic about a group of prisoners, the bridge they build and then attempt to destroy, and the shifting allegiances that come with the emotional upheavals of war. Lean’s tremendous attention to detail, combining sweeping tracking shots with smaller moments like close-ups of ruined shoes on soldiers’ feet, and the Alec Guinness-led cast combine for a thrilling, often surprisingly funny, masterpiece.

6. Lawrence of Arabia (1962)

Steven Spielberg once said that David Lean’s Lawrence of Arabia is one of the few films he re-watches before every new project, and it’s easy to see why. The World War I drama is synonymous with epic filmmaking even now, nearly six decades after its release. Lean’s film, led by Peter O’Toole’s splendid work in the title role, retains a sense of wonder even after all these years thanks to jaw-dropping visuals, flawless editing, and a sense of scope to rival anything on the big screen today.

7. The Battle of Algiers (1966)

Few films have ever been able to depict both sides of an escalating conflict with as much unflinching intensity as The Battle of Algiers. Based on the events of the Algerian War and focusing specifically on the guerilla warfare that erupted during the conflict, Gillo Pontecorvo’s film is shot like a searing, unflinching docudrama, and the sense of verisimilitude is palpable and deeply affecting.

8. The Dirty Dozen (1967)

Some war films are reverent, measured, and delicate with their depiction of the particular horrors of conflict and what it does to the people on the front lines. Then there are films like The Dirty Dozen, a film without which we might never have gotten things like Inglourious Basterds or the modern version of DC Comics’s Suicide Squad, which appeared in the 1980s. Robert Aldrich’s film takes a murderer’s row of acting talent and a tremendous sense of adventure and infuses it all with the kind of chaotic energy that only soldiers with nothing to lose could muster. The result is the kind of film those who love it want to watch over and over again.

9. M*A*S*H (1970)

One of the greatest anti-war films of all time, Robert Altman’s M*A*S*H combines an irreverent, sometimes surreal sense of humor with realistic dialogue and some truly absurd situations to create a tapestry of comedy and tragedy. The film places its characters right on the edge of the action, just close enough that the blood is often quite literally on their hands as they work, then examines what that kind of precarious placement can do to a group of people whose job is to heal. It’s an essential film, and not just because of its afterlife as a legendary TV series.

10. Patton (1970)

Even if Patton had nothing else going for it, the film would likely still succeed thanks to the sheer force of will of George C. Scott. The actor’s legendary, knockout performance as the title character carries the movie, but it’s not all that makes Patton great. Director Franklin J. Schaffner uses Scott’s performance as a linchpin, framing the narrative of war through Patton’s bombastic eyes and tireless spirit. The result is a war film unlike any other, one driven by a single unstoppable personality.

11. The Deer Hunter (1978)

To say that Michael Cimino’s The Deer Hunter is one of the more “problematic” Vietnam War films ever made might be a bit of an understatement to some, but more than 40 years after its release it’s hard to deny the visceral power at the heart of the film. Some aspects of the storytelling—most famously, the Russian roulette sequences at the heart of the movie—function as rather blunt instruments that hammer the point home, but they strike so hard and ring so true that the film is impossible to ignore.

12. Apocalypse Now (1979)

The New Hollywood era of the 1970s gave rise to several prominent filmmakers who would eventually turn their attention to the Vietnam War in critical, satirical, and often incisive ways, but none of them ever did it better than Francis Ford Coppola. After crafting two masterpieces with the first two Godfather films, Coppola went through hell to craft his hellish journey into the heart of darkness of a generation-defining war, and the result is the greatest Vietnam War movie ever made.

13. Das Boot (1981)

Wolfgang Petersen’s Das Boot is a film that succeeds in part thanks to its sense of contrast. It’s a war epic and it delivers the goods of a war epic, but much of it takes place within the tiny confines of a German U-Boat. It’s packed with tense, explosive action, but it counterbalances that action with stretches of quiet, contemplative boredom. The result is one of the most gripping portrayals of the mundane horror of war ever, told in an environment few other films in the subgenre have ventured into.

14. Ran (1985)

Akira Kurosawa was a master of many aspects of cinematic storytelling, but one of his greatest strengths was easily his ability to make violence explode out at his audience with unpredictable ferocity. Ran, Kurosawa’s loose adaptation of William Shakespeare’s King Lear, is perhaps the best example in the director’s entire filmography of his knack for creating epic conflict. The film’s gorgeous sets and detailed costumes are all set up beautifully only to be swept up in the chaos of the story in some of the most realistically kinetic war sequences ever shot.

15. Platoon (1986)

Based on writer/director Oliver Stone’s own experiences in Vietnam, Platoon steers clear of the most bombastic, epic level depictions of the war and instead focuses on the titular unit of men and the transformative effects the crucible of war has on them. Led by powerhouse performances from Charlie Sheen, Willem Dafoe, and Tom Berenger, Platoon remains one of the most relentlessly intense war movie experiences of all time.

16. Full Metal Jacket (1987)

Stanley Kubrick made a habit out of directing war films thanks to Spartacus and Paths of Glory. Full Metal Jacket was his last experience with the genre, and it feels like he poured everything he had learned into it. The film’s genius lies largely in its structure, as it shows us just how far these soldiers are pushed by basic training before they’re actually thrown out into the war. The training sequences, led by R. Lee Ermey’s amazing drill sergeant performances, are the best-remembered of the film, but the Vietnam sequences near the end are truly stunning.

17. Braveheart (1995)

Mel Gibson’s epic about the life of William Wallace and his rise as leader of a Scottish revolution in the late 13th century is one of those films that just compels you to watch until the end every time you see it on cable. Gibson’s magnetic, charismatic central performance is key to this, but somehow his directing is even more powerful. From the sweeping scenic beauty of Scotland itself to the rapid-fire brutality of the battle sequences to James Horner’s goosebump-inducing score, Braveheart is medieval epic filmmaking at its best.

18. Saving Private Ryan (1998)

Steven Spielberg’s harrowing World War II film is perhaps best remembered for its relentless, breathless opening sequence that depicts the brutal D-Day landing of Allied Forces at Omaha Beach. It’s an all-time great war movie sequence, but that’s not the only reason Saving Private Ryan endures. Its stacked ensemble cast, powerful yet simple central story, and overwhelming emotional resolution combine to make it a modern classic.

19. The Thin Red Line (1998)

No one else could make a World War II film quite like Terrence Malick, and as proof we have The Thin Red Line. The film defies easy description, despite the relatively straightforward backdrop of its emotional journey. What is ostensibly the story of a company of men fighting at Guadalcanal in 1942 becomes a deeply philosophical film that documents the overwhelming intellectual and emotional gauntlet of war. And while war is by its very nature not a beautiful thing, this just might be the most visually stunning war film made since Lawrence of Arabia.

20. Downfall (2004)

Few films have ever wished or dared to interact with Adolf Hitler on a personal, intimate level, for obvious reasons. In the realm of war cinema, the leader of Nazi Germany often exists as some kind of near-supernatural embodiment of ultimate evil, but Downfall sought to change that. The film does not sympathize with Hitler’s madness, but through Bruno Ganz’s unforgettable performance, it does allow us an opportunity to see the man’s unraveling in a compelling, perhaps even cathartic, way.

21. Kingdom of Heaven (2005)

Ridley Scott’s modern war epic Black Hawk Down narrowly missed inclusion on this list, because while it’s a masterpiece, his Kingdom of Heaven is a brilliant piece of work that remains underseen. Scott’s attempt to turn a modern lens on the Crusades—specifically Saladin’s capture of Jerusalem in 1187—combines a spectacular cast with some of the best epic visuals of the esteemed director’s career. Look for the Director’s Cut of the film for an even more robust experience.

22. Inglourious Basterds (2009)

Leave it to Quentin Tarantino to make a World War II film that feels like it came from both an alternate universe and straight out of our own warped rage fantasies. Inglourious Basterds combines Tarantino’s legendary knack for dialogue with a truly brilliant cast and a brutal sense of humor to tell the story of a unit of Nazi hunters and their efforts to bring down Hitler himself in the midst of a German movie premiere. Taut, violent, and hilarious, Inglourious Basterds walks a line few other war films ever could.

23. The Hurt Locker (2008)

Kathryn Bigelow’s film about a bomb disposal unit in Iraq and what their high-pressure job does to them works because it attacks your psyche on two fronts. On one front, there’s the human side of these soldiers, which we see through the film’s dark sense of humor and compelling ensemble cast. On the other, there’s the kind of virtuoso directing that won Bigelow the Oscar for Best Director (making her the first—and still the only—woman to take home that particular award). A lot of directors could have made The Hurt Locker suspenseful, but only Bigelow could have made it this suspenseful.

24. Dunkirk (2017)

Christopher Nolan’s Dunkirk turns the filmmaker’s masterful eye for pacing, visual elegance, and structural intrigue to the events of World War II, and the result is one of the most pulse-pounding movies of the 2010s. Anchored by a tremendous cast, the film tells the story not of one of the war’s great attacks, but one of its most essential retreats. Nolan’s brilliant sense of tension, coupled with Hans Zimmer’s ticking-clock score, combine to keep you on the edge of your seat—even if you know how it ends.

25. 1917 (2019)

Sam Mendes’s Golden Globe-winning World War I epic, based on stories told to him by his veteran grandfather, has gained a lot of press because of its “one-take” style, which might lead you to believe that it’s a gimmick film. Instead, 1917 rises beyond the structural hook of its filming style to become a meditation on the relentless nature of life in battle, and the way even the quietest moments can pivot into horror at any moment. Roger Deakins deserves another Oscar for his stunning cinematography, and George MacKay and Dean-Charles Chapman carry the emotional heft of the film like true champions, even when surrounded by A-list names like Colin Firth, Benedict Cumberbatch, and Andrew Scott.

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