8.6/10
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129 user 55 critic

They Shall Not Grow Old (2018)

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2:25 | Trailer
A documentary about World War I with never-before-seen footage to commemorate the centennial of the end of the war.

Director:

Peter Jackson
Reviews
Popularity
539 ( 197)
Nominated for 1 BAFTA Film Award. Another 1 nomination. See more awards »

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Storyline

A documentary about World War I with never-before-seen footage to commemorate the centennial of the end of the war.

Plot Summary | Add Synopsis


Motion Picture Rating (MPAA)

Rated R for disturbing war images | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

Official Facebook | Official Site

Country:

UK | New Zealand

Language:

English

Release Date:

9 November 2018 (UK) See more »

Also Known As:

They Shall Not Grow Old See more »

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Box Office

Gross USA:

$5,703,839, 27 December 2018
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | Dolby Atmos

Color:

Color

Aspect Ratio:

1.78 : 1
See full technical specs »
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Did You Know?

Trivia

The original footage was shot back in the 1910's before the ability to synchronise sound and pictures had been invented. At the time, the film was advanced by the cameraman turning handle at a roughly constant speed, whereas to synchronise with sound, a constant-speed clockwork or electric motor is needed. Consequently, every single sound effect was added later. See more »

Goofs

Several shots of tanks appear in the film, both Mark V (Mark Five) and Mark V* (Mark Five Star). They have been coloured green. In reality, tanks of these types were painted "a neutral brown colour". See the article by the British Tank Museum which states that. "Surrendering to the inevitable, towards the end of 1916 it was ordered that the tanks should be painted in a 'neutral brown colour' all over." The staff at the Museum told me they were surprised that the filmmakers didn't consult them. See more »

Crazy Credits

"Filmed on location on the Western Front, 1914 to 1918" See more »

Connections

Featured in Front Row: Episode #3.3 (2018) See more »

Soundtracks

Mademoiselle from Armentieres
Written by Harry Carlton and Joseph Tunbridge (as JA Tunbridge)
Performed by Plan 9, Joel Watson, Nathan Carlton, Alan Davison, Colin Leeman, Thomas Lord, Jon McQueen and Chris Todd
See more »

Frequently Asked Questions

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User Reviews

 
We DO remember them.
11 November 2018 | by bob-the-movie-manSee all my reviews

"Trapped in a Charlie Chaplin World". So says director Peter Jackson in a post-screening discussion with Mark Kermode, describing early black and white documentary footage. Whereas modern film runs at 24 fps, most of the old footage is hand cranked, with speeds as low as 12 fps which leads to its jerky nature. Jackson in this project with the Imperial War Museum took their WW1 footage and put it through a 'pipeline process. This cleaned-up and restored the original footage; used clever computer interpolation to add in the missing 6 to 12 frames per second; and then colourised it.

The results are outstanding. Jackson wisely focuses the film on the specific slice of WW1 action from the trenches. And those anonymous figures become real, live, breathing humans on screen. It is obviously tragic that some (and as commented by Jackson, many in one scene) are not to be breathing humans for much longer.

These effects take a while to kick in. The early scenes in the documentary are in the original black and white, describing the recruitment process, and how many of the recruits were under-age. (To explain the varied comments in the film, they should have been 18, although officially shouldn't have been sent overseas until 19).

It is when the troops arrive in France that we suddenly go from black-and-white to the fully restored and colourised footage, and it is a gasp-inducing moment.

All of the audio commentary is from original BBC recordings of war veterans recounting their actual experiences in the trench. Some sound like heroes; some sound like rogues; all came out changed men. Supporting music of WW1 ditties, including the incredibly rude "Mademoiselle from Armentières" over the end credits, is provided by Plan 9.

But equally impressive is the dubbing of the characters onscreen. Jackson employed forensic lip-readers to determine what the soldiers on-screen were saying, and reproduced the speech using appropriate regional accents for the regiments concerned. Jackson also recounts how the words associated with a "pep-talk" speech to troops by an officer he found on an original slip of paper within the regimental records: outstanding. Added sound effects include real-life shelling by the New Zealand army. It all adds to the overall atmosphere of the film.

The film itself is a masterpiece of technical innovation that will change in the future the way in which we should be able to see this sort of early film footage forever. As a documentary it's near-perfection. But if I have a criticism of the cinema showing I attended it is that the 3D tended to detract rather than add to the film. Perhaps this is just my eyesight, but 3D always tends to make images slightly more blurry. Where (like "Gravity") there are great 3D effects to showcase, it's worth the slight negative to get the massive positive. But here, there was no such benefit: 2D would have been better. For those in the UK (and possibly through other broadcasters worldwide) the film is being shown on BBC2 tonight (11/11/18) at 9:30: I will be watching it again to compare and contrast.

Jackson dedicated the film to his grandfather. And almost all of us Brits will have relatives affected by this "war to end all wars". In my case, my grandfather was shot and severely wounded at Leuze Wood on the Somme, lying in the mud for four days and four nights before being recovered... by the Germans! Fortunately he was well-treated and, although dying young, recovered enough to father my father - else I wouldn't be here today writing this. On this Rememberance Sunday, 100 years on, it is a time for us to truly remember the sacrifice these men and boys gave to what, all in the film agree, was a pretty obstinate and pointless conflict.


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