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The scene starts with a loud bang and an explosion, putting the viewers right in the battlefield. The previous scene was about companionship and ended with a freeze frame so this cut is even more impactful. We are as suprised as the marines seems to be. We are with them on the battlefield. 0:00
We observe dynamic handheld shots were both the camera and the characters are moving. Swafford, the main character, seems to be the only man standing still in this mess.
The following extreme low-angle shot, through the point of view one of the sitted soldier in the trench, adds the idea of him being either heroic, or completly insane, since it's the only non eye-level, very dramatic shot we'll see in this scene. He is absolutly away, from the moment and from his companions. 0:08
While the dolly-in starts, we stop hearing all noises and get more and more into his head, as the shot goes from a bigger scale to a closer one, going from a public to a private perception. We can't hear anything but the sand caressing his face. We are, as he is, focused on his thoughts. 0:14

Now comes what is most interesting: the camera cuts, breaking the 180-degree rule willingly, flipping the shot, and offering a whole new perception to the character. This emphasize the breakthrough he is experiencing, between his old borring army life and the new thrilling action-centered one he has been expecting. 0:33
But then, it gets back to the first one, as to say that his life won't change. He won't have any "combat action", it will stay just the same. 0:41 ***

As he snaps out of it, we don't hear much more but we are able to hear now, we got out of his head. The explosions just stopped. His pal breaks the silence, and this time, the subjective shot is from a standing soldier in the trench, much less dramatic than the old one, matching the much more casual situation they are in. 0:54

***SPOIL***
The whole movie, especially the end will approve this observation.

© Sam Mendes

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