January 9, 2008
Saving Private Ryan (1998)
Should I see it?
Yes.
"Greater love has no one than this, that he lay down his life for his friends." John 15:13
Short Review: The greatest war film of all time.
"Greater love has no one than this, that he lay down his life for his friends." John 15:13
Every genre has its masterwork, the singular piece that defines the expectations of its category.Saving Private Ryan boldly established a new standard with its release in 1998. Beginning with a stunning, first person look at the invasion of Normandy to the riveting battle closing the film, this is one of the great films ever released and the most important war film since Oliver Stone’s Platoon.
Directed by Steven Spielberg, WWII film follows a small group of U.S. Soldiers who are sent into enemy territory to locate Private Ryan and bring him home. In a moment of mercy, the United States military makes the choice to spare the young man to send him back to his mother who has lost all of her other sons to the war. The plot, while it may seem contrived, works well and is played out to full effect by screenwriter Robert Rodat. The scope of the film is smartly kept tight and keeps directly on path. It is common for war films with larger casts to splinter into an episodic collection of narratives that eventually weigh the pieces down (A Bridge Too Far, The Longest Day). Rodat’s script is certainly episodic but it doesn’t break into multiple tangents. Rodat also does well managing his large cast of characters. With ensembles it is easy to lose character development and focus. Rodat weaves in logical and compelling soliloquies for each character to build them up enough for us to care that they are in peril.
This is one of those films where you can go back ten years later and identify brand name actors milling around in the supporting roles. The cast is populated with the likes of Matt Damon, Vin Diesel, Paul Giamatti, Nathan Fillion, Giovanni Ribisi, Jeremy Davies, Adam Goldberg, and Barry Pepper. Each of these men may be household names (or at least faces) now, but when the piece was released they were relative unknowns. At the front and center of the film is Tom Hanks who is very generous with his screen time and allows the young actors plenty room to work. Given that Hanks is one of the only recognizable faces in the piece it means he has to work extra hard to meld into the film. It would be very easy for him to appear as Tom Hanks pretending to be a soldier. An example of how this doesn’t work is Ted Danson’s cameo. Danson is inserted into the piece and sticks out like a sore thumb. He is easily identifiable in the sea of unknown faces and the piece suffers while he’s on screen. The entire time I kept asking “Why is Sam Malone doing in France?” Thankfully, Hanks’ provides a detailed performance that anchors the film and enriches the story.
Spielberg’s is at the top of his game and is playing to his strengths. I’ve always maintained that Spielberg is at his best when he’s killing Nazis (Raiders of the Lost Ark, Schindler’s List). Thanks to Spielberg’s brilliance, this film created a new template for war films. Its look, the way it was filmed, even the sound recording have influenced war films and video games since and will continue to do so for decades to come.
Cautions: This is a war movie therefore there's plenty of brutal violence and grisly death scenes. This film particularly has vibrant battle sequences and deaths that are some of the most striking to ever to be put to screen. There's also plenty of salty language but given the subject matter, it is permissible.
Worldview: This piece moves beyond the simple "war is hell" bromides and delves into the motives of the men on the ground. War is certainly hell but it can also be used to promote goodness in this world. The sacrifice of the men and women involved in our wars are worthy of our respect. This film expressly demands us to make certain we earn the right to accept the sacrifices of the men who have died for our freedom.
Related Reviews:
War movies
The Big Red One (1980)
Paths of Glory (1957)
Other Critic's Reivews:
Crazy4Cinema
ScreenIt!
Directed by Steven Spielberg, WWII film follows a small group of U.S. Soldiers who are sent into enemy territory to locate Private Ryan and bring him home. In a moment of mercy, the United States military makes the choice to spare the young man to send him back to his mother who has lost all of her other sons to the war. The plot, while it may seem contrived, works well and is played out to full effect by screenwriter Robert Rodat. The scope of the film is smartly kept tight and keeps directly on path. It is common for war films with larger casts to splinter into an episodic collection of narratives that eventually weigh the pieces down (A Bridge Too Far, The Longest Day). Rodat’s script is certainly episodic but it doesn’t break into multiple tangents. Rodat also does well managing his large cast of characters. With ensembles it is easy to lose character development and focus. Rodat weaves in logical and compelling soliloquies for each character to build them up enough for us to care that they are in peril.
This is one of those films where you can go back ten years later and identify brand name actors milling around in the supporting roles. The cast is populated with the likes of Matt Damon, Vin Diesel, Paul Giamatti, Nathan Fillion, Giovanni Ribisi, Jeremy Davies, Adam Goldberg, and Barry Pepper. Each of these men may be household names (or at least faces) now, but when the piece was released they were relative unknowns. At the front and center of the film is Tom Hanks who is very generous with his screen time and allows the young actors plenty room to work. Given that Hanks is one of the only recognizable faces in the piece it means he has to work extra hard to meld into the film. It would be very easy for him to appear as Tom Hanks pretending to be a soldier. An example of how this doesn’t work is Ted Danson’s cameo. Danson is inserted into the piece and sticks out like a sore thumb. He is easily identifiable in the sea of unknown faces and the piece suffers while he’s on screen. The entire time I kept asking “Why is Sam Malone doing in France?” Thankfully, Hanks’ provides a detailed performance that anchors the film and enriches the story.
Spielberg’s is at the top of his game and is playing to his strengths. I’ve always maintained that Spielberg is at his best when he’s killing Nazis (Raiders of the Lost Ark, Schindler’s List). Thanks to Spielberg’s brilliance, this film created a new template for war films. Its look, the way it was filmed, even the sound recording have influenced war films and video games since and will continue to do so for decades to come.
Click on the image to view the trailer
Cautions: This is a war movie therefore there's plenty of brutal violence and grisly death scenes. This film particularly has vibrant battle sequences and deaths that are some of the most striking to ever to be put to screen. There's also plenty of salty language but given the subject matter, it is permissible.
Worldview: This piece moves beyond the simple "war is hell" bromides and delves into the motives of the men on the ground. War is certainly hell but it can also be used to promote goodness in this world. The sacrifice of the men and women involved in our wars are worthy of our respect. This film expressly demands us to make certain we earn the right to accept the sacrifices of the men who have died for our freedom.
Related Reviews:
War movies
The Big Red One (1980)
Paths of Glory (1957)
Other Critic's Reivews:
Crazy4Cinema
ScreenIt!
Labels: Ed Burns, film, Matt Damon, movie review, Steven Spielberg, Tom Hanks, war, World War II
posted by Michelle Obama's Left Nut at 7:00 AM
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