SAVING PRIVATE RYAN Reviewed by Jamie Peck
While the wrenching intro is going to shock some of the more unassuming audience members into sudden hysteria, it at least instantly announces "Saving Private Ryan"'s agenda -- war isn't pretty, and Spielberg doesn't waste any time pretending it is. Still, as extremely difficult as the combat is to watch, it's just as hard to divert your concentration, thus desensitizing viewers to the alarming horrors we will witness during the next two-and-a-half hours. The movie demolishes the fine line between observing and participating without any kind of preparation or warning; the only way to capture the realism of violent battle is to drop you right in the center of it, and this amazing film unapologetically does just that. For those of us who have never experienced firsthand warfare, "Saving Private Ryan" is very likely the closest that we'll ever get.
Part of the afore-mentioned D-Day attack is overseen by Captain John Miller (Tom Hanks), a quiet, resourceful man whose heroism only distances him from the serene life he lead before enlisting -- "With every man I kill, the farther away from home I feel," he says. Though Miller's forces are victorious at Normandy, their triumph does not come without a staggering human cost. Among the lives lost at Omaha Beach are two brothers, a third sibling of whom has also fallen, leaving a fourth who might still be alive somewhere deep in French territory. When the government learns that the boys' mother will be receiving a trio of death notices on the same day, they assign Miller to lead seven soldiers on a mission even more dangerous than what they have previously faced -- to travel behind enemy lines and retrieve the remaining sibling, one Private James Ryan, at any cost. But tragedy begets tragedy, and Miller's team questions the significance of risking their collective necks just to rescue a single person that might already be dead.
While it's perhaps unfair to compare "Saving Private Ryan" to a movie like, say, "Armageddon," the association does in fact reveal a large part of what's missing in film today -- genuine characters and stories that make you care. While Armageddon's cast is composed of ciphers, some of whom are killed off for obligation's sake, "Saving Private Ryan" boasts a canvas of thoughtful, substantive individuals. When death is portrayed here, you feel deep heartache and sorrow, not some sort of manufactured sadness. Not surprisingly, Spielberg and screenwriter Robert Rodat ("Fly Away Home") never stoop to exploitation or manipulation when they portray the casualties of war, and the result is an intensely exhilarating experience unlike anything you've seen since "Schindler's List." That connection isn't just being made because Spielberg directed "Schindler" -- these films are arguably the two most important motion pictures of this decade.
Tom Hanks' performance is more moving than his Oscar-winning turns in "Philadelphia" and "Forrest Gump" put together, and that's quite a feat considering that John Miller isn't a very flashy role. But Hanks installs emotional dignity in Miller's calm, commanding presence; when he finally breaks down after an especially traumatic episode, you will too. With a few exceptions like Tom Sizemore (as Hanks' devoted sergeant) and Matt Damon (who shows up late in the game), the fine ensemble is made up of mostly-unknown young actors. Giovanni Ribisi, a recurring guest star on "Friends" (playing Lisa Kudrow's daffy brother), provides the film with one of its most affecting moments, while Barry Pepper is striking as an excellent marksman who prays as he picks off enemies. Jeremy Davies ("Spanking the Monkey") is the best of the bunch; perfectly cast as a timid, violence-shy soldier recruited in the operation for his linguist skills, he makes a powerful foil for the audience. Also strong are Adam Goldberg, Vin Diesel and Edward Burns, the multi-talented guy behind "The Brothers McMullen" and "She's the One."
With "Saving Private Ryan," Steven Spielberg has fashioned another monumental tale about humanity and self-sacrifice among the horrors of war. He's done the unthinkable, really, since this work is every bit as profound as "Schindler," his uncontended masterpiece. If anyone criticizes "Saving Private Ryan" as being "too violent," then they've sadly missed the anti-war point. Even the quiet, meditative moments boil with the threat of spontaneous carnage, all to create a film that transcends its medium --thanks to Spielberg's potently graphic depictions of historical bloodshed and Janusz Kaminski's gritty, you-are-there cinematography, you don't just watch this movie, you live it. A guaranteed lock on 1998 top tens, updated American Film Institute lists and Oscar ballots next March -- yes, it's that unforgettable -- "Saving Private Ryan" is, in a word, phenomenal.
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