SAVING PRIVATE RYAN
A Film Review by Brian Takeshita
Rating: **** out of ****
Steven Spielberg has been a successful director for about 25 years. Like anyone else, he's had his share of less-than stellar movies during his career, but when he nails it, watch out. SAVING PRIVATE RYAN reminds us all that Spielberg is still very much the master.
In Spielberg's latest film, Tom Hanks plays U.S. Army Ranger Captain John Miller. In June of 1944, three days after landing on the beach at Normandy, Captain Miller and several of his men are charged with finding and bringing back to safety Private James Francis Ryan (Matt Damon), a paratrooper who dropped into France with the 101st Airborne the night before the D-Day invasion. Ryan's three older brothers, all serving in the Army, were killed in action within days of each other, and General George Marshall himself has ordered that Mrs. Ryan will not lose another son.
Unlike many war movies, the characters in SAVING PRIVATE RYAN are not sure how they feel about their mission for most of the film. Getting men killed in battle is justifiable because the death of one man probably saves many others, but going to retrieve Ryan is inherently a backwards idea because the lives of many are being risked to save one. It is this dilemma which is a source of conflict not only within the unit, but for each individual as he questions just what is worth fighting for.
Miller is a character who is tactically proficient both on the battlefield and when dealing with the personalities of his men. There's a scene where the soldiers under his command turn on each other, and the way he defuses the situation is unexpected and ingenious. He also proves himself to be very smart, at one point musing about the Allied strategy of the Normady campaign, and Rommel's probable avenue of counterattack. This rises him above the level of the average soldier (who usually doesn't see beyond his immediate situation), and therefore makes him very likable. While he often plays the part of the infallible leader, we also see him in moments of catharsis, which give his character a surprising depth. Portraying Miller, Hanks delivers what is perhaps his finest performance to date, running the emotional gamut and being consistently convincing. You really believe him when he says he's on this mission to earn the right to go home.
As is usually the case, Miller's men are a cross-section of backgrounds, but rather than focus on their differences as a source of conflict, screenwriter Robert Rodat has instead chosen to show how their common experiences have homogenized them. More impressive is that none of the characters are throwaways; each is given appropriate screen time to be featured and developed. A few notables include Sergeant Horvath (Tom Sizemore), Miller's right-hand man, Corporal Upham (Jeremy Davies), a young innocent who has no combat experience but comes along as a French and German translator, and Private Reiben (Edward Burns), the soldier who most vocally questions the mission. Through good writing by Rodat, clear direction by Spielberg, and solid performances by the actors, Miller's unit is one of sympathetic characters whom we fear for in the dangerous moments and laugh with in lighter times.
Credit must be given to Spielberg for showing restraint in several areas. Symbolism such as literal metaphor and religious imagery are abound in the film, but are often so subtle, you'll miss it if you're not paying attention. A lesser director might have pounded us over the head with obvious sights and close-ups of particular objects, but Spielberg is instead content to use character actions and dialog to convey messages. Additionally, John Williams's score is an almost latent enhancement to the film, not the majestic composition we would expect from the oft Spielberg-collaborator. To do any more would have been too intrusive.
Much of the quality of SAVING PRIVATE RYAN is found in the details. A soldier taps a rifle magazine against his helmet before shoving it home into his carbine. Another remarks that "tracers point both ways." When reporting what they've seen, Miller's men are specific, using "Panzers, Tigers, and MG-42's" instead of merely "tanks and machineguns." The research done in making this film is pervasive, and it pays off.
Be warned: This film is not for children, nor the squeamish. The first 25 minutes or so concentrates on the amphibious landing at Easy Green Sector of Omaha Beach, and is some of the bloodiest footage I have ever seen. However, Spielberg does not include the images of soldiers with lost limbs and open wounds simply for the sake of making a battle scene. Rather, he immerses the viewer in the chaotic and horrible nature of battle by portraying the violence as close to reality as possible. This is enhanced by employing a handheld camera whenever combat occurs throughout the film, and there is scarcely an angle that is not from the soldier's point of view. To further the effect, these scenes are also photographed with a look resembling footage from the era, with off-tinted colors and a certain degree of graininess. There are also moments where dialog is nearly unintelligible, either drowned out by the sounds of war, or lost in the overlapping shouts of confusion. Odd for a movie, where the audience must usually hear everything, this technique greatly contributes to the realism.
"Unforgettable" would be a good word to describe this film, although a million more could still not do it justice. Sounds, dialog, and sights (including an incredible one of the ships, men, and barrage balloons at Omaha Beach on D-Plus-Three) make seeing this film an experience. The stark realism takes such a toll on the viewer, and leaves in his or her mind such indelible images that it will pervade one's conscience for a long time. The portrayal of heroism, confusion, and fear is so thought-provoking, you will want to discuss many of the film's points the next day. Immediately after leaving the theater, however, the impact will be so great, you may not be able to talk at all. Quite simply, SAVING PRIVATE RYAN is one of the best films of all time.
Review posted July 23, 1998
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