Most American, World War Two films present the conflict as an American
war steeped in glory and honour.Whilst Spielberg continues to concentrate on American involvement, there is no
way that this film can be said to glorify war or armed conflict.
The film opens with a half hour assault on one's senses as the Yanks land and
take on Omaha Beach, D-Day, 6th of June. This is a depiction of war that is
brutal and honest. It pulls no punches and it doesn't flinch from showing the
true horror, the violence and the destruction of life.
The film has been criticised for traumatising its audience before the film gets
underway; it is traumatising and, I was surprised how much so for a film
that has been given a 15 certificate. However, as Peckinpah and Tarrantino have
shown, the brutal realism of death, rather than sanitized, comic book,
A-Team, violence, discourages rather than encourages emulation.
The story unfolds as we follow a small unit of eight soldiers searching for
Private James Ryan, the last surviving brother of four, to return him home.
The flow sags a little in places but not so much that interest is lost and
the pace picks up as they continue to track down their man.
The mission is accomplished, but Ryan won't leave his unit and return home.
The search unit teams up with Ryan's, to hold a bridge deep behind the lines,
and the film, again, shows its brutally realistic approach as this objective
is undertaken.
Saving Private Ryan is a film that portrays war for what it is, indiscriminate,
pointless and painful, doesn't glorify war and manages to avoid moralising.
The plot is credible and well executed and the characters are well developed
and excellently portrayed.
I said in my review of Lock, Stock and Two Smoking Barrels that
Hollywood couldn't do Gritty Films; I now have to admit that Spielberg
knows how to. And knows how to do them well.
There are going to be more than a couple of Oscars going in its direction.
