I've long been a fan of war films but for some reason it took me eight years to finally get around to watch this, the often undisputed classic war film of all time. Why? Not sure really – I'm not the world's biggest fan of Steven Spielberg, although I'll admit that he's made some good films in his time. Still, it was with some excitement that I sat down to finally watch this lengthy epic of a film, in the best format possible – widescreen DVD, 52" television, and surround sound system. Unsurprisingly, I was blown away by the production.
At the heart, the film recalls dozens of other war films from THE DIRTY DOZEN to THE LONGEST DAY. A squad of men are sent on a suicidal mission, facing almost certain depth. Where the movie excels, however, is in the extra depth and layers that Spielberg adds. The characterisation is strong, the dialogue harsh and heartfelt. Technically, the film is perfect. The colours are faded and washed out and the hand-held camera-work is ten times better than that seen in the LORD OF THE RINGS trilogy. Sound effects are excellent, the best I've heard, especially the incredibly suspenseful sound of tanks approaching at the film's climax. All these technicalities combine to make the battle scenes some of the most desperately realistic I've seen. The opening twenty minutes on Omaha Beach, which show the infamous D-Day landings, are everything you've heard: exhilarating, utterly depressing, disturbing, exciting, and gruesome. This is certainly the goriest war film out there and it's all portrayed in a matter-of-fact way; blink and you really will miss it. People explode, lose limbs, and bleed copiously from wounds; only strong stomachs need apply.
The acting is uniformly great, as you'd expect from the calibre of cast on view. Tom Hanks has never been better as the shellshocked hero, with unforgettable mannerisms – the shaking hand still haunts me. Tom Sizemore arguably steals the show as the gruff sergeant, and his larger-than-life persona is well suited to a role than the one he plays here. Edward Burns and Adam Goldberg put in solid performances but it's Jeremy Davies who the film focuses on throughout – a rookie, green-faced communications officer thrown straight into the hell of warfare. The viewer understandably sees the film through Davies' eyes and the subsequent journey is everything you would imagine it to be. Additionally, the film boasts great turns from actors in lesser roles – especially Barry Pepper as the sniper and Vin Diesel at his best. Lots of familiar faces pad out other roles, some in cameos: Dennis Farina, Ted Danson, Matt Damon, Giovanni Ribisi, Paul Giamatti, the list goes on.
Despite the near-three hour running time, the film never slows up or stops for a minute. Every second is crucial and beautifully crafted. Things culminate in a set-piece climax, a fierce ambush in a bombed-out French town. Our heroes attempt to destroy a brigade of Nazi troops and their vehicles and heavy guns. It's sprawling, explosive, upsetting and, by the last frame of the film, incredibly moving. So, in retrospect, SAVING PRIVATE RYAN is everything everybody says it is. Spielberg's best film by far and one of the best war films of all time.
At the heart, the film recalls dozens of other war films from THE DIRTY DOZEN to THE LONGEST DAY. A squad of men are sent on a suicidal mission, facing almost certain depth. Where the movie excels, however, is in the extra depth and layers that Spielberg adds. The characterisation is strong, the dialogue harsh and heartfelt. Technically, the film is perfect. The colours are faded and washed out and the hand-held camera-work is ten times better than that seen in the LORD OF THE RINGS trilogy. Sound effects are excellent, the best I've heard, especially the incredibly suspenseful sound of tanks approaching at the film's climax. All these technicalities combine to make the battle scenes some of the most desperately realistic I've seen. The opening twenty minutes on Omaha Beach, which show the infamous D-Day landings, are everything you've heard: exhilarating, utterly depressing, disturbing, exciting, and gruesome. This is certainly the goriest war film out there and it's all portrayed in a matter-of-fact way; blink and you really will miss it. People explode, lose limbs, and bleed copiously from wounds; only strong stomachs need apply.
The acting is uniformly great, as you'd expect from the calibre of cast on view. Tom Hanks has never been better as the shellshocked hero, with unforgettable mannerisms – the shaking hand still haunts me. Tom Sizemore arguably steals the show as the gruff sergeant, and his larger-than-life persona is well suited to a role than the one he plays here. Edward Burns and Adam Goldberg put in solid performances but it's Jeremy Davies who the film focuses on throughout – a rookie, green-faced communications officer thrown straight into the hell of warfare. The viewer understandably sees the film through Davies' eyes and the subsequent journey is everything you would imagine it to be. Additionally, the film boasts great turns from actors in lesser roles – especially Barry Pepper as the sniper and Vin Diesel at his best. Lots of familiar faces pad out other roles, some in cameos: Dennis Farina, Ted Danson, Matt Damon, Giovanni Ribisi, Paul Giamatti, the list goes on.
Despite the near-three hour running time, the film never slows up or stops for a minute. Every second is crucial and beautifully crafted. Things culminate in a set-piece climax, a fierce ambush in a bombed-out French town. Our heroes attempt to destroy a brigade of Nazi troops and their vehicles and heavy guns. It's sprawling, explosive, upsetting and, by the last frame of the film, incredibly moving. So, in retrospect, SAVING PRIVATE RYAN is everything everybody says it is. Spielberg's best film by far and one of the best war films of all time.