Directed by:
Steven SpielbergScreenplay:
Robert RodatCinematography:
Janusz KaminskiComposer:
John WilliamsCast:
Tom Hanks, Edward Burns, Tom Sizemore, Jeremy Davies, Vin Diesel, Adam Goldberg, Barry Pepper, Giovanni Ribisi, Matt Damon, Dennis Farina, Ted Danson (more)VOD (4)
Plots(1)
Following the Normandy Landings, a group of US soldiers go behind enemy lines to retrieve a paratrooper whose brothers have been killed in action. (official distributor synopsis)
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Reviews (10)
I'm neither a fan nor a great connoisseur of war movies, but show me one that is more emotionally packed than this Spielberg masterpiece. The opening with the Normandy landings will deservedly go down in film history as one of the most impressive scenes ever. The final battle is another perfect display of military strategy, and the film as a whole is a relentless exhibition of one of the greatest filmmakers of all time. Amazing atmosphere, amazing actors, brilliant camera work and harsh reality in every way. No one will ever make something like that again, I'll bet.
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From the first to the last scene, amazingly conceived, every shot engrosses you, to the point where you feel that a bullet might fly towards you at any moment, and the impact is so significant that I can't get it out of my head for a few days after watching it. I only have a slight issue with how enormous and somewhat unnecessarily grandiose it is, that Steven Spielberg doesn't hold back on his desire for epic stories even a bit. But that would be complaining about something I usually praise. I do appreciate, though, how the director, who is often criticized for being family-oriented and kind, can brilliantly turn all these criticisms upside down.
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I remember Irreversible, There Will Be Blood, The Revenant, Children of Men, and Se7en as films that moved me from needing to see a film in terms of its content to being a dusty formalist. This has now also turned me into a bitter poisonous old man swooning at digital semi-animated films with giant resolution and 60 frames, but I won't deny the occasional worry about whether I've just lost my sensitivity over time and simply become cynical. After the last screening of Private Ryan, I can be completely at ease because I didn't blink for 145 minutes (not counting the four terrible scenes that don't take place in Normandy). It's not just about the movement and composition of shots, but also about the material (Kaminski used a chemical to stretch the film windows to desaturate the colors by removing the silver fibers, a method made famous by Khondji in Se7en, by the way) or the acknowledgement and exploitation of technical limitations (fragmentation, the expansiveness of the light sources). All this in angles yet unseen, often giving the impression that the camera was there by mistake. After all, during the opening sequence, many of the actors and extras involved reportedly did not see the camera and crew at all through the smoke, explosions, and pervasive chaos. Not surprisingly, Private Ryan was at the birth of the perception of World War II and is behind the subsequent wave of films, TV shows, and computer games that have attempted to convey that chaos and destruction with a similar intensity to what was achieved here. PS: I recently saw a piece of this film on some modern TV at a friend's house, where the picture is edited to look like it was shot at a higher frame rate, and I nearly kicked the place apart. I'm kinda sad that a lot of people will only see the film in that format anymore.
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I first saw the film over ten years ago. And I was thrilled. The second time I saw it was five years ago, and I was still thrilled. Today, on the third viewing, it was glaringly obvious how dumb the story is, and it's really just about having a touching finale so the old man can deliver his lines. It's pathetic how Spielberg preaches, but it's still a good movie. The landing is unbeatable.
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From a formal point of view, i.e., from the perspective of the film craft, there is not much to criticize about the film, almost nothing. It is an emotionally and extremely expensive blockbuster, which rightfully belongs in film history, especially with its opening 15-minute battle sequence. There could be endless things to say about Steven Spielberg's directing abilities, about how he can work with visual composition, build up a scene, and direct actors - and it would all be praise. However, what concerns me more is the formulaic script, the same problem I had with Spielberg's Schindler's List. When I compare this film to Klimov's drama Come and See, for example, I clearly feel Spielberg's superficiality. To label this film as just a popcorn flick would be grossly unfair, as there are incomparably worse films of its kind. It is undoubtedly an attempt at a serious war drama, but I fail to understand why Spielberg is not satisfied with real stories and real war history and feels the need to produce fiction. Sometimes the unnecessary pathos also bothered me, especially toward the end. Overall impression: 70%.
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