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Saving Private Ryan [1998 film] by Steven…
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Saving Private Ryan [1998 film] (1998)

by Steven Spielberg (Director), Robert Rodat (Screenwriter)

Other authors: Edward Burns (Actor), Matt Damon (Actor), Ted Danson (Actor), Jeremy Davies (Actor), Vin Diesel (Actor)7 more, Paul Giamatti (Actor), Adam Goldberg (Actor), Tom Hanks (Actor), Barry Pepper (Actor), Giovanni Ribisi (Actor), Tom Sizemore (Actor), John Williams (Composer)

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» See also 2 mentions

English (4)  Italian (2)  Russian (1)  All languages (7)
Showing 4 of 4
Following D-Day, a group of soldiers searches France for one guy to send home.

If just a few key scenes had been trimmed or pulled back a bit, I might have really enjoyed it. Spielberg's apparent inability to use subtlety in making his points means that the movie pushes dangerously into propaganda territory.

Concept: D
Story: A
Characters: B
Dialog: C
Pacing: C
Cinematography: B
Special effects/design: A
Acting: A
Music: B

Enjoyment: C

GPA: 2.8/4 ( )
  comfypants | Jan 29, 2016 |
Tom Hanks, Edward Burns, Matt Damon, Tom Sizemore, Bonnie Curtis, Allison Lyon Segan
  lestat25 | Oct 2, 2014 |
Amazon.com essential video
When Steven Spielberg was an adolescent, his first home movie was a backyard war film. When he toured Europe with Duel in his 20s, he saw old men crumble in front of headstones at Omaha Beach. That image became the opening scene of Saving Private Ryan, his film of a mission following the D-day invasion that many have called the most realistic--and maybe the best--war film ever. With 1998 production standards, Spielberg has been able to create a stunning, unparalleled view of war as hell. We are at Omaha Beach as troops are slaughtered by Germans yet overcome the almost insurmountable odds.
A stalwart Tom Hanks plays Captain Miller, a soldier's soldier, who takes a small band of troops behind enemy lines to retrieve a private whose three brothers have recently been killed in action. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. Some critics of the film have labeled the central characters stereotypes. If that is so, this movie gives stereotypes a good name: Tom Sizemore as the deft sergeant, Edward Burns as the hotheaded Private Reiben, Barry Pepper as the religious sniper, Adam Goldberg as the lone Jew, Vin Diesel as the oversize Private Caparzo, Giovanni Ribisi as the soulful medic, and Jeremy Davies, who as a meek corporal gives the film its most memorable performance.

The movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. Spielberg and his ace technicians (the film won five Oscars: editing (Michael Kahn), cinematography (Janusz Kaminski), sound, sound effects, and directing) deliver battle sequences that wash over the eyes and hit the gut. The violence is extreme but never gratuitous. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. It's the film Spielberg was destined to make. --Doug Thomas
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  schotpot | May 16, 2007 |
Showing 4 of 4
Ryan bets the farm on its opening Omaha Beach sequence--instantly famous as the most harrowing portrait of battle in movie history. No question it's intense--hectic but amazingly detailed; the turmoil and clatter never let up. Yet there's often an appalling disjunction between the chaotic slaughter being re-created and the ostentation of the virtuoso filmmaking on display, bragging up distractingly showy effects (the blood flowering from the men shot underwater) when it isn't indulging in pat ironies (the soldier who catches a bullet in the head while marveling at his narrow escape)...

One reason the onscreen debates about the mission's value go in such circles is that the down-to-earth answer to the movie's big question--is one man's life worth risking eight?--is so screamingly obvious: No. It's a weird reversal of the usual proportions of the selfless-gallantry genre, in which one man dies to save many... Meanwhile, the enemy is shown as lice to be exterminated--people who don't deserve ordinary decency, because they'll only use it against you--and noncombatants are painted as insignificant, if not unworthy. Honestly, I can't see much that Hitler would have wanted changed in Saving Private Ryan, except the color of the uniforms.
added by SnootyBaronet | editEsquire, Tom Carson
 
Loyal to its cliches of sentimentality and melodrama, as well as its touting of well-known actors with guaranteed box-office appeal, Hollywood is normally no place to go for accurate, unforgettable news about World War II. An exception to this dismal principle may be Steven Spielberg's "Saving Private Ryan" -- at least part of it. Despite its boys'-adventure-story plot, which involves an attempt to locate and rescue a soldier whose three brothers have all been killed in the war, the movie's treatment of D-Day is so unrelenting in its appalling honesty that few combat veterans will emerge from it without crying and trembling all over again. Indeed, the first half-hour of this film should stifle forever all the unfeeling cant about the Good War. I'd like the Omaha Beach section made into a self-contained pseudo-documentary titled "Omaha Beach: Aren't You Glad You Weren't There?"...

But despite its authenticity about blood and noise, and about the tendency of both sides to shoot prisoners with pleasure, the film neglects something familiar to most combat infantrymen: open cowardice. In the battalion I fought in, two young officers, after their first night on the line, simply took off. They finally turned up in Paris. I also remember a new lieutenant who, when the position he was commanding came under German machine-gun fire, ran at full speed to the rear...Honorable as it is in places, "Saving Private Ryan" does not mark a new moment in Hollywood history. Hollywood's purpose is profit, and it has learned that violence sells.
added by SnootyBaronet | editWashington Post, Paul Fussell
 

» Add other authors (6 possible)

Author nameRoleType of authorWork?Status
Spielberg, StevenDirectorprimary authorall editionsconfirmed
Rodat, RobertScreenwritermain authorall editionsconfirmed
Burns, EdwardActorsecondary authorall editionsconfirmed
Damon, MattActorsecondary authorall editionsconfirmed
Danson, TedActorsecondary authorall editionsconfirmed
Davies, JeremyActorsecondary authorall editionsconfirmed
Diesel, VinActorsecondary authorall editionsconfirmed
Giamatti, PaulActorsecondary authorall editionsconfirmed
Goldberg, AdamActorsecondary authorall editionsconfirmed
Hanks, TomActorsecondary authorall editionsconfirmed
Pepper, BarryActorsecondary authorall editionsconfirmed
Ribisi, GiovanniActorsecondary authorall editionsconfirmed
Sizemore, TomActorsecondary authorall editionsconfirmed
Williams, JohnComposersecondary authorall editionsconfirmed
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Captain John Miller must take his men behind enemy lines to find Private Ryan, whose three brothers have been killed in combat. Faced with impossible odds, the men question their orders. Why are eight men risking their lives to save just one? Surrounded by the brutal realities of war, each man searches for his own answer and the strength to triumph over uncertain future with honor, decency and courage.… (more)

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