Review of Saving Private Ryan (1998) by Eric M — 30 May 2018

"Saving Private Ryan" is a masterpiece of cinema from Steven Spielberg, and may be, behind "The Thin Red Line" only, the penultimate war film. Even then, as "The Thin Red Line" really deconstructs the war film genre, this brutal, visceral and affecting film may stand alone as the truest and best of the genre. Spielberg's directorial hand is stunningly potent in this depiction of the Normandy invasion, sticking to the big-little structure he executes so well, telling the story of a few small individuals amongst titanic events. There is fine acting and a surprisingly restrained script that focuses squarely on the nightmare that was World War II, focusing on creating compassionate empathy and sadness for all involved. The premise may be a bit far fetched, but the themes it explores are historically accurate and universally compelling. What really elevates the film within the genre, however, is it's portrayal of combat. Battlefield brutality has never been given such a balanced and nuanced, yet affecting and visceral depiction. Reminiscent of the best bits of "A Bridge Too Far," Spielberg adeptly films with a "you are there" perspective that never descends into shaky cam madness. The violence is revolting and presented to see, while never reaching the gratuitous levels of say, "Inglorious Basterds" or "Fury." His technique is nearly flawless, building true terror, horror and tension in classic Spielbergian style (take the drawn out build up to the final battle, the ominous rumbling of approaching German tanks pushing the audience to the limits of anxiety) and breaking new ground in harrowing depictions of violence (the Omaha beach setpiece). Meticulous production and set design aids as well, and the cinematography is flawless, achieving a gritty, yet occasionally ethereal quality. It is fitting that Terrence Malick's war masterpiece, "The Thin Red Line," came out the same year. Both are remarkable films, illuminating the horrors of war, but also the hope of righteousness, in ways that only their respective directors could pull off.

On the Spielberg list, this probably comes in third, only behind "Close Encounters of the Third Kind" and "Schindler's List.".