I mean, picture a girl who just took a nosedive from the ugly tree and hit every branch coming down. So they took me to the barn up in the loft and there was my oldest brother, Dan, with Alice, Alice Jardine. And they said they had a surprise for me. This, this one night, two of my brothers came and woke me up in the middle of the night. I think of my, my hammock in the backyard or my wife pruning the rosebushes in a pair of my old work gloves. It's the film Spielberg was destined to make. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose.
The violence is extreme but never gratuitous. 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 movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. 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. Some critics of the film have labeled the central characters stereotypes. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. 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. We are at Omaha Beach as troops are slaughtered by Germans yet overcome the almost insurmountable odds. With 1998 production standards, Spielberg has been able to create a stunning, unparalleled view of war as hell. 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. When he toured Europe with Duel in his 20s, he saw old men crumble in front of headstones at Omaha Beach. When Steven Spielberg was an adolescent, his first home movie was a backyard war film.
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