The Personal Canon is a recurring column highlighting my favorite films of all time. While they may not necessarily be "A" rated, they are the movies that, for some reason or another, hold a special place in my filmgoing experience.
Saving Private Ryan (1998)
Starring Tom Hanks, Edward Burns, Tom Sizemore, Jeremy Davies, Barry Pepper, Adam Goldberg, Giovanni Ribisi, Vin Diesel, and Matt Damon
Directed by Steven Spielberg
Damn you, Saving Private Ryan. When the single tear rolled down my cheek after watching you on my freshly received Blu-Ray, I was cursing your name. I remember back on your opening day on July 24, 1998, as a somewhat fresh high school graduate, I sat in a theater full of mostly senior citizens (of which I assumed some were veterans) for your opening show. Even twelve years ago, I remember welling up as the credits began to roll. And I was not alone in the watery eye department. You worked your emotions on nearly everyone in the theater. I'm more than happy to report that you still stand the test of time, providing an eye-popping, gut-wrenching, and awe-inspiring glimpse into the trials our soldiers tackled head-on in World War II.
No discussion of director Steven Spielberg's Saving Private Ryan can be had without discussing the epic Omaha Beach D-Day battle sequence that opens the film. A directing tour de force of the highest degree, Spielberg places us squarely in the action, not giving us a moment to breath for over twenty minutes. In front of our very eyes, limbs are lost, explosions tear bodies apart -- loss of life everywhere. The scene is relentless, unceasing, and as a viewer there is no greater desire for this assault (both physically and visually) to end. Emotionally, it's painful to watch. Cinematically, it's brilliant. Immediately, Spielberg has made us a soldier, shakily moving the camera as if we were standing on the beach witnessing the horrific chaos.
By placing us in a soldier's shoes from the outset, we become one of the small battalion of men who go on a mission to search for Private James Ryan (Matt Damon) whose three brothers have been killed in various battles during the war. Ordered from his superiors to find Ryan, Captain John Miller (Tom Hanks) and a group of eight other soldiers trek across France looking for, as Capt. Miller perfectly describes it, "a needle in a stack of needles." Along the way, smaller battles will be fought, soldiers will be lost, and the fear, pain, joy, and camaraderie are palpably felt by the viewer.
Even though the film is bookended by two intense, lengthy battle sequences, a huge chunk of the emotional impact the film garners is derived from the quiet moments. Towards the beginning, there's a gut check moment in which Ryan's mother is given the news that her sons have died. There is not a word spoken in the scene by anyone, but the emotional impact of John William's melancholic score and Janusz Kaminski's breathtaking Academy Award-winning cinematography (coupled, of course, with Spielberg's deft direction and stellar acting even from secondary actors) make this moment instantly memorable. Another particular "calm before the storm" moment occurs prior to the film's final battle where the surviving soldiers sit around thinking about life at home. As they boast about sexual encounters or discuss simply missing their wife's rose garden, these quiet, understated moments in Robert Rodat's script allow us to get to know our fellow soldiers, all the while amplifying the anticipatory tension of the inevitable impact of the forthcoming battles.
Of course, the emotional resonance wouldn't make much of a difference if the actors in the film didn't shape characters to care about, but that's not a problem in the slightest. Some may think Tom Hanks is rather subdued as Captain Miller and while they wouldn't be wrong per se, the dedication of Miller to both his military career and his fellow soldiers is the greatest quality Hanks brings to the character. While Edward Burns brings a sarcastic roughness to his Private Reiben, Jeremy Davies' Corporal Upham is just the opposite -- scared and meek as he faces his first combat experience (mirroring, perhaps, how we may feel were we in his shoes). Adam Goldberg, Giovanni Ribisi, Vin Diesel, Barry Pepper, and Tom Sizemore each craft distinct characters which, to me anyway, is not an easy thing to do in war movies in which many of the physical characteristics of people are so similar.
Unlike some future films that will be a part of my Personal Canon, Saving Private Ryan was honored by many of the year-end awards bodies. For what it's worth, it walked away with Golden Globes for Best Picture Drama and Best Director. At the Oscars, the film was nominated for eleven awards, walking away with five for Best Director, Best Cinematography, Best Sound, Best Sound Effects Editing, and Best Film Editing. It did, however, lose the big Best Picture award in a memorable upset to Shakespeare in Love, a film I have grown to really enjoy in recent years (and, who knows...it may end up in the canon in time, I enjoy it that much). But for it to beat Saving Private Ryan? That's just crazy. Granted, if Ryan has a fault it's that it runs on a tad too long, but it never feels like the nearly three hour film that it is. Maybe folks in the Academy couldn't get past the intense opening reel (or maybe those infamous Weinstein brothers -- the producers of Shakespeare -- paid off a bunch of voters).
I'm not afraid or ashamed to admit that Saving Private Ryan hits me in the gut and genuinely makes me well up. I wiped away a single tear as the film concluded. Yes, I knew how it ended, but this film fires on all emotional cylinders, rousing up pride for our country and our soldiers who helped shape this country into what it is today. You ladies can cry over something like The Notebook, but give me a movie that, while perhaps sad, is about the joys of the brotherhood of man. That's what gets to me and Saving Private Ryan fits the bill perfectly.
The RyMickey Rating: A
