The Profound Contradiction of Saving Private Ryan - John Biguenet - The Atlantic - 0 views
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a handpicked squad of Rangers are sent to extricate a paratrooper, James Ryan, from the intense fighting behind enemy lines because his three brothers have been killed in combat. Despite the efforts of his subordinates to dissuade him from authorizing the mission, General George C. Marshall determines to save Ryan's mother from a fourth telegram of condolence
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The great bulk of dialogue in Saving Private Ryan not directly connected to the prosecution of battles is dedicated to an ongoing debate about the morality of the squad's mission. No one makes a case that their mission is heroic. It is idiocy and, as far as the soldiers are concerned, immoral idiocy.
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Saving Private Ryan offers not a single word about love of country. Generals may still talk like their Civil War counterparts, but soldiers in the field have ceased to cloak their duty in such sentiments.
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The mission can't be justified on moral or patriotic grounds, and yet the toughest soldier in the squad, Sergeant Horvath, says saving Private Ryan might be the one decent thing they "were able to pull out of this whole godawful, shitty mess."
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Spielberg never suggests that we are any better than our enemy or, to put it more generously, that they are any worse than we are.
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this is not a patriotic film; if anything, it argues that patriotism is beside the point in modern warfare. Even the mission itself has no heroic or patriotic aim; there is no hill to be taken, no redoubt to be stormed. Its goal, according to Captain Miller, is public relations.
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there is no shortage of cruelty and brutality. Nazis move through battle-scarred streets indifferently finishing off wounded Americans, but, early in the film, we have witnessed callous GIs mowing down surrendering Germans with a laugh.
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Schindler's List and Amistad are, in fact, about guilt and responsibility. They are not, as many imagine, noble memorials to the millions of victims of the Holocaust and slavery; rather, they are agonized meditations on all of those somehow implicated in those vast human tragedies.
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How can the sentimental tableau of a weeping old man, his wife, his son, his daughter-in-law, and his grandchildren possibly serve as a fit conclusion to so savage and unsentimental a film?
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he described his father's own war stories: "I was supposed to wave the flag and be patriotic and say that without his efforts I wouldn't have the freedoms I had or even the freedom to have the bicycle I was riding." Only later did the director realize that it wasn't "a bunch of bunk he was telling me."
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Private Ryan, a dazed kid surrounded by the bodies of men who were absurdly ordered to their deaths to save him, is given the equally absurd command by the dying hero, Captain Miller, to "earn this" and must now bear the terrible, impossible order until his own death.
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at the end of Saving Private Ryan, as a grandfather and his son and grandchildren pay homage to those whose deaths we have just witnessed, the living are called not merely to bear witness to the achievement of fallen heroes; the living are, in fact, the achievement itself. Like Private Ryan, we cannot help but ask what we've done to deserve such sacrifice by others and beg their forgiveness for what we have cost them. And like James Ryan, all we can do to justify that sacrifice is to live our lives as well as we are able.
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Saving Private Ryan is not about those who suffered; it is about those who have been spared suffering. Spielberg's subject, in the end, is not the courage of the soldiers who fought at Normandy; his subject is the debt owed them by their children and their children's children.