Antony Beevor: the greatest war movie ever - and the ones I can't bear | Film... - 0 views
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recent imitators lack all intellectual honesty. They throw dates and place names on to the screen as if what you are about to see is a faithful reproduction of events, when they are simply trying to pass off their fiction as authentic. This is basically a marketing ploy that has developed over the last 20 years or so.
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Unfortunately, fake authenticity sells. People are more likely to want to see something they think is very close to the truth, so they can feel they are learning as well as being entertained.
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In a post-literate society, the moving image is king, and most people’s knowledge of history is regrettably based more on cinematic fiction than archival fact.
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The real problem is that the needs of history and the needs of the movie industry are fundamentally incompatible.
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Hollywood has to simplify everything according to set formulae. Its films have to have heroes and, of course, baddies – moral equivocation is too complex. Feature films also have to have a whole range of staple ingredients if they are to make it through the financing, production and studio system to the box office.
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One element is the “arc of character”, in which the leading actors have to go through a form of moral metamorphosis as a result of the experiences they undergo. Endings have to be upbeat, even for the Holocaust. Look at Schindler’s List and the sentimentality of its finale, revealing that in movies only the survivors count.
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I still shake my head in disbelief when it is regularly voted the best war movie ever. It is nevertheless a work of intriguing paradoxes – some intended, others not. Steven Spielberg’s storyline rightly dramatises the clash between patriotic and therefore collective loyalty, and the struggle of the individual for survival. Those mutually contradictory values are, in many ways, the essence of war.
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After a truly extraordinary opening – probably the most realistic battle sequence ever filmed – everything changes and becomes formulaic
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Amid the horror of war, Spielberg seems to be trying to rediscover American innocence, that Holy Grail that existed only in the Rousseau-esque imagination yet was virtually incorporated into the constitution
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Spielberg, like other Hollywood directors of the time, came from a generation scarred by the moral quagmire of Vietnam. He understood the national need, in the post-cold war chaos, to reach back to more certain times, seeking reassurance from that moment in history – the second world war – when the fight seemed unequivocally right.
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This representative of American motherhood appears to be reassuring the US as a whole. She seems to be speaking to a nation unable at that time to come to terms with its role in a disordered world, to a nation that, for all its power, can be bewilderingly naive abroad because it so badly needs to feel good about itself at home.
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Andrew Marr rightly called The Patriot, set in the American war of independence, “a stinker”. As he pointed out: “Black Americans, in fact destined to stay slaves thanks to the war, very many of whom enlisted with the British, are shown fighting shoulder to shoulder with their white rebel ‘brothers’. The British are portrayed as effete sadists and serial war criminals, just as in other American films. The huge support of the Bourbon French, who helped win the war, is airbrushed out. And the fact that most colonists actually sided with King George is airily forgotten.”
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a national self-image certainly existed during the war and for some time afterwards. Perhaps that is partly why I do not react so angrily when watching films of that era. Also, they never used that weasel claim “based on a true story”