The truth is not that simple, and Saving Private Ryan represents another case in the ongoing struggle for film historians, who must constantly deal with modern critics who judge artistic events by the standards of their own times. For the combat movie, this means if there's no blood and guts, there's no glory. Although there is no question that Spielberg made a fine film or that Tom Hanks and the rest of the cast have done an excellent job, there are issues of film history to be addressed in evaluation. No one is going to argue with the WWII veterans who have stated that Saving Private Ryan is the most realistic presentation of combat they've seen. There is also no question but that Spielberg has achieved integrity in his images.

He closely consulted with historian Stephen E.

The issue to be discussed is not combat accuracy (or the quality of the movie) but rather accuracy about the history of the World War II combat genre and Saving Private Ryan's place in that history.Īmbrose (author of Citizen Soldiers) and Dale Dye, a retired Marine Corps captain who acted as his chief military adviser. Taking an overview based on actual screenings, where does Saving Private Ryan fit? It has been defined by modern critics as groundbreaking and anti-generic, 'the desire to bury the cornball, recruiting poster legend of John Wayne: to get it right this time.'1 The primary differences that have been cited are (1) its realistic combat violence, (2) its unusual story format in which soldiers question leadership and the point of their mission, and (3) its new and different purpose. This issue is by far the most significant. The violence of Saving Private Ryan's opening sequence (the D-Day landing on Omaha Beach) is overwhelming. Spielberg's mastery of sound, editing, camera movement, visual storytelling, narrative flow, performance, and color combine to assault a viewer, to place each and every member of the audience directly into the combat experience. Spielberg anchors the audience in Tom Hanks (as Captain John Miller), and provides three recurring motifs for Hanks/Miller's response to war: the elimination of sound (cinematic), a shaking hand (performance), and a resistance to explaining his prewar background (narrative).

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