Best War Films: 'SAVING PRIVATE RYAN'

Steven Spielberg's new picture, one of his best, is a sandwich. The meat of the tale concerns a bunch of U.S. Army Rangers, led by Captain John Miller (Tom Hanks), who are sent into Normandy to rescue Ryan (Matt Damon), the sole survivor of four brothers. On either side of this bold endeavor you get half an hour of unyielding combat: first, the D Day landings on Omaha Beach and, later, a consummate last stand in which too few Americans try to hold an inland bridge against too many Germans and too many tanks. Most viewers will be impressed but unsurprised by the central section; it feels wrought, and finely scripted (by Robert Rodat), and nudged by sentimentality. 

The reason that they will carry the movie lodged in their minds is the infernal, brain-shaking quality of the battle scenes; Spielberg obviously decided that blood and guts meant just that, and so he arranged his violence into a semblance of pure disorder. The illusion holds, complete with severed limbs and wellsprings of blood, and it feels honorable; Spielberg's preachy movies can be an awful grind, but, apart from a disposable coda, this new work is too swift (and often too inaudible) to weigh you down. It feels like an atonement for the sins of "Amistad."

NEW YORKER

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Best War Films: 'ENEMY AT THE GATES'

Like Saving Private Ryan, Enemy at the Gates opens with a pivotal event of World War II--the German invasion of Stalingrad--re-created in epic scale, as ill-trained Russian soldiers face German attack or punitive execution if they flee from the enemy's advance. Director Jean-Jacques Annaud captures this madness with urgent authenticity, creating a massive context for a more intimate battle waged amid the city's ruins. Embellished from its basis in fact, the story shifts to an intense cat-and-mouse game between a Russian shepherd raised to iconic fame and a German marksman whose skill is unmatched in its lethal precision. Vassily Zaitzev (Jude Law) has been sniping Nazis one bullet at a time, while the German Major Konig (Ed Harris) has been assigned to kill Vassily and spare Hitler from further embarrassment.

There's love in war as Vassily connects with a woman soldier (Rachel Weisz), but she is also loved by Danilov (Joseph Fiennes), the Soviet officer who promotes his friend Vassily as Russia's much-needed hero. This romantic rivalry lends marginal interest to the central plot, but it's not enough to make this a classic war film. Instead it's a taut, well-made suspense thriller isolated within an epic battle, and although Annaud and cowriter Alain Godard (drawing from William Craig's book and David L. Robbins's novel The War of the Rats) fail to connect the parallel plots with any lasting impact, the production is never less than impressive. Highly conventional but handled with intelligence and superior craftsmanship, this is warfare as strategic entertainment, without compromising warfare as a manmade hell on Earth.

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Best War Films: DEFIANCE

Daniel Craig (James Bond: Quantum of Solace) stars as Tuvia Bielski, an ordinary citizen turned hero, in this action-packed epic of family, honor, vengeance and salvation. Defiance is a riveting adventure that showcases the extraordinary true story of the Bielski brothers, simple farmers –outnumbered and outgunned- who turned a group of war refugees into powerful freedom fighters. Tuvia, along with his unyielding brother, Zus (Liev Schreiber, X-Men Origins: Wolverine), motivate hundreds of civilians to join their ranks against the Nazi regime. Their “Inspirational story”* is a true testament to the human spirit. - David Densby, The New Yorker

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Best War Movies: THE BOY IN THE STRIPED PYJAMAS

The innocence of childhood savagely collides with the Holocaust in The Boy in the Striped Pajamas. Bruno (Asa Butterfield) knows that his father is a soldier and that they have to move to a new house in the country... a house near what he thinks is a farm. But his father isn't just a soldier; he's a high-ranking officer in Hitler's elite SS troops who's just been placed in command of Auschwitz. As Bruno explores the woods around the house, he discovers the concentration camp's perimeter fence. On the other side sits a boy his own age, with whom Bruno strikes up a friendship--a friendship that will have tragic consequences.

The Boy in the Striped Pajamas is most powerful in the details: The casual brutality of a Nazi lieutenant; the uncomfortable juxtaposition of the family's domestic life with glimpses of the treatment of the imprisoned Jews; a ghastly propaganda film suggesting that life at Auschwitz was like a holiday. But more than anything else, Butterfield's performance makes this film compelling. The young actor perfectly conveys Bruno's limited perspective even as the film carefully unveils the larger, darker reality. The movie's ending will undoubtedly spark arguments, but only because of the emotional complexity of what happens--The Boy in the Striped Pajamas is made with great skill and compassion. Also featuring David Thewlis (Naked) and Vera Farmiga (The Departed) as Bruno's parents.

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Most Popular War Movies: SCHINDLER'S LIST

Although he will forever be identified with pop culture classics such as Jaws, Close Encounters of the Third Kind, and Raiders of the Lost Ark, Steven Spielberg has never made a film greater than this searing drama about a Nazi industrialist who saved more than 1,000 Jews from certain death in concentration camps during World War II. Broadly based on the book by Australian writer Thomas Keneally, Schindler's List gets underway in 1939 after Hitler's army conquers Poland. Nazi supporter Oskar Schindler (Liam Neeson, delivering the standout performance of his career) arranges to staff a major company with unpaid Jews ultimately destined for extermination, among them accountant Itzhak Stern (Ben Kingsley), who becomes his right-hand man. The initially mercenary Schindler gradually becomes attuned to the plight of his workers and arranges to employ nearly 1,000 Jews in his crockery plant -- an effort that requires his careful handling of ghastly Commandant Amon Goeth (Ralph Fiennes), who runs the forced-labor camp housing the doomed people. 

For this film Spielberg eschews his customary storytelling techniques, using black-and-white film for a gritty look and shooting much of the footage with handheld cameras, documentary style. Period detail is replicated with astonishing accuracy, and you'll get the sense of being right there alongside the characters. 

The film is extremely long -- well over three hours -- but it unfolds with such urgency that you're never conscious of its length. Neeson is absolutely sensational as the towering industrialist whose innate humanity eventually comes to the fore, and Fiennes, then a virtual newcomer, is sublimely odious as the amoral labor-camp commander. Crafted to perfection and absolutely seamless in its presentation, Schindler's List is a truly unforgettable movie, and the crowning achievement of this generation's most successful filmmaker.

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