Product Description

Captain John Miller must take his men behind enemy lines to find Private Ryan, whose three brothers have been killed in combat. Faced with impossible odds, the men question their orders.
Genre: Feature Film-Drama
Rating: R
Release Date: 14-FEB-2006
Media Type: DVD

Product Details

• Amazon Sales Rank: #761 in DVD
• Brand: Paramount
• Released on: 1999-11-02
• Rating: R (Restricted)
• Aspect ratio: 1.85:1
• Formats: AC-3, Anamorphic, Closed-captioned, Color, Dolby, DVD, Limited Edition, Special Edition, Widescreen, NTSC
• Original language: English
• Subtitled in: English
• Number of discs: 1
• Running time: 170 minutes

Amazon.com essential video
When Steven Spielberg was an adolescent, his first home movie was a backyard war film. When he toured Europe with Duel in his 20s, he saw old men crumble in front of headstones at Omaha Beach. That image became the opening scene of Saving Private Ryan, his film of a mission following the D-day invasion that many have called the most realistic--and maybe the best--war film ever. With 1998 production standards, Spielberg has been able to create a stunning, unparalleled view of war as hell. We are at Omaha Beach as troops are slaughtered by Germans yet overcome the almost insurmountable odds.

A stalwart Tom Hanks plays Captain Miller, a soldier's soldier, who takes a small band of troops behind enemy lines to retrieve a private whose three brothers have recently been killed in action. It's a public relations move for the Army, but it has historical precedent dating back to the Civil War. Some critics of the film have labeled the central characters stereotypes. If that is so, this movie gives stereotypes a good name: Tom Sizemore as the deft sergeant, Edward Burns as the hotheaded Private Reiben, Barry Pepper as the religious sniper, Adam Goldberg as the lone Jew, Vin Diesel as the oversize Private Caparzo, Giovanni Ribisi as the soulful medic, and Jeremy Davies, who as a meek corporal gives the film its most memorable performance.

The movie is as heavy and realistic as Spielberg's Oscar-winning Schindler's List, but it's more kinetic. Spielberg and his ace technicians (the film won five Oscars: editing (Michael Kahn), cinematography (Janusz Kaminski), sound, sound effects, and directing) deliver battle sequences that wash over the eyes and hit the gut. The violence is extreme but never gratuitous. The final battle, a dizzying display of gusto, empathy, and chaos, leads to a profound repose. Saving Private Ryan touches us deeper than Schindler because it succinctly links the past with how we should feel today. It's the film Spielberg was destined to make. --Doug Thomas

DVD features
This "special edition" contains the 25-minute featurette Into the Breach. Besides interviews with the film's actors, there are interviews with D-day veterans and World War II historian Stephen Ambrose. Real D-day footage is edited together with scenes from the film that have been changed to black and white. The highlight is a glimpse of Steven Spielberg's early films. Using his dad's camera and his friends, the teenage Spielberg made two relatively impressive short war films, Escape to Nowhere and Fighter Squad. There are also home movies his dad made while stationed in the Pacific and a short visit with the Nilands, a family that lost four brothers during the war. --Doug Thomas

From The New Yorker
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." -Anthony Lane
Copyright © 2006 The New Yorker

Customer Reviews

Unforgettable. The best war film ever made.
Some people advise others to close their eyes during the loooong opening scene of Spielberg's Saving Private Ryan. That would be a mistake. Yes, it's carnage, it's horrible, it's relentless, it's bloody, it's random death, it's a portrayal of fear and courage and raw coincidence. But it's also one of the most powerful pieces of cinematography ever filmed.
There are many other scenes that have stayed with me during the years since I last saw this unforgettable film, perhaps Spielberg's best ever. Perhaps the most poignant one that comes immediately to mind is the woman whose sons are all away at war. She's on a remote farm, washing dishes, and thru her window she sees the dust of approaching cars. She goes outside to meet the visitors, tenses as she sees military brass and a chaplain step from the cars, then crumples wordlessly to the worn boards of her front porch as she tries to take in the news: all her boys have been killed, except for one: Private Ryan.
Another related scene, the one that came just before this one, is equally gut-wrenching (and in both scenes, there is no dialogue, just heart-stabbing visuals that are more powerful than any words could have been) as a woman charged with sending out letters of the We Regret to Inform You variety realizes that she's seen three letters with the same address within the past few days, and she takes this terrible proof to her supervisor - and thus is born the search for the surviving son, to bring him home to his momma.
Tom Hanks, with his own persona of morality and honesty, is perfectly cast as the good Captain Miller, a soldier's soldier charged with this onerous task, and of course there is terrible cost.
Saving Private Ryan is the film Spielberg HAD to make. Outstanding, in every possible way.

Very good War Film
I was very impressed by ths film. I thought it would probably turn out to be rather cliched but it did seem to have a newer perspective on WW2. Some people say the characters are stereotypical - well, I served in the British Army Reserves for four years and my platoon had a fierce Scot, joking Londoner, smiling Irishman and philosphical Welshman in it, plus me as the token University Boy so I think you'll find that real-life Army units can be like that. No African Americans? Since the US Army was segregated until the sixties that is hardly surprising. Caricatured Germans? Germans running away? Well, some of them DID run away you know - they weren't all ruthlessly obedient supermen, and some were no doubt far more fed up with the war that the allies were. It would have been nice to see some British soldiers about but they were some way East taking out Caen at the time, so again, not a surprise. I wasn't sure about the film's comment on Montgomery ("overrated") and the British divisions though; Monty was a very good general indeed, at least as good as Patton or Eisenhower, and if he was so overcautious then why did the British lose so many men and tanks taking Caen? I think you'll find that about 80% plus of all the German armour in Normandy was at Caen, directed against the British - not the sort of battle that can be won in an afternoon I'm sure you'll agree.

Excellent film though - the most realistic combat scenes you will ever see on celluloid by far, and the plot is at least believable.

By the way, thanks very much to the US armed forces for doing a fantastic job as our allies in WW2, and other times. Long may Britain and the US continue to stand up for freedom.

Breathtaking Spielberg Classic
On Omaha Beach in France, a GI lurches about, desperately looking for something he has lost. He spots it and picks it up. It is his arm, blown off at the elbow by shrapnel. This is just one of the many images of horror glimpsed through the water, smoke and endless gunfire in the stunning D Day landing sequence that comes early on in director Steven Spielberg's masterful and moving movie about World War II, Saving Private Ryan. It is this extended (24 minutes) bloody battle sequence, in which handheld camera work contributes to a terrifying you-are-there feel, that sets the tone for the movie. Men are mowed down, the ocean turns red, and the noise and slaughter never stop.

Trying to stay alive through all this madness is Capt. John Miller (Hanks) and his men. Those who survive D Day are handed another mission: Go behind enemy lines and find Private Ryan (Damon), whose three brothers have all been killed in combat. The orders are to get him out and send him home. "Where's the sense of risking the eight of us to save one guy?" grouses one of Hanks's men.

His question is at the movie's core. Why fight at all? What does any one man owe another? And was it all worth it? Helped by a thoughtful script by Robert Rodat, Ryan raises all these issues.

The answers the movie provides are never pat, jingoistic responses about country and duty but rather more complicated ones about friends, family and simple decency. After seeing Ryan, many of us will look at our aging fathers or grandfathers with a newfound respect. And ponder what we, as individuals and as a nation, are doing today to justify the sacrifices those men made on our behalf more than half a century ago.