essay on saving private ryan

Saving Private Ryan: Analytical Essay

Steven Spielberg is one of the most unique and genius film directors and screenwriters all over the world. His works usually arouse so much admiration and respect, and numerous awards and public’s recognition may serve as one of the best proofs of his professionalism.

Saving Private Ryan is his fascinating work about the events during World War II, about courage, friendship, and respect, about love and devotion, devotion to own duties, faith, and people. A war is the time, when people stop appreciating money, fashion, and proper food. It is the time, when only someone’s life and death turn out to be important.

This is what Spielberg wants to present in his movie, this is what should be taken into consideration and analyzed. Saving Private Ryan is a brilliant movie about the war and people in it; a true story of life, created by Steven Spielberg; a piece of art that awakes the kindest feelings and emotions.

Saving Private Ryan opens with an emotionally-colored scene, when one old veteran visits the cemetery in order give honors all soldiers, who gave their lives for freedom, peace, and other people’s lives. This veteran falls into his knees and start crying: these emotions and these tears demonstrate how dear all those people for him are, how significant their actions were, how proud he is now.

Now, it is high tome to see what has happened to this old man and whose all those graves are. It is 6 June 1944. It is a beginning of the story, when a squad of solders under the command of Capt. John H. Miller (Tom Hanks) fights for their future and for the future of their families. It is the war: so much blood, so many tears, and so many deaths.

People know that this war takes lots of lives, however, each loss is something personal and something terrible. Saving Private Ryan is the story of how John Miller gets an order to save young Ryan, the only alive son of a mother. The team of John Miller has to overcome numerous battles in order to find out this one young man and get him back to his mother.

Each meeting with the enemies takes the life of one of Miller’s soldiers. These people die to save another person, whom they never know and never meet. It is too hard to lose people in the only one name – Private Ryan. Miller hates this boy, but has nothing to do – his aim is to save him and allow his mother see her son once again. When Miller finally finds Ryan, this young man does not want to leave his squad: “These guys deserve to go home as much as I do.

They’ve fought just as hard” (Saving Private Ryan). The end of the movie is tragic indeed: the team, who is sent to save Pr. Ryan, is killed. Capt. John Miller dies, but completes his task – he saves Ryan, a person, who will come to Miller’s grave in order to introduce his family and salute his friends, who saved him one day.

War times always cause tears, grief, and pity. People fight in order to be free, to be heard, and to be understood. Of course, these people achieve their purposes, the wars are won, and the freedom is got. However, the lives of people, both young and old, cannot be returned. This is the most terrible thing about any war.

Steven Spielberg makes a wonderful attempt to represent several war issues and explain what people feel during the war. Soldiers face numerous battles day by day: some of them die, some of them get injuries, and some of them feel that they are not too brave to be soldiers and fight for someone’s lives and future.

With the help of this movie, people get a chance to comprehend that even all those terrible times of war did not deprive soldiers from the abilities to be brave, honest, and humane. There are so many duties, people should complete during the war in order to create a proper system and win. If one person makes something wrong, it is quite possible to fail and lose everything, and even put under a terrible threat the others.

Spielberg does not afraid to focus on pain: war will never be kind, and people should know it in order not to provoke it once again. Suffering, pain, and loss – this is all about war. It is too hard for an ordinary person to accept such cruel reality and not to lose own personality. This is why we should try to do everything possible to live in peace and think about safe future.

Saving Private Ryan is a perfect work by Steven Spielberg that tells about best human qualities, people’s responsibility, friendship, and care. John Miller is one of the brightest examples of great leaders and just a good person, who knows how to improve this life and help other people achieve safe future. This story touches many people; it learns how to be worthy of this world and appreciate every minute of this life.

Works Cited

Saving Private Ryan. Dir. Steven Spielberg. Perf. Tom Hanks, Matt Damon, Tom Sizemore, and Edward Burns. DreamWorks. Paramount Pictures, 1998.

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Saving Private Ryan Analysis: Propaganda Through Immersion

• Jack Walters
• March 1, 2022

Through its immersive narrative and stylistic direction, Saving Private Ryan r eminds us of the indiscriminate terror of trench warfare.

This article contains spoilers for ‘Saving Private Ryan’ (1998) .

Since the birth of the medium, film has been used as a catalyst for social, political and functional change. Whether that’s through creative narratives that explore otherwise unspoken topics, or even through outwardly exposing audiences to the difficulties of the world, there’s something about film that makes it intrinsically suitable for this kind of social commentary . And one of the topics that filmmakers seem unable to resist, however uncomfortable it is, is war. But it’s not just during wartime conflicts that these films come about. Some of the most iconic and prolific war films there have ever been – think Apocalypse Now or Paths of Glory – are products of a different era, drawn from a time that gives filmmakers more creative liberty, and crafted with the blessing of hindsight. Spielberg’s often-cited ‘masterpiece’ of war cinema Saving Private Ryan is one of these films – a piece of media that, despite depicting a time that is long gone, makes every attempt to immerse its audience in the dark and bloody realities of conflict in order to make these times real again. And by doing so, Spielberg makes one thing excessively clear – there are no winners in war , just those who die and those who don’t.

The first half an hour of Saving Private Ryan is one of the most effective and engaging sequences that Spielberg has ever directed – and that’s tough competition. It follows Tom Hanks’ Captain Miller and his squadron as they land on Omaha Beach and suffer immense casualties after being ambushed by enemy soldiers. The thing that makes this scene so memorable and captivating is the exact same thing that Spielberg uses throughout the movie to promote his personal anti-war ideologies – intense, unrelenting immersion into the scene. We never break away from Hanks’ character for a second, following him with unbroken scrutiny as he navigates the beach and witnesses a huge chunk of his team die and suffer in extremely gruesome ways. But the scene keeps moving, the characters keep on pushing, and the battle is eventually won. It’s hard to imagine a sequence that could make you feel more like a soldier under fire than this one – it defies everything that we’d expect from Hollywood filmmaking and instead opts for violence, chaos and endless bloodshed.

Now, it would be unfair to claim that Spielberg was the first to do this – war films have always had elements of violence and brutality, and it would be pretty difficult to make one that didn’t. But where he deviates from tradition is in the complete lack of spectacle that surrounds the warfare in Saving Private Ryan . There are no theatrically dramatic cries or pristine cinematic explosions in Spielberg’s vision, but rather his soldiers die with a complete lack of fanfare or even sometimes recognition. In doing so, he steps away from the sensationalist nature of moviemaking and makes a very clear statement – his film isn’t just entertainment, it’s real life. The brave soldiers that get shot down on Omaha Beach aren’t just characters in a story – the camera barely even notices them as they lose limbs and writhe in pain – they’re real people and their deaths aren’t just plot points to be dramatized. By making this clear choice to avoid sensationalizing warfare, Spielberg makes it even easier for audiences to feel as though they’re really there on those beaches, rather than watching a constructed film. 

Saving Private Ryan is clearly an anti-war film , and you can tell that just by reading the plot summary. It’s about the futility of warfare, the injustice of sending so many inexperienced soldiers to their deaths, and the pure terror that’s bred on the battlefield. But Spielberg doesn’t just show you that, he makes you feel it. His immersive action sequences and clear stylistic choices make you truly feel like you’re there – and that’s the best kind of propaganda there is. It’s one thing to learn about the horrors of war, but to see the carelessness with your own eyes and feel the fear with your own heart, that’s something else – and it makes all the film’s arguments about war so much more persuasive. Audiences rarely connect with films that are too overt with their deeper ideologies, particularly when they’re as political and uncomfortable as Saving Private Ryan ’s. But by placing the audience within the confines of the film, Spielberg breaks down that barrier between fiction and reality, making the film’s true meaning impossible to escape from.

Although it’s near-impossible to boil down the ‘meaning’ of Saving Private Ryan into one sentence, Captain Miller’s dying words to Private Ryan himself sum it up best. As he faces his own mortality on the battlefield, Miller lets out two simple but profound words that say more than anybody else ever could – “earn this.” It comes after an absolutely devastating attack from the enemy that sees several of his men killed, even more injured, all in the name of protecting Ryan and bringing him home. It’s one small mission in comparison to the whole of the war, but it’s everything for these men. And that’s exactly what’s so special about Saving Private Ryan . It doesn’t try and condemn war by just showing a huge-scale battlefield with dramatic deaths and big explosions, but it takes the time to develop a small, intimate story that speaks volumes about the personal trials and tribulations that soldiers faced on a daily basis during the war. These men might not have won the war themselves, but they suffer and persevere just as much as those on the front line, and as Miller’s dying words command, they earn their place in history. 

Saving Private Ryan is now available on Digital, Blu-ray & DVD. Read our reviews of Steven Spielberg’s The Fabelmans , West Side Story , Jaws , Jurassic Park , Duel , Schindler’s List , E.T. the Extra-Terrestrial , and The Terminal , and find out why Catch Me If You Can is a Christmas Movie .

• TAGS: Close analysis , genre: war drama , Steven Spielberg
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Saving Private Ryan: a Cinematic Masterpiece

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Saving Private Ryan Themes

By steven spielberg.

These notes were contributed by members of the GradeSaver community. We are thankful for their contributions and encourage you to make your own.

Written by Timothy Sexton

The Justification for War

The overarching theme of the film is one which questions the justification for the sacrifices required by war. The story follows a detachment of soldiers sent into enemy lines with a single goal: to bring back a private named Ryan in order to send him home alive. Ryan’s three brothers have been killed in action and the political powers that be decide that his death would be a public relations disaster whereas saving Mrs. Ryan’s only remaining son would be just the opposite. By the time the mission is over, many lives have been sacrificed in exchange for Ryan’s survival. The story is thus a microcosm that thematically examines the justification for sacrifice during wartime which essentially places an arbitrarily higher value upon some lives than is placed upon others.

War Is Hell

The most famous sequence in the film is the harrowing depiction of the landing of Allied forces on Omaha Beach during the D-Day invasion. This section of the film has been hailed by many soldiers as the most realistic battle sequence ever filmed. It is essentially twenty-four minutes of non-stop violent battle engagement that brings the phrase “war is hell” to visceral life. The rest of the movie builds steadily if less visually overpowering upon this theme. Even the mission itself comes under scrutiny by the solders tasked with risking their own lives to save a man none of them met, know, or ever even heard of. The film begins exploring this theme by tangibly putting the viewer directly in the middle of a hellish battle. The film ends by exploring how the various levels of the hellishness of war are applied on a random basis that is often strikingly unequal and unfair.

The Politics of War

The decision to send eight soldiers on an especially dangerous mission in order to save just one is based entirely on political expediency. Although justifications for going to war always revolve around patriotic calls for preserving one’s way of life against an enemy threatening to destroy those principles, the reality is the seemingly easy morality of good versus evil is always inspired by far less noble political agendas. The impact of political decisions made by men far away from the danger of the actual battle is most clearly defined when the detachment sent to save private Ryan find him only to realize that though he is a private Ryan he is not the right private Ryan. The lives of two men sharing the same name, with essentially the same kind of civilian life, doing the same thing as soldiers in the same war are revealed to be of significantly different worth. The life of one private Ryan is worth the sacrifice of eight other men while the life of the other is not. This worth is based not on any strategic or tactical advantage of one over the other but simply because political powers have deemed it to be so. By the end, the film is subtly asking the question that if saving one life during wartime is a politically-based decision, then what other decisions are driven politically rather than in the name of the national defense.

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Saving Private Ryan Questions and Answers

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Study Guide for Saving Private Ryan

Saving Private Ryan study guide contains a biography of director Steven Spielberg, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Saving Private Ryan
• Saving Private Ryan Summary
• Character List
• Director's Influence

Essays for Saving Private Ryan

Saving Private Ryan essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Saving Private Ryan, directed by Steven Spielberg.

• The Anti-War Themes of Steven Spielberg's Saving Private Ryan

Wikipedia Entries for Saving Private Ryan

• Introduction

July 24, 1998 'Saving Private Ryan': A Soberly Magnificent New War Film Related Articles The New York Times on the Web: Current Film Forum Join a Discussion on Movies By JANET MASLIN hen soldiers are killed in "Saving Private Ryan," their comrades carefully preserve any message he left behind. Removed from the corpses of the newly dead, sometimes copied over to hide bloodstains, these writings surely describe some of the fury of combat, the essence of spontaneous courage, the craving for solace, the bizarre routines of wartime existence, the deep loneliness of life on the brink. Steven Spielberg's soberly magnificent new war film, the second such pinnacle in a career of magical versatility, has been made in the same spirit of urgent communication. It is the ultimate devastating letter home. Since the end of World War II and the virtual death of the western, the combat film has disintegrated into a showcase for swagger, cynicism, obscenely overblown violence and hollow, self-serving victories. Now, with stunning efficacy, Spielberg turns back the clock. He restores passion and meaning to the genre with such whirlwind force that he seems to reimagine it entirely, dazzling with the breadth and intensity of that imagination. No received notions, dramatic or ideological, intrude on this achievement. This film simply looks at war as if war had not been looked at before. Though the experience it recounts is grueling, the viscerally enthralling "Saving Private Ryan" is anything but. As he did in "Schindler's List," Spielberg uses his preternatural storytelling gifts to personalize the unimaginable, to create instantly empathetic characters and to hold an audience spellbound from the moment the action starts. Though the film essentially begins and ends with staggering, phenomenally agile battle sequences and contains isolated violent tragedies in between, its vision of combat is never allowed to grow numbing. Like the soldiers, viewers are made furiously alive to each new crisis and never free to rest. 'This film simply looks at war as if war had not been looked at before.' The film's immense dignity is its signal characteristic, and some of it is achieved though deliberate elision. We don't know anything about these men as they prepare to land at Omaha Beach on D-Day, which might make them featureless in the hands of a less intuitive filmmaker. Here, it means that any filter between audience and cataclysm has effectively been taken away. The one glimmer of auxiliary information is the image of an elderly visitor at a military cemetery, which opens and closes the film (though these brief sequences lack the film's otherwise shattering verisimilitude). Whoever the man is, he sees the gravestones and drifts into D-Day memories. On the evidence of what follows, he can hardly have gone to sleep since June 6, 1944, without reliving these horrors in his dreams. Though "Saving Private Ryan" is liable to be described as extremely violent for its battle re-enactments, that is not quite the case. The battle scenes avoid conventional suspense and sensationalism; they disturb not by being manipulative but by being hellishly frank. Imagine Hieronymus Bosch with a Steadicam (instead of the immensely talented Janusz Kaminski), and you have some idea of the tableaux to emerge here, as the film explodes into panoramic yet intimate visions of bloodshed. What's unusual about this, in both the D-Day sequence and the closing struggle, is its terrifying reportorial candor. These scenes have a sensory fullness (the soundtrack is boomingly chaotic yet astonishingly detailed), a realistic yet breakneck pace, a ceaseless momentum and a vast visual scope. Artful, tumultuous warfare choreography heightens the intensity. So do editing decisions that balance the ordeal of the individual with the mass attack under way. So somehow we are everywhere: aboard landing craft in the throes of anticipatory jitters; underwater where bullets kill near-silently and men drown under the weight of heavy equipment; on the shore with the man who flies upward in an explosion and then comes down minus a leg; moving inland with the Red Cross and the priest and the sharpshooter; reaching a target with the savagely vengeful troops who firebomb a German bunker and let the men burn. Most of all, we are with Capt. John Miller (Tom Hanks) in heights of furious courage and then, suddenly, in an epiphany of shellshocked confusion. Never have Hanks' everyman qualities been more instantly effective than here. When the battle finally ends, there are other unfamiliar sights, like the body of a soldier named Ryan washed up on the beach amid fish. (The film's bloody authenticity does not allow false majesty for the dead.) Next we are drawn into the incongruously small-scale drama of the Ryan family, with three sons killed and only one remaining, lost somewhere in Normandy. Miller and his unit, played with seamless ensemble spirit by actors whose pre-production boot-camp experience really shows here, are sent to find what the captain calls "a needle in a stack of needles" and bring him home alive. In another beautifully choreographed sequence, shot with obvious freshness and alacrity, the soldiers talk while marching though the French countryside. On the way, they establish strong individual identities and raise the film's underlying questions about the meaning of sacrifice. Spielberg and screenwriter Robert Rodat have a way of taking these standard-issue characters and making them unaccountably compelling. Some of that can also be ascribed to the fine, indie-bred cast that includes Edward Burns (whose acting prospects match his directing talents) as the wise guy from Brooklyn; Tom Sizemore as the rock-solid second in command; Giovanni Ribisi as the thoughtful medic; Barry Pepper as the devout Southern sharpshooter; Jeremy Davies as the timid, desperately inadequate intellectual; Vin Diesel as the tough Italian, and Adam Goldberg as the tough Jew. As the actors spar (coolly, with a merciful lack of glibness), the film creates a strong sense of just how different they are and just how strange it is for each man to find himself in this crucible. Yet "Saving Private Ryan," unlike even the best films about the mind-bending disorientation of the Vietnam War, does not openly challenge the moral necessity of their being forced to fight. With a wonderfully all-embracing vision, it allows for patriotism, abject panic and everything in between. The soldiers' decisions are never made easily, and sometimes they are fatally wrong. In this uncertainty, too, "Saving Private Ryan" tells an unexpected truth. The film divides gracefully into a string of well-defined sequences that lead inexorably to Ryan. Inevitably, audiences will know that he is played by Matt Damon and thus will be found alive. But the film still manages to create considerable suspense about when and how he will appear. When it finally comes, Damon's entrance is one more tribute to Spielberg's ingenious staging, catching the viewer utterly off-guard. There's the same effect to Ryan's impassioned reaction, in one of many scenes that prompt deep emotion, to the news that he can go home. Though "Saving Private Ryan" features Hollywood's most durable contemporary star in its leading role, there's nothing stellar about the way Hanks gives the film such substance and pride. As in "Apollo 13," his is a modest, taciturn brand of heroism, and it takes on entirely new shadings here. In Miller, the film finds a plain yet gratifying complex focus, a decent, strong, fallible man who sustains his courage while privately confounded by the extent that war has now shaped him. "Back home, I'd tell people what I do, they'd say, 'It figures,"' he explains to his men after an especially troubling encounter. "But over here, it's a big mystery, judging from the looks on your faces. I guess that means I've changed over here. I wonder sometimes if my wife is even going to recognize me, whenever it is I'm going to get back to her. And how I can possibly tell her about days like today." Among the many epiphanies in "Saving Private Ryan" are some especially unforgettable ones: the anguished ordeal of Davies' map maker and translator in a staircase in the midst of battle; the tranquil pause in a bombed-out French village, to the strains of Edith Piaf; the brisk way the soldiers sift through a pile of dog tags, momentarily forgetting that each one signifies a death. A man driving a tank looks up for a split second before a Molotov cocktail falls on him. Two of the film's principals huddle against sandbags at a critical juncture; and then, suddenly, only one is still breathing. The sparing use of John Williams' music sustains the tension in scenes, like these, that need no extra emphasis. But "Saving Private Ryan" does have a very few false notes. Like the cemetery scenes, the capture of a German soldier takes a turn for the artificial, especially when the man expresses his desperation through broad clowning. But in context, such a jarring touch is actually a relief. It's a reminder that, after all, "Saving Private Ryan" is only a movie. Only the finest war movie of our time. PRODUCTION NOTES: 'SAVING PRIVATE RYAN' Directed by Steven Spielberg; written by Robert Rodat; director of photography, Janusz Kaminski; edited by Michael Kahn; music by John Williams; production designer, Tom Sanders; produced by Spielberg, Ian Bruce, Mark Gordon and Gary Levinsohn; released by Dreamworks Pictures and Paramount Pictures. With: Tom Hanks (Captain Miller), Tom Sizemore (Sergeant Horvath), Edward Burns (Private Reiben), Barry Pepper (Private Jackson), Adam Goldberg (Private Mellish), Vin Diesel (Private Caparzo), Giovanni Ribisi (T/4 Medic Wade), Jeremy Davies (Corporal Upham), Matt Damon (Private Ryan), Ted Danson (Captain Hamill), Paul Giamatti (Sergeant Hill), Dennis Farina (Lieutenant Colonel Anderson), Joerg Stadler (Steamboat Willie), Harve Presnell (General Marshall) and Harrison Young (Ryan as Old Man). Running time: 170 minutes. "Saving Private Ryan" is rated R (under 17 requires accompanying parent or adult guardian). Its graphic war scenes depict maimed bodies and shockingly sudden death. Young children aren't ready for it. Teen-agers who would think nothing of watching a grisly horror film will think more if they see this.

Home / Essay Samples / Entertainment / Steven Spielberg / Saving Private Ryan’ Documentary Theme Analysis

Saving Private Ryan' Documentary Theme Analysis

• Category: Entertainment
• Topic: Documentary , Movie Analysis , Steven Spielberg

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