Whether it is the story of the nameless French soldier slipping on the English soldier’s uniform, and the almost wordless friendship that develops between him and Fionn Whitehead’s character as they work together to get off the beach…So often, we let our characters off the hook, we let things get easy, we let the best possible thing happen, we let them be saved by coincidence.
We take our foot off the gas pedal so that we can maneuver our characters to the places that we want them to go.
Not trying to help other people, but trying to save his own life in whatever manner is possible.
He’s a guy who will pretend to be a Red Cross worker in order to try to sneak onto the boat that is evacuating the wounded.
is a particularly interesting script to look at as screenwriters, because it breaks pretty much every rule that you’ve likely been told about screenwriting or about filmmaking in general, or certainly about the war movie genre.
Thesis Doctoral Program - Saving Private Ryan Essay Plan
And yet this is a war movie that (for the most part) isn’t about winning but about losing.
Where the Nazi pilots are as anonymous, and as good at their jobs, as the British ones.
It’s a movie which assembled the largest naval unit in film history, not for a spectacular battle sequence, but for a simple journey against the waves of the English Channel.
Not only does the film lack a single memorable quip or funny line– it barely has any dialogue at all!
It doesn’t tell the audience any more than the individual soldiers on the beach know, moment by moment, just as they’re learning it, and sometimes even a step or two behind.