When the real James Ryan finally appeared, the film was more than halfway through. Based on Kenneth Turan’s prediction, following the typical Hollywood production rules and Duke Rosenberg’s usual style, there would inevitably be another grand battle to achieve the final redemption.
However, he clearly sensed that Ryan himself wasn’t important. Duke Rosenberg’s message was obvious—who was being saved didn’t matter, what was important was the act of saving itself.
As a seasoned film critic and media professional, Kenneth Turan keenly observed that once this film was released, it would inevitably spark a wave of discussions, even though it so perfectly aligned with American values!
It seemed Duke Rosenberg never overlooked the market. Kenneth Turan had a helpless smile on his lips—controversy and buzz could either kill or explode a film’s success. What about *Saving Private Ryan*?
As the climactic battle was about to begin, the applause in the theater had already died down. Kunithus stared at the screen, wide-eyed. His companions, and even all the surrounding audience members, were equally captivated.
Many of the attendees at this premiere had come because of the director. Knowing Duke’s tendencies, they were aware that if the opening battle was so brutally intense that it shook them to their core, what kind of cinematic experience would the final climax bring?
"There’s a moment of calm before the storm," Irene whispered.
Anna laughed and leaned over to whisper back, "Director Rosenberg is using beautiful memories to showcase the brilliance of humanity."
In Anna’s view, what Duke achieved in this film was a significant progression—revealing human emotions through the lens of war. To portray the perfection of humanity and the horrors of war, he deliberately inserted a moment of calm before the second battle, allowing the audience to feel both the light of humanity and the devastation war inflicts.
During this scene, the camera returned to a medium shot of Captain Miller’s trembling hands and upper body. Anna could see the squad’s leader, worried and despairing about their fate just before the great battle. When he sat down and talked with Ryan about his family, he instructed Ryan to recall specific events with his family, not just their faces and voices.
Here, Duke cleverly employed a series of reverse shot close-ups, focusing almost entirely on the two characters’ facial expressions. From their expressions, Anna saw resignation and sorrow. The young director seemed to be using Ryan’s words to convey the life of countless ordinary American soldiers before the war, a life that war had taken away.
In this fleeting moment of tranquility, there was no arguing or doubt. Though they didn’t know what fate held for them, they faced the upcoming battle together with fond memories of the past.
By just aposing this calm with the inevitable upcoming battle, the director clearly aimed to highlight the value of peace and the brutality of war, affirming the value of life.
On the other side, Kenneth Turan had a different reaction.
In his eyes, a truly just and responsible director wouldn’t be obsessed with the bloodshed and excitement of war. Instead, they should focus on the human emotions and spirit that emerge during war, allowing people to realize the evil of war and the value of peace, so that every viewer cherishes peace from the depths of their heart and distances themselves from war.
Duke Rosenberg had finally reined in his inner urge for destruction, using the devastation of war to express a profound theme.
But what was needed next to further deepen this theme and ensure it resonated with the audience?
Sacrifice. There was no more fitting way than that.
There was no need to overthink it. Kenneth Turan could easily guess that most of the squad would inevitably fall on this bridgehead.
Before the war, everyone had beautiful lives, and each had something to mourn when they were struck down. In America, that might be the memory of family. In other places, it might be something else. But it would always be something precious yet distant.
The role of war here was simply to destroy everything it could. The soldiers fought to reclaim whatever they could.
To save Ryan, the embodiment of goodness, sacrifice was inevitable. One by one, the squad members fell, until Captain Miller...
Captain Miller, after being shot, sat weakly by the bridge, firing his small pistol powerlessly at a Tiger tank. Finally, rescue arrived as P-51 planes destroyed the tank. Hope had not been extinguished. The goodness that the squad had sacrificed their lives to save would carry on, living bravely with their memories and dreams.
"Don’t let them down," Miller said before he died. "Ryan, live well."
The sound of sobbing echoed in the theater. Though the sound wasn’t loud, there were too many people crying.
Irene pinched her nose to stifle her tears. "I know this is meant to be emotional manipulation, so why do I still want to cry?"
"Because the director spent the entire film building up to this moment of sacrifice and emotion," Anna said, more composed. "Captain Miller is a hero."
Indeed, Captain Miller was a hero, a typical American everyman hero. Such a hero’s sacrifice had the greatest impact.
Kunitz gently wiped his eyes with the back of his hand, and beside him, Allen and Jones did the same. On the other side, Owen’s eyes gleamed with tears, slowly streaming down his face. He seemed still immersed in the film, not even attempting to wipe them away.
"My dear Mrs. Ryan, it is with great pleasure that I inform you that your son, James Ryan, is unharmed and is currently on his way home from the European front. Reports from the frontlines indicate that James heroically and resolutely fulfilled his duties, even after learning of his family’s misfortune in this great war against tyranny and oppression. I, along with the Secretary of War, the entire military, and the American people, wish you good health and happiness with your son James. Only his safe return can ease your heartache..."
As Captain Miller died, General Marshall’s voice was heard as a voiceover, reading the letter to Ryan’s mother. On the battlefield, where the smoke had not yet cleared, the camera slowly panned over the collapsed bell tower, the sunken craters, the broken bridge, and the bodies. The expressions of the survivors were serene and calm. They were still alive, listening to the military’s praise for Ryan, words so beautiful. But those words also praised all the soldiers, those still alive like Upham, and those who had died bravely.
"When war and life are placed on opposite sides of the scale, the weight of ’destruction’ becomes all the heavier," Kenneth Turan heard Todd McCarthy say, as if reviewing the film.
"A true war film never shies away from the scars humanity leaves behind. And behind the shadow of war, there is always a glimpse of humanity’s brilliance."
Todd McCarthy turned to Kenneth Turan. "The film was brilliant. Duke Rosenberg surpassed our expectations. He’s outdone himself! I can praise him here, but only here!"
Seeing his old friend smile wryly, Todd McCarthy turned back without saying more. The film was so "right," so perfectly right, that criticizing Duke Rosenberg would require great caution!
To criticize the film’s theme would only bring trouble. Criticizing other aspects would be inconsequential. Todd McCarthy suddenly found himself at a loss. After only a few seconds of thought, he found the best solution—ignore Duke Rosenberg’s new film altogether, as if it had never existed.
Was the rescue worth it?
It seemed the director hadn’t given a very clear answer until the film returned to the elderly James Ryan, where everything finally came full circle.
Ryan had been saved and returned home, living a peaceful life. Now, as an old man, he stood before the graves of his comrades, weeping as he asked his wife, "Was I a good man?"
His wife held his face, reassuring him that he was. Only then did the old man seem somewhat relieved.
"I lived well. Was I a good man?"
The film gave its answer quickly—his wife replied, "You were a good man!"
The elderly Ryan saluted Captain Miller’s grave, and the Stars and Stripes once again fluttered in the air as the film drew to a close.
The credits began to roll, and the theater fell into silence. Tina Fey, sitting next to Duke, couldn’t help but glance behind her. Based on the applause during the film, this reaction was unexpected. Could it be that the audience didn’t approve of the film?
Her eyes then fell on her employer, who remained calm, seated steadily. His dark eyes seemed filled with nothing but confidence.
If she were to judge, this was undoubtedly a good film, even a classic war film. The young director had seamlessly combined his signature visual effects with newfound intellectual depth. Even though the film had plenty of emotional manipulation, it still felt natural and unforced.
The theater remained silent for about five seconds, and then the applause erupted like a summer thunderstorm. Starting from the back row with the regular audience members, everyone stood up!
They weren’t standing to leave! Nor to relax! But to congratulate the director and the film, expressing their respect and releasing the emotions the film had stirred!
"He always succeeds!"
Tom Hanks stood up, walking over without waiting for Duke to extend his hand, and gave him a solid hug. "Duke, I’m honored to have worked with you! You’ve given me a classic role in a classic film!"
More and more people approached, offering their congratulations!
The thunderous applause showed no sign of stopping. The audience remained standing, applauding, as if this was the only way to express their love for the film and the young director!
The premiere was over. Whether the film’s style would be accepted would now depend on the market’s response!
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