Hey Jermo, this is why SPR is just another fast paced Hollywood Blockbuster
:lol: :lol: :lol: Sure, whatever you say…completely ignoring the fact they dumped as many stars as they could into Longest Day.
w. the only purpose to make money…
That is the purpose of all movies, perhaps excepting documentaries.
it has not much to do w. realistic combat scene or story, because the Story of D-Day is only scratched on the surface the rest is fiction or a nother die hard movie ,wich a lot of people like but has nothing to do w. History.
It is the most realistic combat ever seen in a war movie, particularly a WW2 one. The point wasn’t to highlight the history (which had been done ad nauseum for 50+ years), it was to use it as a backdrop to a much more personal story. It involved the viewer far more than saying “here’s a cleaned up rendition of what happened that day.” There certainly was enough history in the movie, but that wasn’t the concern.
for example the final battle, their are so many mistakes and misleads…anyhow, good to watch but not to tell your kids or friends “that was exactly how it looked like”…
Longest day of course a lot of acting but the impression supossed to be made to let the people know that war isn’t walk on sunset strip!!..
SPR consistently tops best of lists with the Omaha beach landing - best scene, best battle, most realistic battle, etc. - and if not outright at #1 it’s in the top few. You never see the Longest Day on the lists because it’s not at all realistic, so if that’s your metric, The Longest Day is blown away by SPR in comparison.
_‘Private Ryan’: What’s different?
PHIL PONCE: What-how difficult-would you say-or what this makes film different from other war movies? You’ve seen others.
STEPHEN AMBROSE: You watch “The Longest Day” by Darryl Zhanek. It’s the same beach Robert Mitchum and Henry Fonda are taking it instead of Tom Hanks, and they’ve got-as Russell Baker wrote yesterday in the Times-this manly set to their jaws, and they’re so calm, and they’re so competent, and nobody’s scared, and they’re going about their business. And it wasn’t anything at all like that. Zhanek’s movie is just kindergarten stuff. In Zhanek’s movie, for example, there’s no battle noise, so that whenever John Wayne or the other actors that he’s paying all those big bucks to, and something to say, then he makes sure the audience hears you.
Well, in this movie you’re leaning forward to hear what Hanks has got to say and you lose about half of it. In Wayne’s movie, as Paul Fussell just said, I should say in Zhanek’s movie. When an American gets hit-it’s either just a little flesh wound-I’m all right, Sarge-or he gets it between the eyes or in the heart, and he’s dead, and the Sarge with the captain can write home to the grieving parents that he never knew what him. He didn’t suffer. You suffer in the Spielberg film. You see what the bullets do the human body. He makes you look at it._
Really it’s like comparing Adam West’s Batman to Christian Bale’s.