Director in Hollywood

The film officially began playing, but contrary to the trailer's depiction of an opening battle, it started with an old man taking his family to a graveyard to pay their respects.

For those familiar with Gilbert's family, it was apparent that this old man was Gilbert's father, making another cameo in his son's film.

The audience was confused—where was the grand opening battle?

But Gilbert soon made it clear: the real show was yet to come.

As the camera zoomed in on the old man's eyes, it seemed to transport the viewers back to that era.

Massive waves rolled toward the beach, carrying Allied landing crafts in their wake, creating an atmosphere of mounting tension.

The perspective shifted to the interior of one of the landing crafts, focusing on the hand of the officer played by Tom Hanks before moving to the rest of the soldiers aboard.

Some were vomiting from seasickness, others clutching crucifixes in prayer, begging for divine protection. A few were meticulously cleaning their weapons, while others wore expressions of stoic indifference.

There was no small talk, no pleasantries. After a few terse lines of dialogue, the ramp of the landing craft opened, and the soldiers were mowed down like wheat being harvested.

But unlike wheat, humans bleed, scream, and feel pain.

The scene was utterly harrowing. Bullets pierced helmets and bodies; some soldiers had half their heads blown off, while others tried to stuff their spilling intestines back into their abdomens.

Tom Hanks dragged an injured soldier only for the man's lower half to be obliterated moments later by an explosion.

If you looked at the expressions of the audience at the premiere, many had their mouths agape in shock, overwhelmed by the intensity of the opening scene.

Such a brutal depiction of war had never been achieved in any film before.

Crucially, this brutality wasn't gratuitous. Every detail was grounded in realism and necessity.

There were no invincible heroes, no "Rambo" archetypes. A bullet meant death, plain and simple.

"This... this is too bloody, too brutal," murmured Emmanuelle Béart, clearly unsettled. She even covered her eyes but couldn't resist peeking through her fingers to keep watching.

Sophie Marceau, equally stunned, confessed, "It's bloody and brutal, yes, but Emmanuelle, you have to admit—it's an incredibly realistic depiction of war."

Emmanuelle nodded in agreement. "I've never seen such an authentic war scene before. This film left a strong impression on me from the very beginning."

Real, brutal, and bloody—these were the words the audience used to describe the opening battle.

Tom Hanks, who had already seen the film in internal screenings, noticed that this version had an even tighter pace, making the tension almost unbearable.

Gilbert had eschewed his usual fast-paced, flashy editing style, his visually stunning camerawork, and his penchant for unconventional angles.

Aside from a first-person perspective used at the start, the film primarily relied on traditional handheld cinematography to follow the action.

And yet, this conventional approach unleashed unparalleled power, immersing the audience deeply into the story.

Tom Hanks had been optimistic about the film's success after the internal screenings, but now he was even more convinced.

Harvey Weinstein, however, was experiencing an emotional rollercoaster. The outstanding quality of the opening sequence alone had caught him off guard.

If the rest of the film maintained this standard, Saving Private Ryan could become an exceptional war film.

But if this was the film's peak, Weinstein's The English Patient might still have a chance at the Oscars.

Unfortunately for Weinstein, his optimism was short-lived.

Roger Ebert, who was seeing the complete film for the first time, couldn't help but feel happy for Gilbert. Over the past few years, Ebert's enthusiastic praise of Gilbert had made him the subject of ridicule among other critics.

But what they didn't understand was that by championing Gilbert, Ebert had become one of the most popular film critics among young audiences in America.

Ebert had even set up a Facebook account—the first critic to do so—and amassed a considerable following.

Ebert believed that critics needed to evolve. The days when film critics could decide a movie's fate were long gone.

Thus, he adapted, focusing on gaining relevance and retaining his esteemed status as a critic. Supporting the immensely popular Gilbert turned out to be his best strategy.

By endorsing Gilbert, Ebert discovered what he jokingly referred to as the "key to unlocking traffic."

While some had accused Ebert of being on Gilbert's payroll, the truth was, everyone in the industry was paid to some degree—how else could critics survive?

Now, with nearly universal praise for this film, Ebert could unabashedly sing its praises without raising suspicions.

Gilbert's shift in style was evident. He focused less on grand set pieces and more on individual experiences to capture the tension, brutality, and terror of war.

Captain Miller's trembling hands, the fallen soldiers, and the fear etched on countless faces created an achingly real atmosphere.

The film was still filled with explosions, but unlike the exaggerated spectacle of The Rock, these felt integral to the battlefield's authenticity.

Explosions were expected on a battlefield; their absence would have felt strange.

This realism allowed the audience to feel the grim weight of war.

Here, there were no miraculous escapes, no superhuman protagonists. Life was fragile, and death came swiftly and unexpectedly.

Using war's horrors to convey an anti-war message wasn't new. But Gilbert's execution was unparalleled, presenting these events with a level of authenticity never seen before in cinematic history.

As the initial 20-minute battle sequence concluded and the film's pace slowed, the audience realized their palms were soaked with sweat.

Many had gripped their seats or pinched their thighs to endure the tension, leaving their legs red and sore.

Roger Ebert turned to a French critic and asked, "What do you think of the film so far?"

The French critic, unwilling to lie, admitted, "It's impressive. Gilbert excels in these sequences. I just hope the dramatic parts don't disappoint."

The story continued, revealing that James Ryan's brothers had all died in combat. General Marshall decided to extract the last surviving son and send him home.

When Marshall declared, "That boy is still alive, and we're going to find him and bring him home," the theater erupted in applause.

Initially, a single clap rang out, then more joined in. Soon, the entire audience was standing and clapping.

This early into the film, such applause was unprecedented for the filmmakers.

Even Sophie Marceau and Emmanuelle Béart joined in, their hands turning red from clapping. Sophie, brimming with pride, thought to herself, Look, that's the director who saved me from despair. He's incredible.

Harvey Weinstein, Roger Ebert, and Luc Besson also clapped earnestly. This wasn't the perfunctory applause of industry gatherings—it was genuine.

The performance of Christopher Lee as General Marshall added weight to the scene. Having experienced real combat, Lee was deeply moved by Gilbert's portrayal of war.

Gilbert had assigned Captain John Miller and his team of soldiers the mission to find James Ryan and escort him to safety.

This set up a compelling moral dilemma: was it worth risking the lives of eight elite soldiers for one man?

The audience didn't yet know that all eight would eventually die, but the ethical question was enough to spark debate.

"I don't think it's worth it," someone in the back row argued. "These soldiers could contribute so much more on the battlefield."

Another countered, "But Ryan is the sole surviving son of his family. His family has already paid the ultimate price. He deserves the chance to go home."

"But what about the families of those eight soldiers? They also have loved ones waiting for them."

Hearing this debate, Harvey Weinstein knew Gilbert had succeeded.

The film not only told a compelling story but also encouraged audiences to grapple with its moral complexities.

By asking a question and letting the audience find their own answers, Gilbert demonstrated a higher level of storytelling.

The film's pacing, which slowed after the intense opening, showcased Gilbert's growing mastery as a filmmaker.

Gilbert, once known only for his bombastic style and emotional manipulation, had evolved.

With Saving Private Ryan, he proved he was on the path to becoming a true cinematic master.

Even more impressive, Gilbert was still young, with a future brimming with potential.

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