‘June 6, 1944. Dog Green sector. Omaha beach.’ In opening this sequence with these simple and blunt words, accompanied with the images of the iron defences, Spielberg has further intensified the realism deliberately conveyed throughout the film. He also quite simply explains to the audience the setting of the scene – without using anything that may ruin the developing atmosphere of the film. Another key feature of this scene is that there is no music. Sound is a resource used by Spielberg to great effect throughout the film. While there is no music until the concluding minutes of the sequence, digetic sound is used extensively throughout the scene in order to allow the audience to feel ever more involved in the action. This technique is employed beautifully at this point in the scene as the camera pans out to reveal a number of boats heading for the beach – the sound of crashing waves prominent. The camera, like the boats, is bumpy and wobbly as though it were almost hand held. Spielberg explains this camera technique claiming that he ‘wanted to hit the sets much like a newsreel cameraman following soldiers into war.’ Of course this approach is incredibly effective in adding to the realism of the scene as it draws the audience into the action as though they themselves were seeing it through their own eyes.
Having established the setting and grounded the scene in an intense realism the camera zooms in to our main character: Captain Miller. However rather than zooming straight in to his face we are first introduced to his hands which shake as he tosses back a swig of water. Already we can see that Spielberg is deliberately aiming to flout the traditional conventions of a war hero – while the conventional soldier is brave and fearless we are here presented with a scared hero – a hero with average human emotions and fears. Not only does this add to the realism of the film but it also allows the audience to empathise with the characters in a way that they may not have otherwise been able to. This empathy is further enhanced as the camera slowly tracks around the boat with close-up shots of each of the men. In doing so the audience forms a very basic relationship with the troops – a relationship that will very soon be brought to an abrupt end. This momentary calm also allows the audience a moment in which to become complacent - providing a springboard from which to shock the viewers with the following sequence.
As the boats reach the shore of the beach the doors are opened and chaos sets in as a wall of lead rips through the first few rows of men. There is no music at all throughout this scene which places further emphasis on the reality of what is being witnessed while giving the audience a chance to experience the true sounds of war. The camera shots also become more random – high shots then low shots – over the shoulder shots and long shots. This and the hand held effect used by the cameraman means that the audience is forced to witness the carnage as though they were seeing it through the eyes of one of the men. This technique is further developed as we follow the soldiers beneath the surface of the water. The sound underwater is muffled in the same way that it is in reality and as the camera moves in and out of the water we are made to feel like one of the soldiers – further enhancing the true horror of the situation.
In the following sequence, having experienced the initial carnage the Captain experiences a brief period of shock as his emotions are thrown into turmoil. This places emphasis on the fact that ninety percent of the soldiers had never experienced war and had only basic, if any, training. Even for the experienced soldiers such as the captain the shock was no less devastating. This draws the audience to empathise with the captain as we begin to realise that he is little different to you or I. During this short sequence the sound is muted allowing the audience to concentrate more fully on what we see, further increasing the horror of the visual occurrences. As Miller slowly begins to regain his composure it would appear that he finally recognises his responsibility within the situation and as the sounds of war flood back Captain Miller begins to demonstrate his experience as a soldier. The dialogue from this point onwards is mostly declarative as the American troops finally begin to advance.
Another character that stands prominent in this scene is that of Sergeant Horvath. Spielberg has used Horvath’s character to contrast with Captain Miller – a contrast which is seen even in the first few seconds of his début. Immediately as the audience set eyes upon his broad build, we recognise that he conforms much more to the stereotypical image of a fictional war hero. This places additional emphasis on the normality of Captain Miller while also allowing each character to be recognised uniquely permitting the audience to form further attachments to the individuals within the scene. Although Captain Miller and Sergeant Horvath contrast in many ways, together they form a prevailing partnership. In every order relayed by the Captain, the Sergeant reinforces it, thus portraying his regard and admiration for Miller. Horvath continuously stays close to the Captain, waiting for his command and looking out for him. Spielberg uses him as the Captains right arm. Everything about Horvath, from his bear like face, down to his cumbersome build, shout; protector! In view of this, the audience take a liking to him and confide comfort in the fact that Horvath will protect and bring their ‘everyman’ (the Captain) to safety. Spielberg uses the relationship between the two characters to excite the audience, as he shows that while war has the ability to quite literally tear people apart; it also has the potential to bring people together.
As scene progresses the American troops slowly begin to advance. One particular machine gun post seemingly poses the greatest threat of all, mowing down life by life in every careless movement. The regiment of Soldiers, led by Captain Miller, work as a unified team to break past the barbed wire and screams of the dying. Taking cover, with the aid of their sniper, they kill the gunners and advance past the German bunker. However, one key feature of this scene is the fact that we almost never see the Germans faces. The camera shot deliberately restricts the view to distinguish only their backs, shoulders and arms from the rear. In doing so, Spielberg has in effect dehumanised the enemy in order to limit the audiences’ empathy for them. Another key camera technique, employed throughout the scene is actually allowing the camera to become splattered with both mud and human blood. In doing so, Spielberg has again evoked a further sense of reality – allowing the audience to feel a part of the situation.
Having advanced upon the Germans and finally taken down the guns, the film progresses to a more sensitive sequence in which a Hitler youth knife is looted by a Jewish soldier who, upon seeing the knife breaks down in tears. This again juxtaposes the typical brave war hero but rather presents men with whom we all can relate. This gives the audience a sense of involvement within the plot while also allowing them to empathise with the characters. Finally the camera zooms in to a close up of Millers hands as he takes another swig of water. This repeated image not only signifies the end of the scene, but it reinforces our connection with Miller – establishing his shaking hands as a key aspect of his character within the film. At this point Horvath, looking around at the carnage declares ‘That’s quite a view’. The camera slowly tracks along the beach using a high angle shot presenting the destruction and carnage left after the battle. Through out the scene Spielberg has used these long lingering shots to contrast with the rapid staccato of battle, emphasising certain important pauses, and hence generating further suspense. A serene melody is also played to accompany this short sequence of shots which instantly provokes a more thoughtful atmosphere within the scene. As the shot tracks around revealing the horrific loss of life it begins to zoom in on one particular soldier lying dead on the field. He lies face down but as the camera moves to a close up shot of the soldiers bag we read the name – ‘Ryan S’. This man lays the foundations for the plot of the film while leaving enough to the audiences’ imagination to keep them hooked.
Steven Spielberg commented prior to the making of the film that he ‘wanted the audience to feel the same as those green recruits that were just off those Higgins boats’. I feel that Spielberg achieved this on a number of levels – least of all through the incredibly real images that make up the opening scene. However the introductory battle sequence also employs a wide range of complex techniques such as astounding camera work and use of sound to further increase the realism of the scene. It is quite clear that one of Spielberg’s key aims throughout the shooting of this film was to hit the screens with a sense of realism that had never before been achieved. In my opinion these first few scenes epitomize the term ‘realistic’ in revolutionary fashion and prepare the audience in a unique sense, for the rest of the film. Not only do these scenes establish themselves to be absolute works of art but they precede a further hour of astonishingly realistic footage. This film truly is a might to be reckoned with.
Spielberg has used the characters in such a way, to reinforce the overall realism in the scene. By using one stereotypical character to represent the professional soldiers fighting on that day, he contrasts the rest of the characters to him, emphasising their statuses as average civilians.
