Saving Private Ryan came out 28 years ago to great critical acclaim. It is still widely regarded as a realistic, sober war movie dramatizing the great human cost of freeing Europe from Nazi Germany, a break with the more romanticized depictions of the Second World War we used to get in the past. The opening sequence, where Steven Spielberg and his cinematographer Janusz Kamiński stage a reenactment of the American landing at Omaha Beach on June 6, 1944, is renowned for its refusal to pull away from the sheer carnage of the event, which cost the lives of over 1000 American soldiers. Viewing Saving Private Ryan in the Post-Neoconservative Era in American politics, however, reveals something much darker. It is propaganda for the Invasion of Iraq and the War on Terror, the American and Israeli attack on Iran, and the Israeli genocide in Gaza. How could we have all been so naive? I suppose it was inevitable. From Ronald Reagan’s “The Boys of Pointe du Hoc” speach in 1984 to the books Citizen Soldiers by Steven Ambrose in 1997 and The Greatest Generation by Tom Brokaw in 1998, the American, Canadian and British invasion of Normandy in the Summer of 1944, has been used to justify almost every aggressive action by the American military against the Global South under the Bush, Obama, Biden and Trump administrations.
As Professor Jiang points out in his YouTube video Game Theory #19: The Hollywood-Pentagon Complex, Saving Private Ryan provided the template for an important, although now largely forgotten, event of the American invasion of Iraq in 2003, the Jessica Lynch Raid. On March 23, Jessica Lynch, a 19-year-old American unit supply specialist with the 507th Maintenance Company was wounded and taken prisoner when her convoy was ambushed by Iraqi troops during the Battle of Nasiriyah. The Iraqi Army turned her over to an Iraqi medical unit, who treated her injuries, and then notified the American military of her location. Basically they said “we have one of your soldiers. Come pick her up if you want.” The American propaganda industrial complex, however, saw an opportunity. Over the next several days, the media was flooded with stories about how Lynch, who is blond, blue-eyed, and from Palestine West Virginia, almost single-handedly fought off wave after wave of Iraqi attackers. On April 1, American special forces attacked the hospital where she was recovering, and brought her to Landstuhl Regional Medical Center in Germany, where she was hailed by the American media as being the first American prisoner of war to be rescued since World War II, and the only woman. The story unraveled almost as soon as it broke, and Lynch eventually testified in front of Congress that the “rescue” had been staged. Nevertheless, the media circus had done its part in manufacturing consent for the American invasion and occupation of Iraq.
Examined closely, the plot of Saving Private Ryan makes almost as little sense as the Jessica Lynch Raid. James Francis Ryan, an American paratrooper in his early 20s from Paton Iowa, parachutes into France with the 101st Airborne the night before the landing at Omaha Beach. The next morning, George Marshall, the Chief of Staff of the United States Army, receives news that all of Ryan’s brothers had been killed on the same day, two in Europe and one in the Pacific. Marshall, not wanting to see an entire bloodline exterminated, sends word to the commanders on the beach at Normandy on June 7 to dispatch a squad of soldiers to find Ryan, and bring him back behind American lines, where he can be given an honorable discharge and sent back home. The premise is absurd if you think about it for more than a few seconds. Somehow news of the deaths of three enlisted men on opposite sides of the world got back to the supreme commander of the entire American Army in only a few hours. Does Steven Spielberg have any idea how much time it would take for a clerk in the mail division to receive not one but three telegrams, put two and two together and determine that three man with the very common name of “Ryan” were all brothers, that they had a fourth brother behind enemy lines in France, and then take that news all the way up the chain of command to the Chief of Staff of the United States Army? Even in the age of smart phones and social media it would take days, probably weeks.
The idea of sending an infantry squad behind enemy lines the day after the Battle of Normandy looking for one soldier is even more absurd. The American, Canadian, and British invasion of France in 1944 was not a primitive guerilla war where lines of communication depended on runners or carrier pigeons. It was the occupation of a major western European country by a massive, industrialized army. At some point, James Francis Ryan would make contact with an American, British or Canadian unit, where he would have reported into their commander. Marshall could have simply sent an order out over the wires directing any officer who came into contact with Ryan to send him sent back to the rear, where he could have been given a discharge, and been put on a ship back to New York. Why in the world would you give the news of Ryan’s discharge to only one low level company commander, in this case John Miller played by Tom Hanks, when you could have notified thousands of American, Canadian, British, Polish, and Free French officers about the news with further instructions to give him his discharge orders and pass him back to high command? Didn’t they know about “crowdsourcing” back in 1944? Marshall’s withholding of the news from the larger Allied chain of command and trusting it to one infantry squad, all of whom could have easily been killed before finding Ryan, was almost guaranteeing that he would never be found.
As pure cinema, the acclaimed opening on Omaha Beach holds up fairly well. The shaky cam, the scenes or the horrifically wounded soldiers, the man carrying the arm that had been blown off a few second before, the images of American infantrymen walking into a solid wall of machine gun fire as soon as the gates of the landing craft drop, and the eventual climb to the high ground to neutralize the German fortifications are a dramatic testament to the courage and determination of the American soldiers as well as a disorienting, unnerving simulation of combat from the perspective of the rank and file infantryman. One scene in particular is a masterful piece of cinema. A soldier is shot in the head. Luckily he is wearing a steel helment and the bullet bounces off the side without killing him. Unfortunately, however, he takes off the helmet to examine whatever wounds he may have had, and a second bullet splits his skull in half and sprays the man next to him with pink mist. Historically, the opening of Saving Private Ryan leaves a lot of facts out. While the landings on Omaha Beach were a bloody slog through determined German resistance, the landings on Utah Beach as well as the landing of British and Canadian troops on Gold, Juno, and Sword Beaches went off pretty much as planned. The Allied invasion of Normandy was a major military operation, but compared to the Battle of Stalingrad, or even a major Civil War battle like Gettysburg or Grant’s Overland Campaign, it was not particularly bloody. The Germans, who had been deceived into thinking that the invasion was going to land at Calais, had sent most of their best troops North.
In other words, there is a reason you see American soldiers murder Czech conscripts trying to surrender in the opening scenes of Saving Private Ryan. The German troops at Ohama Beach were mostly draftees facing overwhelming odds, including half a dozen American and British capital ships plastering the beaches with 14 and 15 inch shells. In spite of that the Germans and their allied conscripts made the American, British, and Canadian troops pay for every inch of ground they took. They weren’t exactly heroes. They were fighting for one of the most evil causes that ever existed, but they were in fact the underdogs, and the Americans, British, and Canadians had the numbers, equipment, and supplies on their side. In retrospect, the Omaha Beach scenes from Saving Private Ryan are not a testament to American heroism so much as a distancing mechanism. By staging the landing as a horror movie instead of a traditional war movie, Spielberg puts a barrier between the Greatest Generation and the audience who would have been watching the movie in 1998, mostly younger Boomers and Gen Xers. “You will never be as brave as your fathers and grandfathers,” Spielberg is saying. “So don’t question American when the President decides to send us to war. You have no skin in the game.” After the first half hour, Spielberg almost completely drops the use of prosthetics, and the horror movie aesthetic he uses in the Ohama Beach scenes. When John Miller is shot towards the end of the movie, we don’t see any blood, only a highly romanticized image of Tom Hanks holding his side in pain and firing at a German Tiger tank with a 1911 45 automatic pistol.
The best drawn character in Saving Private Ryan is not James Ryan or John Miller, but Corporal Timothy Upham, a newly recruited soldier and translator Miller attaches to his squad just before they go on their mission behind enemy lines. Most of the American soldiers, including Miller, who has shaky hands but is otherwise fearless, Ryan, Horvath, played by Tim Sizemore, Caparzo, played by Vin Diesel, and above all Daniel Jackson, an evangelical Christian played by the Canadian actor Barry Pepper, are supermen. Even in the more propagandistic movies of the 1940s and 1950s, it is unlikely that the movie could have gotten away with portraying American soldiers with this kind of swagger and this kind of macho. The war was too recent a memory, and too many people knew what it was like. Upham on the other hand stands in for all of us. He doesn’t want to go on the mission to find Private Ryan. He is not only afraid. He understands quite well that he is not an experienced soldier, and will probably cause more harm than good on a mission where the object is to move fast, hit hard, and not worry too much about the Geneva Conventions. That makes Upham remarkably useful for the neoconservative propaganda Spielberg is promoting in the movie. Like Corporal Upham, we all are being tested. We are not natural warriors like Miller, Jackson, Horvath or Ryan himself, square jawed, red, white and blue heroes who saved the world from the Nazis. We are scared little everymen thrown into a horrific war we are not prepared for, and where we will inevitably fail, and get our fellow soldiers killed. Nevertheless, Spielberg and screenwriter Robert Rodat, are asking us a question. When the time comes to step up and do your part for your country, or will you be found wanting?
We do not see any British, Canadian, Polish or Free French soldiers in Saving Private Ryan. We see Germans, who are portrayed as such cartoonishly evil stereotypes they might as well have been taken from a comic book, and a few French civilians, who are portrayed in such a bizarrely “orientalized” manner it’s worth discussing in some detail. When Miller’s squad arrives in the town of Neuville-au-Plain, they find it under heavy attack by the Germans. A French father, who is hiding in the rubble with his family, tries to hand off his daughter to the Americans, hoping they will keep her safe. This defies the rules of common sense. Does the Frenchman really believe that his daughter will be safe with a tiny detachment of front line infantrymen, all of whom are complete strangers? It is also profoundly creepy, especially considering how we now know about the epidemic of rapes that took place in France at the hands of the Americans in 1944 and 1945. No father would have pushed his 12-year-old daughter into the arms of strange foreign men in the middle of a war zone.
Western Europeans and North Americans are in fact rarely portrayed this way in American movies. That “honor” is usually reserved for non-white people in the global south, Slavs, and Asians, the idea being that “those people don’t value human life like civilized people do.” It was common in the propaganda around the Bosnian War, one of the best examples being Welcome to Sarajevo, where a British journalist steals a Bosnian child and transports her out of the country, even though it was against the law, to save her from the baby killing, child eating Serbian monsters. It anticipates the bizarre anti-French propaganda that came out of the American media in 2003, where the French, who were smart enough to stay out of George W. Bush’s folly, were accused of being “Cheese Eating Surrender Monkeys.” Above all the scene tests the audience. Would we be “hard” and ruthless enough to survive a war zone? Caparzo, who wants to protect the child, fails the test, and he is shot by a sniper. “This is why we don’t take children,” Miller says, to which anybody knowledgeable about the history of Western Front in World War II simply says “well duh.” There isn’t a single documented case of French civilians giving children away to American, Canadian, or British soldiers.
Upham, like Caparzo, also fails the test Steven Spielberg and Robert Rodat is setting up for late 1990s, Clinton-era Americans. Upham’s problem, like the Americans who protested the decision to invade Iraq, is that he doesn’t understand evil when he sees it. He is willing to wait for the smoking gun in the form of a mushroom cloud. Not only does he persuade Captain Miller to let a German prisoner of war go against the wishes of the rest of the squad, who want to shoot him, he ultimately betrays Stanley Mellish, the only Jewish soldier, to the Nazis. Later in the movie, when Mellish is engaged in a desperate hand to hand struggle against a Waffen SS officer, who easily overpowers him, and plunges a knife into his heart while whispering into his ear that it “will be easier this way,” Upham is standing in the stairwell, paralyzed with fear. He makes no effort to engage the German soldier after Mellish is killed. On the contrary, he simply steps aside to let the man pass. In Upham, Steven Spielberg is expressing a common fear that Zionist and neocosnervatives have about “the goyim.” Can we trust American Christians? If we decide to go to war against the Hitler of the week, be he Yasir Arafat, Sadam, Gaddafi, Assad, or the Iranians, will American Christians have our back? Or will they, like Upham, show themselves to be weak, naive liberals who see the Germans, or Iraqis, Libyans, Iranians, or Syrians as fellow human beings instead of the evil orcs we know them all to be. There aren’t enough Jews in the world to establish Greater Israel, or implement Benjamin Netanyahu’s Clean Break Plan in the Middle East. Israel requires American, and to a lesser extent European, muscle. How long will we be able to count on them? In Upham’s case, even though he redeems himself later by murdering a German prisoner of war, who may in fact be the German Miller let go or the German who stabs Mellish or just some random German unrelated to both of them, the damage has already been done. The liberal, educated American Christian who speaks several languages, quotes Emerson, and demands that the American Army follow “the rules of war” is not “good for the Jews.” Chances are his grandchildren held up “No Blood for Oil” signs in 2003 and his great grandchildren held up “Free Palestine” signs in the Spring of 2024.
There is, however, one Christian American soldier in Saving Private Ryan Israel, and the Jews, can certainly count on, Private Daniel Jackson, an Evangelical Protestant played by the Canadian actor Barry Pepper. Jackson, who pulls out a cross, kisses it, and quotes a Bible verse from memory just before he guns down another German soldier. Jackson, unlike Upham or Caparzo, is an astonishingly effective soldier. He helps break the stalemate on Omaha Beach, single-handedly taking out a German pillbox, his last shot almost literally blowing the heavily fortified German position off the face of the earth. Unlike Captain Miller, his hands don’t sake. He sleeps soundly behind German lines without a care, or a shred of guilt, in the world. For Steven Spielberg, and Jewish neoconservatives and Zionists in general, Jackson and Upham represent a profound shift in their survival strategy. Where once Jewish Americans made alliances with Ivy league liberals like Franklin Roosevelt, Woodrow Wilson, and Robert Jackson, men like this could no longer be trusted. By the 1960s they had turned into George McGovern, Benjamin Spock, Walter Mondale, and above all Bill Clinton, who was hesitant to “finish the job” in Iraq or intervene in Rwanda during the genocide. Like Corporal Upham shooting the German POW he finally redeemed himself by bombing Belgrade in 1999, but it was clear that was only after a long string of failures. On the other hand, George W. Bush, Dick Cheney, John Bolton, and Donald Trump could be trusted without hesitation. Motivated by their Dispensationalist Christian Zionism they understood full well that God honors those who honor Israel. While the liberal Corporal Upham fails to save Mellish from one German armed only with a knife, Jackson, high up in the bell tower of a Church, takes out so many Nazis that Quentin Tarantino later parodied the scene in the Nation’s Pride movie within a movie in his film Inglorious Bastards. Who wants to send a message to Germany! Tarantino, Zionist though he is, is even implying that Spielberg and Saving Private Ryan might just as well have been Nazi propaganda, his instinct for satirizing a bad movie overriding his politics. In the end, it takes a tank to bring down Private Jackson while Corporal Upham is defeated by his own cowardice.
The ironic thing about the propagandistic nature of Saving Private Ryan, of course, is that Steven Spielberg is a liberal Democrat who would later go onto make Munich, a movie profoundly critical of the Israeli policy of state assassination. In Jaws, in the iconic Indianapolis speech, he strongly implies that the monster shark was bad karma for the atomic bomb and the mass murder of Japanese civilians in Hiroshima and Nagasaki. Politically, Saving Private Ryan is the kind of movie Ben Shapiro or Charlie Kirk would make, neither of whom of course would have the talent to pull off anything as artistically polished and dramatically effective. Tom Hanks and Matt Damon, in turn, are also liberal Democrats who spent most of the 2000s criticizing George W. Bush and the war on terror. In his movie Good Will Hunting, Damon’s famous “Why shouldn’t I work for the NSA” monologue Damon plays an out and out leftist who describes the exploitation of the global south, and the American working class, by the American ruling class with ruthless economy. Nevertheless, Spielberg and Hanks helped make some of the most important neoconservative propaganda of the 1990s, Schindler’s List, which sends the idea of the communist anti-fascist resistance in the memory hole, and recasts the anti-Nazi hero as a cyncial amoral capitalist, Forrest Gump, which buries the 1960s New Left forever, and Saving Private Ryan, which lays the groundwork for the narrative of the “war on terror” in the 2000s and 2010s. In the end, Steven Spielberg, Tom Hanks, and Matt Damon are popular filmmakers making crowd pleasing spectacles, not political ideologues. What the American people wanted in the 1990s and 2000s was the moral clarity and martial heroism of the “greatest generation” back again. Steven Ambrose and Tom Brokaw would ultimately win out over Seymour Hersch and Noam Chomsky just as George W. Bush, Donald Trump, and Benjamin Netanyahu would ultimately become the greatest political leaders of their generation.