第一篇：拯救大兵瑞恩英文觀后感

a review on saving private ryan

some movies are destined to be a landmark of memory. moreover, it’s more difficult to become a well-known war film, but the film named saving private ryan which directed by steven spielberg deserve the honor that is the one of the best war films.

there is no doubt that the reason why i choose to see the film is its higher reputation. when i saw the film, i was deeply attracted by the lifelike pictures of war.

at the beginning of the film, the famous battle about the second war, the normandy landing was almost truly restored on the screen. where there is the fire flying all around, there are sacrifices. what a hard and miserable battle it is! honestly, the film would totally objectively give you the meaning of the war. a war creates a hell to make whoever people or soldiers being involved it.

during the horrible war, a mother would almost lose all her sons. so the scene that eight soldiers save ryan comes on. one or eight, which option would be more value? the mission of soldiers is obeying the order of commander. the mission that saves the mother’s son ryan owes to the sympathy of commanders.

in this movie, “mother” is the important topic. also, it’s the topic that battle can’t evade. in the battlefield of omaha, the young soldier who was bloodied and disabled by explosion shouts mom miserably. “mom, take me home! “, the doctor named wade also murmured weakly, when he was shot and dying in the area of enemy. in addition, there is still a point that reflects the relationship in war. you could remember that capasso want to bring the girl away. the girl was entrusted to the group by her family. however, the girl didn’t want to leave her parents and she got more mature earlier after she passed the war. moreover, what a pity that capasso was dead because of his mercy! in the end a war cruelly led to the ruin of homeland and the separation of relation. the victims of war are innocent people after all.

meanwhile, the film vividly reflects someone’s inner mind through the war background. captain miller was trained efficiently and filled fully with quality of soldier. he loyally insists to finish the task of superior. sniper jackson is really calm and decisive. his crack shots like his devout heart to god. i think most people would blame the death of jew mulish on the translator urban and be very angry with him. however, urban is the role to extremely expose the inward world in the battlefield. he was cowardice and softhearted. actually, he wouldn’t be said he was adaptive to the battle, but it’s possible how much people wouldn’t like him. i think he would also hate himself, because, just at that time, the inward world completely comes out. like the cowardice, the contemptible german soldier also reflects the evil of heart.

so this is a war. it’s full of the brave and the lofty. also, it has the contemptible and cowardice.

第二篇：拯救大兵瑞恩英文影評(píng)

拯救大兵瑞恩英文影評(píng)

the soldiers assigned to find pvt. ryan and bring himhome can do the math for themselves. the army chief of staff has ordered them on the mission for propaganda purposes: ryan's return will boost morale on the homefront, and put a human face on the carnage at omaha beach. his mother, who has already lost three sons in the war, will not have to add another telegram to her collection. but the eight men on the mission also have parents--and besides, they've been trained to kill germans, not to risk their lives for publicity stunts. ``this ryan better be worth it,'' one of the men grumbles

in hollywood mythology, great battles wheel and turn on the actions of individual heroes. in steven spielberg's ``saving private ryan,''

thousands of terrified and seasick men, most of them new to combat, are thrown into the face of withering german fire. the landing on omaha beach was not about saving pvt. ryan. it was about saving your skin.

the movie's opening sequence is as graphic as any war footage i've ever seen. in fierce dread and energy it's on a par with oliver stone's ``platoon,'' and in scope surpasses it--because in the bloody early stages the landing forces and the enemy never meet eye to eye, but are simply faceless masses of men who have been ordered to shoot at one another until one side is destroyed.

spielberg's camera makes no sense of the action. that is the purpose of his style. for the individual soldier on the beach, the landing was a chaos of noise, mud, blood, vomit and death. the scene is filled with countless unrelated pieces of time, as when a soldier has his arm blown off. he staggers, confused, standing exposed to further fire, not sure what to do next, and then he bends over and picks up his arm, as if he will need it later.

this landing sequence is necessary to establish the distance between those who give the order that pvt. ryan be saved, and those who are ordered to do the saving. for capt. miller (tom hanks) and his men, the landing at omaha has been a crucible of fire. for army chief george c. marshall (harve presnell) in his washington office, war seems more remote and

statesmanlike; he treasures a letter abraham lincoln wrote consoling mrs. bixby of boston, about her sons who died in the civil war. his advisors question the wisdom and indeed the possibility of a mission to save ryan, but he barks, ``if the boy's alive we are gonna send somebody to find him--and we are gonna get him the hell out of there.'' that sets up the second act of the film, in which miller and his men penetrate into french terrain still actively disputed by the germans, while harboring mutinous thoughts about the wisdom of the mission. all of miller's men have served with him before--except for cpl. upham (jeremy davies), the translator, who speaks excellent german and french but has never fired a rifle in anger

and is terrified almost to the point of incontinence. i identified with upham, and i suspect many honest viewers will agree with me: the war was fought by civilians just like him, whose lives had not prepared them for the reality of battle.

the turning point in the film comes, i think, when the squadron happens upon a german machinegun nest protecting a radar installation. it would be possible to go around it and avoid a confrontation. indeed, that would be following orders. but they decide to attack the emplacement, and that is a form of protest: at risk to their lives, they are doing what they came to france to do, instead of what the top brass wants them to do. everything points to the third act, when private ryan is found, and the soldiers decide what to do next. spielberg and his screenwriter, robert rodat, have done a subtle and rather beautiful thing: they have made a philosophical film about war almost entirely in terms of action. ``saving private ryan'' says things about war that are as complex and difficult as any essayist could possibly express, and does it with broad, strong images, with violence, with profanity, with action, with camaraderie. it is possible to express even the most thoughtful ideas in the simplest words and actions, and that's what spielberg does. the film is doubly effective, because he communicates his ideas in feelings, not words. i was reminded of ``all quiet on the western front.'' steven spielberg is as technically proficient as any filmmaker alive, and because of his great success, he has access to every resource he requires. both of those facts are important to the impact of ``saving private ryan.'' he knows how to convey his feelings about men in combat, and he has the tools, the money and the collaborators to make it possible.

his cinematographer, janusz kaminski, who also shot ``schindler's list,'' brings a newsreel feel to a lot of the footage, but that's relatively easy compared to his most important achievement, which is to make everything visually intelligible. after the deliberate chaos of the landing scenes, kaminski handles the attack on the machinegun nest, and a prolonged sequence involving the defense of a bridge, in a way that keeps us oriented. it's not just men shooting at one another. we understand the plan of the action, the ebb and flow, the improvisation, the relative positions of the soldiers.

then there is the human element. hanks is a good choice as capt. miller, an english teacher who has survived experiences so unspeakable that he wonders if his wife will even recognize him. his hands tremble, he is on the brink of breakdown, but he does his best because that is his duty. all of the actors playing the men under him are effective, partly because spielberg resists the temptation to make them zany ``characters'' in the

tradition of world war ii movies, and makes them deliberately ordinary. matt damon, as pvt. ryan, exudes a different energy, because he has not been through the landing at omaha beach; as a paratrooper, he landed inland, and although he has seen action he has not gazed into the inferno. they are all strong presences, but for me the key performance in the movie is by jeremy davies, as the frightened little interpreter. he is our entry into the reality because he sees it clearly as a vast system designed to humiliate and destroy him. and so it is. his survival depends on his doing the very best he can, yes, but even more on chance. eventually he arrives at his personal turning point, and his action writes the closing words of spielberg's unspoken philosophical argument.

``saving private ryan'' is a powerful experience. i'm sure a lot of people will weep during it. spielberg knows how to make audiences weep better than any director since chaplin in ``city lights.'' but weeping is an incomplete response, letting the audience off the hook. this film embodies ideas. after the immediate experience begins to fade, the implications remain and grow

第三篇：影評(píng)《拯救大兵瑞恩》

《拯救大兵瑞恩》觀后感

《拯救大兵瑞恩》是一部描寫二戰(zhàn)時(shí)期的影片，講述了盟軍一只八人小分隊(duì)潛入德軍后方，歷盡千辛萬苦，終于成功找到并帶回一位名叫瑞恩士兵，把他送還給他那已失去四個(gè)兒子中三個(gè)的母親的故事

在艱難的尋找過程以及找到瑞恩后誓死阻擊德軍的過程中，有三個(gè)人給我留下了深刻的印象———米勒、厄本、瑞恩。

美國的電影中向來不缺乏英雄，但米勒的出現(xiàn)卻讓我們眼前一亮。他并沒在影片中有突出的事跡，并沒有力挽狂瀾的能力，看似不是人們心中的英雄。但我卻認(rèn)為，他是一個(gè)真正的英雄、真正有血有肉的英雄，他讓我感到了真實(shí)。誰說英雄一定要有過人的能力，誰說英雄就不能哭，誰說英雄就要不怕死。更重要的是在他眼里戰(zhàn)爭是一場大火，越是煽動(dòng)就越厲害，越蔓延，不斷死去的人，總會(huì)引發(fā)更多的戰(zhàn)爭，引發(fā)更多的人死去。這又告訴我們，英雄并不是好戰(zhàn)者，發(fā)動(dòng)戰(zhàn)爭的都不是真正的英雄。英雄應(yīng)該學(xué)會(huì)怎么樣去平息戰(zhàn)爭，不讓更多的人死去。正是因?yàn)槊桌占扔猩屏嫉男摹⒆吭降念I(lǐng)導(dǎo)能力，又有常人的舉止，才讓這個(gè)英雄與眾不同。在社會(huì)中他就是一個(gè)英明的領(lǐng)導(dǎo)。

至于厄本，我想著重說明一下。人們一定會(huì)認(rèn)為他是孬種，是懦夫，但在我看來，厄本的形象真正符合了現(xiàn)實(shí)生活中老百姓的形象。請(qǐng)注意，厄本在這次任務(wù)前只是一個(gè)小小的翻譯官。他只是一個(gè)大多數(shù)百姓的象征，他只是個(gè)平凡普通的人。他表現(xiàn)出的躲閃，懦弱、不敢面對(duì)死亡、不敢沖出重圍挽救同盟?? 這一切都是人之常情，是一個(gè)普通人面對(duì)戰(zhàn)爭的態(tài)度。在普通人眼里，面對(duì)戰(zhàn)場上的血腥，躲閃逃跑是第一個(gè)念頭，手無縛雞之力的人，怎么可能神話般地沖上去將敵軍的頭顱打爆呢？這里片子想告訴我們，不是誰拿起槍都能獨(dú)當(dāng)一面，不是誰面對(duì)敵人就能英勇在前，這并不是每個(gè)人都能做到的削土豆皮那樣簡單的事情也從一個(gè)側(cè)面告訴觀眾，應(yīng)該給予他們更多的關(guān)注，面對(duì)那些逃跑怯懦的士兵，也應(yīng)該給予一些理解，畢竟在死亡面前，真正能夠做到視死如歸的人實(shí)在是微乎其微。

而瑞恩，一個(gè)在電影里只出現(xiàn)了約40分鐘的二等兵，本身并不是個(gè)關(guān)鍵的人物，即便處于事件的核心，他的重要性也早被這次行動(dòng)本身的意義所掩蓋。但是，略去拯救對(duì)象的額外身份，他，又是觀眾了解美國最普通士兵的途徑。被拯

救，這是外界不為他所掌控的因素賦予他的義務(wù)，與他無關(guān)，因而影片的視角擴(kuò)大了，在守橋之役前瑞恩根米勒講述自己兄弟的趣事一場戲，導(dǎo)演并非在試圖說服觀眾，力證這次行動(dòng)是在拯救一個(gè)多么值得憐憫的家庭，而是通過瑞恩的嘴，說出每一個(gè)美國士兵的故事——戰(zhàn)前，誰都有美好的生活，每個(gè)人都有他們被子彈擊中時(shí)要為之感傷和不舍的東西，那究竟是什么？總之是一些值得珍藏和懷戀的，卻又遠(yuǎn)離的東西。戰(zhàn)爭的作用在這里僅僅是毀滅所能毀滅一切，戰(zhàn)斗者們便是要奪回他們能奪回的部分。從瑞恩的言語中，從他三個(gè)兄弟的表現(xiàn)中，我能感覺到瑞恩他做到了，做到誓死完成任務(wù)，誓死效忠國家了。米勒說過：“為了一項(xiàng)任務(wù)，死掉兩三個(gè)人是值得的，但是可以換取二十、三十、甚至成百上千人的姓名。這樣死是值得的�！钡�是為了區(qū)區(qū)一個(gè)二等兵瑞恩，卻死了三條人命，這看起來并不值得。瑞恩只是美國人概念中的士兵群像，是他們憧憬的士兵的形象，是他們心目中的英雄，至少值得用生命去換取的人，是弘揚(yáng)英雄主義的一個(gè)最好的典范。他的形象不見的高大，但是平凡中卻顯出不平凡足以謳歌美國士兵對(duì)國家的忠誠、對(duì)信仰的致死不逾。

可以說這三個(gè)人就是一個(gè)社會(huì)的縮影。米勒是領(lǐng)導(dǎo)，厄本是老百姓，瑞恩是榜樣。進(jìn)一步說一個(gè)軍隊(duì)是等級(jí)分明的，就似一個(gè)社會(huì)。一個(gè)社會(huì)中榜樣的力量是無限的，會(huì)成為士兵努力的目標(biāo)。

不知大家注意沒有，本片開始用了40分鐘左右的時(shí)間描寫了諾曼底登陸的血腥場面。但這并不代表本片就情節(jié)拖沓了。正相反，本片從開場的血腥中暗示了戰(zhàn)爭的殘酷。而影片中從不同人口中經(jīng)�？梢月牭揭馑枷嗤�的一句話“完成任務(wù)，就可以回家”。在我看來，40分鐘的開頭以及這一句話很好的展現(xiàn)出了士兵們的心態(tài)：想讓戰(zhàn)爭快點(diǎn)結(jié)束，和家人團(tuán)聚。畢竟誰都不想在如此殘酷的戰(zhàn)場上多待一分鐘。但德軍卻似一只困獸，盡管已經(jīng)是強(qiáng)弩之末，但還可以作困獸之爭。此時(shí)可以說是兩軍意志的比拼，作為軍隊(duì)的領(lǐng)導(dǎo)人當(dāng)然知道穩(wěn)定軍心，提升士氣的重要性。于是他們想到了樹立榜樣。而這個(gè)榜樣就是“瑞恩”。既然樹立榜樣的力量是如此之大，那么，拯救榜樣就變得理所當(dāng)然了。拯救瑞恩就是為了弘揚(yáng)瑞恩的精神，為了讓士兵們感到政府的關(guān)懷，找到自己的目標(biāo)，提升一個(gè)由士兵組成的社會(huì)的力量。

影片中有一句名言：“對(duì)世界，你是一個(gè)大兵；對(duì)母親，你是整個(gè)世界。”親愛的讀者，如果你還堅(jiān)持說這場任務(wù)“不值得”。那么從現(xiàn)在起，你好好的生活，

做個(gè)好人，善待你的親人。用你的實(shí)際行動(dòng)讓“拯救大兵瑞恩”。

第四篇：拯救大兵瑞恩觀后感

第 1 頁 共 1 頁

馬克思主義基本原理概論》 《馬克思主義基本原理概論》 學(xué)期作業(yè)
生命的紐帶——【拯救大兵瑞恩】觀后感 生命的紐帶——【拯救大兵瑞恩】觀后感 ——
作者：英教 08（1）班 崔冰璽 030108101 2023/12/17

事件背景： 事件背景： 公元 1944 年 6 月 6 日——d-day，清晨 6 時(shí) 30 分，法國諾曼底。 為了確保盟軍橫渡英吉利海峽，登陸歐洲大陸，開辟歐洲的第二戰(zhàn)場，加速德國法西斯 的滅亡， 盟軍最高指揮部精心準(zhǔn)備并實(shí)施了二十世紀(jì)最大規(guī)模的海陸兩棲登陸作戰(zhàn)——諾曼 底登陸，行動(dòng)代號(hào)為“operation overlord”又稱“霸王行動(dòng)” 。擔(dān)任指揮的是歐洲同盟國遠(yuǎn) 征軍最高司令、美國陸軍上將艾森豪威爾。行動(dòng)直到 8 月末，盟軍攻占巴黎才落下帷幕。盟 軍的登陸作戰(zhàn)同時(shí)在法國北部海岸的諾曼底的 5 個(gè)攤頭進(jìn)行：寶劍、朱諾、黃金、奧馬哈以 及猶他海灘。 拯救大兵瑞恩的故事就發(fā)生在戰(zhàn)斗最為慘烈的奧馬哈攤頭， “血腥奧馬哈” 又稱 。 雖然盟軍最高指揮部早就做好了較為完備的登陸作戰(zhàn)部署和戰(zhàn)略準(zhǔn)備， 比如戰(zhàn)前欺騙， 地形 偵查和探測敵軍的戰(zhàn)略部署，但還是登陸當(dāng)日，就在奧馬哈的攤頭，由于美軍的情報(bào)錯(cuò)誤和 要在惡劣天氣下進(jìn)行兩棲登陸作戰(zhàn)， 盟軍戰(zhàn)士們遇到了駐守德軍相當(dāng)頑強(qiáng)的抵抗。 盟軍以陣 亡 2500 人的代價(jià)換了登陸作戰(zhàn)的成功。 服役于美軍 101 空降師“嘯鷹師”的二等兵瑞恩一家有四個(gè)兄弟，年輕的瑞恩是其中最 小的。不幸的是，他的三個(gè)兄長都在作戰(zhàn)中英勇犧牲，其自身也在登陸作戰(zhàn)后下落不明，這 對(duì)瑞恩的家庭尤其是他可憐的母親來講將是一種巨大災(zāi)難性的打擊。 這件事也驚動(dòng)了美國陸 軍參謀長馬歇爾上將，出于人道主意考慮，高層決定不惜一切代價(jià)，都要將瑞恩找到并安全 地送回后方。 主體： 主體： 由于從小對(duì)軍事戰(zhàn)爭史的熱愛或者可以說是癡迷， 我很小的時(shí)候就看過這部堪稱二戰(zhàn)電 影神作的作品，但是因?yàn)槟昙o(jì)小，以前關(guān)注的是美軍的經(jīng)典作戰(zhàn)裝備，m4 謝爾曼坦克，m1 加蘭德步槍，m1911 點(diǎn) 30 機(jī)槍，bar 勃朗寧輕機(jī)槍，湯普森沖鋒槍以及 m1911 柯爾特制 式手槍...只是知道影片講述的是一個(gè)美軍小分隊(duì)，在諾曼底登陸后深入敵方，去尋找一位士 兵的故事。但是后來，我以一個(gè)成年人的角度和眼光重新審視了這部作品發(fā)現(xiàn)，它所帶給我 們的不僅僅是視覺聽覺上的震撼， 更重要的是我聽到了在戰(zhàn)爭中人們內(nèi)心里一直呼喚的一個(gè) 聲音——生命的價(jià)值： 一個(gè)人的生命和幾個(gè)人的生命孰輕孰重。 而生命的紐帶從其誕生那天 開始從未中斷，換句話說：一個(gè)生命的延續(xù)就意味其他生命的湮滅。 本片開頭，

好萊塢著名導(dǎo)演斯皮爾伯格花了長達(dá)近30 分鐘的時(shí)間，大手筆地為全世界 觀眾再現(xiàn)了諾曼底登陸作戰(zhàn)的血雨腥風(fēng)， 其慘烈之極導(dǎo)致首映的時(shí)候有一部分觀眾因?yàn)樯眢w 不適而提前離場。 這同時(shí)也預(yù)示了整個(gè)拯救行動(dòng)絕非易事。 使我最震撼的一幕是主人公米勒 上尉被炮彈巨響震的暫時(shí)失聰，從而進(jìn)入“無聲世界” ，鏡頭透過他的眼睛，用無聲交代了 一幕幕觸目驚心的慘狀：被炸斷的四肢，染紅海水的鮮血，尋找自己斷臂的士兵等等，而他 們面對(duì)的是德軍 mg42 機(jī)槍的火舌和岸防火炮的攻擊。 “此時(shí)無聲勝有聲”用在這里再好不 過！ 登陸成功后，搜尋小分隊(duì)由這位美國陸軍上尉米勒帶領(lǐng)，一行 8 人，這意味著為了一個(gè) 小小的二等兵的安全，可能要付出 8 人陣亡的代價(jià)。他們徒步進(jìn)入法國諾曼底的戰(zhàn)略縱深， 那里到處都有可能遇上成批的德軍。駐守的德軍個(gè)個(gè)裝備精良：魯格手槍，mg42 機(jī)槍， mp40 沖鋒槍以及二戰(zhàn)史上最令人聞風(fēng)喪膽的“虎”式坦克！所以只要深入敵后一步，危險(xiǎn) 就離他們又近了一步。
【拯救大兵瑞恩】觀后感

第 2 頁 共 2 頁

很多人看到這里可能會(huì)問： 這種看似荒唐近乎瘋狂的舉動(dòng)到底是為了什么？是否真的值 得用可能帶來 8 人陣亡的代價(jià)去換來一個(gè)人的生命？小分隊(duì)里的隊(duì)員個(gè)個(gè)都是有血有肉， 有 家庭，有夢想，難道他們的生命就沒有理由守護(hù)嗎？我認(rèn)為，單純從軍事戰(zhàn)略以及理性角度 來看，這次任務(wù)是不可取甚至是荒謬的。1 比 8，答案顯而易見。但是，如果從一種人性和 英雄主義情懷的角度去審視這個(gè)行動(dòng)的話，無疑這是大無畏的：他們前途未卜，卻冒死執(zhí)行 上級(jí)命令，這是一個(gè)軍人所應(yīng)有的氣概！身為一名美國軍人，是自由與正義的斗士。對(duì)于捍 衛(wèi)自由，他們義無反顧。對(duì)于追求正義，他們責(zé)無旁貸。誰也不希望看到的是一位白發(fā)年邁 的老母親， 手里捧著寄給她的第四面象征自由的星條旗， 獨(dú)自一人承受著如此巨大的喪子之 痛！ 歷經(jīng)千辛萬苦，瑞恩終于被找到了！他所在的分隊(duì)此時(shí)正在雷蒙保衛(wèi)一座大橋，然而他 對(duì)自己的兄弟已經(jīng)全部陣亡的消息一無所知。 悲痛萬分的同時(shí)他卻毅然決定留下。 因?yàn)樗��?知自己的任務(wù)，如果這時(shí)離開作戰(zhàn)部隊(duì)，盟軍的順利挺近就有可能遭遇麻煩。而此時(shí)米勒上 尉的小隊(duì)已經(jīng)為他付出了兩名隊(duì)員犧牲的代價(jià)。 最終， 上尉決定讓自己的小分隊(duì)也加入守軍 行列，用有限的兵力，做最精心的部署，等待德軍的到來。這里是影片的最高潮，因?yàn)槿藛T 有限，德軍的兇猛攻勢最終把年輕的戰(zhàn)士們壓得透不過氣來，盡管用 c4 炸藥摧毀了一輛坦 克，但他們還是被逼到了橋頭

第五篇：拯救大兵瑞恩影評(píng)

拯救大兵瑞恩影評(píng)

連怡菲 法政1班 136410096

看完這部電影之后，感觸良多。很多人都覺得讓一只八人組成的小分隊(duì)去營救一個(gè)不同二等兵的行為有些荒唐，令人難以理解。特別是電影中用三個(gè)人的犧牲換來一個(gè)人的存活在戰(zhàn)爭中更是不切實(shí)際的，但是這樣一種看似荒唐可笑的舉動(dòng)，恰恰反映了美國戰(zhàn)爭時(shí)期的人權(quán)政策，也時(shí)是美國戰(zhàn)爭中士兵資源可以不斷輸出的保證。

這部電影講述了二戰(zhàn)時(shí)期盟軍一只八人小分隊(duì)潛入德軍后方，歷經(jīng)各種艱險(xiǎn)困境，終于成功找到并帶回一位名叫瑞恩的二等士兵，把他送回母親身邊的故事。當(dāng)時(shí)由于瑞恩的三個(gè)兄弟都已經(jīng)相繼在戰(zhàn)爭中壯烈犧牲，美國軍方考慮到瑞恩母親身邊只剩下一個(gè)兒子，出于人道主義，軍方?jīng)Q定派出一支八人小分隊(duì)找到下落不明的瑞恩，將其送回國內(nèi)。電影開頭并沒有直接進(jìn)入八人找尋瑞恩下落的片段，而是用了40分鐘的時(shí)間為觀眾還原了當(dāng)時(shí)的戰(zhàn)爭場面。戰(zhàn)爭無疑是血腥暴力的，充斥著死亡，流血，犧牲與背叛，影片開頭展現(xiàn)了諾曼底登陸的戰(zhàn)爭場面，到處都是死去的尸體，受傷士兵在尋找自己的支離破碎的身體，軍官米勒拖著的一名士兵在一個(gè)炸彈來襲之后只剩下半截身體。可見，當(dāng)時(shí)戰(zhàn)爭的慘烈有過之而無不及，在這樣的情形之下，美國奪取諾曼底登陸的成功是極其不易的，士兵們勇往直前不怕犧牲的精神也是值得我們尊敬紀(jì)念的。40分鐘的視覺沖擊之后，八人小分隊(duì)就走在了尋找瑞恩的路上，這一路上的艱險(xiǎn)困難一度令人崩潰，以至于牽扯出了影片最核心的一個(gè)問題，八個(gè)人去換一個(gè)人的性命真的值得嗎？他們?yōu)槭裁匆�這么做？此時(shí)，瑞恩不再是一個(gè)個(gè)體，而是作為美國戰(zhàn)爭中眾多士兵的化身。美國一直奉行人權(quán)政策，每個(gè)家庭在戰(zhàn)爭中必須要有青壯年參與戰(zhàn)爭，但是不能

全部犧牲，至少要有一個(gè)青壯年可以活下來，支撐整個(gè)家庭今后的命運(yùn)�？梢哉f，在這方面，美國的作法的確值得學(xué)習(xí)贊揚(yáng)，這樣的做法保證了美國家庭在戰(zhàn)爭中的穩(wěn)定，讓民眾能夠從政府官方獲得持久的安全感與信任，保證了美國戰(zhàn)爭中士兵資源的不斷輸出，國內(nèi)局勢不至于動(dòng)蕩不安。而這部影片采取的是以點(diǎn)概面的思維模式，將美國當(dāng)時(shí)整體局勢縮小成了一個(gè)八人小分隊(duì)拯救一個(gè)士兵的故事，以小見大，頗具創(chuàng)新風(fēng)格。然而八人畢竟是面和心不合，每個(gè)人都性格迥異，總是會(huì)有人不服從上級(jí)的命令，與軍官對(duì)著干。畢竟在這樣漫長的尋找過程中，戰(zhàn)爭的殘酷，生命的消亡始終都在消磨著每個(gè)人的意志，吞噬著每個(gè)人的信仰與堅(jiān)持。在找尋瑞恩的途中，小分隊(duì)不停地有人犧牲死去，然而軍官米勒憑借自己的能力盡力維護(hù)著小分隊(duì)成員的關(guān)系，以保證任務(wù)能夠繼續(xù)進(jìn)行。在軍醫(yī)犧牲之前，米勒與眾多戰(zhàn)爭電影中的軍官?zèng)]有太大差別，可以說不摻雜個(gè)人情感色彩，始終以上級(jí)命令作為自己的奮斗目標(biāo)。然而就在軍醫(yī)下葬的那一刻，他落淚了，他也是人，也有感情。他回憶起自己的家庭，自己的妻子還在家中盼他歸去，無論是軍官還是士兵，都希望戰(zhàn)爭能夠早些結(jié)束，自己能夠回到祖國，回到家鄉(xiāng)，然而，米勒等不到這一天了。在后來的營救過程中，小分隊(duì)找到了瑞恩，與他一同守橋，最終戰(zhàn)勝了敵軍。在守橋過程中，軍官米勒犧牲了�？梢哉f，整部影片塑造了一個(gè)有血有肉的美國軍官，他不僅僅是一個(gè)分隊(duì)的領(lǐng)導(dǎo)者，也是一個(gè)英雄，在當(dāng)時(shí)的戰(zhàn)爭環(huán)境下，能夠組織士兵完成上級(jí)任務(wù)，將瑞恩成功營救出來，他經(jīng)歷了太多太多，即便戰(zhàn)友犧牲，自己負(fù)傷失聰，他從未停止過戰(zhàn)斗。

可以說，當(dāng)時(shí)的二戰(zhàn)，給世界帶來的是毀滅性打擊，在這一時(shí)期內(nèi)，無數(shù)的士兵軍官為了正義奉獻(xiàn)了自己的青春甚至生命。和平都是靠流血犧牲換來的，這樣的和平是沉重的，是我們每一個(gè)人應(yīng)當(dāng)用一生去維護(hù)的。