Chapter 172: Conflict Made Public

When the real James Ryan appeared, the film was more than halfway over. Knowing Hollywood production formulas and Duke Rosenberg's habits, Kenneth Turan deduced there had to be one more major battle to achieve the final salvation.

But he clearly sensed that Ryan as an individual wasn't actually important. Duke Rosenberg's intent was crystal clear—who they saved didn't matter; what mattered was the act of the rescue itself.

At the same time, as a veteran film critic and media professional, Kenneth Turan keenly sensed that this movie would inevitably spark a storm of debate upon release, even though it aligned so perfectly with American values!

Would Duke Rosenberg ever ignore the market? A resigned smile touched the corners of Kenneth Turan's mouth. Controversy and public discourse could often kill a movie or make it explode in popularity. So, what about Saving Private Ryan?

The climactic final battle was fast approaching. The applause in the theater had long since died down. Kunitz stared wide-eyed at the screen, and his companions beside him, along with everyone else in the surrounding audience, were doing exactly the same.

Many of the audience members at the premiere had come specifically for the director and were familiar with Duke's style. Since the opening battle had been so spectacularly brutal that it shook them to their souls, what kind of viewing experience would the climactic finale deliver?

"There's a moment of peace before the great battle."

Hearing Aerin's words, Anna laughed. She leaned in close to her ear and whispered, "Director Rosenberg is using beautiful memories to highlight the brilliance of humanity."

In Anna's eyes, revealing the human emotional world through the fates of those on the battlefield was Duke's most important leap forward and biggest success in this film. To express the beauty of humanity and the terror of war, he deliberately arranged a brief moment of tranquility right before the film's second major battle. Within this peace, the audience could truly feel the brilliance of human nature and the devastation war inflicted upon it.

In this sequence, the camera returned to Captain Miller's trembling hands in a medium shot of his upper body. Anna saw the squad's commanding officer worrying about fate and feeling a sense of despair before the battle. When he sat down to talk with Ryan about their families, he told Ryan to recall specific moments spent with them rather than just their faces and voices.

Duke cleverly used a series of shot/reverse shots here, consisting mostly of close-ups of their faces. From their expressions, Anna saw helplessness and bitterness. It seemed the young director wanted to use Ryan's mouth to convey the beautiful pre-war lives of millions of ordinary American soldiers, showing how war had snatched it all away.

In this moment of tranquility, there were no arguments and no doubts. Although they didn't know what their ultimate fate would be, they all held onto beautiful memories of the past as they faced the impending fierce battle alongside their comrades.

The director juxtaposed this fleeting peace with the inevitable fierce battle that would follow. His intent was incredibly obvious: to highlight the preciousness of this tranquil life and the cruelty of war, affirming the value of life itself.

Compared to Anna, Kenneth Turan on the other side had a different impression.

In his view, a director with a true sense of justice and responsibility wouldn't merely obsess over the blood and thrills of war. Instead, they should focus more on human emotion and human nature—the precious mental states people displayed during wartime. This would allow humanity to recognize the detestability of war and the preciousness of peace, making every viewer cherish peace from the bottom of their hearts and turn away from conflict.

Duke Rosenberg had finally restrained his inner destructive desires, using the destruction of war to express a profoundly deep theme.

To further deepen this theme while etching it into the audience's minds so it became a truly moving force, what was needed next?

Sacrifice. There was no more fitting method than sacrifice!

Without even needing to think about it, Kenneth Turan could guess that most of the squad members would inevitably fall at this bridgehead position.

Before the war, everyone had a beautiful life. When struck by a bullet, every person had something they mourned and couldn't bear to part with. What exactly was it? Perhaps in America, it was memories of family; in other places, it might be something else. Regardless, it was always something worth treasuring and yearning for, yet hopelessly distant.

And the role of war here was simply to destroy everything that could be destroyed, while the combatants sought to reclaim whatever parts they could.

To save Ryan, who represented all that was beautiful, sacrifice was unavoidable. The squad members fell in battle one after another, right up to Captain Miller...

After being shot, Captain Miller slumped against the side of the bridge, firing his pistol weakly at the Tiger Tank. Finally, the rescuing P-51 Aircraft arrived and destroyed the tank. Hope had not been shattered. The beauty that the squad had sacrificed six men to save could, in the end, carry their memories and wishes forward and bravely live on.

"Don't let everyone down," Miller said before dying. "Ryan, live a good life..."

Sounds of sobbing echoed through the theater. Although a single person's voice wasn't loud, there were simply too many people weeping.

Aerin pinched her stinging nose. "I know perfectly well this is melodramatic, so why do I still want to cry?"

"Because the director spent the entire film building up to the sacrifice and emotion of this very moment." Anna was comparatively calmer. "Captain Miller is a hero."

Indeed, Captain Miller was a hero—a quintessential, grassroots American hero. The sacrifice of such a hero was the most profoundly moving.

Kunitz gently wiped his eyes with the back of his hand. Beside him, Allen and Jones were doing the same. On the other side, moisture glimmered in Owen's eyes before slowly streaming down his face. He seemed entirely immersed in the movie, showing no intention of wiping the tears away.

"My dear Mrs. Ryan, it is with the greatest joy that I inform you your son, James Ryan, is unharmed and currently on his way home from the European Theater. Reports from the front lines state that James performed his duties with bravery and steadfastness, even after learning of the tragic misfortunes his family suffered in this great war to overthrow tyranny and oppression. I am delighted to join the Secretary of War, all the officers and men of the US Military, and the citizens of America in wishing you good health and a happy life alongside James. Only the safe return of your beloved son can compensate for the heartache you have endured..."

Captain Miller died, and General Marshall's voice played as a voiceover. It was the American government reading the official letter to Ryan's mother. On the battlefield where the smoke of gunpowder had not yet dissipated, the camera slowly panned across the collapsed bell tower, the deep craters, the shattered bridge, and the corpses. The expressions of everyone still moving were quiet and serene. They were alive, and they were listening. The military's words of praise for Ryan were so beautiful, and they were equally words of praise for all the soldiers—for everyone who lived, including Upham, and for those who had died, the truly fearless ones.

"Once war and life are placed on opposite sides of the same scale, the word "destruction" is destined to carry a heavy weight."

Kenneth Turan heard what sounded like Todd McCarthy evaluating the film. "A true war movie never shies away from the trauma humanity inflicts upon itself, and behind the haze of war, it equally reflects the radiant brilliance of human nature."

Todd McCarthy turned his head to look at Kenneth Turan. "The film is spectacular. Duke Rosenberg has exceeded our imaginations; he has surpassed himself! I can praise him here, and I will only praise him here!"

Seeing his old friend reveal a resigned smile, Todd McCarthy turned back around and said no more. This film was so undeniably correct that anyone wanting to attack Duke Rosenberg would have to tread extremely carefully!

Attacking the film's theme would only invite trouble, and attacking other aspects would be completely toothless. Todd McCarthy suddenly felt as though there was no angle from which to take a bite out of it. After thinking for just a few seconds, he came up with the best response: ignore Duke Rosenberg's new movie entirely and act as if it never existed.

Was the rescue ultimately worth it?

It seemed the director had deliberately withheld an explicit answer until the scene returned to the elderly James Ryan, finally providing closure.

Ryan had been saved, returned home, and lived a peaceful life. In his old age, he came to his comrades' graves to mourn, weeping as he asked his wife if he was a good man. When his wife cupped his face and affirmed that he was, only then did his aged face show a hint of relief.

"I lived a good life. Am I a good man?"

The film immediately provided the answer as his wife replied, "You are a good man!"

The white-haired man gave a military salute toward Captain Miller's grave. The fluttering Stars and Stripes appeared once more, and the curtain fell on the film...

As the credits slowly rolled, a dead silence hung over the theater. Sitting next to Duke, Tina Fey couldn't help but look back. Judging from the audience's applause during the screening, this shouldn't be their reaction now. Did the audience disapprove of the film?

Her gaze shifted back to her employer's face. Duke's expression was calm as he sat there steadily. His dark eyes seemed to radiate nothing but pure confidence.

If she were the one judging, it was undoubtedly a great movie—even a classic among war films. The young director beside her had almost perfectly combined his signature visual mastery with a depth of meaning he hadn't possessed before. Even with the abundance of tear-jerking scenes, it still felt natural, flowing, and completely unpretentious.

The theater remained silent for about five seconds. Then, applause erupted like a sudden summer thunderstorm. Starting from the ordinary viewers in the back row, every single person stood up!

They didn't stand up to leave! Nor out of relief! They stood to express their congratulations and profound respect for the director and the film, venting the surging emotions the movie had stirred within their hearts!

"He always succeeds!"

Tom Hanks stood up and took the initiative to walk over. Without waiting for Duke to extend his hand, he pulled him straight into a firm hug. "Duke, I am honored to have worked with you on this! You've given me a classic character and a classic film!"

More and more people walked over, offering their congratulations one after another!

The thunderous applause showed no signs of stopping. The audience remained standing as they clapped, as if this was the only way they could express their love for the film and for the young director!

The premiere had ended. Whether the film's style would truly be accepted now had to stand the test of the market!