- - -

There is a certain language in Miracle at St. Anna that hasn’t yet been deciphered in the war movie genre. So new is this language that when we hear it and see the images that are set to it, we back away because we don’t understand it, or we don’t want to understand it. For 160 minutes, sit back and learn the methods it takes to understand it. Lasting impressions will ensue when you do. Spike Lee’s raw voice once again ignites a furious passion, which he found in James McBride’s novel, and stirs debates as it is sowed inside a war film. This is something you will not want to miss.

With all due respect to Clint Eastwood, Spike Lee has justifiably backed up the statements (why is the black soldier always absent in war films?) he made towards Eastwood. There may be critics and viewers who will protest this film due to those remarks, but what a mistake you’d be making if you’re one of those people. What’s inevitable is Lee’s ambition and pride that he instills in such a genre that he never swam in. He makes the best out of it while he injects mystery, suspense, neo-realistic humor and emotion to create a new kind of war film: A film where four black soldiers find themselves behind enemy lines in a small village of hills in Tuscany, Italy fending ofr Nazi troops and enjoying the company of the Italian villagers. The key word there is, enjoying.

Miracle at St. Anna is crafted around Lee’s unique way of storytelling and technique; words over battle scenes. Believe it or not, this is a trait that Eastwood used to perfection in his war film Letters from Iwo Jima. There are still some nicely constructed scenes of battle, and brilliant ones at that, especially a scene that takes place in a swamp while a Nazi woman is reciting racial litany that’s degrading all black soldiers. But these aren’t the centerpieces to what Lee, or even Eastwood, was going for. They want to go for the heart, they’re storytellers over action mavericks, and each succeeds with material that resonates deep.

- - -

- - -

Lee still manages to combine epic size and scope with subtle storytelling that produces poetic, lyrical and grandiose imagery. His way of depicting violence may scare viewers away, and critics, but people have to get over the fact that the killings the Nazi’s performed aren’t supposed to be taken lightly. With that said, Miracle at St. Anna contains one of the most wicked killing sprees in recent movie memory where over 500 Italian village people, mostly women, children and elderly men, are gunned down and later burned by Nazi SS troops. Lee somehow supervises this scene so that it never gets to the point of us thinking he’s doing this for kicks. He has an abundan t amount of dedication which rings true throughout the entire film.

For those who think Lee is purely glamorizing the four black men of the 92nd Infantry Division, called Buffalo Soldiers, will soon crash into a brick wall. Glamorization is invalid because how these soldiers are depicted are four men who finally get the opportunity to break free from their barriers; Lee praises what these men never had in America and will never have again anywhere else. They're exalted because they get to see the world the way it should be, but it is seen in the wrong environment of war. Taking orders that range from outlandish to despicable from their white generals, to not being able to get served in an American malt shop that is happily serving Nazi P.O.W.’s, we witness four black soldiers who are able to roam free, love, interact with white people and be praised for using their skills just like a normal human being should be, but in the foreign lands of Italy. Miracles can even be found in the midst of a war.

They go by the names of Stamps (Derek Luke), Bishop (Michael Ealy), Hector (Laz Alonso) and Trainer (Omar Benson Miller), who has a beautiful relationship with a young Italian boy. All are developed well and each of moments of truth with each other, whether it’s talking about women, God’s existence or the rules and regularities of war. Their bonds are unmistakably true. They find themselves relaying information to their post, who don’t believe they made it over enemy lines, from Tuscan and receiving information to capture and hold for questioning a Nazi soldier. When the four run into an Anti-Nazi movement, Italian partisans and the gorgeous Renata (Valentina Cervi) who gives them shelter, things begin to get tricky but all of it works together.

The bulk of the film takes place in the hills of Italy. The first segment of the movie gives us the opportunity to travel back in time to relive the events. This segment could’ve been shorter and the segment that brings us back to the present could’ve been cut out all together. But the most violent and touching scenes totally outweigh the dull and the limp. The scenes in Italy are done to perfection. It is such a village where miracles do come true, it gives the soldiers a taste and glimpse of both Heaven and Hell.

Film Rating: *** 1/2 out of ****

Official [ Movie Site ]

Set as favorite

Bookmark

Email This

Hits: 566

Comments (2)

Professor

Thanks for this insightful review. A lot of reviewers have come close to trashing this movie, but I found it fully believable and really gripping, with excellent acting, action that often takes you by the collar, and a story that deserves telling. Congrats to Mr. Lee!

Jan Narveson , September 30, 2008

Another description of the massacre

I certainly don't want to get into an argument about the veracity of Spike Lee's film or James McBride's excellent book, but would just like to note that my novel, "The Cielo: A Novel of Wartime Tuscany," also describes the massacre at Sant'Ann. I'm pleased that his horrific event is finally getting the attention it deserves.

Paul Salsini , October 01, 2008 | url

Write comment

Name

Email

Website

Title

Comment

smaller | bigger

Subscribe via email (Registered users only)

Add Comment Preview