This week’s pick salutes Steven Spielberg’s epic Saving Private Ryan (1998) which tells the story of an eight man rifle squad which is chosen to find and safely bring back Pvt. Ryan after it is discovered that his three older brothers have all died in combat just days apart from one another. The film stars Tom Hanks (Capt. John H. Miller, Charlie Company, 2nd Ranger Battalion), Tom Sizemore (Sgt. Mike Horvath), Ed Burns (Pfc. Richard Reiben), Jeremy Davies (Cpl. Timothy E. Upham), Barry Pepper (Pvt. Daniel Jackson), Adam Goldberg (Pvt. Stanley Mellish), Vin Diesel (Pfc. Adrian Caparzo), Giovanni Ribisi (Pvt. Irwin Wade), and Matt Damon (Pvt. James Ryan).

Saving Private Ryan is best known for its first thirty minute opening which is one of the most brutal depictions of combat ever put on film. Elements of Capt. Miller’s (Hanks) battalion prepare for the assault on Omaha Beach on the fateful morning of June 6, 1944. While the assault force approaches the Normandy coast aboard the landing craft, each man is preparing themselves for the inevitable. Many men are seasick, while many pray silently to themselves.

The operator of the boat alerts them that they will hit the beach in just thirty seconds. Miller instructs his men to move fast and to clear the “murder hole” (the opening of the craft). When the ramp hits, you are immediately plunged into the intense combat. Rows of men are cut down from German machine gun fire before they can even leave the craft. Other men are instructed to jump over the sides, only to drown due to the amount of heavy equipment many troops carried into combat.

Miller helps a fellow soldier ashore while they make their way through the maze of anti-tank traps and dead bodies at the water’s edge. The camera is submerged under the water, and then surfaces. The use of sound in this scene is fantastic. When submerged, the scene is tranquil and peaceful but when on the surface, you are subjected to the sound of machine gun fire, explosions, and bullet ricochets off of men and the tank traps that were placed to keep American armored vehicles from reaching the beach.

This week’s pick salutes the heroes of a forgotten American war, The Spanish American War which until the First Gulf War, was the shortest war in American history. John Milius (Red Dawn, Flight of the Intruder, The Wind and the Lion), directs Rough Riders, which stars Tom Berenger as future American president Teddy Roosevelt who commanded the 1st U.S. Volunteer Cavalry unit during the war.

Originally aired as a three hour mini series in 1997 on TNT Networks, the film is a fantastic look at the men who made history against Spanish hegemony in 1898 Cuba. The film stars a who’s who of great actors and characters who would help to shape history. Gary Busey (Maj. Gen. Joe Wheeler) commander of all cavalry units during the war, and a U.S. Congressman as well, Brian Keith (President William McKinley), Dale Dye (Col. Leonard Wood) Marshall R. Teague (Lt. John “Black Jack” Pershing), and Adam Storke (Stephen Crane).

As the United States was entering the twentieth century, its presence on the world stage was beginning to take hold. The Spanish American War was what allowed the U.S. to become a major player in world events, and allowed the U.S. to forever wield the “Big Stick” of foreign policy. The film opens up with a brilliant montage of newspaper headlines which depict the defenseless Cubans battling their Spanish masters, while Uncle Sam looks on with a sense of anger and an overwhelming desire to help the oppressed.

This week’s pick is another cinematic masterpiece from acclaimed director and combat veteran Samuel Fuller (Fixed Bayonets, The Steel Helmet). Merrill’s Marauders (1962) tells the story of Brig. General Frank Merrill and his American jungle fighters in Burma during World War II.  What makes this film so unique from the bravado of similar war pictures that came out of Hollywood in the pre Vietnam early nineteen sixties was that it was based on actual events. The film stars Jeff Chandler (Brig. Gen. Frank Merrill), Ty Hardin (Lt. “Stock” Stockton), Claude Atkins (Sgt. Kolowicz), John Hoyt (General Joseph Stillwell), and Peter Brown (“Bullseye” a platoon sniper).

As World War II spread throughout the Pacific theater, there were intense campaigns in Asia from northern China, to the borders of British held India which the Japanese coveted for its natural resources, as well as adding it into their vastly expanding Asian empire. British Viceroy to India Lord Louis Mountbatten (uncle to Prince Charles), had devised many covert Anglo-American military units to harass and to thwart any attempt for an invasion of India by Japanese forces.

This week’s pick is the 1988 cult classic from director Kevin Reynolds (Robin Hood: Prince of Thieves (1991), The Count of Monte Cristo (2002) The Beast a.k.a. The Beast of War, which stars George Dzundza (Commander Daskal), Jason Patric (Konstantin Koverchenko), Don Harvey (Kaminski), Stephen Baldwin (Golikov), Erick Avari (Samad), and Steven Bauer (Taj).

The film is set in 1981 as the Soviet Union has entered its second year of their war with Afghanistan. The film centers around the crew of a Soviet tank platoon whose T-62 tank becomes lost in a valley after an attack on an Afghan village. The first few minutes of the film are brutal as it shows a combined tank assault on a Pashtun village which house some Mujahideen rebels who have been fighting the Soviet occupation of their province.

The Soviets use poison gas, flame throwers, RPGs (rocket propelled grenades) and the famed AK-47 assault rifle as they mop up their attack on the villagers. Taj (Bauer) returns home to find his village destroyed and his brother crushed by the tank commanded by the ruthless Daskal (Dzundza) who deals harshly with the guerrillas. Taj becomes Khan (tribal leader) and vows to destroy the tank and avenge his brother’s death.

Not knowing that the valley that Daskal has led them into eventually becomes a dead end, the Soviet tankers go about their duties and hope to rejoin their column. The crew are made up of four Soviets and one Afghan named Samad (Avari) who is not trusted by Daskal who suspects Samad of being a turncoat. The film is a classic example of cat & mouse as the Soviets are chased by the determined Mujahideen rebels who are armed with rockets to destroy the tank.

Koverchenko (Patric) respects the Mujahideen rebels who have them on the run and builds a relationship with the outcast Samad who teaches Koverchenko the rules of Pashtunwali which is their code of honour and civility. Koverchenko begins to suspect that Daskal is going over the edge due to his increased resentment for Samad and for the safety of the men.

The Great Escape (1963) is one of those films that no matter how many times I see it, I find a new way to appreciate it even more. Director John Sturges (Never So Few, The Magnificent Seven) brings to the screen this World War II adventure about allied soldiers who stage one of the greatest massive escapes from a new type of German POW camp.

Steve McQueen (Capt. Virgil “The Cooler King” Hilts), James Garner ( Lt. Robert “The Scrounger” Hendley), Richard Attenborough (Squadron Leader Roger “The Big X” Bartlett), Charles Bronson (Lt. Danny “The Tunnel King” Velinski), James Coburn (Flying Officer Louis “The Manufacturer” Sedgwick) and Donald Pleasence (Lt. Colin “The Forger” Blythe) make up the cast of escape artists.

The German Luftwaffe (Air Force) has created a new type of POW camp in which “all their rotten eggs” can be placed in one heavily guarded basket. Allied POWs have been gathered from all stockades in Germany and are brought to Stalag Luft III outside of Sagan, Germany. The new camp commandant, Col. von Luger (Hannes Messemer) informs the new prisoners that there will be no escape attempts and if any try they will be executed. The senior allied officer, Group Captain Ramsey (James Donald) tells the commandant that it is the sworn duty of every prisoner to try and escape.

Von Luger feels comfortable that the new facility will make it impossible for any to escape. Within the first few minutes of arriving in the camp, the main characters begin probing for weaknesses among the camp’s guards, the wire, and the conning towers which overlook everyone and everything within the camp. Several make attempts to try and escape but are quickly discovered and prove to be a handful for their captors.

The most notable of these attempts is perpetrated by Capt Hilts (McQueen), an American flier who throws his baseball over the “wire of death” which is erected in front of the camp perimeter fence. Hilts informs one of his fellow American inmates that between the two towers at night, makes it almost impossible for them to see someone trying to cut through the fence. He is discovered by one guard and is shot at by another in one of the towers.

This week’s pick pits a small group of international mercenaries sent by a British corporation to overthrow a two bit Idi Amin dictator in Sub Saharan Africa. John Irvin (Hamburger Hill, When Trumpets Fade) directs The Dogs of War (1980) which was based on the best selling novel from acclaimed author Frederick Forsyth (Day of the Jackal).

Christopher Walken stars as Jamie Shannon, an ex-soldier who hires himself out to the highest bidder whether its toppling a regime change in Central America, or putting a puppet government in power in the fictitious African country of Zangaro. Rounding out the cast is Tom Berenger (Drew Blakeley), Colin Blakely (Alan North), Paul Freeman (Derek Goodwin), Hugh Millais (Roy Endean), JoBeth Williams (Jessie Shannon), Winston Ntshona (Dr. Okoye), and Ed O’ Neill (Terry).

The film opens up in war torn Central America circa 1980 as the mercenary group is trying to make a hasty exit aboard a government plane as bullets and explosions are happening all around them. Shannon and his men push their way on board and force the plane into the air as soon as possible. Just within these few short minutes, you clearly can tell what their profession is and that they are not there working for the Peace Corp or distributing bibles for that matter. In this scene, a Central American army officer notices that one of the mercs is dead and demands that he give up his seat.

Drew (Berenger) pulls the pin out of a grenade and puts it in the palm of his dead comrade and tells the soldier “he’s alive you pimp.” Walken then barks, “he’s alive and he goes with me.” Derek (Freeman) looks towards the camera and with a knife he yells at the pilots “lets see this thing fly.” One of the best opening scenes of any action or war film ever. These are professionals you don’t want to mess with.

1987’s Full Metal Jacket is Stanley Kubrick’s riveting classic about U.S. Marines who survive the brutality of basic training only to be caught up in the horrific 1968 Tet Offensive during the Vietnam War. The film is based on Gustav Hasford’s novel The Short-Timers, and screen writer Michael Herr (Apocalypse Now), lend their literary talents to the production of the film.

Matthew Modine (“Joker”), Adam Baldwin (Sgt. “Animal Mother”), Vincent D’ Onofrio (Pvt. “Gomer Pyle”) Arliss Howard (“Cowboy”), and R. Lee Ermey (Gunnery Sgt. Hartman) make up the cast of this amazing Vietnam war movie. Like Paths of Glory, Dr. Strangelove, and Kubrick’s incredibly underrated eighteenth century military period piece Barry Lyndon, Full Metal Jacket is shot for shot, and line for line Kubrick at his finest.

The film is most notable for Ermey’s improvisation in many of the scenes. During the production Ermey was made the military technical adviser for the film and he so desperately wanted to try out for the role of Sgt. Hartman. Kubrick had seen and admired Ermey’s portrayal of SSgt. Loyce in The Boys in Company C and felt that he wasn’t tough enough for the role.

Zulu (1964) directed and co-written by Cy Endfield, is a film which follows in the tradition of such films like The Four Feathers, The Charge of the Light Brigade, and Gunga Din. It is the screen story of a small garrison of British soldiers who defend the mission station of Rorke’s Drift following the British defeat at the battle of Isandlwana on the afternoon of January 22, 1879. Stanley Baker (Lt. John Chard), Michael Caine in his first major role, (Lt. Gonville Bromhead), Jack Hawkins (Reverend Otto Witt), James Booth (Pvt. Henry Hook), Nigel Green (Colour Sgt. Frank Bourne), Patrick Magee (Surgeon-Maj. James Henry Reynolds), and Gert van den Bergh (Lt. Josef Adendorff) star as the defenders who thwart off numerous attacks by over 4,000 Zulu warriors.

Zulu is a fantastic film, shot in glorious Technirama 70mm. It is a film that shows the sweeping African landscape and was shot on actual battlefield locations. Lt. Chard (Baker) is a member of the Royal Engineers who is sent down from the colony to build a bridgehead across the Buffalo River for the invasion of Zululand. Lt. Bromhead (Caine) is the commanding officer of the 24th Regiment of foot (a primarily Welsh regiment), who learn that two Zulu “impis” (armies) are coming to Rorke’s Drift in an attempt to destroy it and to slaughter the British soldiers there.

Rorke’s Drift was used as a hospital facility and a staging area for the invasion into Zululand and would prove to be a second victory for the Zulus.

Fearing annihilation like Chelmsford’s army, Bromhead wishes to dispatch his troopers into the countryside to fight the Zulus in a guerrilla engagement. Lt. Chard takes command due to seniority and has Bromhead’s soldiers set up defenses and wait for the approaching Zulus. Reverend Witt (Hawkins) begins to drink heavily and starts to demoralize the troops telling them that they will all die if they stay at the mission.

Zulu Dawn (1979) is the prequel to the 1964 film Zulu which tells the story of a proud British army which suffered the worst defeat ever inflicted by a native army during the Victorian era. Burt Lancaster (Colonel Anthony Durnford), Peter O’ Toole (Lord Frederick Chelmsford), Simon Ward (Lt. William Vereker), Bob Hoskins (Sgt-Major Willams), James Faulkner (Lt. Melvill and film’s producer), Denholm Elliot (Lt. Col. Henry Pulliene), and Sir John Mills (Sir Henry Bartle Frere) head the cast of British officers and bureaucrats which began the legendary Anglo-Zulu war.

The film is a rather well researched account of the battle at Isandlwana. This was in Zulu land which bordered the British colony of Natal in South Africa. In January, 1879. Sir Henry Bartle Frere (Mills) is the High Commissioner for her majesty Queen Victoria who along with Lord Chelmsford (O’ Toole), insight a war against King Cetshwayo, the King of the Zulu people who rules in ways that the British view as a threat to their colony and hegemony in the region.

After a British ultimatum to disband his army, Cetshwayo refuses to capitulate to the British and the war begins. Lord Chelmsford leads his army which consists of two battalions of the 24th regiment of foot, to cross the Buffalo River which divides the border of the Zulu territory. Believing that their technological superiority will aid them in victory, the British send 1350 troops against a Zulu army of 25,000.

Kelly’s Heroes is a war film that has all the great elements of an old fashion, rousing epic that keeps your attention all the way through. Set in the late summer of 1944 as the allies swept across occupied France, Kelly (played by the ever cool Clint Eastwood) and his squad of screwball infantry men find out that the Germans are holding over sixteen million dollars worth of gold bars in a bank thirty miles behind enemy lines.

Tired of the politics of infantry life and the gross inefficiency of their Captain, Kelly and the rest of the squad run by tough sergeant ‘Big Joe’ (Telly Savalas), cook up a scheme to go behind the lines with three M-4 Sherman tanks to rob the bank. As the movie poster states: “They set out to rob a bank and damn near won a war instead.”

With Kelly’s Heroes, Eastwood began his second collaboration with director Brian G. Hutton, who had directed him a year earlier in the highly successful Where Eagles Dare (1969) — a movie which solidified Eastwood’s status as a major box office star. What makes Kelly’s Heroes such an interesting film is the fact that it was made in 1970 as the U.S. was beginning to downsize its presence in Vietnam.