The film began, and the audience in the screening hall fell into silence, everyone's eyes were staring at the big screen ahead, and their ears captured the soundtrack.⊥

At the beginning, the sound of the snare drums came from far away from the dust and smoke of war with a firm and sonorous image. The military trumpet with very distinct metallic colors replaced the classic trumpet commonly used in symphony, and hummed with low voices. The words of remembrance were filled with incomparable gratitude, like the gradually bright morning light in the mist, flowing in the heart without trace, gradually becoming magnificent, and gradually whispering softly.

The dim star-striped flag faces the wind, and the sound of wind music is also floating. Under this fixed shot, the video opens the curtain of its beginning little by little.

The old man walked quickly from the camera and walked to the cemetery step by step. A shot at the right time highlighted the old man's eyes, so the past events buried in his memory slowly unfolded, and the window of the soul slowly became brighter.

"Where is the opening battle?" Kunitz frowned and muttered in a low voice, "Didn't it say that the beginning was a landing battle? Why are these? This is not like Duke's style!"

"That's it." Allen and Jones echoed.

However, the following facts proved that the video did not disappoint them!

Amid the huge sound of waves, a large number of Allied landing craft rushed towards the beach. Many soldiers were lying on the side of the ship and vomiting. The shaking shot made Kunits suddenly feel dizzy, as if he was also on the landing craft that was shaking the wind and waves.

The camera turned to the inside of the landing craft. The officer's trembling hands showed the psychological pressure at this moment. The soldiers did not look down on death, either indifferent, fear or praying. No one knew whether they could climb to the deadly beach alive.

The moment the front baffle of the landing craft opened, the battle broke out without any warning, no preparation, no shouting, there were only ruthless bullets and fallen corpses.

The war was fierce and bloody. People seemed so fragile at that time. The guns and bullets penetrated their helmets and tore their bodies apart; soldiers searched for their broken limbs on the beach; after a blast, only half of the wounded were left behind by Captain Miller... The restoration of the war scene reached a rare reality.

"This...this is so cruel!"

Kunitz heard the sound of the sound next to him and turned to look over. It was a man named Irving who had just talked to. He covered his mouth, "Is this the real battlefield? Is there no undefeated Rambo?"

"There are no heroes in the war that cannot be killed!"

Although he said this, Kunitz had to sigh that this war scene was so cruel!

Tom Hanks, who sat in the front row, has focused more on Duke's production techniques since he has watched several times, especially since he participated in the shooting almost all the time. In addition, he is also a person with rich experience in this circle. Combined with the scenes during the shooting on the set, some analysis can always be obtained.

"It's obvious that Duke used a completely different editing method in post-production than before."

Tom Hanks confirmed this very well. In the opening battle, Duke obviously used a set of continuous lenses to reflect the shooting effect, and used different lenses - such as medium scenes and close scenes - to present the war scenes.

Among them, in order to particularly highlight the struggles of the soldiers on the battlefield and the bloody nature of the war, he took great pains to use close-ups to achieve realistic visual effects.

For example, on the beach and in the sea, the soldiers were moving forward desperately. The soldiers who were advancing bravely were shot in the water by bullets fired wildly. At this time, the close-up shot made people witness the tragic scene more intuitively. Bright red blood flowed out of the warrior, immediately dyeing the sea water beside him red, and the warrior fell down and was flooded by the sea water.

Afterwards, the camera gradually became larger. In the form of a small panoramic view, people witnessed the bright red and tragic scenes on the sea.

War is cruel and ruthless, and life becomes small and fragile in the face of war, and even vulnerable.

Even the most sluggish audience can understand this from the opening battle. Todd McCarthy, a veteran film critic, is certainly not exclusive. His face is not very good. Although the film only opens, it is enough for him to judge that this is a Duke Rosenberg movie that is completely different from the past.

When he remembered the large-scale promotion of the film, critics mocked the alien version of World War II in the column. If he couldn't see anything except the explosion, his face turned darker.

There are indeed many explosions in the film, and they are continuous explosions, but these explosions are not explosions for the sake of explosions. If there is no explosion, that is a joke. The most important thing is that these explosions completely abandon the very exaggerated way of "Independence Day" and "Brave the Deadly Island". While retaining a certain visual impact, they appear extremely real.

In contrast, Kenneth Tulan, who was sitting next to him, had less prejudice in his eyes and could examine the pictures he had seen from a relatively fair angle.

In this war scene, Duke Rosenberg obviously abandoned the usual shooting and production modes, and used documentary lenses to show the war unprecedentedly - using a portable camera to snatch the landing scene, waist-high follow-up angle, roundabout swaying pictures, personalized facial close-ups, fast and slow-motion lens combinations, and using overlapping edits in montage techniques to connect the fragmented snatch lens groups one after another...

Everything constitutes a terrifying scene on the terrifying battlefield and creates the unique lens expression of the film.

The widespread use of portable camera lenses makes the video lenses parallel, or present a forty-five degrees angle relative to the subject being photographed. This angle close to people's observation of objects makes the people, objects and events on the screen more realistic and credible.

As a New York University film production graduate and Anna, who worked as an associate director in Hollywood for a while, has the same feeling.

With a close soldier perspective, audiences like her and Erin were immersively placed on the beach of Omaha by director Duke Rosenberg, feeling the deterrence of gunfire and the cruel blood of war!

"This isn't like a Duke movie!"

Although Erin Lauder was mentally prepared after watching the trailer, he still couldn't help but be surprised.

There are no beautiful wide-angle lenses, no super large scenes, no dazzling sports lenses, no sharp editing style, no hot special effects explosion...

If it weren't very certain that the director was Duke Rosenberg, Erin would definitely think this was someone else's work.

However, she was not disappointed, and the video was as exciting as ever, even though it was bloody and a little disgusting.

"Irene, you should be happy for him!"

Hearing his friend's words, Erin was puzzled, "For whom?"

"Duke Rosenberg," Anna lowered her voice, "Aren't you friends? In my opinion, his first step in his style transformation was very successful. Maybe this film will become his masterpiece."

This is Anna's true view. Just this opening battle is enough to create the epic style of the film. As long as the later narrative does not collapse, this film will inevitably become a classic in the war film, or even the most classic one.

Just as Anna and Erin took advantage of the war drama to come to an end and whispered a few times, Kenneth Tulan was still analyzing the film.

It's hard to say that it's a Duke Rosenberg movie, and the style change is indeed obvious.

Obviously, Duke Rosenberg believed that the big scene could not convey the horror of war well, so he did not use many wide-angle lenses to show the comprehensive battlefield. Strictly speaking, it was just a panoramic view at the end of the war - the camera gradually shook from soldiers who had already seized the beach to the beach filled with vehicles, ships and corpses, and finally frozen on a corpse with the words "Ryan" printed on the backpack.

In addition, the film uses more medium-scenes, as well as medium-scenes and close-ups, such as Captain Miller's trembling hands and soldiers' nervous and fearful faces, etc. Then Duke Rosenberg placed these medium-scenes and close-ups on the screen and in front of the audience, making the death in the war so real that it is shocking and unacceptable.

Here, death comes so suddenly, so fast, without unrealistic luck, without heroes who are still jumping around after being shot, and without dying counterattack before death. The amplification of these death passages can easily make people feel the fragility of life, convey the fear of war, misery and the decline of human nature.

Although the techniques of using the tragic war to express anti-war ideas are not new, Duke Rosenberg did an extremely outstanding job.

Even Todd McCarthy next to him had to admit that Duke Rosenberg made a significant change, and in terms of this opening scene alone, it may be considered a successful change.

The most typical one is the length of the film’s shots. Todd McCarthy clearly remembers that the average shot length of Duke’s first three films does not exceed 2.5 seconds, and long shots can only be described as extremely rare.

In this scene, he used a lot of realistic long shots, and estimated that the average shot length should be more than 7 seconds. Although this does not have the sharpness brought by the quick switching of short shots, it can uninterruptedly show the war process, making people unconsciously integrate into the camera and into the film.

There is also editing for Todd McCarthy. The young director obviously gave up the editing method that did not follow any logic in the past and returned to the ranks of logical editing. The scene of the film is not deliberately designed to maintain the length of the shot, but is following the rational logical editing principle, and editing when one thing ends or explains another group of concerning pictures.

Even though he was prejudiced, Todd McCarthy did not feel forced to accept the picture from the switch between the camera editing, which was natural and smooth.
Chapter completed!