After over 60 years of cinematic interpretation, it didn't seem possible that World War II movie epics could be innovative any more than the addition of improved special effects and glitzy stars. Director Spike Lee's "Miracle at St. Anna," however, boldly attempts to push the genre forward.
Lee attempts to tell the story of a squad of black soldiers in the pre-Civil Rights movement U.S. Army. It's a story that's been waiting to be told on the silver screen since the end of the war. Unfortunately, the wait for a classic telling of the infamous squad is still on, because what Lee released is a powerful action epic striving for greatness, sometimes succeeding, but ultimately bogged down by the intricate plot.
"Miracle at St. Anna" is adapted from James McBride's tale of the same name, which follows members of the all-black 92nd Division, known as the "Buffalo Soldier" division. The 92nd division is similar to the 54th Massachusetts Volunteer Regiment, seen in the 1989 Edward Zwick film "Glory."
As memorable and moving as "Glory's" final battle scene was, "Miracle at St. Anna" trumps it with a scene of pure adrenaline and power that's impossible to not think of Spielberg's "Saving Private Ryan" beachfront scene as an influence.
But the interesting facet of Lee's film revolves around the gaping racial divide that was starting to widen further in American society at the time. This results in some very moving segments that question the reasoning behind why anyone would want to fight for a country that hates them. The viewer is constantly reminded of the racial divide throughout the film's series of flashbacks and flash forwards, that "Miracle at St. Anna" is a representation of our society's wrongdoings and the rise of a unified movement against hate.
The problem with the film lies in the excessive sub-plots that are just too limited in explanation and depth to warrant placement in the film. Lee is known for the inner complexities of his characters (such as those found within his 1989 film, "Do the Right Thing"). But the sheer amount of characters receiving back story and personal insights tend to overwhelm and confuse, detracting from what could have been some very memorable character-based moments. One such instance is when Sam Train (Omar Benson Miller) rescues a young Italian child named Angelo Torancelli (Matteo Sciabordi), and protects him from the horrors of war brought upon his land. Lee tries to provoke and inspire through feel-good moments of the film, but ends up with the sweet scene feeling ridiculous and seems out of place in a war epic.
And to make matters worse, Lee is given a powerful story that doesn't need all the subplots.
The majority of Lee's "Miracle at St. Anna" accomplishes its goal: showing the experiences of a black man in a white-dominated army and society with such finesse and craft that almost allows the films flaws to be forgotten. The acting in the film was nothing short of brilliant and ranged, from the soft antics of Omar Benson Miller (Sam Train), to the resolve of Derek Luke (2 Staff Sergeant Stamps). Even Joseph Gordon Levitt, who appears for only about 15 minutes of the film as rookie reporter Tim Boyle, had a memorable part in the film.
If you can look past the excess plot long enough, it will be easy to see that "Miracle at St. Anna" is a flawed, yet wholly entertaining and thought-provoking statement on race relations and the human spirit.
Alex Silber can be reached at asilber@student.umass.edu
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