There have been so many superlatives hurled at this series (and a few misguided or uninformed detracting remarks) that it's probably pointless to state the obvious once again, but two days after viewing the final episode and thinking about little else but BoB since then, I feel compelled to say that it is one of the most powerful pieces of television I have ever seen.
It is not simply a poor relation of Private Ryan: Brothers, without belittling the achievement of that movie, expands on and enhances the WWII experience as seen from the eyes of the ordinary foot soldier. Rooted firmly in fact, the series, with it's incredible writing and directing, not to mention the spectacular production values, takes on a life of it's own once the final images fade away. By the end, you are left wondering more about these men, how they adapted to civilian life, how, after sharing the camaraderie in conflict that they did, were they able to go home and continue their lives and return to some sense of normality under the shadow of everything they had witnessed and done. There is no cosy conclusion to BoB as such, no sense of total completion (and some have been annoyed by this), but I feel that this is the proper way to end the story. Sure, you want to know more, but the fact that you are grateful for men like Winters, Nixon, Lipton, Roe, Randlemann et al, and comforted that someone like that can go through hell for everything you take for granted, only adds to the undiluted realism that Brothers strived for and achieved so stunningly.
As for the acting: Damian Lewis, Ron Livingston, Donnie Wahlberg and so on deserve all the kudos that have been bestowed upon them, but for me there is a trio of actors who have not been mentioned nearly enough and deserve a substantial share of the plaudits.
Shane Taylor as Doc Eugene Roe can muster a response or emotion from the viewer with just a glance: the pain and anxiety of his character, as well as his determination and his sympathy for his fellows was illustrated beautifully by this incredible actor who does not need dialogue to stamp his authority on a scene.
Michael Cudlitz as Sgt "Bull" Randlemann was just as incredible, making the
most of the episode that focussed on his character's plight behind enemy lines (Replacements) and exuding the firm and steady nature that instilled the confidence which those in his charge must have shared. "Bull", in lesser hands, could have descended into a sheer war movie stereotype (the big, cigar chomping sergeant), but Cudlitz's quiet but authoritative presence throughout all 10 episodes marks him as an actor to watch.
Dexter Fletcher as Sgt John Martin provided another rock for the other characters to play off. I've been aware of Fletcher as an actor since Bugsy Malone, through Press Gang, The Rachel Papers and Lock, Stock and Two Smoking Barrels, but here more than anywhere else before does he demonstrate his versatility and effortless ability and propels himself into the ranks of Britain's finest actors.
Singling these three out is not meant to diminish the other performances in any way as the acting throughout was faultless (and I normally hate David Schwimmer!). Indeed, if this is an indication of the wealth of new and upcoming talent out there as an antidote to the Freddie Prinze's of the world, it instills nothing but hope.
Finally, in a year that produced the frankly risible and obnoxious Pearl Harbor (a comic strip bastardisation of history made for morons), it is good to know that the likes of HBO, Dreamworks and Playtone are prepared to take risks, present the horror and humanity of war in the most unflinching way, and produce something both passionate and intelligent. It is equally heartening to know that there is a sizeable audience for such fare. There may be other war movies and shows to come, but they would need to be very special indeed to match the achievement of Band of Brothers. It is, in short, an unqualified masterpiece.
10 / 10
It is not simply a poor relation of Private Ryan: Brothers, without belittling the achievement of that movie, expands on and enhances the WWII experience as seen from the eyes of the ordinary foot soldier. Rooted firmly in fact, the series, with it's incredible writing and directing, not to mention the spectacular production values, takes on a life of it's own once the final images fade away. By the end, you are left wondering more about these men, how they adapted to civilian life, how, after sharing the camaraderie in conflict that they did, were they able to go home and continue their lives and return to some sense of normality under the shadow of everything they had witnessed and done. There is no cosy conclusion to BoB as such, no sense of total completion (and some have been annoyed by this), but I feel that this is the proper way to end the story. Sure, you want to know more, but the fact that you are grateful for men like Winters, Nixon, Lipton, Roe, Randlemann et al, and comforted that someone like that can go through hell for everything you take for granted, only adds to the undiluted realism that Brothers strived for and achieved so stunningly.
As for the acting: Damian Lewis, Ron Livingston, Donnie Wahlberg and so on deserve all the kudos that have been bestowed upon them, but for me there is a trio of actors who have not been mentioned nearly enough and deserve a substantial share of the plaudits.
Shane Taylor as Doc Eugene Roe can muster a response or emotion from the viewer with just a glance: the pain and anxiety of his character, as well as his determination and his sympathy for his fellows was illustrated beautifully by this incredible actor who does not need dialogue to stamp his authority on a scene.
Michael Cudlitz as Sgt "Bull" Randlemann was just as incredible, making the
most of the episode that focussed on his character's plight behind enemy lines (Replacements) and exuding the firm and steady nature that instilled the confidence which those in his charge must have shared. "Bull", in lesser hands, could have descended into a sheer war movie stereotype (the big, cigar chomping sergeant), but Cudlitz's quiet but authoritative presence throughout all 10 episodes marks him as an actor to watch.
Dexter Fletcher as Sgt John Martin provided another rock for the other characters to play off. I've been aware of Fletcher as an actor since Bugsy Malone, through Press Gang, The Rachel Papers and Lock, Stock and Two Smoking Barrels, but here more than anywhere else before does he demonstrate his versatility and effortless ability and propels himself into the ranks of Britain's finest actors.
Singling these three out is not meant to diminish the other performances in any way as the acting throughout was faultless (and I normally hate David Schwimmer!). Indeed, if this is an indication of the wealth of new and upcoming talent out there as an antidote to the Freddie Prinze's of the world, it instills nothing but hope.
Finally, in a year that produced the frankly risible and obnoxious Pearl Harbor (a comic strip bastardisation of history made for morons), it is good to know that the likes of HBO, Dreamworks and Playtone are prepared to take risks, present the horror and humanity of war in the most unflinching way, and produce something both passionate and intelligent. It is equally heartening to know that there is a sizeable audience for such fare. There may be other war movies and shows to come, but they would need to be very special indeed to match the achievement of Band of Brothers. It is, in short, an unqualified masterpiece.
10 / 10