Spike Lee really wants that Best Picture Oscar, doesn’t he? Sadly, Miracle at St. Anna falls short of what it would take to earn said Oscar; however, that is absolutely no reason to skip this movie.
Miracle at St. Anna, released this past Friday, appears to be the perfect film to start the Oscar bait season. The film begins with a murder mystery in a post office in 1983 but spans most of its time in 1944, covering the story of the 92nd Infantry Division of the American army during World War II and its four soldiers trapped behind enemy lines in Italy. Being the first Hollywood film to feature the African American soldiers who fought for their country in a time when it refused to respect them, the film is primed to receive national attention. Add in the epic style of the film making, and it would seem to be a clear choice for the academy. And yet…
The film, according to most critics, is far from Best Picture worthy. And admittedly, it is far from perfect. Certain moments tend to be a little cheesy, and, for a World War II film, parts of it feel awfully 20th century. The film feels a little too long in parts and spends too much time on too many subplots. However, aside from these flaws, this war film is easily one of the best films to be released so far this year.
There are moments when Spike Lee’s directing truly shines. Visually, this movie is stunning. Lee clearly saw the potential of filming Italy’s countryside, which even through the eyes of war manages to hold its beauty. However, even the less beautiful images stay with the viewer long after the film, not the least of which is a moment towards the beginning where the corpses of several soldiers float in a swamp, victims of a recent battle. The film manages to glorify the soldiers without making them unrealistic, and to portray the realities of war without sacrificing imagery. Backed by Terence Blanchard’s score, the film feels as epic as its director intended.
Many moments in the film manage to be heartwarming, and it’s easy to sympathize with even the most minor characters (which, in a cast this large, is an impressive feat on its own). The four soldiers to cross enemy lines befriend the Italians they meet, and the scenes between them are often very rewarding to watch. In particular, Private Train, played by Omar Benson Miller, has several wonderful scenes with a young and potentially delusional little boy named Angelo, played by Matteo Sciabordi. The familial moments in Italy almost allow the viewer to believe that the film could end happily, and the soldiers can rebuild a life in a country where, despite the language and political barriers, accepts them more than their home country ever will. However, this is a war film, and, in the words of William Goldman, “There is death ahead, and some of the wrong people die.”
I will be honest and admit that I was sobbing for pretty much the entire second half of the film. The presence of a broken statue head held by one of the soldiers and the trauma hinted at by Angelo suggest that something horrible happened at the St. Anna cathedral, and the film manages to take the event and make it stay with the viewer long after the credits. And, if that wasn’t enough, the rest of the film from that moment on keeps the viewer in tears. The ending, while not necessarily happy, ties up every mystery- all of which keep the viewer’s attention, I might add- and leaves the viewer feeling satisfied, even when it seems a little cheesy.
So to the harshest of critics, Miracle at St. Anna may not leave the impression that Spike Lee was expected to make. But to the average filmgoer, it wins the battle over every other film out so far moment. Welcome to Oscar season.
Grade: A-
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