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Band of Brothers: Carentan (2001)
"Carentan" focuses on a single character, but his story is deeply moving
More often than not, war films glorify soldiers who do brave things in the face of certain death, and rightfully so. But rarely do we see even an hour devoted to those who have suffered at the hands of mental anguish and absolute fear in the face of combat. Occasionally, something will slip through the status quo, like Spielberg's own Saving Private Ryan for instance, but far too often audiences never really get deep down into the dirt with a soldier traumatized by his surroundings.
In "Carentan," the third Band of Brothers episode, we meet Private Albert Blithe, who struggles with shellshock during a particularly intense battle. The scene is shot in a very effective way. The camera tends to shake alongside gunfire and explosions; we want Blithe to pick up his gun and be a hero, but at the same time, we want to send him home so that he will be out of harm's way. Blithe's progression in "Carentan" is a fine example of proper character-oriented storytelling. In "Carentan," however, the Battle of Carentan is so expertly depicted, that it's nearly impossible not to sympathize - or at least understand - the trauma that Blithe is going through.
While the ending of this episode is factually inaccurate, the point it tries to portray should not be overlooked. Apart from Blithe's storyline, we also receive some minor progressions of major characters scattered throughout the episode's running time, including the rumors surrounding Lieutenant Speirs; this sidelining story has been dragged out to a somewhat questionable level yet still manages to be highly engaging.
"Carentan" is a slow but steady episode that benefits tremendously from Marc Warren's performance as Blithe. There are certainly better single-character episodes to be found within Band of Brothers, but this is one fine installment that shouldn't be overlooked.
Band of Brothers: Day of Days (2001)
"Day of Days" provides action without sacrificing character
In the second episode of the Hanks and Spielberg series Band of Brothers, D-Day has arrived, and all Hell is breaking loose. Explosions knock down Allied planes, gunfire blankets the night sky, and men are being killed off one by one in every direction - both in the air and on the ground. The opening to "Day of Days" is an unforgettable sequence that will stick with you; men are cremated as their planes catch fire and plummet to the earth, while the brave soldiers of Easy Company parachute to the ground, hoping to avoid certain death. The panicked faces of the men of Easy Company with Richard "Dick" Winters' calm and calculated demeanor, complement each other in a very interesting manner. Winters is someone who, under pressure, manages - or at least tries - to stay sane and in control, despite being terrified.
The episode does not focus entirely on the Normandy landings. Soldiers are scattered across the region, and we see familiar faces try to make it to their designated rendezvous points; then, there is a very well-executed scene which takes place during the day, involving some of the men taking part in an attack on a German stronghold.
"Day of Days" truly has it all. The only minor complaint that I have, is that this episode could have built upon several of its smaller character moments immediately following the dropping of Easy Company, whether for additional development or for pacing purposes, as the script does jump between men ineffectively. Things never get truly fleshed out properly among the characters, leaving room only for disorientation and a sense of misplacement. One could argue that this structure adds a necessary layer to the unfolding events, but the narrative is quite clear from the chaotic nature of the episode's opening moments. The characters we do see are subject to brief encounters with their companions that contribute very little to not just the story, but to the overarching themes of the entire series. There are much better examples of character interactions within this show, particularly in the next episode, "Carentan," between the traumatized Albert Blithe and a screaming Winters. "Day of Days" could have been stronger on this front towards the beginning, but this is the smallest of complaints.
Overall, "Day of Days" is a very impressive episode that has withstood the test of time, particularly in terms of its special effects. The visuals are slowly being outdone, both in film and television, but there's never a point in time where something looks unbelievable. Instead, we get a story told with heart alongside bold, well-orchestrated action sequences.
Band of Brothers: Currahee (2001)
"Currahee" is a strong series premiere with excellent performances and production values
When it completed its brief run on HBO during the fall of 2001, Band of Brothers was viewed by many as a hallmark for television in terms of production values. Its success arguably paved the way for the network's future successes, with expensive productions like Rome and Game of Thrones proving worthy of investment. Band of Brothers showcased that, given the right amount of money and talent, anything could happen on television. The possibilities were suddenly endless. This mindset put into a motion a stunning improvement regarding attention to detail from networks, especially those on basic cable, who decided that showing audiences serious drama over programs written with half the effort merely because the television medium had not effectively championed film, was in fact necessary to launch the industry into a new age of quality storytelling that it so desperately needed.
Modern television evolved from five shows: Twin Peaks in 1990, which began the water cooler effect (for those unfamiliar with the term, it refers to employees at a workplace gathering around the office water cooler to discuss the shocking developments of the previous night's episode, accompanied with story predictions and personal opinions); The Sopranos in 1999, which gave audiences and, more importantly, networks, a sense of what television could be if taken seriously; Band of Brothers in 2001, which visualized the budget and ambition needed to progress the medium into a deeper sense of reality rather than possibilities; Lost in 2004, which solidified the format of a serialized drama quite like no other series before it, perhaps maybe other than Twin Peaks; and, finally, Mad Men in 2007. Mad Men used Lost's serialized nature on a more personal level. That led to AMC greenlighting Breaking Bad. As everyone knows, Vince Gilligan's engrossing series about an overqualified high school chemistry teacher entering the drug trade kicked off the "current" wave of television program: the "New Golden Age."
It's impossible to discuss Band of Brothers' premiere episode without first discussing the crucial facts surrounding the medium's recent history. Without this show, television would be a very different place. Therefore, after nearly two decades, Band of Brothers has remained highly regarded among film and television enthusiasts. It had a whopping budget of $125 million for a single season, with each episode costing approximately $12.5 million, and because it had two great minds behind it, there was little that could go wrong; even if the series did flop, which was unlikely, it would be a lesson learned for television, much like the grave warning of executive interference brought forth in the second season of the aforementioned Twin Peaks.
So, is "Currahee" a remarkable episode? This is probably the most basic chapter of the series, which is saying a lot, given how close one feels to the characters shown here for a mere hour. David Schwimmer plays Captain Hebert Sobel to perfection. He is a tough individual, for sure, but is slightly challenged when placed outside of his controlled environment. Nevertheless, as evidenced in the opening minutes of "Currahee," the company benefited tremendously from his hardline policies and strict personality: without Sobel, the company would be unprepared to jump for D-Day. As the episode progresses, it becomes evident that this is what Sobel had been preparing the company for, but the growing resistance to his methods also proved that he wasn't a capable leader in every regard, as he had little admiration, and hardly any sincere respect.
David Schwimmer isn't alone in his acting chops. We also receive fine performances from Damian Lewis, who plays the main character of the series, Richard "Dick" Winters, and from Ron Livingston, who plays his best friend and frequent confidant, Captain Lewis Nixon. The cinematography of "Currahee" is something to behold as well, especially when it comes to what television has offered as the status quo in the past. The musical score is brilliant as well. With those things in mind, the closing shots of this episode will send goosebumps tingling down the spine, so be prepared.
So, while "Currahee" isn't some grand spectacle, it is certainly a great way to kick things off. It has several excellent moments of character development. The interactions between Winters and Sobel are especially noteworthy. Keep an eye out for Winters dissing Sobel by not looking at him during a Currahee run. Sobel scoffs at first as Winters ignores his superior (Sobel is under the impression that the two have some sort of friendship built out of respect), but then nods in understanding, plays it cool, and rejoins the group. The tensions between the two sees a zenith of sorts as Sobel tries to turn Winters' own men against him. You'll get no spoilers here; you'll have to see what resolution unfolds, if any, because of Sobel's personality and leadership quarrels. Dialogue is a strong suit for this show too. "Currahee" sports a fine amount of solid writing. With these things in mind, hopefully those who are turned off by the slow and deliberate pace of this episode won't dismiss the series altogether.