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 one more time, but two days after viewing the final episode and thinking about little else but BoB since then, I can only say that it is one of the most powerful pieces of television I have ever seen.
It is not simply a son of Private Ryan project: Brothers, without belittling the achievement of that movie, expands on and enhances the WWII experience as seen from the point of view of the ordinary foot soldier. Rooted firmly in fact, the series, with it's incredible writing, directing and 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, no sense of 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 that you take for granted, only adds to the undiluted realism that Brothers strived for and achieved so stunningly.
As for the acting, it's already understood that Damian Lewis, Ron Livingston, Donnie Wahlberg, and so on deserve all the plaudits that have been bestowed on them, but for me there is a trio of actors who have not been mentioned enough and deserve a substantial share of the plaudits. Shane Taylor as Doc Eugene Roe can muster a response from the viewer with just a glance: his pain and anxiety, as well as his determination and 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: this character could have descended into sheer war movie stereotype of the big sergeant with the chomped cigar, but Cudlitz's quiet but authoritative presence throughout all 10 episodes marks him as an actor to watch for in the future; and Dexter Fletcher as Sgt Martin provided another rock for the other characters to play off: I've been aware of Fletcher since Bugsy Malone through Press Gang, The Rachel Papers and Lock, Stock and Two Smoking Barrels, but here, more than anywhere before, does he demonstrate his versatility and effortless ability as an actor and propels himself into the ranks of Britain's finest performers. Singling out these three actors is not meant, in any way, to diminish the other performances (the acting throughout was faultless - and I normally hate David Scwimmer!), but these three are, hopefully, an indication of the wealth of new and upcoming talent out there that it would be a crime not to see more of in the very near future.
Finally, in a year that produced the frankly risible and obnoxious Pearl Harbor, it is good to know that there is a willingness for production companies to make, and audiences to watch, an intelligent and passionate take on the 20th Century's most obvious historical touchstone. There may be other war movies and shows to come, but they would need to be very good indeed to match the achievement of Band of Brothers. It is, in short, an unqualified masterpiece.
10 / 10
It is not simply a son of Private Ryan project: Brothers, without belittling the achievement of that movie, expands on and enhances the WWII experience as seen from the point of view of the ordinary foot soldier. Rooted firmly in fact, the series, with it's incredible writing, directing and 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, no sense of 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 that you take for granted, only adds to the undiluted realism that Brothers strived for and achieved so stunningly.
As for the acting, it's already understood that Damian Lewis, Ron Livingston, Donnie Wahlberg, and so on deserve all the plaudits that have been bestowed on them, but for me there is a trio of actors who have not been mentioned enough and deserve a substantial share of the plaudits. Shane Taylor as Doc Eugene Roe can muster a response from the viewer with just a glance: his pain and anxiety, as well as his determination and 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: this character could have descended into sheer war movie stereotype of the big sergeant with the chomped cigar, but Cudlitz's quiet but authoritative presence throughout all 10 episodes marks him as an actor to watch for in the future; and Dexter Fletcher as Sgt Martin provided another rock for the other characters to play off: I've been aware of Fletcher since Bugsy Malone through Press Gang, The Rachel Papers and Lock, Stock and Two Smoking Barrels, but here, more than anywhere before, does he demonstrate his versatility and effortless ability as an actor and propels himself into the ranks of Britain's finest performers. Singling out these three actors is not meant, in any way, to diminish the other performances (the acting throughout was faultless - and I normally hate David Scwimmer!), but these three are, hopefully, an indication of the wealth of new and upcoming talent out there that it would be a crime not to see more of in the very near future.
Finally, in a year that produced the frankly risible and obnoxious Pearl Harbor, it is good to know that there is a willingness for production companies to make, and audiences to watch, an intelligent and passionate take on the 20th Century's most obvious historical touchstone. There may be other war movies and shows to come, but they would need to be very good indeed to match the achievement of Band of Brothers. It is, in short, an unqualified masterpiece.
10 / 10