Enemy at the Gates DVD
All is fair in love and war, but it’s the romance that really screws up things. Take the new World War II film “Enemy at the Gates.” Here’s a really gripping drama about two professional snipers that gets shot down by a meaningless love story.
Epic in scope, “Enemy at the Gates” is at its best when it sets its sites on the hunt between Russian sniper Vassili Zaitsev (Jude Law) and his German equal Major Konig ( Ed Harris). Both men are the best at what they do, and their cat-and-mouse game set amidst the ruins of Stalingrad is intense and riveting.
At least when it’s not being interrupted by the superfluous love story between Vassili and fellow soldier Tania (Rachel Weisz), who has also attracted the attention of Russian political officer Danilov (Joseph Fiennes). Their love triangle is dead weight, a misguided attempt to bring some humanity to a horrific situation.
Director/co-writer Jane-Jacques Annaud and co-writer Alain Godard totally miss the point. War is supposed to be hell. It doesn’t have convenient breaks where characters can engage in affairs of the heart. Yet the writers feel the necessity to water down the real story with this annoying subplot that brings nothing to the party.
“Enemy at the Gates” feels long. Trimming the love story would have made it as tight as it is taut. The war story is harrowing, filling the screen with graphic images. It’s here where the cast excel. Law shines as the country boy from the Urals, whose talent behind the trigger turns him into an unwitting hero. Law crawls so deep into the character we forget we’re watching a performance.
Fiennes, looking appropriately haggard, is good as Danilov, who discovers Vassili and uses him to rally the troops. Danilov’s campaign works too well, forcing the Germans to recruit their own sniper to stop him. That’s a great story, one based on fact, and as long as “Enemy of the Gates” is about these two men, it’s mesmerizing. You can’t take your eyes off the screen and the actors.
Ed Harris is powerful as Konig, an aristocrat who arrives in the middle of hell riding in a private railroad car, smoking gold-tipped cigarettes, never ashamed of his status. Konig knows he’s the best, and never shows fear on or off the battlefield. Harris is cool and calculated. He makes us believe that this man is capable of the actions he commits. His relationship with a local Russian boy, whom he uses to obtain information, is chilling.
As Tania, the soldier who steals Vassili’s heart, Rachel Weisz is fine, but her character is nothing more than a plot device. She’s convenient. Maybe the filmmakers were afraid to alienate the date crowd. They toss in a sex scene between Weisz and Law, and although quite erotic, it’s totally out of place. The only intimacy in “Enemy of the Gates” should be between the two snipers.
Their relationship is much more interesting. They respect each other. They share the same goals, even if they work for rival teams. Both know that one wrong move and the game is over.
Director Annaud is at his best on the battle front,. The war scenes are both nightmarish and dreamy. The first fifteen minutes, where Vassili and others arrive across the harbor from Stalingrad, are filled with shocking war violence that is tough to sit through. It’s supposed to be. Instead of immediately showing us the carnage, Annaud does something brilliant. He shows us the faces of the men who have just arrived. The horror in their faces says it all.
Then Annaud and cinematographer Robert Fraisse turn the camera around so we can see what they see. Total destruction. Chaos. Death. Stalingrad on fire, a harbor filled with debris and bodies. The scope is amazing. You feel like you’re in the middle of a maelstrom. The scenes in the middle of Stalingrad, where much of the action takes place, are haunting.
Production designer Wolf Kroger has created a maze of bombed out buildings and underground bunkers that look so authentic you can smell the rot and decay. Editor Noelle Boisson and Humphrey Dixon blend everything together into a potent mix.
In his previous films, Annaud has proven himself to be a master of visual imagery. He paints on a large canvas, and every brush stroke is filled with intense emotion. With a little trimming, “Enemy at the Gates” could be a masterpiece.
COMPLETE CHECK-UP
VISION: 20/20
2.35:1 Widescreen
16:9 Enhanced
Sharp, vivid images grace this digital transfer that perfectly captures the muted, somber look of the film. Strong colors, industrial strength blacks and excellent attention to detail distinguish every scene. The flesh tones are realistic, while a pristine print allows for a beautiful transfer. Detail is superior, even in the darker scenes that are usually a nightmare. Color saturation is strong, with no bleeding or fading. No obvious digital artifacts or pixelation. Contrast and depth of field is amazing considering the elements, which look sensational.
HEARING: Excellent
5.1 Dolby Digital Surround
2.0 Dolby Digital Stereo in English and French
Powerful, totally encompassing 5.1 Dolby Digital Surround soundtrack that will definitely give your system a workout. All sound fields are well represented, including an explosive surround field that really puts you right in the middle of the action. Basses are powerful, rattling windows when necessary, while middle and high ends purr with perfection. Front sound field flows with decisive data, including a strong dialogue mix, dynamic left-to-right stereo split, and realistic ambient noise. Rear speakers enjoy a healthy dose of data as well, including gripping musical cues and ambient noise. Front-to-rear spatial separation sounds amazingly accurate, allowing the sounds of war to blanket you. The kind of soundtrack that demands you close the windows and doors so you can crank it up and enjoy the horrors of war.
ORAL: Good
Closed Captions in English for the Hard of Hearing
Subtitles in English
COORDINATION: Okay
Through The Cross Hairs featurette, a brief, on location look behind the making of the film, including the customary onset interviews with the filmmakers and the cast, and some brief behind-the-camera footage that doesn’t go far enough in examining the epic nature of making the film.
Inside Enemy At The Gates featurette, more interviews with the filmmakers and cast, including some background information and relief of having survived the shoot.
Deleted Scenes, a collection of nine small scenes that are nice to watch but don’t really bring anything to the party. Included here as an extra and not as a substantial offering.
The film’s original theatrical trailer.
Interactive menus that makes good use of the film’s theme.
PROGNOSIS: Fit
Even though I’m not a big fan of the film, those who are will appreciate the effort that Paramount has put into the DVD transfer.
VITALS:
$29.99/Rated R/131 Minutes/Color/20 Chapter Stops/Keepcase
ATTENDING RESIDENT: John Larsen
PATIENT: ENEMY AT THE GATES
BIRTH DATE: 2001
HMO: Columbia-TriStar Home Video
