Miracle at St. Anna (2008)
★★ / ★★★★
I heard that one of Spike Lee’s motivations for making this picture is to highlight the fact that African-Americans did participate in World War II–something that is not apparent in other World War II movies (notably Clint Eastwood’s). Although I did enjoy this 160-minute feature in parts, when I look at the bigger picture, I realize that it didn’t use its potential to be great. Las Alonso, Omar Benson Miller, Derek Luke and Michael Ealy star as four American solders who were forced to wait in a Tuscan village because they were surrounded by German soldiers. Along the way to Tuscan, Miller stumbles upon an enigmatic Italian boy (Matteo Sciabordi) who has an imaginary friend. Eventually, the two form a friendship that underlines the religious aspects of the film. I found it strange that Lee wanted to represent African-Americans yet he has characters that were drowning in stereotypes. I’m not black but I felt offended as I was watching the film because I know that some characters would’ve been the same if certain stereotypes were absent like that glaring gold tooth that one of the characters has. Story-wise, I felt as if it was all over the place. One minute the plot was about resistance fighters, the next minute it was about faith, the next it was about invaluable artifacts, and the next it’s about a love triangle. I would’ve preferred if Lee focused on just three issues and made a leaner film that offers a lot of insight about the psychology of a soldier who’s fighting for a country that treats him as a second-class citizen. Whenever “Miracle at St. Anna” related being in an actual war in another country and feeling like one is in a war in his own country, the movie becomes that much more alive and interesting. During those scenes, I was so engaged to the point where I caught myself thinking, “Oh, I never thought about it like that before.” Instead, it tried to tackle too much so it lost considerable amount of focus. The emotion is there and so is the entertainment value. However, what’s missing is the mark of great filmmaking. Therefore, “Miracle at St. Anna” is not as powerful as it should have been so it disappears in the sea of motion pictures about World War II.